The document provides an overview of key artists and works from the Early Renaissance period in Florence, including Fra Angelico, Fra Filippo Lippi, Domenico Veneziano, Andrea del Castagno, and Piero della Francesca. It describes their innovations in techniques like linear perspective and the treatment of forms, figures, and landscapes. Key works discussed include Fra Angelico's Annunciation fresco and Madonna and Child Enthroned altarpiece, demonstrating developments in spatial composition and illusionistic painting.
Romanesque paintings are from medieval period, only depicting religious sentiments. Were enormous in size and covered entire church walls.
"To know more about it......watch this presentation."
This is a very basic overview of Shakespeare's family life. There is no mention of the plays or sonnets. Information was taken from The Norton Shakespeare.
Romanesque paintings are from medieval period, only depicting religious sentiments. Were enormous in size and covered entire church walls.
"To know more about it......watch this presentation."
This is a very basic overview of Shakespeare's family life. There is no mention of the plays or sonnets. Information was taken from The Norton Shakespeare.
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During this forum, Vidya Nath from Frost & Sullivan presented how operators can best take advantage of the cloud to deploy next-generation hybrid TV services. GD Singh of DigiVive followed up with their approach to leveraging cloud-based services.
Дослідження рівня зацікавленості домогосподарств України у проведенні теплової санації власного житла
Визначити загальний рівень зацікавленості домогосподарств України у тепловій санації* власного житла
Визначити основні методи теплової санації власного житла домогосподарствами України
Визначити рейтинг енергоефективних будівельних матеріалів для утеплення огороджувальних конструкцій власного житла серед домогосподарств України
The Christian religious western paintings adopt the palm tree in two major narratives in the life of Jesus:
the Flight to Egypt and his triumphal entrance into Jerusalem at the start of the Passion.
The martyrs were often shown holding a palm frond as an attribute.
Uncommon in the areas of the Roman Campaigna in which landscape painting flourished, the palm tree in the secular landscape paintings of the Mediterranean coast, appear in the 19th century, when they became popular plant
In classical mythological painting is a sacred sign of Apollo, who was born under a palm tree on the island of Delos.
15. The style of their painting differs sharply from that of Angelico’s altarpieces for public view
16. There is even a distinction between the frescoes destined for the monastic community as a whole and those in the individual cells – a reminder of how an artist and his workshop could modify their style and iconographic interpretations according to location and audience
17. Within the monks cells, the observer penetrates into deeper regions of the soul
19. The world seems to retreat, leaving the meditative subject suspended before the cell’s occupant
20. The frescoes in the San Marco cells suggest, through austere color and simplified shapes, that no worldly concerns should trouble the spirit
21. In each painting, Fra Angelico also probes the sensibilities of the individual observer, as Donatello had done in his sculpture
22.
23. Setting is a portico of Corinthian columns that divide his panel into thirds – two occupied by the arches of his portico, the third by three receding arches and a garden
24. The angel centers the portico, bowing and genuflecting before Mary as he delivers his greeting
25. Mary, seated on a chair draped with gold brocade, abandons her book to cross her hands on her breast in acceptance of her destiny
26. Gabriel’s words run from left to right, but Mary’s reply is written upside down and in reverse, from Mary to the angel
27. The angel then replies “the Holy Ghost shall come unto thee…” and directly above Mary’s head, in the shadow under the star-studded ceiling, the dove of the Holy Spirit appears and gives off a golden light
29. Behind the angel’s head, through a doorway and past a partially drawn curtain, we can see into Mary’s bedchamber
30. The garden at the left, a symbol of Mary’s virginity that will reappear in many Quattrocento Annunciations, illustrates the words of the Song of Songs “A garden enclosed is my sister, my spouse”
32. Also identifies the garden with Eden, for at the upper left the weeping figures of Adam and Eve are being gently but firmly expelled
33. This association is natural since Christ is the second Adam and Mary is the second Eve
34. Angelico avoids the drama that is seen in Masaccio’s Expulsion and also the nudity, instead clothing Adam and Eve in the coats of skins God made for them, according to Genesis
35. Fra Angelico is aware of Masaccio’s method of constructing forms and spaces but he limits his chiaroscuro as firmly as he does the emotion in his subjects
36. The slender limbs of his figures are only just discernible under their garments and they seem barely corporeal
37. The faces are drawn with simplicity and purity and they have exquisitely tended blonde hair
38. The poised shapes, the subtle contours and the harmonies of space and light are enhanced by the freshness of his colors
39. The angel, with wings seemingly made of beaten gold, is dressed in a tunic of clear, bright vermilion with bands of golden embroidery
40. Mary’s blue mantle contrasts with the sparkling folds of the cloth of honor that hangs behind her, as do the snowy columns with the richly veined marble of the floor, or the white steps with the flowerly lawn
41.
42. Looking past Mary and her cousin, we see an old woman laboring up the hill toward us and then beyond her a broad landscape, its distance enhanced by shadows of clouds
43. Mary “went into the hill country with hast” wrote Luke in his Gospel
44. Hilly background is important for this subject, which marks the first recognition of the divinity of Christ – the response of John the Baptist while he was still in the womb of Elizabeth
45. The background elements are identifiable as the town of Castigline Fiorentino, the tower of Montecchi and the wide lake that then filled the Chiana Valley below Cortona
46. This may well be the earliest recognizable portrait of a known place in the Renaissance
47. Beyond the sun-drenched town, the plain fuses with the sky in imperceptible gradations of summer sunlight and dusty haze
50. Then we realize that he has exploited the Gothic arches, utilizing the central panel for the cross and ladders and anchoring the bases of the arches to the gates of Jerusalem on one side and to a grove of trees on the other
51. Presents us with a world in which every shape is clear, every color bright and sparkling
52. Christ, gently lowered from the cross, is received by John, Mary Magdalen and others and mourned by the kneeling Virgin and the Marys
53. On the right stand a group of men in contemporary Florentine dress; one wearing a red cappuccio, holds the nails and the crown of thorns, as if to encourage meditation or debate
54. Both he and the young man kneeling in adoration are characterized as beati (blessed) by gold rays emanating from their heads
55. The figures, grouped on a flowering lawn, are united by their devotion to the crucified Christ, whose body is depicted with Fra Angelico’s characteristic reticence and grace, emphasizing beauty rather than suffering
56. One barely notices the bruises on Christ’s torso or the blood on his forehead
57. Instead, attention is concentrated on the quiet face and on the light that draws attention to the lips, eyelids, arching brows and silky surfaces of hair and beard
58. Fra Angelico’s method of stylization presents the distant Jerusalem as an array of multicolored geometric shapes
59. The storm cloud that darkened the sky during the Crucifixion still casts a shadow over some of the city
60. On the right side, trees provide a loose screen through which one looks into a hilly Tuscan landscape punctuated by towns, villages, farmhouses, castles and villas under a sky filled with soft clouds
61.
62. At the center, where the perspective lines converge, the Virgin is enthroned in a Renaissance niche whose Corinthian order is so closely related to Brunelleschi’s new style that he himself may have shown Fra Angelico how such things should be designed
63. The Christ Child, seated as the Divine Ruler, holds a prominent orb painted with a world map that has the Holy Land at its center, marked by a gold star
64. Gold brocades decorate the throne and create a wall over which one looks into the next level of the illusion, an “enclosed garden” of fruit trees, cedars and cypresses, palms and roses; these choices are not merely decorative, for Christ is the fruit of the Tree of Life, and Mary, according to symbolism is a cedar of Lebanon, etc
65. The garden in the background is both the representation and the symbol of these words
66. A circle of angels and saints gather on the steps and on an Anatolian animal carpet which provides the converging orthogonals of the perspective construction; this carpet seems to be precisely rendered, but in fact its border features the red balls of the coat of arms of the monastery’s patron, the Medici
67. In the foreground, the circular composition in space is continued by the kneeling Medici patron saints, Cosmas and Damian, and completed by what seems to be a small panel of the Crucifixion, a picture within a picture
68. This illusionistic device is based on the custom of placing an image of the Crucifixion or the dead Christ on the altar while saying Mass
69. When no such image appeared in the altarpiece, a small panel like the one painted within Fra Angelico’s altarpiece would have to be brought from the sacristy
70. In this case, his illusion is clever, for it provides the needed image while adding another grace note to his highly developed spatial composition
71. This unified grouping of figures within an integrated, continuous, illusionistic space is a new development in Renaissance painting
73. With its perspective construction, lofty central arched throne and pyramidal grouping of figures within a circle in depth, the altarpiece establishes a precedent that may well have been an impetus for the many other centralized, multifigural compositions that were to be created in subsequent decades of the Quattrocento
74. More completely than any work by Fra Filippo Lippi, Fra Angelico’s San Marco altarpiece embodies the ideals of the new phase of the Florentine Renaissance
75. The pictorial space, measured by systematic perspective from the foreground place to the horizon beyond the trees, provides place and scale for every figure and thing
76. The space is projected by dividing the lower edge using the squares in the carpet, then drawing othogonals from these segments to the vanishing point
77. One of the kneeling saints turns and looks outward as he points with his right hand, directing our attention to the center of the picture
78. The use of these two devices – the perspective scheme and the agent who invites us to contemplate the theme – corresponds to the doctrines of Alberti
79. In the predella panels he displayed his versatility in handling both figures and the luminous and atmospheric effects of the natural world
83. When it is seen in its original setting, after making a turn in the staircase, light floods in from a large window to the left, conforming to the painted light within the picture
84. As befits both the fresco medium and the monastic setting, the bright colors and gold of the altarpiece give way to pale tints
85. The architecture is now seen directly from the front, so that the lateral columns recede toward the center of the composition, drawing the viewer’s eye from left to right
86. The greater weight of the columns and the care with which the capitals are rendered probably reveal the painter’s interest in Michelozzo’s architecture, then in construction all about him
87. The mood is less immediate and more contemplative than in the Cortona Annunciation
88. Mary has no book and she sits on a rough-hewn, three-legged wooden stool
89. The fence around her “garden of the soul” is higher and stronger
90. He chamber, stripped of furniture, looks on the world through a barred window, and one is reminded of St. Antoine’s admonition to sweep clean the room of one’s mind and to distrust the eye, the window of the soul
91.
92. Over the door leading from the cloister to the adjoining church
93. The saint has his finger raised in the traditional gesture of silence, reminding the monks that they could speak in the cloister but had to fall silent upon entering church
94. This version shows a standing angel and a kneeling Virgin, slight and frail, who holds her open book to her breast
95. The angel has entered with the light, which falls on the Virgin
96. They are united by the simple rhythms of the plain architecture, which is like the cell it adorns
97.
98.
99. Period comprised the decline of the Florentine banking houses, including that of the Medici, but it also saw the establishment of a new social and intellectual aristocracy among the Medici and their supporters
100. These humanistically oriented patrons commissioned buildings, statues, portraits and altarpieces in the new classicizing style