Early Renaissance        Italy, 1400 to 1500Gardner’s Art Through the Ages                             1
Renaissance Florence                       2
Goals• Understand the social, religious, and political influences of 15th-  century Italian art• Discuss the increased pop...
Rebirth of Italian Culture• Understand the social, religious, and political influences of  15th-century Italian art• Discu...
Artistic Achievements in 15th Century               Florence• Cite and understand art and architectural terms in relation ...
Important Artistic Elements to Observe• Attention to the human form including the return of classical  nudity and contrapp...
FILIPPO BRUNELLESCHI,Sacrifice of Isaac, competition panelfor east doors, baptistery, Florence,Italy, 1401–1402. Gilded br...
LORENZO GHIBERTI,Sacrifice of Isaac, competitionpanel for east doors, baptistery,Florence, Italy, 1401–1402. Gildedbronze ...
DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427.Gilded bronze , 1’ 11 1...
LORENZO GHIBERTI,east doors (Gates of Paradise), baptistery,Florence, Italy, 1425–1452.Gilded bronze, 17’ high.Modern copy...
LORENZO GHIBERTI, Isaac and His Sons (detail), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452.Gilded bronze, ...
NANNI DI BANCO, Four Crowned Saints,Or San Michele, Florence, Italy, ca. 1410–1416 Marble, figures 6’ high. Modern copyin e...
DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche. Orig...
International Gothic Style• Not all painters incorporated classical features in their paintings• Still a loyal following o...
GENTILE DA FABRIANO,Adoration of the Magi, altarpiecefrom Strozzi Chapel, SantaTrinità, Florence, Italy, 1423.Tempera on w...
Importance of Masaccio             to Early Renaissance• Tribute Money – brings together innovations in 15th century  pain...
MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 71/...
•Notice that Adam’s and Eve’s body     types and poses are derivative of     ancient Roman statuary.     •Compare Masaccio...
Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the don...
FILIPPO BRUNELLLESCHI,cutaway view of the dome of Florence Cathedral,Florence, Italy, 1420-1436 (after Piero Sanpaolesi). ...
FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–1436; begun ca. 1436. ...
FILIPPO BRUNELLESCHI, early plan (left) and plan as constructed (right) of Santo Spirito, Florence, Italy,designed 1434–14...
FILIPPO BRUNELLESCHI,facade of the Pazzi Chapel, Santa Croce,Florence, Italy, begun ca. 1440.                             ...
FILIPPO BRUNELLESCHI, plan of the Pazzi Chapel, Santa Croce, Florence, Italy designed ca. 1423, begun 1442.               ...
FILIPPO BRUNELLESCHI, interior of thePazzi Chapel (looking northeast), Santa Croce,Florence, Italy, designed ca.1423, begu...
MICHELOZZO DI BARTOLOMMEO,facade of the PalazzoMedici-Riccardi, Florence, Italy, begun 1445.                              ...
MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.                    ...
PAOLO UCCELLO, Battle of San Romano, ca. 1455 (?). Tempera on wood, approx. 6’ x 10’ 5”. National Gallery, London.        ...
First free-standing nude statue since   antiquity. Notice the contrapposto   Nudity used to portray a Biblical hero   rath...
ANDREA DEL VERROCCHIO, David,ca. 1465–1470. Bronze, 4’ 1 1/2” high.Museo Nazionale del Bargello, Florence.                ...
Pollaiullo – Interest in Human                   Anatomy• Hercules and Antaeus – study of the musculature of struggling  h...
ANTONIO DEL POLLAIUOLO, Hercules and Antaeus,ca. 1470–1475. Bronze, 1 6” high with base. MuseoNazionale del Bargello, Flor...
ANTONIO DEL POLLAIUOLO, Battle of the Ten Nudes, ca. 1465. Engraving. 1 3 1/8” x 1’ 11 1/4”.Metropolitan Museum of Art, Ne...
SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”.Galleria degli Uffizi, Florence...
Rise of Portraiture• Understand the social, religious, and political influences of  15th-century Italian art• Discuss the ...
DONATELLO, Gattamelata (equestrian statue ofErasmo da Narni), Piazza del Santo, Padua, Italy,ca. 1445–1450. Bronze, 12’ 2”...
Figure 21-16 ANDREA DELVERROCCHIO, Bartolommeo Colleoni(equestrian statue), Campo dei SantiGiovanni e Paolo, Venice, Italy...
DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?),1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza Collection, ...
DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.Fresco, 24’ ...
LEON BATTISTA ALBERTI BERNARDOROSSELLINO, Palazzo Rucellai, Florence, Italy,ca. 1452–1470.                                ...
LEON BATTISTA ALBERTI,west facade of Santa Maria Novella,Florence, Italy, ca. 1456–1470.                                  ...
FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco, 7’ 1” x 10’ 6”.                            ...
ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Fresco, 15’ 5” x 32’.  ...
FRA FILIPPO LIPPI, Madonna and Child with Angels,ca. 1455. Tempera on wood, 2’ 11 1/2”. x 2’ 1”.Galleria degli Uffizi, Flo...
PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483.Fresco...
Artistic Achievements of          Mantua and Urbino• Understand the social, religious, and political influences of  15th-c...
LEON BATTISTA ALBERTI,west facade of Sant’Andrea, Mantua, Italy,designed 1470, begun 1472.                                ...
LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.                                     ...
LEON BATTISTA ALBERTI,interior of Sant’Andrea(looking northeast), Mantua, Italy,designed 1470, begun 1472.                ...
ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber),Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.         ...
ANDREA MANTEGNA,Camera Picta (PaintedChamber),Palazzo Ducale,Mantua, Italy, 1465–1474.Fresco, 8’ 9” in diameter.          ...
ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”.Pinacoteca di Brera, Milan.     ...
PIERO DELLA FRANCESCA,Enthroned Madonna and Saints Adored by Federico daMontefeltro (Brera Altarpiece), ca. 1472–1474.Oil ...
PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455-1465.Oil and tempera on wood, 1’ 11 1/8” X 2’ 8 ¼”. Galleria Nazio...
LUCA SIGNORELLI, Damned Cast into Hell,San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide. ...
Discussion Questions What are the primary stylistic achievements of 15th-century  Italian artists? How do these traits re...
Upcoming SlideShare
Loading in...5
×

Early Renaissance - Italy, 1400-1500

6,928

Published on

Published in: Education
0 Comments
8 Likes
Statistics
Notes
  • Be the first to comment

No Downloads
Views
Total Views
6,928
On Slideshare
0
From Embeds
0
Number of Embeds
2
Actions
Shares
0
Downloads
0
Comments
0
Likes
8
Embeds 0
No embeds

No notes for slide

Transcript of "Early Renaissance - Italy, 1400-1500"

  1. 1. Early Renaissance Italy, 1400 to 1500Gardner’s Art Through the Ages 1
  2. 2. Renaissance Florence 2
  3. 3. Goals• Understand the social, religious, and political influences of 15th- century Italian art• Discuss the increased popularity of Humanism• Observe the influence of classical art and architecture in the painting and architecture of Renaissance Italy.• Discuss the role of wealthy and powerful families• Cite and understand art and architectural terms in relation to this historical period• Analyze visual aspects of art and architecture• Identify various artists of the period and their stylistic accomplishments• Discuss the various roles of commemorative portraits 3
  4. 4. Rebirth of Italian Culture• Understand the social, religious, and political influences of 15th-century Italian art• Discuss the increased popularity of Humanism• Discuss the role of wealthy and powerful families 4
  5. 5. Artistic Achievements in 15th Century Florence• Cite and understand art and architectural terms in relation to this historical period• Analyze visual aspects of art and architecture• Observe classical artistic and architectural features in the art and architecture of 15th century Florence• Identify various artists of the period and their stylistic accomplishments 5
  6. 6. Important Artistic Elements to Observe• Attention to the human form including the return of classical nudity and contrapposto --- influence of classical Roman statues• Discovery and codification of linear perspective to create the illusion of three-dimensional space, usage of aerial perspective --- these values were important to classical painting• Use of chiaroscuro to model forms, use of single light source --- greater realism• Paintings that have balanced, symmetrical compositions, often using pyramidal composition• Classical forms are incorporated more into architecture (triumphal arches, domes, coffers, harmonious geometric relationships) 6
  7. 7. FILIPPO BRUNELLESCHI,Sacrifice of Isaac, competition panelfor east doors, baptistery, Florence,Italy, 1401–1402. Gilded bronze, 1’9” x 1’ 5”. Museo Nazionale delBargello, Florence. 7
  8. 8. LORENZO GHIBERTI,Sacrifice of Isaac, competitionpanel for east doors, baptistery,Florence, Italy, 1401–1402. Gildedbronze relief, 1’ 9” x 1’ 5”. MuseoNazionale del Bargello, Florence. 8
  9. 9. DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427.Gilded bronze , 1’ 11 1/2 ” x 1’ 11 1/2”. 9
  10. 10. LORENZO GHIBERTI,east doors (Gates of Paradise), baptistery,Florence, Italy, 1425–1452.Gilded bronze, 17’ high.Modern copy, ca. 1980.Original panels in Museo dell’Opera delDuomo, Florence. 10
  11. 11. LORENZO GHIBERTI, Isaac and His Sons (detail), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452.Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence. 11
  12. 12. NANNI DI BANCO, Four Crowned Saints,Or San Michele, Florence, Italy, ca. 1410–1416 Marble, figures 6’ high. Modern copyin exterior niche. Original sculpture inmuseum on second floor of Or San Michele. 12
  13. 13. DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche. Originalsculpture in museum on second floor of Or San Michele, Florence. 13
  14. 14. International Gothic Style• Not all painters incorporated classical features in their paintings• Still a loyal following of International Gothic Style painting embodied in work of Gentile da Fabriano• Even Gentile da Fabriano’s work contains elements of the “new naturalism” (interest in modeling in light and shadow and developing recessional space) 14
  15. 15. GENTILE DA FABRIANO,Adoration of the Magi, altarpiecefrom Strozzi Chapel, SantaTrinità, Florence, Italy, 1423.Tempera on wood, approx. 9’11” x 9’ 3”. Galleria degliUffizi, Florence. 15
  16. 16. Importance of Masaccio to Early Renaissance• Tribute Money – brings together innovations in 15th century painting --- trailblazer whose work influenced other artists – Linear perspective – Aerial perspective – Classical body types (blend of realism with idealizing the human form) – Chiaroscuro to create a more realistic picture, single light source from the right, modeling the human anatomy to give figures weight – Balanced, symmetrical composition 16
  17. 17. MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 71/8”. 17
  18. 18. •Notice that Adam’s and Eve’s body types and poses are derivative of ancient Roman statuary. •Compare Masaccio’s Adam to Jan van Eyck’s Adam from the Ghent Altarpiece. •Eve has the “modest Venus” pose.MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Mariadel Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ x 2’ 11”. 18
  19. 19. Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base.MASACCIO, Holy Trinity, Santa Maria Novella,Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”. 19
  20. 20. FILIPPO BRUNELLLESCHI,cutaway view of the dome of Florence Cathedral,Florence, Italy, 1420-1436 (after Piero Sanpaolesi). 20
  21. 21. FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–1436; begun ca. 1436. 21
  22. 22. FILIPPO BRUNELLESCHI, early plan (left) and plan as constructed (right) of Santo Spirito, Florence, Italy,designed 1434–1436; begun 1446. 22
  23. 23. FILIPPO BRUNELLESCHI,facade of the Pazzi Chapel, Santa Croce,Florence, Italy, begun ca. 1440. 23
  24. 24. FILIPPO BRUNELLESCHI, plan of the Pazzi Chapel, Santa Croce, Florence, Italy designed ca. 1423, begun 1442. 24
  25. 25. FILIPPO BRUNELLESCHI, interior of thePazzi Chapel (looking northeast), Santa Croce,Florence, Italy, designed ca.1423, begun 1442,with glazed terracotta roundels by Luca dellaRobbia. 25
  26. 26. MICHELOZZO DI BARTOLOMMEO,facade of the PalazzoMedici-Riccardi, Florence, Italy, begun 1445. 26
  27. 27. MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445. 27
  28. 28. PAOLO UCCELLO, Battle of San Romano, ca. 1455 (?). Tempera on wood, approx. 6’ x 10’ 5”. National Gallery, London. 28
  29. 29. First free-standing nude statue since antiquity. Notice the contrapposto Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality).DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high.Museo Nazionale del Bargello, Florence. 29
  30. 30. ANDREA DEL VERROCCHIO, David,ca. 1465–1470. Bronze, 4’ 1 1/2” high.Museo Nazionale del Bargello, Florence. 30
  31. 31. Pollaiullo – Interest in Human Anatomy• Hercules and Antaeus – study of the musculature of struggling human form• Battle of the Ten Nudes – one of earliest known engravings, ecorche – muscles look so defined that it looks as if they lack skin 31
  32. 32. ANTONIO DEL POLLAIUOLO, Hercules and Antaeus,ca. 1470–1475. Bronze, 1 6” high with base. MuseoNazionale del Bargello, Florence. 32
  33. 33. ANTONIO DEL POLLAIUOLO, Battle of the Ten Nudes, ca. 1465. Engraving. 1 3 1/8” x 1’ 11 1/4”.Metropolitan Museum of Art, New York (bequest of Joseph Pulitzer, 1917). 33
  34. 34. SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”.Galleria degli Uffizi, Florence. 34
  35. 35. Rise of Portraiture• Understand the social, religious, and political influences of 15th-century Italian art• Discuss the various role of commemorative portraits• Identify various artists of the period and their stylistic accomplishments 35
  36. 36. DONATELLO, Gattamelata (equestrian statue ofErasmo da Narni), Piazza del Santo, Padua, Italy,ca. 1445–1450. Bronze, 12’ 2” high. 36
  37. 37. Figure 21-16 ANDREA DELVERROCCHIO, Bartolommeo Colleoni(equestrian statue), Campo dei SantiGiovanni e Paolo, Venice, Italy, ca. 1481–1496. Bronze, 13’ high. 37
  38. 38. DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?),1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza Collection, Madrid. 38
  39. 39. DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.Fresco, 24’ 4” x 14’ 9”. 39
  40. 40. LEON BATTISTA ALBERTI BERNARDOROSSELLINO, Palazzo Rucellai, Florence, Italy,ca. 1452–1470. 40
  41. 41. LEON BATTISTA ALBERTI,west facade of Santa Maria Novella,Florence, Italy, ca. 1456–1470. 41
  42. 42. FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco, 7’ 1” x 10’ 6”. 42
  43. 43. ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Fresco, 15’ 5” x 32’. 43
  44. 44. FRA FILIPPO LIPPI, Madonna and Child with Angels,ca. 1455. Tempera on wood, 2’ 11 1/2”. x 2’ 1”.Galleria degli Uffizi, Florence. 44
  45. 45. PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483.Fresco, 11’ 5 1/2” x 18’ 8 1/2”. 45
  46. 46. Artistic Achievements of Mantua and Urbino• Understand the social, religious, and political influences of 15th-century Italian art• Cite and understand art and architectural terms in relation to this historical period• Analyze visual aspects of art and architecture• Identify various artists of the period and their stylistic accomplishments 46
  47. 47. LEON BATTISTA ALBERTI,west facade of Sant’Andrea, Mantua, Italy,designed 1470, begun 1472. 47
  48. 48. LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472. 48
  49. 49. LEON BATTISTA ALBERTI,interior of Sant’Andrea(looking northeast), Mantua, Italy,designed 1470, begun 1472. 49
  50. 50. ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber),Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco. 50
  51. 51. ANDREA MANTEGNA,Camera Picta (PaintedChamber),Palazzo Ducale,Mantua, Italy, 1465–1474.Fresco, 8’ 9” in diameter. 51
  52. 52. ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”.Pinacoteca di Brera, Milan. 52
  53. 53. PIERO DELLA FRANCESCA,Enthroned Madonna and Saints Adored by Federico daMontefeltro (Brera Altarpiece), ca. 1472–1474.Oil on wood, 8’ 2” x 5’ 7”.Pinacoteca di Brera, Milan. 53
  54. 54. PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455-1465.Oil and tempera on wood, 1’ 11 1/8” X 2’ 8 ¼”. Galleria Nazionale delle Marche, Urbino. 54
  55. 55. LUCA SIGNORELLI, Damned Cast into Hell,San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide. 55
  56. 56. Discussion Questions What are the primary stylistic achievements of 15th-century Italian artists? How do these traits reflect a change in mans view of spirituality and the emergence of Humanism? Do important political families today patronize the arts as during the Renaissance? Why or why not? Can you cite examples? 56

×