AH2 TEST 1 REVIEW

1. TEST 1 REVIEW
1

2. “Antiquity vs. Middle
Ages
Where Greek and Romans painted
everyday subjects like portraits and
cityscapes, Art of the “Middle Ages”
focused on spiritual rather than physical
realities.
2

3. …..the “individual” is dissolved and
is looked down upon by larger,
intimidating spiritual forces
3

4. Numerous independent city states
Republics: Venice, Florence, Siena
(self-governance)
Source of wealth varies from city to
city-port cities involved in trade,
other cities depend on banking,
arms, or textiles
4

5. 1348 --The Black Death
•Estimated to have killed 30% – 60% of Europe's population, reducing the
world’s population from an estimated 450 million to between 350 and
375 million in 1400. This has been seen as creating a series of religious,
social and economic upheavals which had profound effects on the course
of European History. It took 150 years for Europe's population to recover.
•Because the plague killed so many of the poor population, wealthy land
owners were forced to pay the remaining workers what they asked, in terms
of wages.
• Because there was now a surplus in consumer goods, luxury crops could
now be grown. This meant that for the first time in history, many, formerly of
the peasant population, now had a chance to live a better life. Most
historians now feel that this was the start of the middle class in Europe and
England.
5

6. 6

7. …meanwhile
The Fall of Constantinople (formerly
the Byzantine Empire) in1453 to the
Ottoman Empire meant that many
scholars soon arrived in Italy with
knowledge of Greek thinkers like Plato
that had been lost or forgotten in the
Middle Ages.
A new interest in “antiquity” is sparked
7

8. A focus on human beings…
Humanism
• A cultural and intellectual movement during the
Renaissance, following the rediscovery of the art and
literature of ancient Greece and Rome.
• A philosophy or attitude concerned with the interests,
achievements, and capabilities of human beings rather
than with the abstract concepts and problems of theology
and science.
8

9. Marsilio Ficino
Translated Plato into Latin
(from Greek)
9

10. Niccolò Machiavelli
“The Prince”
A practical manual for young rulers
that did not appeal to Christian
Morality.
“Machiavellian” today refers to
someone who is scheming and
sometimes unethical.
10

11. Giordano Bruno
“infinity”
Proposed that stars were distant
suns with their own planets.
Burned at the stake for his
heresies.
11

12. The Decameron
Renaissance Humanists
• Petrarch
• Giovanni Boccaccio
– Established a “vernacular” literature
12

13. Mendicant Orders and
Confraternities
During the “Great Schism” (Pope
moved to France), Monastic
(mendicant) orders like the
Augustinians, Franciscans, and the
Dominicans became important social
forces.
Confraternities, organizations of
laypersons dedicated to strict religious
observance also grew in popularity.
13

14. BONAVENTURA
BERLINGHIERI, panel
from the Saint Francis
Altarpiece
“Maniera Greca” or Italo-Byzantine
Style
Painted 9 years after Francis’s
death
Displays “stigmata” (2nd Christ?)
Gold leaf, flatness, other-worldy
spiritual nature
4 of 6 narrative scenes depict
miraculous healings
14

15. CIMABUE, Madonna
Enthroned with Angels and
Prophets,
Gold=light of heaven
Spatial contradictions
Diagonals draw you slightly in
Cult of Mary important to the
Medieval mind-less intimidating,
speaks to god on your behalf
Christ is small, but does not have
proportions of an infant
Shows influence of Byzantine
tradition
15

16. GIOTTO DI BONDONE,
Madonna Enthroned
Mary has solidity, stability,
substance-not spiritual immateriality
Angels stand on a more common
level
Light and shadow “chiaroscuro”, not
flatness
16

17. Giotto di Bondone,
Arena Chapel
Feelings and physical nature of
human beings.
New sense of realism by using light
and space.
Re-inventor of “naturalistic”
painting.
Arena Chapel
Chiaroscuro, naturalism
Sacre rappresentazioni
Scrovegni family
“usury”
17

18. Enrico Scrovegini-Attempt at
“atonement”
Sin of “usury”
(charging interest)
In Dante’s “Inferno” the elder
Scrovegni is singled out for residing
in a circle of hell
18

19. 19

20. 20

21. Florence
Proud city
Controls textile industry
Gold “florin”
21

22. COMPETITION!
For the East Doors of the Florence
Baptistery commissioned by the
Wool Merchants Guild
(South Doors by Andrea Pisano, 1330-36
Pictured here)

23. Wool merchants Guild
Sponsors contest as a kind of self-
promotional advertisement for their
civic mindedness
23

24. Competition Theme:
Sacrifice of Isaac
• Abraham is asked by Christ to
sacrifice his only son as a test
of his loyalty
• ”prefiguration” of sacrifice of
Christ
• A “covenant” or binding
agreement
• Baptism is an entry into a covenant
24

25. Florence under attack
• 1402, Giangaleazzo Visconti
(Duke of Milan) attempts to take
over Italian peninsula
• Florence is surrounded
• The theme of personal sacrifice
for the common good becomes
popular
• Luckily Visconti dies suddenly
ending invasion threat.
25

26. 26

27. FILIPPO
BRUNELLESCHI,
Sacrifice of Isaac
• “planar” orientation
• (everything seen from the side)
• Spatially primitive
• More dramatic, but less
emotional complexity
27

28. LORENZO GHIBERTI,
Sacrifice of Isaac
• Space recedes- more complex,
0verlapping
• Emotional complexity
(contemplation)
• Also cast in one piece
• less $$$
28

29. Ghiberti WINS!
“To me was conceded the palm of
victory by all the experts and by all
who had competed with me. To me
the honor was conceded universally
and with no exception. To all it
seemed that I had at that time
surpassed the others without
exception, as was recognized by a
great council and an investigation
of learned men. There were thirty-
four judges from the city and the
other surrounding countries. The
testimonial of the victory was given
in my favor by all.”
29

30. Brunelleschi
Loses the competition, but travels
to Rome, studies architecture and
re-invent Liner Perspective
Returns to Florence and becomes
renowned as an Architect
30

31. Linear Perspective
• (re)discovered by Brunelleschi
(loser in previous competition)
around 1420
• “rationalization of sight”

32. 32
LORENZO GHIBERTI, east doors (Gates
of Paradise), baptistery, Florence, Italy,
1425–1452. Gilded bronze, 17’ high.
Modern copy, ca. 1980. Original panels in
Museo dell’Opera del Duomo, Florence.

33. 33
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence,
Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

34. 34

35. No longer constrained by the
“quatrefoil” the relief can
become a “window” of illusion
The artist creates an entire world
35

36. 36

37. 37
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence,
Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

38. • Loser in sculpture, winner in architecture.
Highest Dome until St. Peters
Wide as the Pantheon
Alberti: an achievement without precedent
38
Brunelleschi

39. • Cantilevered scaffolding
• (not enough lumber to use the
Pantheon method)
39

40. Stone, mortar and iron
“chains” to hold the form in
40

41. Florence under attack
again !!
King Ladislaus of Naples in a
campaign to take the peninsula
surrounds Florence.
Ladislaus, on the verge of military
success dies suddenly in 1414.
Florence is pretty lucky.
41

42. During the Siege at the..
Or San Michele
Church, granary, town hall, guild
headquarters
The “Signoria” (Florence’s
governing body) assigned a “niche”
in which to place a commissioned
sculpture
Many works stress the importance
of sacrifice, civic pride, and
“Florentine Spirit”
42

43. The 14 niches act as public advertisements for guilds and symbols of civic pride.
43

44. DONATELLO, Saint
Mark
Commissioned by the Guild of linen
makers and tailors.
Contrapposto is evident in weigh
shift. Even more impressive that it
is seen through sophisticated
sculptural rendering of linen
(must’ve pleased the guild).
Implied movement suggests
emergence from niche into real
space.
No contrapposto vs. contrapposto
44

45. Dignity of the individual
Intersection of the spiritual and
human.
Internal focus/awareness
45

46. NANNI DI BANCO, Four
Crowned Saints
Four Christian sculptors defy an order
from Diocletian (Roman Emperor) to
carve a statue of a Roman Deity. They
are executed
Commissioned by the Guild of stone
and woodworkers.
Displays emergence of sculpture from
its original architectural setting.
Inter-relationship of the figures.
Shows moment of contemplation and
communication. Psychological unity.
Honors the power of the “group” and
discipline and integrity in the face of
adversity.
46

47. “Masaccio”
Tommaso de ser Giovanni de Mone Cassai
Artistic heir of Giotto, but takes space and
light one step further into unexplored
territory
Dies at age 27 (causes unknown)
47

48. 48
MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco,
8’ 4 1/8” x 19’ 7 1/8”.

49. Massacio,Tribute
Money
Mathew 17:24-27
Tax collector meets Jesus and
disciples at the entrance of the
Roman town of Capernum, Jesus
directs St. Peter to shore of lake
Galilee to gather a coin from the
mouth of a fish.
49

50. Linear Perspective and atmospheric perspective
50

51. 51
Figural forms (especially the tax collector) suggest bones, muscles, and the pressures on tendons and
joints to convey contained energy.

52. Masaccio, Holy Trinity
First application of linear
perspective and mathematics to a
depiction of space.
Ascending pyramid of figures leads
viewers from the despair of death to
the hope of resurrection and eternal
life.
52

53. Lorenzo Lenzi and Wife
53

54. Vanishing point is 5 feet above the
ground, roughly eye level.
Rational measured coherence:
If calculated as a real space:
Painted vault is 7 feet and the
depth of the chapel is 9 feet.
54

55. I once was what you are and what I am you also will be.
MEMENTO MORI- reminder of death
55

56. 56
DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo
Nazionale del Bargello, Florence.

57. overt eroticism

58. First freestanding nude since
Classical antiquity. Nudity usually
associated with shame and sin.
58

59. David vs. Goliath
Sword vs Stone
Milan and Naples vs. Florence
Military might vs. Cultural richness
David represents Florence, the
always underdog against the
greater powers of Milan(Visconti)
and Naples (Ladislaus)
The private sensuality and
eroticism are strangely at odds with
this public, civic message
59

60. DONATELLO,
Penitent Mary
Magdalene
Rejection of the material world
for a secluded spiritual life
Sculpture acts as a “moral
conscience” for the city of
Florence
60

61. Neoplatonism
Embraced by the
powerful Medici
family.
All sources of
inspiration,
whether Biblical or
Classical (Pagan)
mythology, represent a
means of ascending
earthly existence to a
mystical union with “the
One”.
Marsilio Ficino
• Translated Plato into Latin
• (from Greek)
61

62. 62
SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli
Uffizi, Florence.

63. The Birth of Venus
Inspired by a love poem written by
Humanist scholar Angelo Poliziano.
Zephyr (west wind), and Chloris on
left.
Venus in center, her maiden Pomona
on right.
Sacred Island of Cyprus.
First female nude since classical
antiquity not associated with shame.
Accommodating culture made possible
by powerful Medici family.
Contemplation of worldly (physical)
beauty-in theory leads to
contemplation of spiritual and divine
beauty.
63

65. Botticelli
Byzantine influence shown in lyrical
use of line.
Decorative and flat space, little
illusion of depth.
Strong focus on Classical
Mythology.
65

66. Sandro Botticelli, Primavera, ca. 1482. Tempera on wood, 6’ 8” X 10’ 4”. Galleria degli Uffizi,
Florence. 66

67. Primavera
Primavera=springtime
Clothed Venus in center. Cupid
above
Zephyr, Chloris and Flora at right.
Three graces to the left, and either
Mars or Mercury to the far left.
The occasion for the painting was
probably Lorenzo de Medici’s
wedding in May 1482
Another Neo-Platonist allegory on
worldly and spiritual love, although
difficult to decipher.
67

68. 68
PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy,
1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

69. Christ Delivering the
Keys
Perugino (Pietro Vanucci-
Birthplace is Perugia in Umbria)
1481-83 Pope Sixtus IV summons
artists to paint walls of Sistine
Chapel.
Papacy bases claim to authority on
this biblical event.
Temple of Solomon in background
along with Triumphal arches
modeled on arch of Constantine
(first Christian Emperor)
Background scenes include
“Tribute Money” and “Stoning of
Christ”
Christ surrounded by apostles,
including Judas (5th from left)
69

70. 70

71. 71

72. 72
ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy,
1465–1474. Fresco.

73. ANDREA MANTEGNA,
Camera Picta
Painted of Ludovico Gonzaga, the
Marquis of Mantua
Depicts scenes of the Marquis
greeting guests, and court life.
All the room is painted (trompe
l’oel) “fool the eye”
Di sotto in su (from below, upward)
8 fictive reliefs of the first Roman
Emperors shows an interest in
Rome’s Imperial past (Florence
would be more interested in the
Republican past)
73

74. Girolamo
Savonarola
1490’s Florence undergoes
political, cultural, religious
upheaval.
Dominican monk Savonarola
becomes priest-dictator, banishes
the Medici.
Denounces Humanism and Neo-
Platonism as heretical, prophesied
the downfall of the city unless they
undergo large scale repentance.
Forces bonfire of secular art,
philosophy and literature (Bonfire of
the Vanities).
City comes to its senses and
executes Savonarola in 1498.
74

75. 75

76. 76
LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–
1504. Fresco, 23’ wide.

77. Damned Cast into Hell
Painted for Pope Alexander VI
Saint Michael and Angels cast the
damned into hell.
Horrible consequences of a sinful life
graphically depicted. Striking
representation of the nude figure.
One part of an “End of Days” Narrative
when Christ returns to Judge mankind.
Other scenes included: Deeds of the
Antichrist, Resurrection, Elect Being
Called to Heaven
77

78. The Black Forest
78

79. Northern Europe
Absent the memories and ruins of
ancient Rome, Northern Europe had
lingering cultural connections to its
“pagan” past.
A whole pantheon of Norse gods distinct
from Greco/Roman existed as did a
closer connection to earth based pagan
superstitions, and holidays.
A stronger connection to nature and the
spirit world, as well as a belief in the
“immanence” of spirituality persisted
even as Northern Europe Christianized.
Much of this is expressed as attention to
worldly DETAILS in art rather than in the
“transcendent” themes of Italian art. In
other words artists of the European
Renaissance saw the spirit immanent in
everyday things and therefore lavished
great attention to DETAILS in their
depiction.
79

80. Northern European
Developments
Oil “glazing” technique:
• Invented by Northern European
artists, allowed an unparalleled
exactitude of rendering.
• Transparent glazes of linseed oil
built up luminous, rich, jewel-like
colors and an enamel surface.
• Perfect for wood panels, triptychs,
and alter-pieces.
• Blossoming of printmaking as a
major art form following the
invention of the printing press and
moveable type.
80

81. Burgundian Flanders
Early stages of European
Capitalism. New credit and
exchange systems produces a
network of commodities and
industry.
Flanders, under control of the Duke
of Burgundy (Phillip the Bold).
Bruges is the major city:
wool trade, banking
81

82. ROBERT CAMPIN (MASTER OF FLEMALLE), Merode Altarpiece (open), ca. 1425-1428. Oil on
wood, center panel 2’ 1 3/8” X 2’ 7/8”, each wing 2’ 1 3/8” X 10 7/8”. Metropolitan Museum of Art,
New York (The Cloisters Collection, 1956).
82

83. ROBERT CAMPIN (MASTER OF
FLEMALLE), Merode Altarpiece
Annunciation theme Isaiah 7:14
Small altarpieces for household prayer
become common in the average
household.
Religious themes usually depicted in
contemporary, secular settings.
83

84. Closed garden symbolic of Mary’s
purity.
Donors: wealthy merchant Peter
Inghelbrecht (angel-bringer), and
wife Margarete Scrynmakers
(shrine-maker)
Outside we can see street scene of
contemporary Flanders.
84

85. DETAILS !
Wash basin refers to Mary’s purity as
a vessel for Christ.
Lily flowers symbolize purity
Single extinguished candle represents
the presence of the divine.

86. DETAILS !
Joseph has constructed a mousetrap
(symbolizes Christ as bait set to catch
Satan)
Axe, saw, and rod are mentioned in Isaiah
10:15

87. JAN VAN EYCK, Ghent
Altarpiece (closed)
Jan Van Eyck-
Undisputed master of Oil painting
technique
Court Painter of Philip the good, Duke of
Burgundy
Ghent Altarpiece commissioned by
Jodocus Vyd (Chief Magistrate of Ghent)
87

88. Recovered in a salt mine
Hidden away by Nazis during WWII
88

89. Old testament prophets Zachariah and Micah along with sibyls (Greco-Roman female
prophets)
89

90. 90
JAN VAN EYCK, Ghent Altarpiece (closed),
Saint Bavo Cathedral, Ghent, Belgium,
completed 1432. Oil on wood, 11’ 6" X 7’ 6".

91. Saint John the Evangelist and Saint John the Baptist
91

92. Jodocus Vyd

93. Wife Isabel Borluut

94. 94
JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood,
11’ 5" X 15’ 1”.

95. JAN VAN EYCK, Ghent
Altarpiece (open),
Open panel reveals superbly
colored painting of humanity’s
redemption through Christ
God the Father in center, Virgin Mary
to left, John the Baptist to the Right.
Choir of angels and Adam and Eve at
far ends
95

96. Adam and Eve more “realistic” than Italian nudes (working off Ancient idealized figures)
96

97. Lower panels:
Community of saints gather around
altar of lamb (symbol of Christ) on
octagonal fountain of life
Right: 12 apostles and a group of
martyrs in red robes
Left: prophets
Far wings: hermits, pilgrims, knights
and judges (4 cardinal virtues
Temperance, Prudence, Fortitude,
Justice)

98. JAN VAN EYCK, Giovanni Arnolfini
and His Bride
Emerging capitalism leads to urban
prosperity and interest in secular themes
(portraiture).
Giovanni Arnolfini-wealthy financier with
ties to Medici family
Holds hand of second wife during a
ceremony (wedding, legal privileges?)
Every object has symbolic
(iconographic) importance.
Man stands on the left near the window
(outside world), woman stands inside
(domestic world).
98

99. Cast aside clogs indicate holy
ground.
99

100. Oranges symbolize wealth and
fertility.
100

101. Dog symbolizes marital fidelity (“fido”).
101

102. Single candle symbolizes presence of God, bedpost crowning ornament is Saint Margaret
patron saint of childbirth)

103. Convex mirror shows two observers
and also symbolizes all seeing eye
of God (framed in the stations of the
cross.)

104. Jan Van Eyck “was here”. Record and sanctify the marriage ?
104

105. JAN VAN EYCK, Man
in a Red Turban
First known portrait in 1,000 years
where sitter looks directly at the
viewer.
Widely considered to be a self-
portrait.
“As I Can” in greek letters
Possible demonstration piece for
prospective clients.
105

106. 106
DIRK BOUTS, Last Supper central
panel of the Altarpiece of the Holy
Sacrament, Saint Peter’s, Louvain,
Belgium, 1464–1468. Oil on wood,
6’ X 5’.

107. Last Supper
• Commissioned by Confraternity
of the Holy Sacrement in
Louvian (4 members appear in
work as servants)
• One of the first Northern
Renaissance paintings to
illustrate the use of a single
vanishing point, although not
completely accurate.
• Focus is on consecration of the
Eucharistic wafer rather than
Judas’ betrayal.
• Biblical figures dressed in
contemporary Flemish attire.

108. LIMBOURG BROTHERS
(POL, JEAN, HERMAN),
January, from Les Très
Riches Heures du Duc de
Berry
The Duke of Berry -avid art patron.
A “Book of Hours” was used for
reciting prayers.
Full-page calendar pictures
represent the 12 months and
associated seasonal tasks
alternating between nobility and
peasantry.
Reinforces the image of the Duke of
Berry as a cultured bibliophile and
sophisticated art patron.
108