Analyzing fourteenth- through sixteenth-century 2D art - AP Art History
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The man in red in the lower image is most likely .
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The man in red in the lower image is most likely .
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In the Christian tradition, particularly in Medieval Christianity, the inventor of Christian icons and the first person to paint any images of Christ was the Evangelist Saint Luke. In his 1440 painting, "Saint Luke Drawing the Virgin, the early Netherlandish painter Rogier van der Weyden includes someone painting the Madonna and Child with a book open at his feet. Both of these clues indicate that the figure is Saint Luke.
In the Christian tradition, particularly in Medieval Christianity, the inventor of Christian icons and the first person to paint any images of Christ was the Evangelist Saint Luke. In his 1440 painting, "Saint Luke Drawing the Virgin, the early Netherlandish painter Rogier van der Weyden includes someone painting the Madonna and Child with a book open at his feet. Both of these clues indicate that the figure is Saint Luke.
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Figure 3 Figure 4
Each of these paintings portray a story from .
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Each of these paintings portray a story from .
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These two images each portray an important story from the Gospels in the New Testament, the four books that tell the life of Jesus Christ. The image on the left is of the Annunciation, the announcement an angel made to the Virgin Mary telling her that she was pregnant with the Christ child. It was painted in 1433 by Fra Angelico. The image on the right is of the risen Jesus encountering his disciples in Emmaus, painted by Caravaggio in 1606.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
These two images each portray an important story from the Gospels in the New Testament, the four books that tell the life of Jesus Christ. The image on the left is of the Annunciation, the announcement an angel made to the Virgin Mary telling her that she was pregnant with the Christ child. It was painted in 1433 by Fra Angelico. The image on the right is of the risen Jesus encountering his disciples in Emmaus, painted by Caravaggio in 1606.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
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Images like the painting shown in Figure 3 were particularly important for Christians who were .
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Images like the painting shown in Figure 3 were particularly important for Christians who were .
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Most people in Medieval Europe could not read or write, but the Catholic church had a vested interest in helping all of its members to become familiar with and understand the stories of the Bible. A painting like the one presented here by Fra Angelico not only shows the Angel Gabriel telling the Virgin Mary of her status as the mother of the Christ child, but gives a larger symbolic structure to the event.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
Most people in Medieval Europe could not read or write, but the Catholic church had a vested interest in helping all of its members to become familiar with and understand the stories of the Bible. A painting like the one presented here by Fra Angelico not only shows the Angel Gabriel telling the Virgin Mary of her status as the mother of the Christ child, but gives a larger symbolic structure to the event.
Figure 3: The Annunciation (Cortona) by Fra Angelico (1433)
Figure 4: Supper at Emmaus (Milan) by Caravaggio (1606)
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Both of these images were painted in .
Both of these images were painted in .
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Each of these images, Leonardo da Vinci's 1489 "Lady with an Ermine" and Sandro Botticelli's 1486 "The Birth of Venus", are classic examples of Italian Renaissance paintings. Da Vinci painted in Milan, under the patronage of the Sforza family, the longtime Dukes of Milan. Botticelli had the Medici family as patrons in the city-state of Florence.
Each of these images, Leonardo da Vinci's 1489 "Lady with an Ermine" and Sandro Botticelli's 1486 "The Birth of Venus", are classic examples of Italian Renaissance paintings. Da Vinci painted in Milan, under the patronage of the Sforza family, the longtime Dukes of Milan. Botticelli had the Medici family as patrons in the city-state of Florence.
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In the painting, the animal represents .
In the painting, the animal represents .
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The animal is an ermine (which is a type of weasel). In Leonardo da Vinci's time, the ermine was commonly used throughout Europe as a symbol for purity.
If you don't remember something like this on test day, you can still make an educated guess. For example, you might not remember anything about ermines, but perhaps you remember that white doves are often used in art to symbolize purity. That would lead you to the correct answer.
At the very least, you can probably eliminate the answers "disgrace" and "sensuality" just from looking at the painting. Eliminating two of the four answer choices doubles your chances of guessing correctly.
The animal is an ermine (which is a type of weasel). In Leonardo da Vinci's time, the ermine was commonly used throughout Europe as a symbol for purity.
If you don't remember something like this on test day, you can still make an educated guess. For example, you might not remember anything about ermines, but perhaps you remember that white doves are often used in art to symbolize purity. That would lead you to the correct answer.
At the very least, you can probably eliminate the answers "disgrace" and "sensuality" just from looking at the painting. Eliminating two of the four answer choices doubles your chances of guessing correctly.
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The painting depicts a scene from .
The painting depicts a scene from .
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Botticelli's "The Birth of Venus" portrays a story from Greek mythology. This is common in Italian Renaissance art.
Botticelli's "The Birth of Venus" portrays a story from Greek mythology. This is common in Italian Renaissance art.
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The painting demonstrates , which was introduced during the Renaissance.
The painting demonstrates , which was introduced during the Renaissance.
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While da Vinci's "Lady with an Ermine" is an excellent portrait in its own right, the truly revolutionary aspect of the work is the small sense of motion in the painting. Da Vinci's subject is turning ever so slightly and is captured in a small amount of tension. The ability to capture movement was something introduced during the Renaissance.
While da Vinci's "Lady with an Ermine" is an excellent portrait in its own right, the truly revolutionary aspect of the work is the small sense of motion in the painting. Da Vinci's subject is turning ever so slightly and is captured in a small amount of tension. The ability to capture movement was something introduced during the Renaissance.
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The painting was created for the leading family of .
The painting was created for the leading family of .
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This is "The Birth of Venus" by Sandro Botticelli. He worked directly for the Medicis, a family of bankers who ruled the northern Italian city-state of Florence.
This is "The Birth of Venus" by Sandro Botticelli. He worked directly for the Medicis, a family of bankers who ruled the northern Italian city-state of Florence.
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Venus' pose is called .
Venus' pose is called .
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In Botticelli's "The Birth of Venus", Venus is standing in the classical contrapposto pose. Literally meaning "counter pose", the pose features the subject placing most of her weight on one foot, giving the effect of movement. This classical pose became very popular in the Renaissance, in large part because of Botticelli.
In Botticelli's "The Birth of Venus", Venus is standing in the classical contrapposto pose. Literally meaning "counter pose", the pose features the subject placing most of her weight on one foot, giving the effect of movement. This classical pose became very popular in the Renaissance, in large part because of Botticelli.
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Figure 1 is an early example of what would come to be known as .
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Figure 1 is an early example of what would come to be known as .
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"Genre painting" is a term used to denote any painting of an everyday scene, rather than a history painting, portrait, or landscape. "Genre painting" was essentially unheard of in the Middle Ages, when the focus was on devotional art and paintings of kings and rulers. Jan van Eyck's 1434 Arnolfini Portrait, which depicts a merchant getting married in his own chambers, is an early example of a move toward genre painting, which would become much more popular during the Renaissance.
"Genre painting" is a term used to denote any painting of an everyday scene, rather than a history painting, portrait, or landscape. "Genre painting" was essentially unheard of in the Middle Ages, when the focus was on devotional art and paintings of kings and rulers. Jan van Eyck's 1434 Arnolfini Portrait, which depicts a merchant getting married in his own chambers, is an early example of a move toward genre painting, which would become much more popular during the Renaissance.
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Figure 1 is remarkable for its inclusion of .
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Figure 1 is remarkable for its inclusion of .
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In the very back of the painting, the "Arnolfini Portrait" by Jan van Eyck, is a convex mirror that is positioned directly between the two main figures. This mirror reflects the back of the couple, and the entire room. The use of such a device was peculiar for medieval art, but presaged some of the new approaches that would be taken during the Italian Renaissance.
In the very back of the painting, the "Arnolfini Portrait" by Jan van Eyck, is a convex mirror that is positioned directly between the two main figures. This mirror reflects the back of the couple, and the entire room. The use of such a device was peculiar for medieval art, but presaged some of the new approaches that would be taken during the Italian Renaissance.
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The garden in the background of Figure 2 represents .
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Figure 2
The garden in the background of Figure 2 represents .
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As an image of Christian devotion, Rogier van der Weyden's "Saint Luke Drawing the Virgin" is laced with important symbolism, including the small garden seen through the window in the painting's background. For Christians, any garden is a reference to the Garden of Eden, the earthly paradise where Adam and Eve were innocent before disobeying God. This notion of innocence is also reflected in the fact that this is a portrait of the Virgin Mary, who was believed to have never sinned.
As an image of Christian devotion, Rogier van der Weyden's "Saint Luke Drawing the Virgin" is laced with important symbolism, including the small garden seen through the window in the painting's background. For Christians, any garden is a reference to the Garden of Eden, the earthly paradise where Adam and Eve were innocent before disobeying God. This notion of innocence is also reflected in the fact that this is a portrait of the Virgin Mary, who was believed to have never sinned.
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Figure 1 features the dog as a possible symbol of .
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Figure 1 features the dog as a possible symbol of .
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Many wealthy women in the middle ages and early modern era kept lap dogs as pets, which were seen as symbols of their motherly caring before they were married. Jan van Eyck places the dog in the middle of his Arnolfini Portrait, making it already a member of this new family.
Many wealthy women in the middle ages and early modern era kept lap dogs as pets, which were seen as symbols of their motherly caring before they were married. Jan van Eyck places the dog in the middle of his Arnolfini Portrait, making it already a member of this new family.
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Both images above were painted by .
Figure 1 Figure 2
Both images above were painted by .
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Hans Holbein the Younger was the court painter in England throughout much of the reign of King Henry VIII, a position he was brought to from his native Augsburg through connections with humanists in Northern Europe. These portraits are of two of Henry's advisors, Sir Thomas More (on the left) and Thomas Cromwell. Both bear the distinct elements of Holbein's portrait style, with accessories telling of the subject's life and a sense of perspective providing a remarkable realism for the era.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
Hans Holbein the Younger was the court painter in England throughout much of the reign of King Henry VIII, a position he was brought to from his native Augsburg through connections with humanists in Northern Europe. These portraits are of two of Henry's advisors, Sir Thomas More (on the left) and Thomas Cromwell. Both bear the distinct elements of Holbein's portrait style, with accessories telling of the subject's life and a sense of perspective providing a remarkable realism for the era.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
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In the image on the left, the subject's pendant is a symbol of .
Image A Image B
In the image on the left, the subject's pendant is a symbol of .
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The pendant Sir Thomas More is wearing as a necklace in this portrait by Hans Holbein the Younger is a Tudor rose, the symbol of the English House of Tudor established by Henry VII. More was a key advisor to Henry VII's son, Henry VIII, and is shown by Holbein as a loyal subject to his king. Additionally, the round, floral emblem, a mix of the white rose of York and the red rose of Lancaster, was widely used in English society throughout the sixteenth century.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
The pendant Sir Thomas More is wearing as a necklace in this portrait by Hans Holbein the Younger is a Tudor rose, the symbol of the English House of Tudor established by Henry VII. More was a key advisor to Henry VII's son, Henry VIII, and is shown by Holbein as a loyal subject to his king. Additionally, the round, floral emblem, a mix of the white rose of York and the red rose of Lancaster, was widely used in English society throughout the sixteenth century.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
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Image A Image B
In the drawing on the right, the personal artifacts on the table in front of the image show .
Image A Image B
In the drawing on the right, the personal artifacts on the table in front of the image show .
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This portrait of Thomas Cromwell by Hans Holbein the Younger presents him as a chief councillor to Henry VIII, King of England. Cromwell was from a relatively minor family, and he made his way to his position through a mixture of hard work and political maneuvering. Holbein presents Cromwell behind a table with books and papers on it to exemplify Cromwell's position despite his background and reputation.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
This portrait of Thomas Cromwell by Hans Holbein the Younger presents him as a chief councillor to Henry VIII, King of England. Cromwell was from a relatively minor family, and he made his way to his position through a mixture of hard work and political maneuvering. Holbein presents Cromwell behind a table with books and papers on it to exemplify Cromwell's position despite his background and reputation.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
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Image A Image B
The above images are both examples of .
Image A Image B
The above images are both examples of .
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Both of these portraits by Hans Holbein the Younger are oil paintings on wood panels. Wood panel painting was the most common surface used by Northern Renaissance painters in the sixteenth century, and all of Holbein's portraits of members of the English Royal Court during the reign of Henry VIII were made on wood panels.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
Both of these portraits by Hans Holbein the Younger are oil paintings on wood panels. Wood panel painting was the most common surface used by Northern Renaissance painters in the sixteenth century, and all of Holbein's portraits of members of the English Royal Court during the reign of Henry VIII were made on wood panels.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
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Image A Image B
One of the key differences in how the subjects of the two paintings are portrayed is that .
Image A Image B
One of the key differences in how the subjects of the two paintings are portrayed is that .
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These two paintings, both portraits by Hans Holbein the Younger of Sir Thomas More (on the left) and Thomas Cromwell (on the right), are extremely similar. Both show councillors to King Henry VIII of England in quite serious poses, representing their important positions; however, More takes up the entire frame of his portrait, making him seem extremely important, while Cromwell is placed behind a table on a bench, relegating him to being a part of the scenery.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
These two paintings, both portraits by Hans Holbein the Younger of Sir Thomas More (on the left) and Thomas Cromwell (on the right), are extremely similar. Both show councillors to King Henry VIII of England in quite serious poses, representing their important positions; however, More takes up the entire frame of his portrait, making him seem extremely important, while Cromwell is placed behind a table on a bench, relegating him to being a part of the scenery.
Figure 1: Portrait of Sir Thomas More by Hans Holbein the Younger (1527)
Figure 2: Portrait of Thomas Cromwell by Hans Holbein the Younger (c. 1533)
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The image above portrays the author of the book of in the Bible.
The image above portrays the author of the book of in the Bible.
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This work by the fifteenth-century Dutch painter Hieronymus Bosch, entitled St. John the Evangelist on Patmos, depicts the author of the Book of Revelation. The key signifiers of this fact in the painting are the subject's location on a small island and his gaze upwards towards both an angelic messenger and an image of heaven.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
This work by the fifteenth-century Dutch painter Hieronymus Bosch, entitled St. John the Evangelist on Patmos, depicts the author of the Book of Revelation. The key signifiers of this fact in the painting are the subject's location on a small island and his gaze upwards towards both an angelic messenger and an image of heaven.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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The artist of the above work is .
The artist of the above work is .
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This painting, with its use of perspective and iconographic imagery, can be called "Early Netherlandish." This work's strange imagery and collage-like background, however, place it as a strange and unique mixture, which was made by the Flemish painter Hieronymus Bosch. Bosch's work often portrayed religious themes, such as this painting's subject of St. John on Patmos, and used bizarre imagery, which is in both the upper left and lower right corners.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
This painting, with its use of perspective and iconographic imagery, can be called "Early Netherlandish." This work's strange imagery and collage-like background, however, place it as a strange and unique mixture, which was made by the Flemish painter Hieronymus Bosch. Bosch's work often portrayed religious themes, such as this painting's subject of St. John on Patmos, and used bizarre imagery, which is in both the upper left and lower right corners.
Image: St. John the Evangelist on Patmos by Hieronymus Bosch (1489)
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