AP Art History 2018

All of my notes from the AP Art History class at my school

[apah2018]

71. Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood

[apah2018]

71. Madonna and child and angels

Form- Depicted as if in a window in a Florentine home with a landscape in the background that has atmospheric perspective, earthy and natural tones.

Content- Motif of Pearl-placed in headdress and pillow as products in the sea. Has symbolic landscapes like the rock formations indicate a church and the city is Jerusalem. Pearls used to symbolize the immaculate conception. has her hands clasped in prayer. Both angels are holding Christ up as he kneels on them with wings that seem wooden (brown)

Context- Model may have Lippi's lover. Lots of money in Florence during this time which means that there was a growing middle and upper class of merchants and bankers and with lots of money comes more indulgences. Florentine citizens were very proud of their government because it valued/respected the opinions of individuals and this played a huge part in Humanism.

Function- Humanization of a sacred theme. Artist painted it this way to show how human they are.

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99. Portrait of Sor Juana Ines de la Cruz - Miguel Cabrera. c. 1750 c.e. oil on canvas.

[apah2018]

99. Portrait of Sor Juana Ines de la Cruz

CONTENT: a portrait of a nun named Sor Juana Ines de la Cruz. The painting portrays her a hero. It is set in a library to symbolize her love of learning and she is shown wearing her religious garments to show her connection to religion. The red curtains are a sign of high status. She is staged sitting at a desk with an open book. She is holding a rosary in her hand and is looking directly at the viewer with a slightly disdainful look in her eyes.

CONTEXT: The portrait portrays sor Juana, a nun who was considered one of the first feminists in the Americas because she joined the church to pursue her intellectual goals. When the church caught her ideas they forced her to give up her studies and she then became a nurse. Before this, she converted to the Jeroimite order to secure more freedoms. Cabrera painted the portrait to reflect both her religious and intellectual passions. It was painted based off of other portraits because she passed before the portrait was painted.

FORM: A portrait done in the realistic style. Has very warm tones. Was painted during the neoclassical period. Was similar to the portrait at the time because of the themes.

FUNCTION: A portrait that was used to show her story to the people.

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70. Palazzo Rucellai - Florence, Italy. Leon Battista Alberti. c. 1450 c.e.

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70. Palazzo Rucellai

Content- Friezes contain Rucellai family symbols which are billowing sails. The cornices are strong and classical that cap the building. The first-floor pilasters are Tuscan order (derived from Doric), the second floor has specialty pilasters designed by Alberti which are derived from Ionic order, and the third floor has Corinthian. Includes the Rucellai family seal (a diamond ring with three feathers coming out of it) several times. The Loggia building was Caddy-cornered to the Palazzo Rucellai and was a large open space, with rounded arches, Corinthian capitals, colonnades, pilasters were based on the ancient Greek & Roman traditions.

Context- Giovanni Rucellai was the patron and he was a wealthy merchant. The original building had five bays on the left, with a central door. The second doorway bay was added later along with the right doorway bay. The owners of the house next door refused to sell the eight-bay fragmentary. Only 3/4ths of the original plan was constructed. Partly based on the Medici Palace

Function- Used as a private home and it was a created as a physical representation of the family's wealth, status, power, and importance.

Form-  Filled with “geometric grace” by trying to incorporate intellectual & delicate designs. Three stories tall separated by an equal height. Separated by a strongly articulated string course (entablature). The pilasters rise vertically and divide the spaces into square shapes. Used beveled masonry joints instead of the rustication of Renaissance palaces. Has square windows on the first floor while on the second and third floor, windows with mullions were used. The building has four floors 4): the servant quarters (it was designed to be hidden) 3) the family's apartment 2) the guest rooms and area 1) the Rucellai family's center of business

[apah2018]

69. David

Content: A free-standing statue with humanistic features. Used contrapposto and his face is depicted as very calm and contemplative. His eyes are downcast with lids half-closed. He holds the sword that he used to behead the Goliath. The head of the Goliath is shown under David's foot. He has a relaxed but somewhat prideful pose.

Context: Can be found in the courtyard of the Medici palace in Florence. A life-size bronze statue was not common at the time. The middle ages focused on God and rarely pictured nude figures. This is from the story of David and Goliath where Goliath threatens Israel and wants to fight. David then volunteers to fight. He was a shepherd who fought without armor.

Form: A freestanding bronze statue. First nude freestanding since classical antiquity. The Roman and Greek style used in regard to the human anatomy.

Function: Helped the Florentines to identify with the statue. Humanism is represented.

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68. The Arnolfini Portrait - Jan Van Eyck. c. 1434 c.e. Oil on wood.

[apah2018]

68. The Arnolfini Portrait

Content: The wife pulls up dress to symbolize childbirth but she is not actually pregnant. There are two witnesses shown in the mirror in the background. The mirror has an inscription he says “Jan Van Eyck was here 1434”. There is a statue of Saint Margaret on the bedpost and she was the patron of Childbirth. There is one burning candle on the first night of the wedding. There is a dog which symbolizes fidelity. The groom is posed in a praying promise and the shoes are off which means that they are standing on holy ground. The man is posed near the stained glass window to signify his role as a husband who goes out into the world. The woman stays posed closer to the center of the house to show her role at home. The man and woman come from wealth because of the amount of cloth and their surroundings.

Context: There were many possible meanings behind the work including a wedding portrait, a memorial to a dead wife, the process of betrothal. Arnolfini conferring legal and business privilege to wife.

Form: Incredibly intricate details incorporated into the painting. They used oil paint and each detail is meticulously drawn. It is a hyper-realistic piece.

Function: A portrait to commemorate a wedding. Also, everything is a metaphor.

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67. Pazzi Chapel - Florence, Italy. Fillipo Brunelleschi. c. 12429-1461 c.e.

[apah2018]

67. Pazzi Chapel

Content: A rectangular chapel attached to the Church of Santa Croce in Florence. The interior uses muted tones with glazed terracotta tiles. There are two barrel vaults on the interior with a small dome that crosses over them. Features Corinthian columns and fluted pilasters along with pendentives with roundels. Dome has a halo of windows and an oculus for the divine light. The dome rests in the center of the room.

Context: The attribution to Brunelleschi is questioned and it was commissioned by the Pazzi Family.

Form: Perfect geometry and used Pietra serena stone to create spatial division.

Function: Used as a meeting place for Franciscan Monks (a chapter house). Was the burial site for the Pazzi Family.

[apah2018]

66. Annunciation Triptych - Robert Campin. 1427-1432 c.e. oil on wood

[apah2018]

66. Annunciation Triptych

Content: Left panel donors and middle-class people kneeling before the holy scene (the wife was added later. Center panel Flemish interior with an annunciation taking place. Right panel carpentry workshop with Joseph pictured. There are many symbols featured in the work including the towel and water that symbolizes Mary’s purity (baptism), THe fireplace is blocked which means the entrance to hell is blocked by the mother of Christ, the flower buds have three petals which mean the Trinity and the unopened bud is the unborn Christ and the lilies symbolize purity, Mary is seated on the floor which means humility, the mousetrap in the workshop is a trap for the devil and, the candlestick is representative of Christ in Mary’s womb.

Context: Used to be called the “Merode Altarpiece”. Paintings were used as aides in prayer and were considered luxury items. Was created during the northern renaissance.

Form: The ground line is rising steeply which makes it look like the figures are too big for the architecture. A very meticulous piece with incredible attention to detail.

Function: Used as a way to humanize the lofty themes. Used for prayer in private homes and to create spiritual significance for everyday objects.

[apah2018]

65. Alhambra Palace - Granda, Spain. Nasrid Dynasty. c. 1354-1391 c.e.

[apah2018]

65. Alhambra Palace

Content: had three original palaces 1) Comares Palace 2) Portal Palace 3) Palace of Lions. The throne room was to be built in El Mexcar. But instead replaced with a meeting hall (geometric tile). Comares Palace has the largest lower with Salones Comares that features windows with double arches to illuminate. It also has a patio (covered) that surrounds a courtyard with a pool. Palace of Lions had a fountain with 12 carved lions. It also has a patio with arches that surround the courtyard with stucco carvings. Portal Palace (del Pórtico) had vaulted ceilings held up by the myalgias.

Context: From the Nasrid Dynasty which lasts through the years 1232 to 1442. They were the last Muslim rulers in Spain before the Christian takeover. It is located on Subilca Hill and was built by Mohammed I who started construction after conquering the land.

Form: Has a mile of walls with 30 towers and 4 main gates. Had security measures on paths with gardens that connected the different parts of the palace.

Function: Used as the residence of rulers and the family of the rulers. The citadel and medina were also featured here.

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64. Golden Haggadah - Late Medieval Spain c. 1320 c.e. Illuminated Manuscript

[apah2018]

64. Golden Haggadah

Content: Jewish and Gothic art styles featured in the cross-cultural. Similar style to French Gothic. Plagues of Egypt Upper right: the plague of frogs initiated by Moses. Upper left: plagues of lice. It shows the pharaoh and magician s covered in lice. Lower left: Moses watched the pharaoh getting attacked by wild beasts. Lower right: a plague on livestock. Scenes of Libation Upper right: plague and death of a firstborn Egyptian child. Upper left: pharaoh orders Israelites to leave Egypt. Lower right: Egyptians attack Israelites in medieval armor. Lower left: Israelites cross the red sea while the Egyptian drown. Preparation for Passover Upper right: Miriam, Moses’ sister.holds tambourine with maidens dancing and singing. Upper left: master of house orders children to eat matzah while sitting under a canopy. Lower right: A family prepares the house for Passover where the women clean and the men search.

Context: Was painted near the area of Barcelona. It tells the story of how Moses led Jesus out of Slavery. It is a part of Jewish tradition to recount the stories during the seder. Haggadah is a narration in Hebrew ritual and the work includes prayers said during the meal. This was more an educational narration instead of the usual religious use which is why the second commandment of Judaism does not allow the changing of the story. Was influenced by pagan art and artists.

Form: Gold leaf backgrounds on vellum (calfskin generally used for illuminated manuscripts). It is an illuminated manuscript that utilizes vivid colors. It reads from right to left like Hebrew.

Function: An educational story to tell at each Passover dinner. Also used as a way to show off the commissioners wealth and status.