Italian Renaissance
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Italian Renaissance

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Italian Renaissance Presentation Transcript

  • 1. Renaissance Art Italian Renaissance
  • 2.  
  • 3. Italian Renaissance
    • Giotto: transitional guy
    • The Early Renaissance: Masaccio, Donatello, della Francesca, Ghiberti, Mantegna, and Brunelleschi
    • The High Renaissance: Botticelli,
    • da Vinci, Raphael, Michelangelo, Titian
  • 4. The Early Renaissance 1400-1450
    • The primary focus of the painters of the Early Renaissance was the imitation of nature and the creation of a believable three-dimensional reality on flat surface of a painting. The Early Renaissance in visual art encompasses the first half of the 15th century, and in Italy, Florentine artists took leadership in the development of a new style of painting focusing on illusion.
  • 5. Innovations
    • Frescoes - art created on damp plaster
    • Oil paints (a technique from the north)
    • Realistic portrayal of human nature
  • 6. Innovations
    • Chiaroscuro - use of shadows to show balance of light and dark
    • Science -particularly in anatomy
    • Linear perspective - allowed artist to represent objects in relative sizes
  • 7. Giotto (1267 - 1337)
    • Giotto is considered to be the most influential artist on Renaissance painting.
    • Father of the Renaissance
    • Giotto’s dignified figures seemed to displace space, to stand upon the ground with real substance and weight.
    • The figures seem to extend both backward, into the picture, and forward, toward the spectator’s space.
  • 8. The Scrovegni Chapel, Padua
  • 9. Sermon to the Birds, St Francis Illuminated Manuscript Image, c 1270, Ghent, Belgium
  • 10. Legend of St Francis: Sermon to the Birds, 1297-99
  • 11.  
  • 12. Baptism of Christ 1304-06
  • 13. Filippo Brunelleschi (1337-1446)
    • Florentine architect and engineer
    • First to carry out a series of optical experiments that led to a mathematical theory of perspective.
    • His method of perspective had a dramatic impact on the depiction of 3-dimensional space in the arts
  • 14. Dome of the Cathedral 1420-36 - Duomo, Florence
  • 15.  
  • 16.  
  • 17. One point linear perspective
    • Pierro della Francesca
    • “ View of an Ideal City”
  • 18. Masaccio (1401-1428)
    • One of first artists to apply the new method of linear perspective in his fresco of the Holy Trinity
    • Used a barrel vaulted ceiling to imitate with precision the true appearance of architectural space
    • Figures depict accurate human anatomy
  • 19. Holy Trinity 1425-28 Fresco, 667 x 317 cm
  • 20. Tribute Money 1420's
  • 21.  
  • 22. Donatello (1386-1466)
    • New sense of naturalism in sculpture
    • Use of classical contrapposto stance (relaxed not rigid)
    • Statue of David considered first full scale nude since ancient times
  • 23. David, 1425-1430
  • 24. St Mary Magdalen c. 1457 Wood, height: 188 cm Museo dell'Opera del Duomo, Florence
  • 25. Andrea Mantegna (1430-1506)
    • Created unusual vantage points
    • Looking at figures from below
    • Lamentation of the Dead Christ the viewer is looking from the feet of the subject.
    • Deep foreshortening
    • Effectively placed the viewer at the scene, adding to the sense of empathy
  • 26. The Lamentation over the Dead Christ c. 1490 Tempera on canvas, 68 x 81 cm Pinacoteca di Brera, Milan
  • 27. Sandra Botticelli (1445-1510)
    • First artist to paint a full-length female nude
    • In Birth of Venus the figure occupies the center of the work which was traditionally reserved for the Virgin. This work is possibly the most pagan image of the entire Renaissance.
  • 28. The Birth of Venus c. 1485 Tempera on canvas, 172.5 x 278.5 cm Galleria degli Uffizi, Florence
  • 29. The Adoration of the Magi (detail) c. 1475 Tempera on panel Galleria degli Uffizi, Florence
  • 30. The detail shows the assumed self-portrait of the artist.
  • 31. Lorenzo Ghiberti (1378-1455)
  • 32. Sacrifice of Isaac 1401 Bronze relief Museo Nazionale del Bargello, Florence Lorenzo Ghiberti (1378-1455)
  • 33.  
  • 34.
    • "Renaissance Man"
    • A polymath
    • "There are three classes of people. Those who see; those who see when they are shown; those who do not see."
    • Which was Leonardo?
    Leonardo da Vinci, 1452 - 1519
  • 35. Virgin of the Rocks 1483-86 Oil on panel, 199 x 122 cm Musée du Louvre, Paris
  • 36. Vitruvian Man 1492 Pen, ink, watercolor and metalpoint on paper, 343 x 245 mm Gallerie dell'Accademia, Venice
  • 37. Anatomical studies of the shoulder 1510-11 Black chalk, pen and ink on paper, 289 x 199 mm Royal Library, Windsor
  • 38. The Last Supper (with names of Apostles labelled) after cleaning 1498 Tempera on plaster 460 x 880 cm (15 x 29 ft.) Convent of Santa Maria delle Grazie (Refectory), Milan
  • 39. Lady with an Ermine 1483-1490 Oil on wood 53.4 x 39.3 cm (21 x 15 1/2 in.) Czartoryski Museum, Cracow
  • 40.
    • Always thought himself a sculptor, not a painter
    • A contender for Renaissance Man
    • Conducted a battle of wills with Pope Julius II
    Michelangelo Buonarroti 1475 - 1564
  • 41. Ignudo Fresco Cappella Sistina, Vatican
  • 42. David 1504 Marble, height 434 cm Galleria dell'Accademia, Florence
  • 43. Pietà 1499 Marble, height 174 cm, width at the base 195 cm Basilica di San Pietro, Vatican
  • 44. Pietà c. 1550 Marble, height: 226 cm Museo dell'Opera del Duomo, Florence
  • 45. Model for the dome 1560 Wood Musei Vaticani, Rome
  • 46. Dome of St Peter's 1564 - Basilica di San Pietro, Vatican
  • 47.  
  • 48. Pope Benedict XVI, Easter Mass 2007
  • 49. Last Judgment 1537-41 Fresco, 1370 x 1220 cm Cappella Sistina, Vatican
  • 50. The Last Judgment Detail Michelangelo’s Self Portrait
  • 51.
    • At 17 sent to Perugia, dead by age 37
    • Perugian, Florentine, & Roman periods – Roman most famous
    • "The young painter from Urbino thus adopted the artistic innovations of his elder colleagues, in particular those of Leonardo and Michelangelo, and synthesized them with his own aims." - Toman
    Raphael Sanzio 1483 - 1520
  • 52. Raphael's Tomb Pantheon, Rome
  • 53. Raphael Portrait of Julius II 1511-12 Oil on wood, 108 x 80,7 cm National Gallery, London … a portrait "so animated and true to life that it was frightening to behold, as though it were actually alive" (Vasari).
  • 54. The School of Athens 1510-11 Fresco Vatican, Stanza della Segnatura
  • 55.  
  • 56.
    • Greatest of the Venetian School
    • Most versatile: portrait, landscape, mythological, & religious paintings
    • Manner & styles changed drastically throughout long life, but consistent interest in use of color
    Titian 1485 - 1576
  • 57. Assumption of the Virgin 1516-18 Oil on wood, 690 x 360 cm Santa Maria Gloriosa dei Frari, Venice
  • 58. Bacchus and Ariadne 1520-22 Oil on canvas, 175 x 190 cm - National Gallery, London
  • 59. Portrait of Philip II in Armour 1550-51 Oil on canvas, 193 x 111 cm Museo del Prado, Madrid