About 4,480 results
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3.3 Art Appreciation Perspective in the Italian Renaissance and Baroque
See them all in order with additional reading materials here: https://www.udemy.com/u/kenneymencher/- HD
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Linear Perspective
https://www.udemy.com/art-history-survey-1300-to-contempo... View all the videos in chronological order with study guides and ...- HD
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Linear Perspective in the work of Masaccio and Mantegna
Ohlone College Art 103B Professor Kenney Mencher (Art History Early Renaissance to Contemporary) ...- HD
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Van Eyck, Masaccio, Shakespeare, Perspective and Memento Mori
For all the videos in order complete with an online textbook visit: https://www.udemy.com/art-history-survey-1300-to-contempo...- HD
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Perspectives: Saint Francis, Cimabue and Giotto
https://www.udemy.com/art-history-survey-1300-to-contempo... View all the videos in chronological order with study guides and ...- HD
Linear Perspective
Gustave Caillebotte, Paris a Rainy Day, 1877
Giotto St. Francis Driving out the Demons of Arezzo Assisi
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Cimabue, Virgin & Child Enthroned, from the Church of Santa Trinita, Florence c 1280. Tempera and gold on wood, 12' 7"x7'4" Galleria degli Uffizi, Florence |
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Giotto di Bondone,
Virgin & Child Enthroned, (Ognissanti Altar,) c 1310. Tempera and gold on wood, 10'8"x6'8" Galleria degli Uffizi, Florence |
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linear idealism neoplatonic humanistic theological |
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Masaccio,
Trinity with Donors, c1428 Santa Maria Novella, Florence Perspectives: linear idealism neoplatonic humanistic theological |
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chiaroscuro  |
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Masaccio. Tribute Money, and Expulsion, fresco c1427 Brancacci Chapel, Santa Maria del Carmine Florence, Italy, Italian Renaissance |
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Brancacci Chapel, Santa Maria del Carmine Florence, Italy, Italian Renaissance Matthew 17 and 22 |
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St. Augustine,
City of Man/City of God
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Andrea Mantegna, Dead Christ 1501 tempera on canvas Italian Renaissance foreshortened foreshortening |
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Albrecht Durer, Alberti's Veil c 1527 woodcut 3"x8.5"
Albrecht Durer, Alberti's Veil c1500 |
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Albrecht Durer, Alberti's Veil c1500 |
Andrea Mantegna, Dead Christ 1501 tempera on canvas Italian Renaissance |
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The Northern Renaissance
c 1300-1600 in Northern Europe Holland is also known as The Netherlands Delft, Amsterdam and The Hague are the major cities. Belgium is also known as Flanders Brussels and Bruges are the major cities. Flemalle is another city we will be talking about. |
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Perspectives: The Every Day or "God is in the
Details"
Paul, Herman and Jean Limbourg. (The Limbourg Brothers) Le Tres Riches Heures du duc de Berry 8"x5" 1413 tempera on parchment French Renaissance genre scene |
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Robert Campin
(the Master of Flemalle) Merode Altarpiece c. 1425 oil and tempera on wood, central panel approx. 25"x25" Flemish Renaissance |
Campin, Robert (the Master of Flemalle) Merode Altarpiece c. 1425
oil and tempera on wood, central panel approx. 25"x25" Flemish Renaissance
submerged symbolism
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Jan van Eyck
Arnolfini Wedding 1434
oil and tempera on oak 82x60cm Irwin Panofsky Craig Harbison Jacques Paviot In the early 1990s Jacques Paviot, a French naval historian found something that challenged previously accepted beliefs about the painting. While doing unrelated research, he stumbled across a reference to what appears to have been what was generally accepted to be happening in the painting: Arnolfini's wedding to Giovanna Cenami. But the document Paviot found placed the wedding in 1447, 13 years after the date on the double portrait and six years after van Eyck's death. |
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Petrus Christus.
Saint Eloy (Eligius) in his Shop.1449 Oil on oak panel, 38"x33" (98 x 85 cm) Metropolitan Museum of Art, New York Flemish, Renaissance |
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Quentin Massys
also called Metsys The Moneylender and his Wife, 1514 Oil on panel, 71 x 68 cm Flemish Renaissance |
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MASACCIO 1401-1428
Trinity with Donors c1428 Florence,S.Maria Novella 16' tall fresco |
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memento mori |
From Shakespeare's HAMLET Act 5, Scene 1
(In Grave Yard)
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HAMLET How absolute the knave is! we must speak by the card, or equivocation will undo us. By the Lord, Horatio, these three years I have taken a note of it; the age is grown so picked that the toe of the peasant comes so near the heel of the courtier, he gaffs his kibe. How long hast thou been a grave-maker?
CLOWN Of all the days i' the year, I came to't that day that our last king Hamlet overcame Fortinbras.
HAMLET How long is that since?
CLOWN Cannot you tell that? every fool can tell that: it was the very day that young Hamlet was born; he that is mad, and sent into England.
HAMLET Ay, marry, why was he sent into England?
CLOWN Why, because he was mad: he shall recover his wits there; or, if he do not, it's no great matter there.
HAMLET Why?
CLOWN 'Twill, a not be seen in him there; there the men are as mad as he.
HAMLET How came he mad?
CLOWN Very strangely, they say.
HAMLET How strangely?
CLOWN Faith, e'en with losing his wits.
HAMLET Upon what ground?
CLOWN Why, here in Denmark: I have been sexton here, man and boy, thirty years.
HAMLET How long will a man lie i' the earth ere he rot?
CLOWN I' faith, if he be not rotten before he die--as we have many pocky corses now-a-days, that will scarce hold the laying in--he will last you some eight year or nine year: a tanner will last you nine year.
HAMLET Why he more than another?
CLOWN Why, sir, his hide is so tanned with his trade, that he will keep out water a great while; and your water is a sore decayer of your whoreson dead body. Here's a skull now; this skull has lain in the earth three and twenty years.
HAMLET Whose was it?
CLOWN A whoreson mad fellow's it was: whose do you think it was?
HAMLET Nay, I know not.
CLOWN A pestilence on him for a mad rogue! a' poured a flagon of Rhenish on my head once. This same skull, sir, was Yorick's skull, the king's jester.
HAMLET This?
CLOWN E'en that.
HAMLET Let me see.
Takes the skull
Alas, poor Yorick! I knew him, Horatio:a fellow of infinite jest, of most excellent fancy: he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! my gorge rims at it. Here hung those lips that I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour she must come; make her laugh at that. Prithee, Horatio, tell me one thing.
HORATIO What's that, my lord?
HAMLET Dost thou think Alexander looked o' this fashion i' the earth? HORATIO E'en so.
HAMLET And smelt so? pah! Puts down the skull HORATIO E'en so, my lord.
HAMLET To what base uses we may return, Horatio! Why may not imagination trace the noble dust of Alexander, till he find it stopping a bung-hole? HORATIO 'Twere to consider too curiously, to consider so.
HAMLET No, faith, not a jot; but to follow him thither with modesty enough, and likelihood to lead it: as thus: Alexander died, Alexander was buried, Alexander returneth into dust; the dust is earth; of earth we make loam; and why of that loam, whereto he was converted, might they not stop a beer-barrel? Imperious Caesar, dead and turn'd to clay, Might stop a hole to keep the wind away: O, that that earth, which kept the world in awe,
Should patch a wall to expel the winter flaw!
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MASACCIO 1401-1428
Trinity with Donors c1428 Florence,S.Maria Novella 16' tall fresco Italina Renaissance Jan van Eyck Arnolfini Wedding 1434 oil and tempera, 33x22.5" London National Gallery Flemish Renaissance |
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Craig Harbison.
"Jan van Eyck: The Play of Realism." (London: Reaktion Books,) 1995. Jan van Eyck Arnolfini Wedding 1434 oil and tempera, 33x22.5" London National Gallery Flemish Renaissance |
Jan van Eyck Arnolfini Wedding 1434 oil and tempera on oak 82x60cm
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Jan van Eyck
Arnolfini Wedding 1434
oil and tempera on oak 82x60cm In the early 1990s Jacques Paviot, a French naval historian found something that challenged previously accepted beliefs about the painting. While doing unrelated research, he stumbled across a reference to what appears to have been what was generally accepted to be happening in the painting: Arnolfini's wedding to Giovanna Cenami. But the document Paviot found placed the wedding in 1447, 13 years after the date on the double portrait and six years after van Eyck's death. |
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