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09 IRH 102.doc

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Ryerson University
FSN 132
Joanne Mc Neish

09 IRH 102 Exam prep. Slide identification: - Artist (if known) - Stylistic period - Subject matter or title (or name of building) - Approx. date Know: - Terminology - Materials and Methods - Architectural terminology - The differences between Italian and Northern European art - Know relationships between the different stylistic periods (rejection or development?) - TIMELINE - Know what is typical of stylistic periods - Know characteristics or traits - Know the “oddball” works of art (and why they are “oddball”) in stylistic periods - Oddball: pieces of work that stand out from others in a certain period - Know why something or someone is important - How does it relate to what happened before and what will happen in the future? *Same format as last exam *2 hrs (approx. 100 questions) *15-20% of questions concerning material from before the midterm Fifteenth Century Italian Architecture (continued from last class) Adams on Alberti’s On Architecture (pg. 504) - Based on the Roman architectural treatise of Vitruvius - Emphasized the aesthetic importance of harmonious proportions QuickTime™ and a are needed to see this picture. 13.21: Masaccio, Holy Trinity, showing perspective lines, c. 1425; Santa Maria Novella, Florence - Uses not only the new perspective system, but also the new architectural forms established by Brunelleschi - A single vanishing point is located at the center of the step, corresponding to the eye level of the observer standing in the church - Illusion of actual space extending beyond the nave wall QuickTime™ and a are needed to see this picture. 13.22: View of the Brancacci Chapel toward altar, Florence, c. 1420 - Illustrates events from the life of Saint Peter - Chiaroscuro: light/dark (to create illusion of mass and volume) QuickTime™ and a decompressor are needed to see this picture. 13.23: Left side of the Brancacci Chapel - Scene on upper left is the Expulsion from Eden - Below is Saint Peter in prison - Large scene on top: tax collector - Large scene below: Saint Peter preaches and raises a young boy from the dead are needed to see this picture. 13.46: Piero della Francesca, Annunciation, c. 1450 - Interest in mathematical and geometric possibilities of painting - Combination of Christian iconography with geometry and Classical revival - Corinthian and Ionic columns Qdecompressord a are needed to see this picture. Alberti: S.M. Novella (not in text) - Use of geometry to show proportional relationships - Renaissance man: wide range - Artists gained stature as they absorbed the culture of Classical antiquity - All arts (painting, drawing, sculpting) work together *Renaissance: artists return to the Classical style The Dome of Florence Cathedral *Brunelleschi QuickTime™ and a decompressor are needed to see this picture. th 13.4: Exterior of Florence Cathedral, begun late 13 century QuickTime™ and a are needed to see this picture. 13.5: Plan QuickTime™ and a are needed to see this picture. 13.6: Axonometric section of the dome - The octagonal drum was too weak to support a heavy dome, and it was also too wide to be built with the wooden centering used in the Middle Ages - Primary ribs were placed at each of the eight corners of the drum for support - Rib vaulted construction - Gothic - As a result the dome was slightly pointed (more vertical) - Could add windows - Foreshortening (from view down below) makes dome more circular, rather than pointed - This shape of dome is used more prominently in years to come QuickTime™ and a decompressor are needed to see this picture. 13.7: Filippos Brunelleschi, Hospital of the Innocents, Florence, begun 1419 - Why renaissance? No longer Gothic - No pointed arches, Corinthian capitals, clean windows - Revival of Roman architecture - lines separate arches from window, creating an entablature - Supported by large mass inserted in wall (not actual column - pilaster) - Vaulting is circular - Support sizes are the same between vaults and between arches - Straight forward geometry - Diagonal only found from top of arch to top of window - able to see proportions between shapes (height of door and placement of windows etc.); apparent on elevation - All elements fit within simple diagonal ratio - Geometrical relationships are very important; revealed on
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