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Italian Renaissance Art Course Highlights
1. PRESENTATION OF
ITALIAN RENAISSANCE ART
COURSE TITLE
HISTORY OF ART AND DESIGN
Module code: HAD-111
SUBMITTED TO : Ms. Shamshed Chowdhury
Lecturer Department of AMMT & FDT
Submission Date :- 15/102015
2. SUBMITTED BY :
24TH BATCH ,GROUP “H”
Name ID
Ashraful Amin Shakil 151051048
Koushik Sarker 151051049
SH Sahim Hasan 151051053
Kawsar Omi 151051046
Rassel 151051039
5. MASACCIO, THE TRIBUTE MONEY FOR THE BRANCACCI, A FRESCO CYCLE THAT HAD
GREAT INFLUENCE UPON SUBSEQUENT ARTISTS
Influences :
Domenico Ghirlandaio, The Birth of the Virgin Mary, shows the introduction of patron's families into religious cycles.
Main article: Renaissance
Main article: Renaissance architecture
The influences upon the development of Renaissance painting Literature, Architecturin Italy are those that also affected
Philosophy, e, Theology, Science, Government and other aspects of society. The following is a summary of points dealt with
more fully in the main articles that are cited above.
6. Philosophy
A number of Classical texts, that had been lost to Western European scholars for
centuries, became available. These included Philosophy, Poetry, Drama, Science, a
thesis on the Arts and Early Christian Theology. The resulting interest in Humanist
philosophy meant that man's relationship with humanity, the universe and with God
was no longer the exclusive province of the Church.
Science and technology
Simultaneous with gaining access to the Classical texts, Europe gained access to
advanced mathematics which had its provenance in the works of Byzantine and
Islamic scholars.
Society
The establishment of the Medici Bank and the subsequent trade it generated
brought unprecedented wealth to a single Italian city, Florence. Cosimo de' Medici
set a new standard for patronage of the arts, not associated with the church or
monarchy. The serendipitous presence within the region of Florence of certain
individuals of artistic genius, most notably Giotto, Masaccio, Brunelleschi, Piero
della Francesca, Leonardo da Vinci and Michelangelo, formed an ethos that
supported and encouraged many lesser artists to achieve work of extraordinary
quality.
7. Paolo Uccello, The Battle of San Romano, demonstrates the preoccupation with the development
of linear perspective, in a secular subject
8. Themes
“
Sandro Botticelli, Primavera, showing a Classical allegory for a private patron
Much painting of the Renaissance period was commissioned by or for the Catholic Church.
These works were often of large scale and were frequently cycles painted in fresco of the
Life of Christ, the Life of the Virgin or the life of a saint, particularly St. Francis of Assisi.
There were also many allegorical paintings on the theme of Salvation and the role of the
Church in attaining it. Churches also commissioned altarpieces, which were painted in
tempera on panal and later in oil on canvas. Apart from large altarpieces, small devotional
pictures were produced in very large numbers, both for churches and for private individuals,
the most common theme being the Madonna and Child.
10. Traditions of 13th-century Tuscan painting
The art of the region of Tuscany in the late 13th century was dominated by two
masters of the Byzantine style, Cimabue of Florence and Duccio of Siena. Their
commissions were mostly religious paintings, several of them being very large
altarpieces showing the Madonna and Child. These two painters, with their contIn
these tempera paintings many of the details were rigidly fixed by the subject matter,
the precise position of the hands of the Madonna and Christ Child, for example,
being dictated by the nature of the blessing that the painting invoked upon the
viewer. The angle of the Virgin's head and shoulders, the folds in her veil, and the
lines with which her features were defined had all been repeated in countless such
paintings. Cimabue and Duccio took steps in the direction of greater naturalism, as
did their contemporary, Pietro Cavallini of Rome.[2]emporaries, Guido of Siena,
Coppo di Marcovaldo and the mysterious painter upon whose style the school may
have been based, the so-called Master of St Bernardino, all worked in a manner that
was highly formalised and dependent upon the ancient tradition of icon painting.
12. GIOTTO, (1266–1337), BY TRADITION A SHEPHERD BOY FROM THE HILLS NORTH
OF FLORENCE, BECAME CIMABUE'S APPRENTICE AND EMERGED AS THE MOST
OUTSTANDING PAINTER OF HIS TIME.GIOTTO, POSSIBLY INFLUENCED BY
PIETRO CAVALLINI AND OTHER ROMAN PAINTERS, DID NOT BASE THE FIGURES
HE PAINTED UPON ANY PAINTERLY TRADITION, BUT UPON THE OBSERVATION
OF LIFE. UNLIKE THOSE OF HIS BYZANTINE CONTEMPORARIES, GIOTTO'S
FIGURES ARE SOLIDLY THREE-DIMENSIONAL; THEY STAND SQUARELY ON THE
GROUND, HAVE DISCERNIBLE ANATOMY AND ARE CLOTHED IN GARMENTS
WITH WEIGHT AND STRUCTURE. BUT MORE THAN ANYTHING, WHAT SET
GIOTTO'S FIGURES APART FROM THOSE OF HIS CONTEMPORARIES ARE THEIR
EMOTIONS. IN THE FACES OF GIOTTO'S FIGURES ARE JOY, RAGE, DESPAIR,
SHAME, SPITE AND LOVE. THE CYCLE OF FRESCOES OF THE LIFE OF CHRIST
AND THE LIFE OF THE VIRGIN THAT HE PAINTED IN THE SCROVEGNI CHAPEL IN
PADUA SET A NEW STANDARD FOR NARRATIVE PICTURES. HIS OGNISSANTI
MADONNA HANGS IN THE UFFIZI GALLERY, FLORENCE, IN THE SAME ROOM AS
CIMABUE'S SANTA TRINITA MADONNA AND DUCCIO'S RUCCELLAI MADONNA
WHERE THE STYLISTIC COMPARISONS BETWEEN THE THREE CAN EASILY BE
MADE. ONE OF THE FEATURES APPARENT IN GIOTTO'S WORK IS HIS
OBSERVATION OF NATURALISTIC PERSPECTIVE. HE IS REGARDED AS THE
HERALD OF THE RENAISSANCE.
14. Giotto's contemporaries
Giotto had a number of contemporaries who were either trained and
influenced by him, or whose observation of nature had led them in a
similar direction. Although several of Giotto's pupils assimilated the
direction that his work had taken, none was to become as successful
as he. Taddeo Gaddi achieved the first large painting of a night
scene in an Annunciation to the Shepherds in the Baroncelli Chapel
of the Church of Santa Croce, Florence.
The paintings in the Upper Church of the Basilica of St. Francis,
Assisi, are examples of naturalistic painting of the period, often
ascribed to Giotto himself, but more probably the work of artists
surrounding Pietro Cavallini.A late painting by Cimabue in the
Lower Church at Assisi, of the Madonna and St. Francis, also
clearly shows greater naturalism than his panel paintings and the
remains of his earlier frescoes in the upper church.
15. .
Simone Martini: The Annunciation, 1333, Uffizi, is International Gothic in style.
International Gothic
16. During the later 14th century, International Gothic was the style that dominated
Tuscan painting. It can be seen to an extent in the work of Pietro and Ambrogio
Lorenzetti, which is marked by a formalized sweetness and grace in the figures, and
Late Gothic gracefulness in the draperies. The style is fully developed in the works of
Simone Martini and Gentile da Fabriano, which have an elegance and a richness of
detail, and an idealised quality not compatible with the starker realities of Giotto's
paintings.
In the early 15th century, bridging the gap between International Gothic and the
Renaissance are the paintings of Fra Angelico, many of which, being altarpieces in
tempera, show the Gothic love of elaboration, gold leaf and brilliant colour. It is in his
frescoes at his convent of Sant' Marco that Fra Angelico shows himself the artistic
disciple of Giotto. These devotional paintings, which adorn the cells and corridors
inhabited by the friars, represent episodes from the life of Jesus, many of them being
scenes of the Crucifixion. They are starkly simple, restrained in colour and intense in
mood as the artist sought to make spiritual revelations a visual reality.
17. Ghiberti: competition entry for the Baptistry
Doors
Ghiberti: The Gates of Paradise
Early Renaissance painting
18. FLORENCE, 1401
THE EARLIEST TRULY RENAISSANCE IMAGES IN FLORENCE DATE FROM THE FIRST YEAR OF THE
CENTURY KNOWN IN ITALIAN AS QUATTROCENTO, SYNONYMOUS WITH THE EARLY RENAISSANCE. AT
THAT DATE A COMPETITION WAS HELD TO FIND AN ARTIST TO CREATE A PAIR OF BRONZE DOORS FOR
THE BAPTISTRY OF ST. JOHN, THE OLDEST REMAINING CHURCH IN THE CITY. THE BAPTISTRY IS A
LARGE OCTAGONAL BUILDING IN THE ROMANESQUE STYLE, WHOSE ORIGINS HAD BEEN FORGOTTEN
AND WHICH WAS POPULARLY BELIEVED TO DATE FROM ROMAN TIMES. THE INTERIOR OF ITS DOME
IS DECORATED WITH AN ENORMOUS MOSAIC FIGURE OF CHRIST IN MAJESTY THOUGHT TO HAVE
BEEN DESIGNED BY COPPO DI MARCOVALDO. IT HAS THREE LARGE PORTALS, THE CENTRAL ONE
BEING FILLED AT THAT TIME BY A SET OF DOORS CREATED BYANDREA PISANO EIGHTY YEARS
EARLIER.
PISANO'S DOORS WERE DIVIDED INTO 28 QUATREFOIL COMPARTMENTS, CONTAINING NARRATIVES
SCENES FROM THE LIFE OF JOHN THE BAPTIST. THE COMPETITORS, OF WHICH THERE WERE SEVEN
YOUNG ARTISTS, WERE EACH TO DESIGN A BRONZE PANEL OF SIMILAR SHAPE AND SIZE,
REPRESENTING THE SACRIFICE OF ISAAC.
TWO OF THE PANELS HAVE SURVIVED, THAT BY LORENZO GHIBERTI AND THAT BY BRUNELLESCHI.
EACH PANEL SHOWS SOME STRONGLY CLASSICISING MOTIFS INDICATING THE DIRECTION THAT ART
AND PHILOSOPHY WERE MOVING, AT THAT TIME. GHIBERTI HAS USED THE NAKED FIGURE OF ISAAC
TO CREATE A SMALL SCULPTURE IN THE CLASSICAL STYLE. HE KNEELS ON A TOMB DECORATED
WITH ACANTHUS SCROLLS THAT ARE ALSO A REFERENCE TO THE ART OF ANCIENT ROME. IN
BRUNELLESCHI'S PANEL, ONE OF THE ADDITIONAL FIGURES INCLUDED IN THE SCENE IS
REMINISCENT OF A WELL-KNOWN ROMAN BRONZE FIGURE OF A BOY PULLING A THORN FROM HIS
FOOT. BRUNELLESCHI'S CREATION IS CHALLENGING IN ITS DYNAMIC INTENSITY. LESS ELEGANT
THAN GHIBERTI'S, IT IS MORE ABOUT HUMAN DRAMAAND IMPENDING TRAGEDY.
19. Brancacci Chapel
Main article: Brancacci Chapel
In 1426 two artists commenced painting a fresco cycle of the Life of St. Peter in the chapel
of the Brancacci family, at the Carmelite Church in Florence. They both were called by the
name of Tommaso and were nicknamed Masaccio and Masolino, Slovenly Tom and Little
Tom.
Development of linear perspective
Paolo Uccello: The Presentation of the Virgin shows his experiments with perspective and light.
22. Andrea Mantegna in Padua and Mantua
One of the most influential painters of northern Italy was Andrea Mantegna of Padua, who had
the good fortune to be in his teen years at the time in which the great Florentine sculptor
Donatello was working there. Donatello created the enormous equestrian bronze, the first since
the Roman Empire, of the condotiero Gattemelata, still visible on its plinth in the square outside
the Basilica of Sant'Antonio. He also worked on the high altar and created a series of bronze
panels in which he achieved a remarkable illusion of depth, with perspective in the architectural
settings and apparent roundness of the human form all in very shallow relief.
Cosmè Tura in Ferrara
While Mantegna was working for the Gonzagas in Mantua, a very different painter was being
employed to design an even more ambitious scheme for the Este family of Ferrara. Cosmè Tura's
painting is highly distinctive, both strangely Gothic yet Classicising at the same time. Tura poses
Classical figures as if they were saints, surrounds them with luminous symbolic motifs of surreal
perfection and clothes them in garments that appear to be crafted out of intricately folded and
enamelled copper.
23.
24. Antonello da Messina:
In 1442 Alfonso V of Aragon became ruler of Naples, bringing with him a collection of
Flemish paintings and setting up a Humanist Academy. The painter Antonello da Messina
seems to have had access to the King's collection, which may have included the works of
Jan van Eyck. He seems to have been exposed to Flemish painting at a date earlier than the
Florentines, to have quickly seen the potential of oils as a medium and then painted in
nothing else. He carried the technique north to Venice with him, where it was soon adopted
by Giovanni Bellini and became the favoured medium of the maritime republic where the
art of fresco had never been a great success.
25. Raphael
With Leonardo da Vinci and Michelangelo, Raphael's name is synonymous with the High
Renaissance, although he was younger than Michelangelo by 18 years and Leonardo by almost
30. It cannot be said of him that he greatly advanced the state of painting as his two famous
contemporaries did. Rather, his work was the culmination of all the devolopments of the High
Renaissance .
Raphael had the good luck to be born the son of a painter, so his career path, unlike that of
Michelangelo who was the son of minor nobility, was decided without a quarrel. Some years
after his father's death he worked in the Umbrian workshop of Perugino, an excellent painter
and a superb technician. His first signed and dated painting, executed at the age of 21, is the
Betrothal of the Virgin, which immediately reveals its origins in Perugino's Christ giving the
Keys to Peter.Raphael was a carefree character who unashamedly drew on the skills of the
renowned painters whose lifespans encompassed his. In his works the individual qualities of
numerous different painters are drawn together. The rounded forms and luminous colours of
Perugino, the lifelike portraiture of Ghirlandaio, the realism and lighting of Leonardo and the
powerful draughtsmanship of Michelangelo became unified in the paintings of Raphael. In his
short life he executed a number of large altarpieces, an impressive Classical fresco of the sea
nymph, Galatea, outstanding portraits with two popes and a famous writer among them, and,
while Michelangelo was painting the Sistine Chapel ceiling, a series of wall frescoes in the
Vatican chambers nearby, of which the School of Athens is uniquely significant.
26. Raphael: The School of Athens, commissioned by Pope Julius II to decorate a suite now known as
the Raphael Rooms in the Vatican
