- elevation of the individual
- major shift of power from church to the patron
- lorenzo ghiberti
- filippo brunelleschi
- donatello
- verrocchio ("true eye")
- pollaiuolo (human form in action)
- jacopo della quercia
- masaccio (couldn't make a living w sculpture so started painting)
- fra angelico (lived in a monestary)
- andrea del castagno (powerful last supper depiction)
- paolo uccello
- sandro botticelli (birth of venus, primavera)
- perugino
- luca signorelli
- piero della francesca
- mantegna (leads up to birth of high renaissance, full perspective figures, foreshortening)
early italian renaissance:
-condottiere
-di sotto in su
-ogival
-orthogonal
-pilaster
-tondo
-tromp l'oeil
-revitalization of classical ideals
-humanism, secular
-anatomy/nudes
-architecture: open light spaces, balance, symmetry
-painting: linear perspective (Brunelleschi)
-perspective/proportions
renaissance humanism:
- shift in focus from divine subject matter to human endeavors in life & art
- emphasis on potential of individual
- spirit of competition & quest for human excellence
the medici of florence:
- giovanni (banker, merchant)
- cosimo (refurbished & updated dominican library at s. marco, supported fra angelico)
- lorenzo the magnificent (master patron of arts, endowments equivalent to $20 million in 15th c)
the florentine revival:
-medici family as patrons
-italian architects revived classical style
-medici family as patrons
-italian architects revived classical style
-focus on sculpture
-revival of:
-revival of:
- equestrian monuments
- death masks (lorenzo medici, ghiberti)
- statuettes in bronze of mythological figures for domiciles (marsyas, herakles, hermes)
- church pulpit & door embellishments
commission competition (1401)
- important not only for quality of work submitted but also showcased key elements associated w mature Renaissance art:
-personal/guild patronage
-esteem accorded to individual artists
-development of new pictorial illusionism
- focus on God's order to Abraham to sacrifice his son Isaac as a demonstration of devotion
fig. 21-2
 |
| brunelleschi east doors- baptistry of duomo 1401-1402 subject mater: sacrifice of isaac theme: history (sacred) uses more material quatrafoil design tell story w images focal point is isaac & abraham violent movement & high emotion |
fig. 21-3
 |
| ghiberti east doors- baptistry of duomo 1401-1402 subject mater: sacrifice of isaac theme: history (sacred) more comtemporary, believable, naturalistic, muscles angel- foreshortening grace & smoothness Abraham in a Gothic pose (outthrust hip) figure of Isaac recalls Greco-Roman statuary |
fig. 21-10
 |
| gates of paradise- ghiberti north doors baptistry duomo florence 1425-52 bronze w gold gild |
-first renaissance art historian
-Commentarii book 1 talks about admiration for naturalistic art of classical antiquity
-Commentarii book 2 deals w the art of his own time & an autobiography of him
-Commentarii book 3 talks about the disciplines that a sculptor must master
-praises Cavallini, Orcagna, Lorenzetti, Martini, Duccio
-admired sculptors: Giovanni, Pisano
-fame & glory increasingly accorded to individual achievement in 15th century italy
fig. 21-9
 |
| Isaac and his sons- lorenzo ghiberti east doors of Gates of Paradise of the Baptistery of San Giovanni 1425-1452, gilded bronze, Florence, Italy linear perspective, vanishing point |
-Quattrocento: development of linear perspective
-developed by filippo brunelleschi
-perspective= "to see through"
-trying to represent depth in a 2-D painting or relief
-brought all visual sensations under a simple rule that could be expressed mathematically
-perspective was a way to order & clarify their compositions
-allows artists to determine mathematically the relative size of objects to correlate them w visual recession into space
-artist needs to identify the horizon line, select a vanishing point, & draw orthogonals
Donatello:
 |
| saint mark- donatello designed for architectural niches the noble visage (face)- saints look like wise elders |
 |
pazzi madonna- donatello
subject: christ child & mother mary, 1422
intimacy & emotional connection
|
 |
| judith & holofernes- donatello holofernes= assyrian general that was pillaging judith's city he got drunk & she decapitated him engages you from all angles |
 |
| the penitent magdalene- donatello c. 1455 subject matter: woman in prayer genre: history- sacred/portrait medium: sculpture technique: reductive pathos |
fig. 21-11
 |
david- donatello (1440-1460)
head of goliath at feet
genre: history-sacred/portrait
nude- only wearing hat & boots
contraposto pose
more feminine
feather |
fig. 21-12 |
| david- verrocchio (1465-1470) head of goliath at feet genre: history-sacred/portrait stronger, more physically developed hero pose |
- pathos- expression of extreme sadness, grief or depression
ART & SOCIETY: IMITATION & EMULATION IN RENAISSANCE ART
-renaissance artists valued imitation
-many 15/16th century artists developed unique styles but convention predominated
-certain themes, motifs, & compositions appear regularly
-imitation: renaissance artists believed that the best way to learn was to copy the works of masters
-emulation: next step after imitation; modeling one's art after that of another artist
Brunelleschi:
-linear perspective ingenuity manifested in architecture
-development of hydraulic system to elevate bricks & mortar
 |
| cupola of Duomo- filippo brunelleschi 1420-36 unique eight rib engineering of "Double" cupola- 2 domes |
 |
| interior of Santo Spirito- brunelleschi 1434-35 logic & order. equal articulation of arcades corinthian columns, coffers (cut out boxes) to get rid of weight clerestory windows (round ocular windows) perfect geometry, order, harmony, ideal light |
- clerestory windows: (round ocular windows) any window you can't see out of, above eye level, alludes to light of heaven, separation of mortal & divine
fig. 21-30
 |
| ospedale degli innocenti- brunelleschi florence, italy, 1419 hospital /facility for protection of young children medallions btwn each arch have details of children swaddled children- protection/cared for |
ART & SOCIETY: ITALIAN RENAISSANCE FAMILY CHAPEL ENDOWMENTS
-very wealthy families sponsored chapels in the form of separate buildings adjacent to churches
-endowed to ensure the well-being of souls of individual family members & ancestors
-served as burial sites & spaces for liturgical celebrations & commemorative services
-chapel owners sponsored masses for the dead
-1215, the concept of purgatory was officially recognized by pope innocent III
-lead to trying to earn salvation through good work/deeds & devotional practices
-most patrons also commissioned decorations (painted altarpieces, frescoes, sculptures)
ARTISTS ON ART: LEON BATTISTA ALBERTI'S ON THE ART OF BUILDING
-wrote De re aedificatori libri X (on the art of building in ten books)
-first renaissance architect to understand classical architecture in depth
-sought to ennoble the profession of architect
-believed that designs should reflect the laws of nature & conform to mathematical formulas
-brunelleschi & alberti shared belief in eternal & universal validity of numerical ratios as sources of beauty
equestrian monuments:
- prototype from roman antiquity: marcus aurelius - propaganda: might of roman empire
fig. 21-15
 |
| gattamelata- donatello equestrian figure, 1453 downturned mouth, staring off into space ball under horse anchors structure - functional device |
fig. 21-16
 |
bartolommeo colleoni- verrocchio
1496
chest puffed out, looking down on you,
prouder, horse armored
|
 |
battle of the nudes- pollaiuolo
circa 1470
medium: printmaking
technique: inaglio
method: engraving
all muscles are tense, focus on anatomy
|
 |
| expulsion of adam and eve from the paradise- jacopa della quercia contrapposto (shift in weight) & temptation/expulsion iconography adam's furrowed brow, eve's coquettish look power of body language: gesture, gaze, torque adam's taking the brunt of physical punishment |
fig. 21-20
 |
| holy trinity-masaccio 1427, buon fresco ideal geometric architecture implied linear perspective: illusion of 3 dimensional space memento mori (skeleton at bottom)- in case you don't subscribe to faith- propaganda dove (around God's neck) of holy spirit descending onto christ body twisted slightly ionic capitals |
fig. 21-19
 |
| expulsion of adam & eve from eden - masaccio eve's eyes hollowed out lines = God's voice angel= foreshortening emotional suggested landscape anatomical accuracy |
fig. 21-18
 |
| tribute money- masaccio pedagogical iconography branacci chapel- santa maria del carmine florence, 1427 sculptural forms into painted figures synoptic narrative 3 stories in one- tax collector, jesus telling them to get money out of fish, getting money out of fish skin color of tax collector= "an outsider" |
iconographical components:
- the last supper
- symbol of divinity: (christ) (open window)
- symbol of humanity: (disciples) (12 tribes)
- spiritual sustenance: (bread)
- sacrifice: (wine) (extended arms/to frame)
- betrayal: judas, figure of dark complexion, coins, knife
- trinity (primary colors) open window, inexplicable light source
fig. 21-22
 |
| last supper- andrea del castagno refectory- s. apollonia, florence 1447, buon fresco judas on other side of table & darker & w/o halo marble window points towards main scene |
fig. 21-21
 |
| annuncation- fra. angelico ca. 1438-1447, fresco san marco, florence, italy accurate bodies & drapery |
fig. 21- 28
 |
| primavera (Spring)- sandro botticelli tempera on wood, 1482 cycle of life of a woman tree arch= "de facto halo" flowers in prime of reproductive time cupid is blindfolded medici oranges- so wealthy that they had oranges even tho they don't have it in italy lorenzo the magnificent or mercury (hermes) picking oranges turned away- he's gay & physically uninterested in the women three graces dancing- ideal /prime characteristics of the female in society, diff angles of human body, classical & peaceful diaphanous gown- see through zephyr (west wind)- sucking the life out of her |
fig. 21-1
 |
| birth of venus- botticelli 1486 venus arose from seafoam- goddess of love & intellect based off greco-roman prototype zephyr & flora, her attendant |
fig. 21- 28A
 |
| young man holding a medal- sandro botticelli medal of cosimo de' medici circa 1475 gold coin- wealth, red cap- associated as cleric no separation of church & state- corruption |
fig. 21-42
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| the damned cast into hell (or damnation)- luca signorelli 1499-1502, fresco polychromatic foreshortened muscular bodies propaganda- last judgement kind of thing |
piero della francesa:
- became one of the most innovative of cusp of high renaissance
- nickname: walnut eyes
 |
| baptism of christ- piero della francesa 1450, tempera on wood sense of calm, dove start of christ's public ministry |
 |
| flagellation- piero della francesca 1465 figures are complacent- don't do anything bc christ is about to be beat |
fig. 21-25
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| resurrection- piero della francesca fresco, 1463 trees on right are alive, trees on left are dead (dead and came back to life) one of guards= self portrait of artist sleep= metaphor for death, blind to resurrection of christ- ignorance physical enhancement in body- power/stronger in resurrection christ rises majestically from the tomb right hand w banner and red cross- symbol of victory over dead halo- more realistic, not a circle Resurrection= city logo of San Sepocro, city's heart & identity guard w head back- first time foreshortening, walnut eyes jesus separated spiritually & physically from guards, on his own plane, presented frontally one guard has no legs, jesus has a 6 pack resurection is hard bc bible has no description of event, only what happened afterwards |
fig. 21-43
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| battista sforza and federico da montefeltro- piero della francesca ca. 1472- 1474, oil & tempera on wood tribute to wife's (battista) death |
fig. 21-49
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| palazzo ducale- andrea mantegna ceiling fresco, 1474 trompe l'oeil |
- trompe l'oeil- to fool the eye into seeing space that's not really there
fig. 21-50
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| corpus christi/lamentation of christ/dead christ- andrea mantegna tempera on canvas, 1500 foreshortening, more visual punch than showing from the side wounds in feet, hint of a halo |
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