Renaissance Art Italian Renaissance

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

Giotto: transitional guy

The Early Renaissance: Masaccio, Donatello, della Francesca, Ghiberti, Mantegna, and Brunelleschi

The High Renaissance: Botticelli,

da Vinci, Raphael, Michelangelo, Titian

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.

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.

Innovations Frescoes - art created on damp plaster Oil paints (a technique from the north) Realistic portrayal of human nature

Frescoes - art created on damp plaster

Oil paints (a technique from the north)

Realistic portrayal of human nature

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

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

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.

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.

The Scrovegni Chapel, Padua

Sermon to the Birds, St Francis Illuminated Manuscript Image, c 1270, Ghent, Belgium

Legend of St Francis: Sermon to the Birds, 1297-99

Baptism of Christ 1304-06

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

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

Dome of the Cathedral 1420-36 - Duomo, Florence

One point linear perspective Pierro della Francesca “ View of an Ideal City”

Pierro della Francesca

“ View of an Ideal City”

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

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

Holy Trinity 1425-28 Fresco, 667 x 317 cm

Tribute Money 1420's

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

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

David, 1425-1430

St Mary Magdalen c. 1457 Wood, height: 188 cm Museo dell'Opera del Duomo, Florence

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

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

The Lamentation over the Dead Christ c. 1490 Tempera on canvas, 68 x 81 cm Pinacoteca di Brera, Milan

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.

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.

The Birth of Venus c. 1485 Tempera on canvas, 172.5 x 278.5 cm Galleria degli Uffizi, Florence

The Adoration of the Magi (detail) c. 1475 Tempera on panel Galleria degli Uffizi, Florence

The detail shows the assumed self-portrait of the artist.

Lorenzo Ghiberti (1378-1455)

Sacrifice of Isaac 1401 Bronze relief Museo Nazionale del Bargello, Florence Lorenzo Ghiberti (1378-1455)

"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

"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?

Virgin of the Rocks 1483-86 Oil on panel, 199 x 122 cm Musée du Louvre, Paris

Vitruvian Man 1492 Pen, ink, watercolor and metalpoint on paper, 343 x 245 mm Gallerie dell'Accademia, Venice

Anatomical studies of the shoulder 1510-11 Black chalk, pen and ink on paper, 289 x 199 mm Royal Library, Windsor

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

Lady with an Ermine 1483-1490 Oil on wood 53.4 x 39.3 cm (21 x 15 1/2 in.) Czartoryski Museum, Cracow

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

Always thought himself a sculptor, not a painter

A contender for Renaissance Man

Conducted a battle of wills with Pope Julius II

Ignudo Fresco Cappella Sistina, Vatican

David 1504 Marble, height 434 cm Galleria dell'Accademia, Florence

Pietà 1499 Marble, height 174 cm, width at the base 195 cm Basilica di San Pietro, Vatican

Pietà c. 1550 Marble, height: 226 cm Museo dell'Opera del Duomo, Florence

Model for the dome 1560 Wood Musei Vaticani, Rome

Dome of St Peter's 1564 - Basilica di San Pietro, Vatican

Pope Benedict XVI, Easter Mass 2007

Last Judgment 1537-41 Fresco, 1370 x 1220 cm Cappella Sistina, Vatican

The Last Judgment Detail Michelangelo’s Self Portrait

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

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's Tomb Pantheon, Rome

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).

The School of Athens 1510-11 Fresco Vatican, Stanza della Segnatura

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

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

Assumption of the Virgin 1516-18 Oil on wood, 690 x 360 cm Santa Maria Gloriosa dei Frari, Venice

Bacchus and Ariadne 1520-22 Oil on canvas, 175 x 190 cm - National Gallery, London

Portrait of Philip II in Armour 1550-51 Oil on canvas, 193 x 111 cm Museo del Prado, Madrid