The document provides an overview of the High Renaissance period in Italy from 1500-1600. It focuses on the major artistic developments and achievements of masters such as Leonardo da Vinci, Raphael, Michelangelo, and Bramante. During this period, Florence was initially the epicenter of the Renaissance before being surpassed by Rome, where many large architectural projects were undertaken. The document examines key works and innovations of the major artists, including Leonardo's sfumato technique, Raphael's synthesis of styles, Michelangelo's masterful sculptures and Sistine Chapel frescoes, and Bramante's classical central-plan designs.
El Templo Expiatorio de la Sagrada Familia es la obra inconclusa del arquitecto Antoni Gaudí que comenzó en 1882. Se planteó como un templo expiatorio financiado por donaciones públicas, por lo que las obras se interrumpían periódicamente por falta de fondos. Gaudí dedicó su vida a este monumento y dejó planos y maquetas para que continuara construyéndose después de su muerte en 1926. Actualmente se prevé que podría terminarse en unos 30 años.
The document discusses art before and during the Renaissance period. It notes that during the Middle Ages, the church was very powerful in Europe and art was abstract and served to communicate religious ideas to illiterate populations. It contrasts this with Renaissance art which embraced more naturalistic styles and individualism as humanist thought grew. The document uses Giotto as an example of an early Renaissance artist who moved away from medieval abstraction and began directly observing nature.
ARH1000 Early Christian & Byzantine Art.pdfProfWillAdams
The document provides an overview of early Christian and Byzantine art from the 4th to 8th centuries CE. It discusses how art shifted from realism to focusing on religious narratives after the fall of Rome. It describes the two basic plans of early Christian churches - central plan and basilica plan. It then covers the transition to Byzantine art under Emperor Justinian, including the construction of Hagia Sophia and mosaics at San Vitale that depicted Justinian and his court. Icons of the Virgin Mary were also discussed, though many were destroyed during periods of iconoclasm.
The document provides an overview of the Baroque art movement, including its origins in 17th century Rome and spread across Europe. It discusses key characteristics of Baroque painting, sculpture, and architecture, such as large-scale works promoting Catholic ideals, dramatic lighting and movement, and ornate detail. Specific artists and iconic works are highlighted, such as Bernini's Ecstasy of Saint Teresa sculpture. The summary concludes with a brief discussion of tenebrism lighting techniques commonly used in Baroque works.
The document provides an overview of Baroque and Rococo architecture and art in Europe between the 17th and 18th centuries. It discusses the spread of European colonization and the wealth this brought monarchies. The Protestant Reformation led Catholic churches to use elaborate ceremonies and art to attract followers. The Baroque and Rococo styles featured complex geometric forms, use of light and shadow, and ornate decor. Examples are given of churches, palaces and other buildings built in these styles in Italy, Austria, Germany and France by architects like Bernini, Borromini, Neumann and Mansart.
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
The Renaissance architecture began in Italy in the 15th century as a cultural revolution that substituted Gothic architecture and returned to designs of antiquity. Architects during the Renaissance became more intellectual and scientific in their designs, studying geometry, perspective, and architectural languages. Two influential Renaissance architects were Filippo Brunelleschi, who designed the dome of Florence Cathedral, and Leon Battista Alberti, who designed Tempio Malatestiano. Renaissance architecture then spread across Europe, influencing designs of castles, palaces, and cathedrals in other countries like France, Hungary, Belgium, and Germany.
The document provides an overview of the High Renaissance period in Italy from 1500-1600. It focuses on the major artistic developments and achievements of masters such as Leonardo da Vinci, Raphael, Michelangelo, and Bramante. During this period, Florence was initially the epicenter of the Renaissance before being surpassed by Rome, where many large architectural projects were undertaken. The document examines key works and innovations of the major artists, including Leonardo's sfumato technique, Raphael's synthesis of styles, Michelangelo's masterful sculptures and Sistine Chapel frescoes, and Bramante's classical central-plan designs.
El Templo Expiatorio de la Sagrada Familia es la obra inconclusa del arquitecto Antoni Gaudí que comenzó en 1882. Se planteó como un templo expiatorio financiado por donaciones públicas, por lo que las obras se interrumpían periódicamente por falta de fondos. Gaudí dedicó su vida a este monumento y dejó planos y maquetas para que continuara construyéndose después de su muerte en 1926. Actualmente se prevé que podría terminarse en unos 30 años.
The document discusses art before and during the Renaissance period. It notes that during the Middle Ages, the church was very powerful in Europe and art was abstract and served to communicate religious ideas to illiterate populations. It contrasts this with Renaissance art which embraced more naturalistic styles and individualism as humanist thought grew. The document uses Giotto as an example of an early Renaissance artist who moved away from medieval abstraction and began directly observing nature.
ARH1000 Early Christian & Byzantine Art.pdfProfWillAdams
The document provides an overview of early Christian and Byzantine art from the 4th to 8th centuries CE. It discusses how art shifted from realism to focusing on religious narratives after the fall of Rome. It describes the two basic plans of early Christian churches - central plan and basilica plan. It then covers the transition to Byzantine art under Emperor Justinian, including the construction of Hagia Sophia and mosaics at San Vitale that depicted Justinian and his court. Icons of the Virgin Mary were also discussed, though many were destroyed during periods of iconoclasm.
The document provides an overview of the Baroque art movement, including its origins in 17th century Rome and spread across Europe. It discusses key characteristics of Baroque painting, sculpture, and architecture, such as large-scale works promoting Catholic ideals, dramatic lighting and movement, and ornate detail. Specific artists and iconic works are highlighted, such as Bernini's Ecstasy of Saint Teresa sculpture. The summary concludes with a brief discussion of tenebrism lighting techniques commonly used in Baroque works.
The document provides an overview of Baroque and Rococo architecture and art in Europe between the 17th and 18th centuries. It discusses the spread of European colonization and the wealth this brought monarchies. The Protestant Reformation led Catholic churches to use elaborate ceremonies and art to attract followers. The Baroque and Rococo styles featured complex geometric forms, use of light and shadow, and ornate decor. Examples are given of churches, palaces and other buildings built in these styles in Italy, Austria, Germany and France by architects like Bernini, Borromini, Neumann and Mansart.
Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art that roughly coincides with the 17th century. The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century, while in some regions, notably Germany and colonial South America, certain culminating achievements of Baroque did not occur until the 18th century. The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.
The Renaissance architecture began in Italy in the 15th century as a cultural revolution that substituted Gothic architecture and returned to designs of antiquity. Architects during the Renaissance became more intellectual and scientific in their designs, studying geometry, perspective, and architectural languages. Two influential Renaissance architects were Filippo Brunelleschi, who designed the dome of Florence Cathedral, and Leon Battista Alberti, who designed Tempio Malatestiano. Renaissance architecture then spread across Europe, influencing designs of castles, palaces, and cathedrals in other countries like France, Hungary, Belgium, and Germany.
Andrea Palladio was an influential Renaissance architect who developed a classical style inspired by Roman architecture. He is known for designing villas and churches with symmetrical facades and proportions based on Roman temples. His most famous works include the Villa Barbaro, with its symmetrical wings and central block resembling a temple front, and the Basilica Palladiana in Vicenza, which features a brilliant white facade with superimposed pediments and engaged columns supporting the nave. Palladio's designs emphasized symmetry, harmony of proportions, and references to classical antiquity.
Este documento describe la arquitectura barroca en Italia entre los siglos XVII y XVIII. Se caracteriza por tener un carácter monumental y buscar efectos escenográficos a través de formas curvas, grandes cúpulas decoradas, y espacios urbanos como plazas y fuentes. Destacan artistas como Bernini, conocido por obras maestras como la Plaza de San Pedro, y Borromini, quien jugaba con volúmenes y dimensiones inusuales para crear dinamismo.
The document provides an overview of Baroque architecture. It discusses how Baroque architecture originated in Italy in the late 16th/early 17th century and spread across Europe. Key characteristics of Baroque architecture included dramatic lighting, sculptural forms, complex geometric shapes, and illusionary paintings and frescoes used to create a sense of depth and movement. The document summarizes important Baroque architects like Bernini and Borromini and their works in Italy, as well as how the style spread to other countries like Austria.
Etienne-Louis Boullée was an influential 18th century French architect known for his abstract geometric style inspired by classical forms. He removed unnecessary ornamentation and inflated geometric shapes to a large scale with repeating elements like columns. His drawings included projects for public buildings such as churches, palaces, and theaters that emphasized regular shapes through symmetry, order and proportion to create a sense of grandeur, beauty and harmony. He also designed cenotaphs and cemeteries meant to evoke dark and somber feelings through sparse, bare walls and shadows.
The document discusses Byzantine art from the 6th century to the 15th century. Some key points covered include the brilliant interior mosaics of San Vitale in Ravenna from the 6th century, Emperor Justinian who expanded the Byzantine Empire and promoted Byzantine art and architecture, and the iconic Hagia Sophia basilica in Constantinople with its massive central dome supported by pendentives.
The document provides an overview of the Early Renaissance period in Italy from 1400-1490. It summarizes the rise of prominent city-states like Florence and key families that sponsored the arts, such as the Medicis. Major artists that emerged during this time are also profiled, including painters like Masaccio, Botticelli, and Ghirlandaio who pioneered techniques like linear perspective. Contemporary architects like Brunelleschi and Alberti are highlighted for their classical designs of buildings and structures. Leading sculptors of the era included Ghiberti, Donatello, and Verrocchio, who drew inspiration from Roman and Greek works.
Andrea Palladio fue un arquitecto renacentista italiano nacido en 1508 en Padua que influyó enormemente en la arquitectura occidental. Es conocido por sus villas y palacios de inspiración clásica, particularmente las villas palladianas como Villa Capra. También diseñó edificios religiosos como la basílica de San Giorgio Maggiore. Publicó los Cuatro Libros de Arquitectura, una influyente obra que difundió sus principios de diseño basados en la simetría y las proporciones clásicas
The document provides information on Renaissance architectural theories and the works of key theorists and architects such as Brunelleschi, Alberti, and Vitruvius. Brunelleschi is credited with bringing about the Renaissance view of architecture through his experiments with linear perspective. He applied mathematical perspective and new rules of proportioning to projects like the dome of Florence Cathedral. Alberti's treatise De re Aedificatoria had a lasting influence, while Vitruvius' De Architectura from 27 BC is the only surviving book on architecture from antiquity and discussed key principles of solidity, usefulness, and beauty in structures.
Leon Battista Alberti was an Italian Renaissance architect, artist, poet, and philosopher. He wrote influential treatises on painting, sculpture, and architecture. As an architect, his most notable works included the facade of Santa Maria Novella in Florence and the Tempio Malatestiano in Rimini. Alberti was one of the first architects to use classical orders and geometric principles in his designs, making him an important figure in establishing Renaissance architecture.
Francesco Borromini was an Italian architect active in Rome in the 17th century and a leading figure in Roman Baroque architecture. Some of his most famous works include San Carlo alle Quattro Fontane, Sant'Agnese in Agone, and Sant'Ivo alla Sapienza. Borromini's architecture adapted classical elements to a more innovative style characterized by organic curved lines and a complicated interplay of geometric forms, with his facades and bell towers taking shape from repeating geometric patterns.
Renaissance
“ Rebirth”
Revival of artistic achievements based on classical world.
‘Rebirth’ of classical Greek and Roman. The movement started in Italy.
During this era, people began to research the culture of the antique world.
The period was triggered by the increasing sophistication of the society, where economic growth, educational pursuits and political stability were key factors.
The limits of renaissance architecture was pushed by wealthy patrons such as Medic family of Florence, Pope Leo X and Pope Julius II
Characteristics
Building was looked upon as works of art. It followed traditions of middle ages that did not separate the structure from the decoration.
In situ construction hence harmony was given between the jointing and the architectural features.
Standardization of classic roman orders- Tuscan, Doric, Ionic, Corinthian & Composite and its reintroduction both structurally and decoratively.
An art of free expression : Architecture became to a great extent a personal art due to the fancy of individual architects, many of whom founded schools of design.
A building was regarded rather as a picture with pleasing combinations of lines and masses
Symmetry and proportion
Appearance of building less in size than in reality due to the largeness and fewness of the parts used.
Towers used sparsely, if used occur symmetrically located.
Interiors planed on roman principles.
Ashlar masonry construction
Materials are large, and carry out the Classic idea of fewness of parts .
Gable end , formed as pediments either pitched or semicircular
Vaults are of simple Roman form
The Classic columns and orders were revived and used decoratively .
The principal cornice plays an important part in the style.
Mouldings produced an effect of horizontality.
Stained glass was little used
Sgraffito – coloured plaster was applied.
Efficiency in the crafts.
Italian Renaissance - Palazzo Ricardi, St. Peters Basilica, Rome, Villa Capra, Vicenza
⦁ Italian Renaissance is divided into three periods
Early Renaissance (Early 15th century)
Includes the works of Brunelleschi & Michelozzo. The concepts of architectural orders were explored, rules were formulated & classical detail & ornamentation was adopted. Space was organized by proportional logic & its form was subject to geometry. Ex. Basilica Santa Maria del Fiore, Florence by Brunelleschi.
II. High Renaissance (Late 15th to Early 16th century)
Renaissance became an individual style in its own right
Purist or Palladian, where Roman tradition was held in high respect (represented by Andrea Palladio)
Proto-Baroque, where there was more confidence in using the acquired vocabulary freely (represented by Michelangelo)
Mannerist, where practices which had no Roman precedent were interspersed with the usual buildings. Eg: Bramante
III. Baroque Period (17th century)
Architects worked with freedom and firmly-acquired knowledge.
Donato d'Angelo Bramante fue un arquitecto e influyente pintor italiano del Renacimiento. Trabajó principalmente en Milán y Roma, donde fue nombrado arquitecto pontificio por el Papa Julio II. Sus principales obras incluyen la Basílica de San Pedro en el Vaticano, el Tempietto de San Pietro in Montorio, y el Palacio de la Cancillería. Bramante ayudó a difundir los ideales clásicos del Renacimiento a través de su perfeccionamiento técnico en proporcion
Christopher Wren fue un arquitecto inglés del siglo XVII conocido por reconstruir gran parte de Londres después del Gran Incendio de 1666. Entre sus obras más destacadas se encuentran la Catedral de San Pablo, el Hospital de Greenwich y la Biblioteca Wren en Trinity College. Wren se basó en la geometría, la uniformidad y las proporciones en su arquitectura, combinando el estilo barroco con influencias clásicas.
León Battista Alberti (1404-1472) fue un arquitecto e intelectual italiano del Renacimiento. Fue el primer teórico del arte renacentista y escribió tratados influyentes sobre pintura, escultura y arquitectura. Tomó ideas de Vitrubio sobre la proporción y belleza en la arquitectura y proyectó importantes edificios como el Palacio Rucellai en Florencia y el Templo Malatesta en Rimini.
- Byzantine art refers to the artistic products of the Byzantine Empire between the 5th and 15th centuries, centered around Constantinople. It was influenced by both Roman and Greek artistic traditions and characterized by Christianity and the Greek language.
- Byzantine art is divided into three periods - Early, Middle, and Late - with the 6th century under Justinian considered the Golden Age. Major works included the Hagia Sophia in Constantinople and mosaics at San Vitale and Sant'Apollinare in Ravenna.
- Byzantine art emphasized abstract, symbolic representations rather than naturalism. Major art forms included icons for religious devotion, illuminated manuscripts, and metalwork and other luxury goods
El documento proporciona información biográfica sobre Leonardo da Vinci y Miguel Ángel, incluyendo detalles sobre su formación artística, obras principales y la rivalidad entre ellos. Describe proyectos en los que compitieron directamente como las Batallas de Anghiari y Cascina y explica cómo Rafael los retrató en La Escuela de Atenas. También analiza obras clave como la Mona Lisa y sugiere nuevos hallazgos sobre la vida de da Vinci y el modelo para su retrato más famoso.
History of Architecture 2
Report by: Group 2 (Leader: Lorie Lizardo)
DLS-College of St. Benilde
School of Architecture
2nd Term S.Y. 2015-16
February 2016
Donatello's bronze David from the 1440s-60s depicts the biblical hero as a frail boy, naked but for a hat and shoes. Though smaller than life size and holding an oversized sword, David has conquered Goliath through God's will rather than physical strength. Michelangelo's 1501-04 marble David stands nearly three times life size in a classic contrapposto pose, conveying that ordinary people can achieve extraordinary feats through decisive action. Originally intended for the cathedral, David's large hands, feet and head accentuate important details visible from below. Both works capture the moment before battle to symbolize virtue overcoming vice with God's help.
Este documento resume el contexto histórico y las características generales del arte barroco en España. El barroco fue promovido por la monarquía y la iglesia como un arte propagandístico y didáctico para reforzar su prestigio en un periodo de declive. La arquitectura barroca se caracterizó por el uso de materiales pobres y retrasos en las obras. La pintura y escultura barroca tuvieron temas principalmente religiosos siguiendo los ideales de la Contrarreforma. Los principales cent
1. St Peter's Basilica in Rome went through many architectural changes over centuries as different architects worked on its design and construction.
2. The architects included Donato Bramante, Raphael, Michelangelo, Carlo Maderno, and Gian Lorenzo Bernini. Bramante proposed the original Greek cross plan with a central dome. Michelangelo reverted to this design and strengthened it.
3. Maderno's most significant change was transforming Michelangelo's Greek cross design into a Latin cross with a long nave and adding the famous façade. The basilica and St Peter's Square are impressive architectural works in Renaissance and Baroque styles.
Andrea Palladio was an influential Renaissance architect who developed a classical style inspired by Roman architecture. He is known for designing villas and churches with symmetrical facades and proportions based on Roman temples. His most famous works include the Villa Barbaro, with its symmetrical wings and central block resembling a temple front, and the Basilica Palladiana in Vicenza, which features a brilliant white facade with superimposed pediments and engaged columns supporting the nave. Palladio's designs emphasized symmetry, harmony of proportions, and references to classical antiquity.
Este documento describe la arquitectura barroca en Italia entre los siglos XVII y XVIII. Se caracteriza por tener un carácter monumental y buscar efectos escenográficos a través de formas curvas, grandes cúpulas decoradas, y espacios urbanos como plazas y fuentes. Destacan artistas como Bernini, conocido por obras maestras como la Plaza de San Pedro, y Borromini, quien jugaba con volúmenes y dimensiones inusuales para crear dinamismo.
The document provides an overview of Baroque architecture. It discusses how Baroque architecture originated in Italy in the late 16th/early 17th century and spread across Europe. Key characteristics of Baroque architecture included dramatic lighting, sculptural forms, complex geometric shapes, and illusionary paintings and frescoes used to create a sense of depth and movement. The document summarizes important Baroque architects like Bernini and Borromini and their works in Italy, as well as how the style spread to other countries like Austria.
Etienne-Louis Boullée was an influential 18th century French architect known for his abstract geometric style inspired by classical forms. He removed unnecessary ornamentation and inflated geometric shapes to a large scale with repeating elements like columns. His drawings included projects for public buildings such as churches, palaces, and theaters that emphasized regular shapes through symmetry, order and proportion to create a sense of grandeur, beauty and harmony. He also designed cenotaphs and cemeteries meant to evoke dark and somber feelings through sparse, bare walls and shadows.
The document discusses Byzantine art from the 6th century to the 15th century. Some key points covered include the brilliant interior mosaics of San Vitale in Ravenna from the 6th century, Emperor Justinian who expanded the Byzantine Empire and promoted Byzantine art and architecture, and the iconic Hagia Sophia basilica in Constantinople with its massive central dome supported by pendentives.
The document provides an overview of the Early Renaissance period in Italy from 1400-1490. It summarizes the rise of prominent city-states like Florence and key families that sponsored the arts, such as the Medicis. Major artists that emerged during this time are also profiled, including painters like Masaccio, Botticelli, and Ghirlandaio who pioneered techniques like linear perspective. Contemporary architects like Brunelleschi and Alberti are highlighted for their classical designs of buildings and structures. Leading sculptors of the era included Ghiberti, Donatello, and Verrocchio, who drew inspiration from Roman and Greek works.
Andrea Palladio fue un arquitecto renacentista italiano nacido en 1508 en Padua que influyó enormemente en la arquitectura occidental. Es conocido por sus villas y palacios de inspiración clásica, particularmente las villas palladianas como Villa Capra. También diseñó edificios religiosos como la basílica de San Giorgio Maggiore. Publicó los Cuatro Libros de Arquitectura, una influyente obra que difundió sus principios de diseño basados en la simetría y las proporciones clásicas
The document provides information on Renaissance architectural theories and the works of key theorists and architects such as Brunelleschi, Alberti, and Vitruvius. Brunelleschi is credited with bringing about the Renaissance view of architecture through his experiments with linear perspective. He applied mathematical perspective and new rules of proportioning to projects like the dome of Florence Cathedral. Alberti's treatise De re Aedificatoria had a lasting influence, while Vitruvius' De Architectura from 27 BC is the only surviving book on architecture from antiquity and discussed key principles of solidity, usefulness, and beauty in structures.
Leon Battista Alberti was an Italian Renaissance architect, artist, poet, and philosopher. He wrote influential treatises on painting, sculpture, and architecture. As an architect, his most notable works included the facade of Santa Maria Novella in Florence and the Tempio Malatestiano in Rimini. Alberti was one of the first architects to use classical orders and geometric principles in his designs, making him an important figure in establishing Renaissance architecture.
Francesco Borromini was an Italian architect active in Rome in the 17th century and a leading figure in Roman Baroque architecture. Some of his most famous works include San Carlo alle Quattro Fontane, Sant'Agnese in Agone, and Sant'Ivo alla Sapienza. Borromini's architecture adapted classical elements to a more innovative style characterized by organic curved lines and a complicated interplay of geometric forms, with his facades and bell towers taking shape from repeating geometric patterns.
Renaissance
“ Rebirth”
Revival of artistic achievements based on classical world.
‘Rebirth’ of classical Greek and Roman. The movement started in Italy.
During this era, people began to research the culture of the antique world.
The period was triggered by the increasing sophistication of the society, where economic growth, educational pursuits and political stability were key factors.
The limits of renaissance architecture was pushed by wealthy patrons such as Medic family of Florence, Pope Leo X and Pope Julius II
Characteristics
Building was looked upon as works of art. It followed traditions of middle ages that did not separate the structure from the decoration.
In situ construction hence harmony was given between the jointing and the architectural features.
Standardization of classic roman orders- Tuscan, Doric, Ionic, Corinthian & Composite and its reintroduction both structurally and decoratively.
An art of free expression : Architecture became to a great extent a personal art due to the fancy of individual architects, many of whom founded schools of design.
A building was regarded rather as a picture with pleasing combinations of lines and masses
Symmetry and proportion
Appearance of building less in size than in reality due to the largeness and fewness of the parts used.
Towers used sparsely, if used occur symmetrically located.
Interiors planed on roman principles.
Ashlar masonry construction
Materials are large, and carry out the Classic idea of fewness of parts .
Gable end , formed as pediments either pitched or semicircular
Vaults are of simple Roman form
The Classic columns and orders were revived and used decoratively .
The principal cornice plays an important part in the style.
Mouldings produced an effect of horizontality.
Stained glass was little used
Sgraffito – coloured plaster was applied.
Efficiency in the crafts.
Italian Renaissance - Palazzo Ricardi, St. Peters Basilica, Rome, Villa Capra, Vicenza
⦁ Italian Renaissance is divided into three periods
Early Renaissance (Early 15th century)
Includes the works of Brunelleschi & Michelozzo. The concepts of architectural orders were explored, rules were formulated & classical detail & ornamentation was adopted. Space was organized by proportional logic & its form was subject to geometry. Ex. Basilica Santa Maria del Fiore, Florence by Brunelleschi.
II. High Renaissance (Late 15th to Early 16th century)
Renaissance became an individual style in its own right
Purist or Palladian, where Roman tradition was held in high respect (represented by Andrea Palladio)
Proto-Baroque, where there was more confidence in using the acquired vocabulary freely (represented by Michelangelo)
Mannerist, where practices which had no Roman precedent were interspersed with the usual buildings. Eg: Bramante
III. Baroque Period (17th century)
Architects worked with freedom and firmly-acquired knowledge.
Donato d'Angelo Bramante fue un arquitecto e influyente pintor italiano del Renacimiento. Trabajó principalmente en Milán y Roma, donde fue nombrado arquitecto pontificio por el Papa Julio II. Sus principales obras incluyen la Basílica de San Pedro en el Vaticano, el Tempietto de San Pietro in Montorio, y el Palacio de la Cancillería. Bramante ayudó a difundir los ideales clásicos del Renacimiento a través de su perfeccionamiento técnico en proporcion
Christopher Wren fue un arquitecto inglés del siglo XVII conocido por reconstruir gran parte de Londres después del Gran Incendio de 1666. Entre sus obras más destacadas se encuentran la Catedral de San Pablo, el Hospital de Greenwich y la Biblioteca Wren en Trinity College. Wren se basó en la geometría, la uniformidad y las proporciones en su arquitectura, combinando el estilo barroco con influencias clásicas.
León Battista Alberti (1404-1472) fue un arquitecto e intelectual italiano del Renacimiento. Fue el primer teórico del arte renacentista y escribió tratados influyentes sobre pintura, escultura y arquitectura. Tomó ideas de Vitrubio sobre la proporción y belleza en la arquitectura y proyectó importantes edificios como el Palacio Rucellai en Florencia y el Templo Malatesta en Rimini.
- Byzantine art refers to the artistic products of the Byzantine Empire between the 5th and 15th centuries, centered around Constantinople. It was influenced by both Roman and Greek artistic traditions and characterized by Christianity and the Greek language.
- Byzantine art is divided into three periods - Early, Middle, and Late - with the 6th century under Justinian considered the Golden Age. Major works included the Hagia Sophia in Constantinople and mosaics at San Vitale and Sant'Apollinare in Ravenna.
- Byzantine art emphasized abstract, symbolic representations rather than naturalism. Major art forms included icons for religious devotion, illuminated manuscripts, and metalwork and other luxury goods
El documento proporciona información biográfica sobre Leonardo da Vinci y Miguel Ángel, incluyendo detalles sobre su formación artística, obras principales y la rivalidad entre ellos. Describe proyectos en los que compitieron directamente como las Batallas de Anghiari y Cascina y explica cómo Rafael los retrató en La Escuela de Atenas. También analiza obras clave como la Mona Lisa y sugiere nuevos hallazgos sobre la vida de da Vinci y el modelo para su retrato más famoso.
History of Architecture 2
Report by: Group 2 (Leader: Lorie Lizardo)
DLS-College of St. Benilde
School of Architecture
2nd Term S.Y. 2015-16
February 2016
Donatello's bronze David from the 1440s-60s depicts the biblical hero as a frail boy, naked but for a hat and shoes. Though smaller than life size and holding an oversized sword, David has conquered Goliath through God's will rather than physical strength. Michelangelo's 1501-04 marble David stands nearly three times life size in a classic contrapposto pose, conveying that ordinary people can achieve extraordinary feats through decisive action. Originally intended for the cathedral, David's large hands, feet and head accentuate important details visible from below. Both works capture the moment before battle to symbolize virtue overcoming vice with God's help.
Este documento resume el contexto histórico y las características generales del arte barroco en España. El barroco fue promovido por la monarquía y la iglesia como un arte propagandístico y didáctico para reforzar su prestigio en un periodo de declive. La arquitectura barroca se caracterizó por el uso de materiales pobres y retrasos en las obras. La pintura y escultura barroca tuvieron temas principalmente religiosos siguiendo los ideales de la Contrarreforma. Los principales cent
1. St Peter's Basilica in Rome went through many architectural changes over centuries as different architects worked on its design and construction.
2. The architects included Donato Bramante, Raphael, Michelangelo, Carlo Maderno, and Gian Lorenzo Bernini. Bramante proposed the original Greek cross plan with a central dome. Michelangelo reverted to this design and strengthened it.
3. Maderno's most significant change was transforming Michelangelo's Greek cross design into a Latin cross with a long nave and adding the famous façade. The basilica and St Peter's Square are impressive architectural works in Renaissance and Baroque styles.
Anna Cerboni Baiardi parla della tecnica del disegno di Raffaello, come genesi dell'opera
https://mooc.uniurb.it/raffaello
Didattica universitaria aperta dell'Università di Urbino, in collaborazione con Accademia Raffaello, Galleria nazionale delle Marche, Città di Urbino e RAI Cultura.
Canale Telegram https://t.me/s/raffaello2020
Raffaello2020 MOOC - Vita e opere di Raffaello, in sintesiAlessandro Bogliolo
Anna Maria Ambrosini Massari delinea la vita e l'opera di Raffaello per offrire una cornice al corso
https://mooc.uniurb.it/raffaello
Didattica universitaria aperta dell'Università di Urbino, in collaborazione con Accademia Raffaello, Galleria nazionale delle Marche, Città di Urbino e RAI Cultura.
Canale Telegram https://t.me/s/raffaello2020
Villa Arconati, detta anche il Castellazzo, è una storica villa a Castellazzo di Bollate. Si tratta di un esempio di barocchetto lombardo settecentesco ed è monumento nazionale.
Villa Arconati è una delle importanti ville storiche che si incontrano lungo la ciclabile che affianca il Canale Villoresi.
La ciclabile è documentata in sempreinbici.com/villoresi
Cecilia Prete parla del periodo fiorentino
https://mooc.uniurb.it/raffaello
Didattica universitaria aperta dell'Università di Urbino, in collaborazione con Accademia Raffaello, Galleria nazionale delle Marche, Città di Urbino e RAI Cultura.
Canale Telegram https://t.me/s/raffaello2020
Il programma dettagliato di "Ciak d'Arte" manifestazione inserita nel quadro di "Effetto Notte" VI edizione 2016 nei locali presso la Basilica di Santa Croce in Gerusalemme
Andrea del Sarto: il pittore senza erroripaola corrias
lezione riassuntiva sui capolavori di Andrea del Sarto a Firenze per le classi di Accoglienza Turistica, Istituti professionali e Secondarie di I grado. Utilità didattica.
Similar to 1on3 leonardo da vinci theatre 1482 1494.pps (20)
Styles of Scientific Reasoning, Scientific Practices and Argument in Science ...Elsa von Licy
The document discusses various topics related to scientific reasoning, practices, and argumentation including different styles of scientific thinking, features of scientific knowledge, and teaching and learning science. It provides examples of "crazy ideas" in science that are now accepted, examines the role of argument in science, and outlines the scientific practices and central questions of science. It also discusses developing models, planning investigations, analyzing data, and constructing explanations as key scientific practices.
Anti-philosophy rejects traditional philosophy and logic, instead embracing creativity, spirituality, and personality. It considers philosophy to be dead, kept alive artificially by analytic philosophers. The document criticizes how philosophy is currently taught and argues it has become unproductive, replacing original aims with nonsense. Anti-philosophy's goal is not to destroy philosophy but to transform its current state and avoid fundamentalism in philosophy and science.
There is no_such_thing_as_a_social_science_introElsa von Licy
This document provides an introduction and overview of the arguments made in the book "There is No Such Thing as Social Science". It begins by stating the provocative title and questioning whether the authors will take it back or qualify their position.
It then outlines three ways the term "social science" could be used - referring to a scientific spirit of inquiry, a shared scientific method, or reducibility to natural sciences. The authors argue against the latter two, methodological and substantive reductionism.
The introduction discusses how opponents may accuse the authors of being a priori or anti-reductionist, but argues that those defending social science are actually being dogmatic by insisting it must follow a scientific model. It frames the debate as being
1. Leonardo e lo spettacolo a
Milano durante la reggenza di
Ludovico il Moro
1482-1494
2. Uomo vitruviano,
studio sul canone vitruviano
delle proporzioni umane
(1490 ca.)
Venezia, Galleria
dell’Accademia
3. Studi sul luogo teatrale:
il recupero
del teatro antico
Arcate esterne
di un teatro di tipo romano,
1510-15
Milano, Biblioteca Ambrosiana,
Codice Atlantico, fol. 310 v.a.
4. Teatri ruotanti e
anfiteatro: ipotesi di
ricostruzione dei teatri
romani di Curione
descritti da Plinio
Madrid, Biblioteca Nacional
Codice I 8937, fol. 110 r.
5. il teatro-tempio
“locho dove si
predicha”. Esterno e
interno di un teatro
semicircolare,
1482 ca
Parigi, Institut de France,
Cod. Ashburnham 2037
fol. 5 r.
20. Feste per le nozze di Giangaleazzo Sforza
con Isabella d’Aragona
FESTA DEL PARADISO
testo di B. Bellincioni
allestimento di L. Da Vinci
Milano, Sala Grande
del Castello, 1490
Giovanni Antonio Boltraffio,
Studio per la Santa
Barbara, ritenuto
ritratto di Isabella
d’Aragona, moglie di
Galeazzo Visconti
Milano, Biblioteca
Ambrosiana
36. Feste per le duplici nozze
di Ludovico il Moro con
Beatrice d’Este e di
Alfonso d’Este con Anna
Sforza, 1491
Apparato con l’immagine del
Colosso sotto un arco trionfale
in fondo alla sala Grande del
Castello Sforzesco per la “Festa
de donne”, 24-25 gennaio
Ipotesi di ricostruzione di Alberto Carlo
Carpiceci da una miniatura di
Bartolomeo Carmagnola (1491), 1977
37. GIOSTRA,
allestimento (parziale)
di L. Da Vinci,
Milano, piazza antistante
al Castello, 25-27 gennaio
Galeazzo da Sanseverino
in costume da torneo
Londra, British Museum
38. “Homo salvadego” a cavallo
disegnato per il seguito del Sanseverino
Windsor, Biblioteca Reale
44. Feste per le nozze di Bianca Sforza, sorella del
Duca, e di Massimiliano d’Austria, 1493
Studio per il Monumento equestre a Francesco Sforza
Windsor, RL, n. 12358
45. Studio sull’arco di trionfo romano. Un possibile sfondo
per il Colosso
Milano, Castello Sforzesco, Codice Trivulziano
Schizzo di Leonardo
1490 ca
Ipotesi di ricostruzione di
Alberto Carlo Carpiceci, 1977
46. Esequie per la morte di Beatrice d’Este Sforza,1497
Monumento o effimero?
Studio per il padiglione
sepolcrale da collocare “nel
fine del coro” di Santa
Maria delle Grazie,
1497 ca
Milano, Biblioteca Ambrosiana,
Codice Atlantico, 10 r. a
Ipotesi di ricostruzione di
Alberto Carlo Carpiceci, 1977
Editor's Notes
Teatro e spettacolo nella Firenze dei Medici, a cura di E. Garbero Zorzi e M. Sperenzi, Firenze, Leo S. Olschki 2001
Teatro e spettacolo nella Firenze dei Medici, a cura di E. Garbero Zorzi e M. Sperenzi, Firenze, Leo S. Olschki 2001
Teatro e spettacolo nella Firenze dei Medici, a cura di E. Garbero Zorzi e M. Sperenzi, Firenze, Leo S. Olschki 2001
