The Quattrocento Florence Return to classical decorative and building elementsSemicircular arch, ( Arc de mig punt)Classical columns and pillars (Doric, Ionic and Corinthian orders),Barrel ( volta de canó) Human figures are very important at this moment Rediscovery of the power plants in search of light.
The Quattrocento Brunelleschi The dome of the Cathedral of Florence (Santa Maria de Fiore)
Brunelleschi was the outstanding architect of the Quattrocento
The Dome (1420-1436)Example of mathematical andgeometric calculations Final Judgement. Vasari And Zuccari. 1579 DOUBLE DOME Inside: hemispherical dome Outside: pointed dome
San Andrea de Mantua Leon Battista Albertibased on mathematical proportionsfacade inspired by Roman triumphal arches plant a barrel vaulted nave two side chapels.
Rucellai Palace of Florence It has been constructed between 1446 and the 1451 by Bernardo Rossellino on design of the Alberti on order of Giovanni il Magnifico, member of the illustrious Rucellai family The first Renaissance building using a system of Classical pilasters
Buildings were smaller , and not as tall as Gothic constructions. This was because architects wanted to adapt them to the proportions of the human body.Ornamentation was simple and austere. Architetcs tried to create a sense of order and harmony.
THE CINQUECENTO Magnificient buildings were built under the patronage of Popes Alexander VI, Julius II, Leo XRome. and Clement VII. Tendency to monumentality Lose of interest in decoration. Saint Peter’s Basilica 3 architects Bramante did the first project Michelangelo changed the dome Maderno completed the rest.
Michelangelo Basilica of Saint Peter. DomeGives a higher profile and delete the towers to give more importance to the dome
The Temple of San Pietro in Montorio Donato BramanteInspired by the Romantemple of Vesta Round, simple decoration but an original structure.
Renaissance painters used colour,composition and background scenes,such as buildings and landscapes, tocreate an impression of space anddepth.
Inspired by classical Antiquity, theirfigures had harmonious proportionsand aimed for beauty by idealisingfaces, bodies and movements.
Although artists still painted religious subjects, they also did mythological scenes, nudes and portraits. Portrait of a Praying Man, ca. 1480-1485 Oil on wood Sammlung Thyssen-Bornemisza, Schloss Rohoncz Castagnola, SpainHandmade oil paintingreproduction of TheFall and Expulsionfrom Garden of Eden (detail-7) 1509-10, apainting byMichelangeloBuonarroti .
Pictures before perspective They discovered perspective.RAPHAEL: School of Athens "View of an Ideal City", a painting by Piero della Francesca.
THE QUATTROCENTO. Masaccio Piero della Francesca Pioneers in their use of perspective Botticelli. His idealised figures convey a sense of movement.
THE QUATTROCENTO. Botticelli. His idealised figures convey a sense of movement.
THE CINQUECENTO Leonardo da VinciBrilliantly represented nature. He was a master of sfumato, a techhique which involved blurring outlines to create a sense of depht. His masterpieces are The Gioconda or Mona Lisa, and The Last Supper
Michelangelo Buonarrotipainted the frescoes in the SistineChapel in Rome, scenes full ofmovement and expression.
Raphael achieved perfection in his use Titian, as a Venetian painter createdof colour, drawing and composition. His highly colourful works of art. He isworks include frescos for the Vatican famous for his portraits, andpalace and his madonnas or virgins paintings of religious and mythological themes. . Titian. Woman with mirror Raphael, The small Cowper Madonna 1505
Sculpture also followed the models of classical AntiquityGreat importance was given to proportions and anatomical studies of figures, and this wasof sculptures of nudes. Other types of sculpture which became popular were portrait sculpstatues most sculptures were madeof bronze or marble The first Renaissance sculptor was Ghiberti. the Gates of Paradise, for the Baptistery of the Cathedral in Florence.
The greatest sculptor of theQuattrocento was Donatello He captured the Renaissance ideal of sculpture in works like David.