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Rise of Renaissance Humanism in 15th c. Italy
1. Early Renaissance in 15th c. Italy
• Intellectuals in 15th c. Italy thought of
themselves as living in a NEW AGE.
• Believed they could improve their culture
by reviving the best features of
antiquity…Greek and Roman culture.
• Rebirth of classical learning, literature and
art.
2. Causes:
• Study of texts from Greece and Rome for
moral content and style (medieval
university—prized theology) but
Renaissance humanism aimed for
practical use—for lawyers, bureaucrats,
politicians, diplomats and merchants
• Humanists’ analytical approach and
empirical observations inspired new
thinking in many fields
4. 15th c. Republic of Florence (ala Roman Republic)
• Signoria—governing council—officials
elected from members of the guilds and
mercantile families.
• Milan threatened to invade in
1401…Florence was able to defy Milan…a
comparison was made between Athens
defeat of the Persians…praised for piety
and devotion…Renaissance humanists
wished to reconcile the lessons of antiquity
with their Christian faith.
5. Across the piazza from
the Florence Cathedral
facade was the
baptistery. Every child
born in Florence
(heathens excepted)
was baptized into the
Church there. It was
decided that the
baptistery needed new
doors.
The city fathers of
Florence held a
competition to solicit
plans for the dome's
completion and for door
designs in bronze.
Florence Baptistery Competition
10. BRUNELLESCHI
• After losing the competition…Rome with
Donatello
• Studied ancient structures
• Discovered linear perspective
• Won competition for dome of Florence
cathedral—wool merchants guild
11. The Cathedral of Florence was begun in 1298. Santa Maria del Fiore
(our Lady of the Flower, the lily was a symbol of Florence) was the
third cathedral built on the site.
Brunelleschi submitted the winning plan for the dome in 1420. He combined his
knowledge of Roman engineering principles with innovative building techniques
to construct a 100’ dome w/o any visible means of support.
13. • Brunelleschi placed
dome over 140’
crossing by
designing a thin
double shell that
was ogival (pointed
arch) in section.
• The dome’s weight
is borne by 8
marble ribs that
span the dome
form base to
lantern. These ribs
are supplemented
by 16 concealed
ribs radiating from
the center.
14. Brunesslechi, Hospital of the Innocents, 1421…1st Ren. bldg.
Patron: Silk Merchants Guild and Goldsmiths
The commission enabled him to apply the principles of:
balance, harmony and proportion
he discovered during his study of ancient Roman buildings.
18. • Simplicity
• Proportion
• symmetry
Mathematical ratios and
graceful rhythm embody the
new Renaissance style of
architecture. Brunelleschi
applied these principles to
the interior of Santo Spirito.
21. • Attributed to
• Michelozzo di Bartolomeo,
• Palazzo Medici-
Riccardi, Florence, begun
1446
22. • Courtyard with sgraffito (decoration produced by
scratching through plaster or glaze).
23. Or San Michele
• Each guild was responsible to fill a niche
on the exterior of this guild building.
24. Or San Michele, Florence (early 14th c.)
1406—dictum to fill niches
1414—K. Ladislaus, Naples threatened Florence
1423—niches filled
25. Nanni di Banco. Four Saints.
Or San Michele, Florence,
c.1410-16
Four martyred sculptors who
refused and order from the
Roman emperor Diocletian to
carve a pagan deity.
Early example of Renaissance
artists’ attempt to liberate statuary
form its architectural setting.
Patron: Wood and Stone Carvers
Guild
26.
27. Donatello, St Mark, 1411, Marble, 7’9”
As Giotto had succeeded
his master Cimabue, so
Ghiberti produced a student
whose fame exceeded his
own: Donatello.
Donatello was the great
master of the Early
Renaissance.
His skills as a sculptor were
unsurpassed until
Michelangelo appeared
almost a century later. He
completed many
commissions for the city of
Florence.
His St. Mark was
commissioned by the Linen
Weaver’s Guild.
28. Donatello.
S. George. Or San Michele.
Florence, c.1417
Guild of Armorers’ and Swordmakers’
Continues Gothic tradition (depicting
warrior saints on church facades) but here
it plays a civic role…ready to defend
Florence.
29. Two years later Donatello was commissioned to install this relief…marks
a turning point in Renaissance sculpture…painterly
approach…atmospheric effect…a window onto an infinite vista.
30. Siena Cathedral and Duccio’s
Madonna Enthroned.
Donatello fame brings him to
Siena and Padua
32. Donatello. Feast of Herod, baptismal font of the Siena Cathedral. c.1425
Reflects Brunelleschi’s linear perspective and recalls his architecture—
rounded arches and fluted columns and pilasters.
34. Erasmo da Narni (nicknamed Gattamelata)
Venice honored him for his military successes.
Donatello recalled the Equestrian statue of Marcus Aurelius
The horse is so large that the rider must dominate by force of
person rather than size.
35. • Donatello spent most of his career in
Florence and worked for important families
like the Medici.
37. GHIBERTI,
GATES OF
PARADISE, BAPTISTR
Y OF SAN
GIOVANNI, 1425-52
Deep space is convincing
through one-point linear
perspective, aerial or
atmospheric perspective and the
receding sizes of figures.
Ghiberti is almost painting in
sculpture.
Recalls Donatello’s relief below
his statue of St. George and his
Siena Baptistry relief of 1427.
43. Ghiberti placed his own portriat as a signature in the frame at the lower right
corner of the Jacob and Esau panel.
He wrote (c.1450) “I strove to imitate nature ans clearly as I could, and with all
the perspective I could produce, to have excellent compositions with many
figures..
The door panels
commissioned by the
wool guild depicts
scenes from the
Hebrew Bible (Old
Testement)
47. Donatello, David, c.1446 bronze, 5’2 ¼”
Medici Palace (1469)
The victor is whoever defends the fatherland.
All-powerful Gold crushes the angry enemy.
Behold, a boy overcomes the grat tyrant.
Conquer, O citizens!
50. Verrocchio. David. C.1465-1470.
bronze
One of the most important sculptors in
the 2nd half of the century…reaffirms
the Medici family’s identification with
Florence.
His David contrasts strongly in its
narrative realism with the quiet
classicism of Donatellos’s…he knew
the psychology of brash young men.
51.
52. Another Medici appropriation of civic imagery can be seen in a small table
bronze of Hercules and Anteus made for the Medici by Antonio del
Pollaiuolo (1433-98). Hercules had been represented on the state seal of
Florence since the end of the thirteenth century—"to signify that
Hercules, who was a giant, overcame all tyrants and evil lords as the
Florentines have done.”
53. Antonio del Pollaiuolo.
Hercules and Antaeus.
C.1475 bronze, 18”
Mythological themes…
Medici Neo-Platonic
school…reflects humanist
preference…stress and strain of
human figure in violent action.
The Medici desired to associate
their family with Florence’s
symbolic heroes. They identified
with the Greek hero and even
placed his image on their state
seal.
Antaeus…giant and son of Earth
goddess
54. ANDREA EL VERROCCHIO.
EQUESTRIAN MONUMENT
OF BARTOLOMMEO
COLLEONI(Venetian
condottiere)
The condottiere and his horse
have become the embodiment
of will power, and a purposeful
and ruthless machine.
