Humanism and the Allure of Antiquity PART 2
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1) Masaccio was an early 15th century Italian painter who took Giotto's innovations in space and light further in works like the Brancacci Chapel frescoes. 2) In his fresco The Tribute Money, Masaccio introduced techniques like linear perspective, atmospheric perspective, and chiaroscuro to depict realistic three-dimensional space. 3) His fresco Holy Trinity in Santa Maria Novella was one of the first paintings to use mathematical linear perspective to depict space and features ascending figures to represent the journey from death to resurrection.
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This document is a course syllabus for an Art History 2 class at Palm Beach State College. It outlines the course details including dates, credit hours, required textbook, learning outcomes, assignments, grading procedures, class policies on attendance and electronic device use. The course is a comparative exploration of European and American art from the Late Gothic to early 20th Century focusing on the formal qualities of art and larger social and historical contexts that influenced various art forms.
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A Visual Guide to 1 Samuel | A Tale of Two Hearts
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
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Humanism and the Allure of Antiquity PART 2
- 1. Humanism and the Allure of Antiquity PART2
- 2. “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) 2
- 3. Santa Maria del Carmine 3
- 4. 4
- 5. Brancacci Chapel Images of St. Peter’s life by various artists 5
- 6. 6
- 7. 7
- 8. 8 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 7 1/8”.
- 9. 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. 9
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- 22. 22 Figural forms (especially the tax collector) suggest bones, muscles, and the pressures on tendons and joints to convey contained energy.
- 23. Chiaroscuro (cast light and shadow) 23
- 24. 24
- 26. 26 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.
- 27. 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. 27
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- 34. Mary 34
- 35. St. John 35
- 36. Lorenzo Lenzi and Wife 36
- 38. 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. 38
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- 42. I once was what you are and what I am you also will be. 42
- 43. Memento Mori A visual reminder of human mortality. 43
- 44. Memento Mori Today we might interpret this as a reminder to “seize the day” or live life to it’s fullest, but at the time it is more an exhortation to repent so that one might join the kingdom of heaven. 44
- 45. 45 DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.
- 46. Medici Palace and Garden entry way 46
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- 51. Contrapposto 51
- 52. overt eroticism
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- 55. First freestanding nude since Classical antiquity. Nudity usually associated with shame and sin. 55
- 56. 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 56
- 57. 57 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.
- 58. DONATELLO, Penitent Mary Magdalene, ca. 1455. Painted and gilded wood, 6’ 2” high. Museo dell’Opera del Duomo, Florence. 58
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- 60. Rejection of the material world for a secluded spiritual life Sculpture acts as a “moral conscience” for the city of Florence 60
- 61. 61
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- 63. 63
- 64. 64 DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high.
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