David

January 13, 2018 | Author: Anonymous | Category: History, European History, Renaissance (1330-1550)
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Objectives • Understand the development of linear perspective in two-dimensional art forms. • Follow the influences of antiquity and classical ideas and forms in all the arts. • Be able to distinguish the new advances in rendering the human form in sculpture and painting. • Become familiar with the impact that Greek philosophy and mythology had on the arts. • Recognize the influences still felt from Christianity on the arts

Renaissance Art in FifteenthCentury Italy

Humanism and the Italian Renaissance • Cities grew in wealth and independence – Country to City

• Noble lineage did NOT guarantee political/economic success • Mercenary armies led by entrepreneurial military commanders – Condottieri

Continued • Humanists sought the physical and literary records of the ancient world – assembling libraries, collecting sculpture and fragments of architecture, and beginning archaeological investigations of ancient Rome. • They received their inspiration from classical antiquity. • Christian religion remained the predominate subject of art.

Humanism and the Italian Renaissance (cont.) • Allegorical and Mythological Scene Prevlant • Art for Arts Sake – Collectors

• Male nude is an acceptable subject in renaissance art. – In the end of the 15th century female nudes became acceptable.

Florence Cathedral • Dome created by Filippo Brunelleschi – Winner of Contest

• • • •

Octagonal drum = Base of Dome 138 across 8 Large and 16 Small Ribs Brick

• Strongly

influenced by the classic tradition.

• Commissioned about 1409 by Stone carvers’ and woodworkers’ guild •Refers to 9 separate martyrs, divided into two groups. •3rd century sculptors who were executed for refusing to make an image of a pagan roman god. •Small scale gothic chapel.

• Commissioned Florences lesser guild (Armorer & sword maker) •Saint George -Originally as conceived as standing advertisement for the guild -body positioning very alert, but face very tense and worried

The Gates of Paradise (East Door) •10 Panels

•Depict events from the Creation to the reign of Solomon. •Uses Medieval method of narrative in combining several scenes in one panel •Has figures nearly in the round with parts of their bodies extended from the background as well as details in very shallow relief.

from Florence Baptistery Lorenzo Ghiberti 1425-52 Bronze With Gilding Florence

Genesis

Noah

Isaac

Cain & Abel

Abraham

Joseph

Joshua Moses

David

Solomon

• Lorenzo Ghiberti • Middle panel on the left door of “The Gates of Paradise” • Pictorial relief on bronze

• Rebecca gives birth to Isaac • Isaac sends his oldest son, Esau, to hunt for food

• Isaac mistakenly gives his blessing to Jacob • Rebecca watches Isaac bless the wrong son • Often referred to as the “Isaac Panel”

• David created by Donatello • Donatello was a master of both marble and bronze statues. • Brought back the antic free standing figures. • Significance = elaborate helmet and wings of Zephyr - Roman wind god - evil & destruction • David nudity refers to the ancient Greek sculptures

• Donatello • 1430-1460 • Bronze

• Completely made of Wood • Contrast piece to Donatello's David • Very Embodiment of regret for ones wrong doing • Features - Wasted body caused by age and years of selfdenial - Portrayed so that we fully share her anguish and longing for redemption

Donatello c.1455

Height 6”2



MADE BY ANTONIO DEL POLLAIUOLO

• IMPRESSED BY THE LATE STYLES OF Donatello and Castagno

Freeze standing Small scale, Perfect balance Pollaiuolo in grafted the upper part of Antaeus onto the lower part of his adversary to stress the central axis • All’antica “ in the antique way” • • • •

Antonio del Pollaiuolo

1475

• Represents his most elaborate pictorial design • Purpose of engraving was to display the nude body in action • Coupled with slender proportions and an emphasis on outline rather than on modeling • Poses drew from upon the Greek vases • Chose to instead portray both the statuette and the print as if their skin had been stripped off to reveal the play of the muscle underneath due to knowledge of anatomy

Battle of the Nudes

Antonio del Pollaiuolo c.1465-70

The Holy Trinity with the Virgin, St. John the Evangelist, and Two Donors • Holy spirit represented by a white dove above Jesus’ head • Illusion of aedicula and stone sarcophagus • Linear perspective (everything measured to scale) = realism • Classical Architecture instead of Gothic • Light from front= shadows and depth • Mary is presenting Christ

… continued • On bottom half is painted sarcophagus with skeleton resting on top -Reminder that death awaits us, only belief in Christ is redemption • Skeleton is Adam, alleged tomb of Adam under chapel • “I was what you are, and what I am you shall be.” • Perfect linear logic = divine reason of God

The Holy Trinity with the Virgin, St. John, and Donors • • • •

Eye level

5’

Masaccio 1427 CE Fresco Sta. Maria Novella, Florence

Brancacci Chapel

• Masaccio and Masolino • Both died before completion in 1427, finished by Filippino Lippi in 1480s • Dedicated to St. Peter – illustrates his life with a series of frescoes

• Masaccio’s knowledge of human figure from study of Roman sculpture

Brancacci Chapel, Interior Masaccio and Masolino 1427 CE Santa Maria del Carmine, Florence

The Tribute Money • 3 narrative scenes 1) center= tax collector with Christ and disciples asking for tax of Peter

2) left= Peter fishing for first fish with coin 3) right= Peter paying the tax

• Linear perspective= Peter,house, and trees diminishing in size • Atmospheric perspective= landscape changing to “farther away” colors

The Tribute Money • • • •

Masaccio 1427 CE Fresco Brancacci Chapel, Santa Maria del Carmine, Florence

The Expulsion from Paradise • Adam and Eve as monumental nudes • New realism – More focus on body mass: bone and muscle, then minute detail

• Generalized light • Shadows= tangibility of figures (rational space) • Focus on figures’ psychology or their reaction to the expulsion rather than the wrath of God

The Expulsion from Paradise • • • •

Masaccio Fresco 1427 CE Brancacci Chapel

Annunciation • By Fra Angelico • Fresco in a corridor of the San Marco convent in Florence • Mary and the angel greet each other devoutly. • Tuscan cypresses in the background.

Annunciation c. 1450 Fresco Fra Angelico

Last Supper • Fresco by Andrea del Castagno • Located in refectory of Sant'Apollonia in Florence • arrangement of balanced figures in an architectural setting – Saint John's posture of innocent slumber neatly contrasts Jude the Betrayer's tense, upright pose – the hand positions of the final pair of apostles on either end of the fresco mirror each other with accomplished realism – pillars and statues recall Classical sculpture

Last Supper 1447 Fresco Andrea del Castgno

Basilica di Sant’Andrea di Mantova • Replaced columned arcade with Barrel vaulted nave • Absence of statues and other Gothic features

Corinthian pilaster= slender columns of the Corinthian order from ancient Greece

Church of Sant’Andrea Leon Battista Alberti

1470 Mantua

“Painted Chamber”

• Andrea Mantenga • Painted in tower chamber in Ludovico Gonzaga’s palace • Walls – Frescoed – Family receives its returning cardinal In scenes set to landscapes. (“court scene”)

• Ceiling – Di dotto in sú (from below upwards) technique – Room opened to be a cloud-filled sky with large oculus

Camera Picta Andrea Mantegna (1467-1474) Ludovico Gonzaga’s palace

Delivery of the Keys to Saint Peter • • • • • •

Pierto Perugino Perugino was the master of Raphael 1482 Commissioned by Sixtus IV Located in the Sistine Chapel, Vatican, Rome 11’5.5” X 18’ 8.5”

Delivery of the Keys to Saint Peter (cont.) • Depicts Christ giving Saint Peter keys to the Kingdom of Heaven • In the background, two roman arches are modeled on the Arch of Constantine • The dome is the ideal church of Alberti’s Treatise on Architecture • The figures are scaled to size according to their distance from the picture plane • Jesus, as well as other figures, have halos around their heads – Byzantine

Delivery of the Keys to Saint Peter Pierto Perugino 1482

Primavera • The Primavera was commissioned by the Lorenzo de' Medici and painted in 1482 by Italian artist Sandro Botticelli • The painting is tempera on panel • The painting contains numerous references to Greek mythology, such as the appearance of Mercury and Cupid • Mercury’s armor and weapon illustrates that he is the guardian of the garden. • The painting is believed to symbolize the coming of spring, although other hypothesis exist.

La Nascita di Venere • The Birth of Venus was commissioned by Lorenzo de' Medici around the same time as Primavera, but unlike the Primavera it was painted on Canvas instead of panel. • The painting depicts a full grown woman, Venus, emerging from the ocean surrounded by the goddess of seasons and several unknown figures. • Fun fact: In classical antiquity, the sea shell was a metaphor for a woman's vulva

( if you are unsure as to the definition of this word, please do not click on the hyperlink)

The Mystic Nativity • The Mystic Nativity is a fresh outlook on an old painting. Unlike the dozens of nativity scenes we have seen, this one features a prediction about the future. • At the time of it’s panting, circa 1500, Europe was undergoing a dramatic social upheaval. As such Sandro Botticelli made an apocalyptic prediction for the future. Botticelli’s prediction was that Christ’s return to the world was at hand and all would be judged. As such the top of the painting shows angel breaking through the clouds entering the world. • The painting was Tempera on panel and was commissioned for an unknown patron, although some art historians believe it to be for the Medici family.

Details • CA D’oro (Contarini Palace) known as “Golden house” • Date Constructed: 1421 – 1437 • Architects: Matteo Bon & Bartolomeo Bon • Commissioned by: Marino Contarini • Overlooks Grand Canal

The CA d’oro Palace

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