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University of Toronto St. George
Jane Wolf

MONUMENTS OF ART HISTORY LECTURE November 11 TH2010  Mona Lisa: Leo pushes expectations of genre, composition demonstrates triangle moves away from rep of social types, more representation of individuality  Her gaze- addressing view symbolizes transgression in empowering female subjects  He kept it, unseen by many until his death, he could not part with it  Mme Picasso- paradigm of modernist art, not seen by many at the time before 1911  Some art works not ready to be seen but then clearly have a great impact  Part of royal collection of art – what constitutes masterpiece?  Icon of museum art, artist react against status of Mona Lisa as holding this reputation, art that is edited small segment of civilization, rejection of constraint against artistic tradition  See significance in own time in contact of entire western culture  Adoration of the magi- Milan 1481-2 o Theme, from new testament, virgin Mary, holding Christ, surrounded by old testament king who come to pay respect to new king o Shows mastery in depicting emotion, gestures gazes how he was interest in depicting psychological states , observer of human anatomy but also faces, searching for gestures used them to create drama o Background est. contrast to calm of the central group – battle scene, clamour and aggression in the background, contrast o Architecture, staircases, compared to similar paintings of Botticelli – artist trying to come up with own solutions, to anchor composition o Using perspective to anchor composition o I point perspective- signature device 15 `6 century, invented 1425 by Philip g, how do depict space in painting passed on to future generations of artists o Main idea behind 1pp was to render paintings believable, make them seem as if same order of reality as actual nature o Create architectural structure that it cold fool eye into believing it was snot rep of reality but extension of reality – imitating nature o Geometrical drawing o Dist objects smaller in size than near ones- vanishing point o Mathematical principles of proportion o It was technical, contrived system of rep space and objects, idea to render depth in painting, v p calculate din way that it matches with pint of view of viewer o Commands viewer to stand in specific spot to take it in o Leo decided not to use it but focused on drama, narrative, human gesture, light shade, groupings o Creative act in renaissance , element of choice that every artist o Art more about mental activity than manual skill – Marcel Duchamp o Genesis- next painting new beginning?  Virgin of the rocks 1483 84 o Meant to be alter piece in church of San Francisco o Shows how he gave figures and gestures etc leading role, way in which he commands the narrative o St john baby, Christ, and angel o Image is staged, but landscape, cave mountains misty water ways, repeated in his work o His interest in nature is augmented by his studies of nature down in 1490;s o Durer also interested in science, multiplicity of forms, underlines renaissance artistic practise o According to practices of renaissance studios artist were not encourage to copy nature right away, first copy artworks, learn skill by imitating style of masters and then asked to do studies for models and final after sufficient technical skill asked to copy from nature o Remarked that composition painted later child with St. Anne, familial photograph – underlining sense of emotion o Misty landscape created based on his observation of mountain regions in Italian alps o More believable works due to their observation of nature  Unrivalled energy of horse and command of human being over the animal which glorifies the leader- equestrian monument  The last supper: 1494 1497  Diner before Christ’s death, making announcement that he knows one of them will betray them  Apostles reacting in disbelief of their masters announcement  To create drama he groups apostles around Christ, aggression compared to Christ composed pose  His head is framed by a window, no halo natural light in background from landscape symbolic meaning of divine light  Apostles groups disbelief and self doubt  Left, Judas, reclined, signalled out by his reaction, he’s stereotyped Jewish  Variety of gestures and reaction  Arrangement of figures structured around certain sacred mythology three windows holy trinity  Numbers 4 and 3  Vanishing point does not meet the eye of the viewer, no one can actually take in the painting from one special point, not made for sight of human being  Sig his interest I higher ideals and the world of higher reality where figures are positions  Damaged because he worked with tempera and oil instead of using fresco technique which was fast  This resulted in flaking of fresco  Unity of psychological drama working as artist who understand unique aspects of human beings, multiplicity of natural appearances unified through overarching composition of the work  Human form – most divine creature in nature, FLANDERS  Flemish art Belgium and Dijon, art north of alps  Communication between Italian artist and Netherlands already there , from travel etc  Also in court culture  Rising of middle class and assumption to patronage, develop interest in art and pay artist to create works for them  Robert Campin Merode Triptych- 1432  Changes in social changes was interest in new forms of religious experience, modern devotion new forms of piety, the whole movement religious reform movement 14 and 15 century , name German monk – the imitation of Christ – ideas on new form of poetry, private devotion were propagated  Modern devotion: private forms of devotion were encouraged
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