#apah2018

[apah2018]

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

[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.

[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.

[apah2018]

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.

[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.

[apah2018]

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

[apah2018]

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