During the 15th century Italian Renaissance, culture flourished in Italian city-states like Florence, Ferrara, and Venice. Artists developed techniques like linear perspective and proportion in painting to create more realistic depictions. Important architectural innovations included Filippo Brunelleschi's dome for Florence Cathedral, which used inner and outer domes for stability without wooden supports. Renaissance buildings featured open plans, symmetry, and classical influences to emphasize harmony.
During the 15th century Italian Renaissance, major developments occurred in the arts and culture of Italian city-states. Artists studied classical styles and humanist ideals, developing techniques like linear perspective to create highly realistic paintings and sculptures. Wealthy ruling families commissioned large works that featured the nude human form and explored pagan themes. Architects like Brunelleschi and Alberti designed buildings using principles of proportion, symmetry, and light-filled interior spaces.
The document provides an overview of 16th century art in Northern Europe and the Iberian Peninsula during the Late Renaissance period from 1500-1600. It summarizes that the Protestant Reformation led to iconoclasm and the destruction of religious artwork. Artists had to find new ways to depict religious figures without appearing idolatrous. Northern European artists were influenced by the Italian Renaissance but developed their own traditions, such as a focus on detailed realism and landscape paintings. Examples discussed include Albrecht Durer's fusion of Northern realism with Italian monumentality, and significant architectural works like The Escorial in Spain and the Louvre in France that blended Italian and local styles.
The document provides an overview of developments in Italian Renaissance art and architecture during the 15th century. It discusses how art was influenced by classical styles and humanism, with an emphasis on realistic perspective in paintings and nude figures. Important architects like Brunelleschi and Alberti designed buildings using mathematics, symmetry, and light-filled spaces. Painters like Masaccio and del Castagno created frescoes applying linear perspective and individualized figures.
15th Century Art in Northern Europe and the Iberian Peninsulasmolinskiel
In 15th century Northern Europe and the Iberian Peninsula, International Gothic style dominated painting. Flemish paintings featured symbolically rich layers of meaning in crowded compositions. Secular art and architecture became more important. Printmaking was introduced, allowing art to be mass produced for the first time. Rich middle classes supported the arts, fueling the Renaissance. Notable works included Jan van Eyck's Arnolfini Wedding and Ghent Altarpiece, both featuring intricate symbolism and realistic details. Hugo van der Goes' Portinari Altarpiece depicted the Virgin Mary in a hospital chapel.
This document provides an overview of art in 14th century Europe, with a focus on Italy. It discusses the transition from Medieval to Renaissance styles, with artists gaining more individual recognition. Architecture flourished in Italy, as seen in cathedrals like Florence Cathedral with its dome designed by Brunelleschi. Painting advanced as well, with Giotto introducing more realistic, three-dimensional figures and masterworks like the Scrovegni Chapel frescoes. Sienese painters like Duccio and Simone Martini also contributed with their more decorative styles. Overall, the document outlines the major artistic developments and works in Italy during this transitional period between eras.
This document provides an overview of Baroque art and architecture from 1600-1700 in Europe. It begins with definitions of Baroque and its key differences from Renaissance styles. The summary then discusses the main characteristics and developments of Baroque in Italy, France, and England. For Italy, works by Bernini such as St. Peter's colonnade and Borromini's San Carlo alle Quattro Fontane are analyzed. Versailles palace is covered for France. Key English works mentioned include St. Paul's Cathedral and Blenheim Palace. Sculptors like Bernini and painters including Caravaggio and Rubens are also discussed.
The document provides information on 15th century art in Northern Europe and the Iberian Peninsula presented in chapter 18 of some student slides. It discusses several key artworks from the time period including their artists, dates, locations, materials, subjects, and significance. The document focuses on analyzing stylistic features and providing context for the artworks within the larger developments and themes of 15th century Northern European art.
During the 15th century Italian Renaissance, major developments occurred in the arts and culture of Italian city-states. Artists studied classical styles and humanist ideals, developing techniques like linear perspective to create highly realistic paintings and sculptures. Wealthy ruling families commissioned large works that featured the nude human form and explored pagan themes. Architects like Brunelleschi and Alberti designed buildings using principles of proportion, symmetry, and light-filled interior spaces.
The document provides an overview of 16th century art in Northern Europe and the Iberian Peninsula during the Late Renaissance period from 1500-1600. It summarizes that the Protestant Reformation led to iconoclasm and the destruction of religious artwork. Artists had to find new ways to depict religious figures without appearing idolatrous. Northern European artists were influenced by the Italian Renaissance but developed their own traditions, such as a focus on detailed realism and landscape paintings. Examples discussed include Albrecht Durer's fusion of Northern realism with Italian monumentality, and significant architectural works like The Escorial in Spain and the Louvre in France that blended Italian and local styles.
The document provides an overview of developments in Italian Renaissance art and architecture during the 15th century. It discusses how art was influenced by classical styles and humanism, with an emphasis on realistic perspective in paintings and nude figures. Important architects like Brunelleschi and Alberti designed buildings using mathematics, symmetry, and light-filled spaces. Painters like Masaccio and del Castagno created frescoes applying linear perspective and individualized figures.
15th Century Art in Northern Europe and the Iberian Peninsulasmolinskiel
In 15th century Northern Europe and the Iberian Peninsula, International Gothic style dominated painting. Flemish paintings featured symbolically rich layers of meaning in crowded compositions. Secular art and architecture became more important. Printmaking was introduced, allowing art to be mass produced for the first time. Rich middle classes supported the arts, fueling the Renaissance. Notable works included Jan van Eyck's Arnolfini Wedding and Ghent Altarpiece, both featuring intricate symbolism and realistic details. Hugo van der Goes' Portinari Altarpiece depicted the Virgin Mary in a hospital chapel.
This document provides an overview of art in 14th century Europe, with a focus on Italy. It discusses the transition from Medieval to Renaissance styles, with artists gaining more individual recognition. Architecture flourished in Italy, as seen in cathedrals like Florence Cathedral with its dome designed by Brunelleschi. Painting advanced as well, with Giotto introducing more realistic, three-dimensional figures and masterworks like the Scrovegni Chapel frescoes. Sienese painters like Duccio and Simone Martini also contributed with their more decorative styles. Overall, the document outlines the major artistic developments and works in Italy during this transitional period between eras.
This document provides an overview of Baroque art and architecture from 1600-1700 in Europe. It begins with definitions of Baroque and its key differences from Renaissance styles. The summary then discusses the main characteristics and developments of Baroque in Italy, France, and England. For Italy, works by Bernini such as St. Peter's colonnade and Borromini's San Carlo alle Quattro Fontane are analyzed. Versailles palace is covered for France. Key English works mentioned include St. Paul's Cathedral and Blenheim Palace. Sculptors like Bernini and painters including Caravaggio and Rubens are also discussed.
The document provides information on 15th century art in Northern Europe and the Iberian Peninsula presented in chapter 18 of some student slides. It discusses several key artworks from the time period including their artists, dates, locations, materials, subjects, and significance. The document focuses on analyzing stylistic features and providing context for the artworks within the larger developments and themes of 15th century Northern European art.
14th Century Art in Europe Student Slidessmolinskiel
This document provides information on several artworks from 14th century Europe. It describes an ivory sculpture of the Virgin and Child from the Sainte-Chapelle in Paris that represents the pinnacle of Gothic art. It also discusses a tabernacle sculpture featuring the Madonna and Child from Florence, and a fresco of the Nativity with Prophets from Siena. Finally, it summarizes artworks housed in cathedrals and churches in England, Germany, and the Czech Republic that demonstrate innovations in Gothic architectural styles during this period.
19th Century Art in Europe and the US: PART 1smolinskiel
Romanticism was a dominant movement in 19th century art in Europe and the United States. It focused on emotion, imagination, and individuality over rational thought. Key Romantic artists included Goya, Gericault, and Delacroix who depicted dramatic subjects and political themes. Romantic architecture revived past styles like Gothic and incorporated new technologies like iron. The development of photography also influenced painting during this period.
Baroque sculpture was often commissioned by the church and nobility for public spaces like courtyards and fountains. It had characteristics like complicated diagonal lines, dramatic lighting effects, and grand gestures. Famous sculptors included Bernini in Italy, known for capturing motion in stone, Girardon in France who worked for Louis XIV, and Gregorio Fernandez in Spain, renowned for his realistic depictions of human anatomy and emotion in religious works. Rococo sculpture became more decorative and emphasized technical skill, with allegorical works and portraits of great men placed in gardens and parks.
This document provides information on several artworks from the Northern Renaissance and Italian Quattrocento periods. It describes Robert Campin's Mérode Altarpiece, highlighting symbols like candles and flowers. It also summarizes Hugo van der Goes' Portinari Altarpiece, noting figures' sizes and symbols like wheat. Pietro Perugino's fresco Christ Delivering the Keys to Saint Peter is analyzed for its use of linear perspective and figures lined up in a classical plaza.
The document summarizes key aspects of art in the High Renaissance period of the 16th century in Europe. It discusses the mastery of techniques like perspective, accurate human anatomy, and use of light/shadow by Renaissance artists. It profiles influential artists like Leonardo da Vinci, Michelangelo, Raphael, and Titian and describes their major works, materials used, and how they embodied Renaissance ideals like humanism. Their works depicted religious subjects, classical mythology, and portraits in ways that advanced realism through composition and illusionistic techniques.
19th Century Art in Europe and the US: Part 2smolinskiel
The document provides an overview of major art movements and developments in Europe and the United States during the 19th century, including Realism, Impressionism, and Post-Impressionism. It discusses key artists such as Courbet, Millet, Daumier, Manet, Homer, Bonheur, Eakins, and Tanner. Their works depicted ordinary subjects with accuracy and objectivity, rejected traditional styles and subject matter, and responded to industrialization and social changes of the time. New techniques like lithography and plein air painting also emerged. The document examines how these artists captured the spirit of their era through paintings of peasants, landscapes, still lifes, and scenes of modern life.
The document provides an overview of major themes and developments in Italian art during the 15th century Quattrocento era. Key points include: scholars and artists became fascinated with classical antiquity and its influence can be seen in their realistic depictions of the human form and natural world; the Catholic Church was an important patron for artworks depicting biblical scenes in a realistic style; humanism and a focus on human potential and civic responsibility were dominant concerns; linear perspective and realistic rendering of space/volume became widespread techniques due to pioneers like Brunelleschi; major artists discussed include Masaccio, Donatello, Piero della Francesca, Botticelli, and others. Architecture developed new styles inspired by classical forms like in Brun
The document discusses the Medieval Period, characterized by feudalism and the power of the Catholic Church. It describes various forms of art from this period like stained glass windows, sculptures, illuminated manuscripts, paintings, and tapestries. These art forms served to teach religion through visual stories and images to those who could not read. The art had distinctive characteristics like religious subjects portrayed with flat, stiff figures in vibrant colors against plain backgrounds.
The Italian Renaissance occurred between the 14th and 17th centuries and was centered in Florence and Rome. It was characterized by a revival of classical Greco-Roman artistic and intellectual traditions and a focus on humanism. Key Renaissance artistic innovations included the development of techniques like linear perspective, sfumato, and chiaroscuro. Famous Renaissance artists included Filippo Brunelleschi, Lorenzo Ghiberti, Leonardo da Vinci, Michelangelo, and Raphael. Their works emphasized realistic proportions, foreshortening, and secular themes. Renaissance architecture revived classical orders and symmetry while sculpture emphasized realistic portrayals of the human form. Overall, the Renaissance marked a shift from medieval to modern Western civilization.
The document summarizes Mannerism in the later 16th century in Italy. It emerged in the 1520s in reaction to High Renaissance styles like Raphael. Key features included artificiality, twisted figures, and complex compositions that were difficult to interpret. Major mannerist artists included Pontormo, Bronzino, and Parmigianino. Architecture during this period synthesized mannerist and classical elements, as seen in the works of Palladio. The Counter Reformation also influenced art through directives from the Council of Trent.
Baroque painting is characterized by complicated compositions with different centers of attention, dynamic and complicated lines often using diagonals, and rich colors designed to create dramatic effects. Major Baroque painters include Caravaggio who used strong contrasts of light, Carracci who combined naturalism with idealization, Rubens who achieved balance between realism and idealism, Rembrandt with his mastery of light and shadow, and Velazquez who gave equal importance to subjects from royal portraits to everyday scenes. Rococo painting featured sensual beauty and depictions of high society, with Watteau, Fragonard, and Tiepolo portraying elegant figures in vibrant colors.
This document provides an overview of Renaissance art from the 13th to 17th centuries. It describes key developments like the invention of oil paints and linear perspective. Major artists discussed include Da Vinci, Michelangelo, Raphael, Botticelli, and northern European masters like Durer and Van Eyck. The text outlines the three periods of the Renaissance - Early, Italian, and Northern - and highlights influential works and artistic advancements during this time of rebirth and revival of classical ideas.
The document discusses art and architecture during the Italian Renaissance period. It notes that Italians greatly valued art and artists during this time. The three main art forms that developed were architecture, sculpture, and painting. Notable Renaissance artists mentioned include Filippo Brunelleschi, Donatello, who sculpted the first bronze statue, Lorenzo Ghiberti who made bronze doors, Giotto di Bondone who painted frescoes of St. Francis of Assisi, and Masaccio. The three giants of the High Renaissance highlighted were Leonardo da Vinci, Michelangelo, and Raphael. Michelangelo's famous works mentioned were David and Pietà.
The document provides an overview of Renaissance art, which originated in 15th century Italy in Florence and saw a rebirth of classical Greco-Roman artistic styles and techniques. Key characteristics included a focus on classicism, realism, perspective, and the human figure. Major artists from this period included Brunelleschi, Donatello, Michelangelo, Leonardo Da Vinci, and Raphael. The Renaissance then spread to other parts of Europe, including the development of oil painting techniques in Flanders by artists such as the Van Eyck brothers and Hieronymus Bosch.
The Baroque art movement originated in the 17th-18th centuries, emphasizing motion, drama, and emotion over Renaissance ideals. Religious Baroque art served as Counter-Reformation propaganda, depicting miracles and martyrdom to reinforce Catholic traditions against Protestantism. Secular Baroque art depicted the splendor and absolute power of monarchs. Notable artists included Bernini, Caravaggio, and Velázquez. Spanish Baroque art and architecture focused on Catholic religious subjects through extreme realism and ornate styles.
This document compares two paintings from different time periods and locations, and profiles several Renaissance artists. A 12th century painting from the Netherlands portrayed human beings differently than a 16th century Italian painting. Giotto di Bondone was an early Renaissance painter from Florence who created realistic frescoes. Michelangelo created works for popes in the 16th century, indicating the power and wealth of the papacy at that time. Leonardo da Vinci worked for various Italian city rulers who expected him to be a versatile artist and engineer.
1) Florence established itself as a center of art and architecture in the early 15th century after gaining independence. Major projects like the dome of Santa Maria del Fiore were completed during this period.
2) Brunelleschi and Ghiberti competed to design the baptistery doors, with Ghiberti winning. Brunelleschi then turned his attention to solving the engineering challenges of building the dome of Florence Cathedral, establishing new construction methods.
3) Wealthy families like the Medicis became important patrons of the arts, commissioning works from artists such as Donatello, Masaccio, and Botticelli. These artists helped establish ideals of naturalism, perspective, and classical inspiration that
This document provides an overview of Renaissance and Mannerism painting. It discusses key characteristics like naturalism, rationalism, and idealization in Renaissance works. Major Renaissance artists like Masaccio, Botticelli, Leonardo da Vinci, Raphael, and Michelangelo are profiled. The document also describes techniques used during the Renaissance and Mannerism periods like fresco painting, oil painting, and the development of engraving. Key themes in works are also outlined like religious subjects and the growing importance of portraiture and landscape. Characteristics of Mannerism painting like surprising compositions and deformations are also summarized.
The Baroque period lasted from 1600-1750 originating in Counter-Reformation Italy. Baroque art and architecture was dramatic, emotional, and ornate meant to impress viewers and express power. Key features included exaggerated lighting, intense emotions, and high detail. Masters like Caravaggio, Rubens, Rembrandt, and Bernini created emotional, dynamic paintings and sculptures while architects like Bernini and Borromini designed grand churches and squares. Baroque styles then spread across Europe especially in painting, sculpture, architecture, music, and decorative arts.
The document provides an overview of art and architecture in 15th century Florence during the early Renaissance period. It discusses the increased influence of classical art and humanism, as well as the patronage of wealthy families. Important artistic achievements are highlighted, including the development of linear perspective, modeling forms with chiaroscuro, and incorporating classical elements into architecture. Key artists such as Brunelleschi, Ghiberti, Donatello, Masaccio, and Botticelli are mentioned, along with some of their most famous works that exemplified Renaissance styles and ideals.
The document discusses four prominent families from the Renaissance in Florence - the Pazzi, Medici, Rucellai, and Albizzi families. It provides pictures and details about the chapels and palazzos commissioned by each family, including the Pazzi Chapel designed by Brunelleschi, the Palazzo de' Medici designed by Michelozzo, and the Palazzo Rucellai designed by Leon Battista Alberti. Unfortunately, no picture was found of the Albizzi house.
14th Century Art in Europe Student Slidessmolinskiel
This document provides information on several artworks from 14th century Europe. It describes an ivory sculpture of the Virgin and Child from the Sainte-Chapelle in Paris that represents the pinnacle of Gothic art. It also discusses a tabernacle sculpture featuring the Madonna and Child from Florence, and a fresco of the Nativity with Prophets from Siena. Finally, it summarizes artworks housed in cathedrals and churches in England, Germany, and the Czech Republic that demonstrate innovations in Gothic architectural styles during this period.
19th Century Art in Europe and the US: PART 1smolinskiel
Romanticism was a dominant movement in 19th century art in Europe and the United States. It focused on emotion, imagination, and individuality over rational thought. Key Romantic artists included Goya, Gericault, and Delacroix who depicted dramatic subjects and political themes. Romantic architecture revived past styles like Gothic and incorporated new technologies like iron. The development of photography also influenced painting during this period.
Baroque sculpture was often commissioned by the church and nobility for public spaces like courtyards and fountains. It had characteristics like complicated diagonal lines, dramatic lighting effects, and grand gestures. Famous sculptors included Bernini in Italy, known for capturing motion in stone, Girardon in France who worked for Louis XIV, and Gregorio Fernandez in Spain, renowned for his realistic depictions of human anatomy and emotion in religious works. Rococo sculpture became more decorative and emphasized technical skill, with allegorical works and portraits of great men placed in gardens and parks.
This document provides information on several artworks from the Northern Renaissance and Italian Quattrocento periods. It describes Robert Campin's Mérode Altarpiece, highlighting symbols like candles and flowers. It also summarizes Hugo van der Goes' Portinari Altarpiece, noting figures' sizes and symbols like wheat. Pietro Perugino's fresco Christ Delivering the Keys to Saint Peter is analyzed for its use of linear perspective and figures lined up in a classical plaza.
The document summarizes key aspects of art in the High Renaissance period of the 16th century in Europe. It discusses the mastery of techniques like perspective, accurate human anatomy, and use of light/shadow by Renaissance artists. It profiles influential artists like Leonardo da Vinci, Michelangelo, Raphael, and Titian and describes their major works, materials used, and how they embodied Renaissance ideals like humanism. Their works depicted religious subjects, classical mythology, and portraits in ways that advanced realism through composition and illusionistic techniques.
19th Century Art in Europe and the US: Part 2smolinskiel
The document provides an overview of major art movements and developments in Europe and the United States during the 19th century, including Realism, Impressionism, and Post-Impressionism. It discusses key artists such as Courbet, Millet, Daumier, Manet, Homer, Bonheur, Eakins, and Tanner. Their works depicted ordinary subjects with accuracy and objectivity, rejected traditional styles and subject matter, and responded to industrialization and social changes of the time. New techniques like lithography and plein air painting also emerged. The document examines how these artists captured the spirit of their era through paintings of peasants, landscapes, still lifes, and scenes of modern life.
The document provides an overview of major themes and developments in Italian art during the 15th century Quattrocento era. Key points include: scholars and artists became fascinated with classical antiquity and its influence can be seen in their realistic depictions of the human form and natural world; the Catholic Church was an important patron for artworks depicting biblical scenes in a realistic style; humanism and a focus on human potential and civic responsibility were dominant concerns; linear perspective and realistic rendering of space/volume became widespread techniques due to pioneers like Brunelleschi; major artists discussed include Masaccio, Donatello, Piero della Francesca, Botticelli, and others. Architecture developed new styles inspired by classical forms like in Brun
The document discusses the Medieval Period, characterized by feudalism and the power of the Catholic Church. It describes various forms of art from this period like stained glass windows, sculptures, illuminated manuscripts, paintings, and tapestries. These art forms served to teach religion through visual stories and images to those who could not read. The art had distinctive characteristics like religious subjects portrayed with flat, stiff figures in vibrant colors against plain backgrounds.
The Italian Renaissance occurred between the 14th and 17th centuries and was centered in Florence and Rome. It was characterized by a revival of classical Greco-Roman artistic and intellectual traditions and a focus on humanism. Key Renaissance artistic innovations included the development of techniques like linear perspective, sfumato, and chiaroscuro. Famous Renaissance artists included Filippo Brunelleschi, Lorenzo Ghiberti, Leonardo da Vinci, Michelangelo, and Raphael. Their works emphasized realistic proportions, foreshortening, and secular themes. Renaissance architecture revived classical orders and symmetry while sculpture emphasized realistic portrayals of the human form. Overall, the Renaissance marked a shift from medieval to modern Western civilization.
The document summarizes Mannerism in the later 16th century in Italy. It emerged in the 1520s in reaction to High Renaissance styles like Raphael. Key features included artificiality, twisted figures, and complex compositions that were difficult to interpret. Major mannerist artists included Pontormo, Bronzino, and Parmigianino. Architecture during this period synthesized mannerist and classical elements, as seen in the works of Palladio. The Counter Reformation also influenced art through directives from the Council of Trent.
Baroque painting is characterized by complicated compositions with different centers of attention, dynamic and complicated lines often using diagonals, and rich colors designed to create dramatic effects. Major Baroque painters include Caravaggio who used strong contrasts of light, Carracci who combined naturalism with idealization, Rubens who achieved balance between realism and idealism, Rembrandt with his mastery of light and shadow, and Velazquez who gave equal importance to subjects from royal portraits to everyday scenes. Rococo painting featured sensual beauty and depictions of high society, with Watteau, Fragonard, and Tiepolo portraying elegant figures in vibrant colors.
This document provides an overview of Renaissance art from the 13th to 17th centuries. It describes key developments like the invention of oil paints and linear perspective. Major artists discussed include Da Vinci, Michelangelo, Raphael, Botticelli, and northern European masters like Durer and Van Eyck. The text outlines the three periods of the Renaissance - Early, Italian, and Northern - and highlights influential works and artistic advancements during this time of rebirth and revival of classical ideas.
The document discusses art and architecture during the Italian Renaissance period. It notes that Italians greatly valued art and artists during this time. The three main art forms that developed were architecture, sculpture, and painting. Notable Renaissance artists mentioned include Filippo Brunelleschi, Donatello, who sculpted the first bronze statue, Lorenzo Ghiberti who made bronze doors, Giotto di Bondone who painted frescoes of St. Francis of Assisi, and Masaccio. The three giants of the High Renaissance highlighted were Leonardo da Vinci, Michelangelo, and Raphael. Michelangelo's famous works mentioned were David and Pietà.
The document provides an overview of Renaissance art, which originated in 15th century Italy in Florence and saw a rebirth of classical Greco-Roman artistic styles and techniques. Key characteristics included a focus on classicism, realism, perspective, and the human figure. Major artists from this period included Brunelleschi, Donatello, Michelangelo, Leonardo Da Vinci, and Raphael. The Renaissance then spread to other parts of Europe, including the development of oil painting techniques in Flanders by artists such as the Van Eyck brothers and Hieronymus Bosch.
The Baroque art movement originated in the 17th-18th centuries, emphasizing motion, drama, and emotion over Renaissance ideals. Religious Baroque art served as Counter-Reformation propaganda, depicting miracles and martyrdom to reinforce Catholic traditions against Protestantism. Secular Baroque art depicted the splendor and absolute power of monarchs. Notable artists included Bernini, Caravaggio, and Velázquez. Spanish Baroque art and architecture focused on Catholic religious subjects through extreme realism and ornate styles.
This document compares two paintings from different time periods and locations, and profiles several Renaissance artists. A 12th century painting from the Netherlands portrayed human beings differently than a 16th century Italian painting. Giotto di Bondone was an early Renaissance painter from Florence who created realistic frescoes. Michelangelo created works for popes in the 16th century, indicating the power and wealth of the papacy at that time. Leonardo da Vinci worked for various Italian city rulers who expected him to be a versatile artist and engineer.
1) Florence established itself as a center of art and architecture in the early 15th century after gaining independence. Major projects like the dome of Santa Maria del Fiore were completed during this period.
2) Brunelleschi and Ghiberti competed to design the baptistery doors, with Ghiberti winning. Brunelleschi then turned his attention to solving the engineering challenges of building the dome of Florence Cathedral, establishing new construction methods.
3) Wealthy families like the Medicis became important patrons of the arts, commissioning works from artists such as Donatello, Masaccio, and Botticelli. These artists helped establish ideals of naturalism, perspective, and classical inspiration that
This document provides an overview of Renaissance and Mannerism painting. It discusses key characteristics like naturalism, rationalism, and idealization in Renaissance works. Major Renaissance artists like Masaccio, Botticelli, Leonardo da Vinci, Raphael, and Michelangelo are profiled. The document also describes techniques used during the Renaissance and Mannerism periods like fresco painting, oil painting, and the development of engraving. Key themes in works are also outlined like religious subjects and the growing importance of portraiture and landscape. Characteristics of Mannerism painting like surprising compositions and deformations are also summarized.
The Baroque period lasted from 1600-1750 originating in Counter-Reformation Italy. Baroque art and architecture was dramatic, emotional, and ornate meant to impress viewers and express power. Key features included exaggerated lighting, intense emotions, and high detail. Masters like Caravaggio, Rubens, Rembrandt, and Bernini created emotional, dynamic paintings and sculptures while architects like Bernini and Borromini designed grand churches and squares. Baroque styles then spread across Europe especially in painting, sculpture, architecture, music, and decorative arts.
The document provides an overview of art and architecture in 15th century Florence during the early Renaissance period. It discusses the increased influence of classical art and humanism, as well as the patronage of wealthy families. Important artistic achievements are highlighted, including the development of linear perspective, modeling forms with chiaroscuro, and incorporating classical elements into architecture. Key artists such as Brunelleschi, Ghiberti, Donatello, Masaccio, and Botticelli are mentioned, along with some of their most famous works that exemplified Renaissance styles and ideals.
The document discusses four prominent families from the Renaissance in Florence - the Pazzi, Medici, Rucellai, and Albizzi families. It provides pictures and details about the chapels and palazzos commissioned by each family, including the Pazzi Chapel designed by Brunelleschi, the Palazzo de' Medici designed by Michelozzo, and the Palazzo Rucellai designed by Leon Battista Alberti. Unfortunately, no picture was found of the Albizzi house.
St. Peter's Basilica
Antonio da Sangallo the Younger submitted a plan for St. Peter's Basilica that combined features of Peruzzi, Raphael and Bramante. His design extended the building into a short nave with a wide facade and portico. His proposal for the dome was more elaborate in both structure and decoration than Bramante's.
Palazzo Farnese
Antonio da Sangallo the Younger designed and oversaw construction of the Palazzo Farnese, a large Renaissance palace in Rome. The palace features a rusticated basement and piano nobile separated by an imposing cornice. Its facade employs pilasters and entablatures in
The Renaissance style of architecture originated in Italy in the 14th century and spread across Europe between the 15th and 17th centuries. Key characteristics included emphasis on symmetry, proportion, geometry and classical orders inspired by ancient Roman architecture. Major Renaissance architects included Brunelleschi, Alberti, Bramante, Michelangelo, and Palladio. Their works saw experimentation with architectural forms and space influenced by classical antiquity. Renaissance architecture was adopted with regional variations in countries like France, the Netherlands, and England during this period.
A business case, inspired by the reality of my business to illustrate how to use the research survey results of #Femininsight. More info on http://omnimediavore.blogspot.com and on twitter @iewoman
The mausoleum of Mughal Emperor Jahangir, who ruled India from 1605 to 1627, is located near Shahdara Bagh in Lahore, Pakistan. Jahangir's son Shah Jahan built the mausoleum 10 years after his father's death in the style of Mughal architecture, featuring a quadrangle design with gardens and four minarets surrounding the tomb. The interior is decorated with beautiful paintings and patterns, and the sepulcher itself is decorated with precious gemstones and inscriptions of Allah's name, augmenting its splendor.
León Battista Alberti fue un arquitecto, matemático, humanista y poeta italiano del siglo XV que diseñó varias iglesias y edificios notables como la fachada de la iglesia de San Andrés en Mantua y el palacio Rucellai en Florencia.
El Palazzo Pitti es un palacio renacentista en Florencia, Italia. Originalmente construido para la familia Pitti en el siglo XV, ahora alberga varios museos y galerías que contienen obras de arte de la familia Medici y otros coleccionistas. El palacio ofrece una mirada fascinante a la vida de la realeza y la nobleza en el Renacimiento italiano.
The Palazzo Pitti in Florence, Italy is a vast Renaissance palace situated along the Arno River. It was originally commissioned in 1458 by banker Luca Pitti and expanded over the centuries, housing important art museums and the former royal apartments. The palace and its collections were donated to the Italian people in 1919 and are now some of Florence's largest art galleries. It features rusticated stonework and Roman aqueduct-inspired arcades that give the palace a powerful atmosphere.
The Palazzo Rucellai is a 15th century palace in Florence designed by Leon Battista Alberti for the wealthy merchant Giovanni Rucellai between 1446-1451. Alberti designed a symmetrical facade using classical elements like pilasters, entablatures and orders to denote different floors. The ground floor featured the Tuscan order and was higher than upper floors for business. The second floor featured Ionic pilasters and was the main reception area. The third floor had Corinthian pilasters and was the private family quarters. The palace influenced later Renaissance architecture with its rational classical design.
Palazzo Medici Riccardi - Precedent StudiesJYRyanKerry
The Palazzo Medici Riccardi in Florence exemplifies Renaissance architecture principles through its symmetrical forms, classical elements, and emphasis on order and geometry. The façade uses a tripartite elevation with decreasing height and ornamentation moving up. It features paired windows, arched openings, and decorative cornices. The interior courtyard draws from Brunelleschi's designs with an open loggia surrounded by repetitive arched openings. It balances simplicity and strength through its symmetrical arrangement and use of classical motifs.
Developed by María Jesús Campos Fernández, Geography and History teacher in a bilingual section in Alcorcón, Madrid (Spain)
learningfromhistory.wikispaces.com
learningfromgeography.wikispaces.com
Leon Battista Alberti was an Italian Renaissance humanist, author, architect, poet, linguist, philosopher, and general Renaissance man. He was born in Genoa in 1404 to a wealthy Florentine merchant family. He received an education in mathematics, law, and the classics. As an architect, some of his most notable works included the façade of Santa Maria Novella in Florence and the Tempio Malatestiano in Rimini. He was a pioneer in the early Renaissance and made important contributions in the fields of architecture, linguistics, poetry, and philosophy.
The document outlines an introduction to art course covering visual perception and the formal elements and principles of art. It discusses Gestalt theory and how artists use techniques like line, shape, color, texture, balance, emphasis, and repetition. Examples of famous artworks are provided to illustrate concepts like perspective, value, color schemes, and applying principles of design.
Contrapposto Linked In Presentation2009 Win97Maria Kostelac
1) Contrapposto Consulting provides IT service management training, consulting, and corporate briefings.
2) The company is run by Maria Kostelac, who combines her IT sales, training, and consulting experience to ensure each customer interaction focuses on their challenges and solutions.
3) Services include ITSM training, ISO20000 consulting, customized workshops and seminars, briefing and presentations on ITSM, ISO20000, and conferences.
The document summarizes information about the Palazzo Medici Riccardi in Florence, Italy. It was commissioned by Cosimo de' Medici in the 1440s and designed by Michelozzo di Bartolomeo. Key features include its square plan centered around an open courtyard, use of classical Roman elements like rusticated masonry and cornices, and tripartite street elevation divided into sections of varying textures. The courtyard, known as the Courtyard of the Columns, features a colonnade and emphasized the Renaissance principles of order, symmetry, and proportion.
The parable describes 10 virgins who take their lamps to go meet the bridegroom. Five were foolish and didn't bring extra oil for their lamps. When the bridegroom was delayed, they all fell asleep. At midnight, they were roused by the announcement that the bridegroom had arrived. The foolish virgins realized their lamps were going out and asked the wise ones for oil, but were told to go buy their own. By the time they returned, the door was shut and they were left outside.
The document contains a series of passages from the Bible discussing the parable of the ten virgins. The parable tells of five virgins who brought oil for their lamps to welcome the bridegroom and five who did not, representing the need to be prepared for Christ's return. The passages emphasize themes of being watchful and ready, maintaining one's faith, and having enough oil or faith to light the way for others.
The document provides an overview of classical Greek art from 480-323 BCE, known as the Early Classical, High Classical, and Late Classical periods. It discusses important sculptures, architectural works, and artistic styles that developed during this time, including the Kritios Boy, works by Polykleitos and Lysippos, and major buildings on the Acropolis like the Parthenon and Erechtheion.
Virginia Woolf was a famous English writer born in 1882 who wrote during a time of great social and cultural change in Britain after World War I. She experienced several mental breakdowns throughout her life following the deaths of family members and sexual abuse by her half-brother. Her novel Mrs. Dalloway, written when she was 43, dealt with the devastation of World War I and the dramatic changes it brought to Western society. Woolf struggled with balancing her need for independence against the social expectations of her class. She ultimately drowned herself in 1941 near her home in Sussex.
The document provides an overview of early Renaissance architecture in Italy. It discusses how the Renaissance began as dissatisfaction with medieval life led to new discoveries inspired by ancient Roman and Greek architecture. Filippo Brunelleschi was a pioneering architect of the early Renaissance, designing the dome of Florence Cathedral and rediscovering linear perspective. Other architects like Alberti and Bramante further developed Renaissance styles and proportions based on classical orders, influencing buildings like churches, palaces, and piazzas across Italy.
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.
The document provides an overview of Byzantine art from 500-1453 CE. It discusses that the Byzantine Empire emerged after the split of the Western and Eastern Roman Empire. Key aspects of Byzantine art included the use of mosaics and icons in religious works commissioned by the Church and state. Important architectural innovations included the use of pendentives and squinches to support dome structures. Significant examples of Byzantine architecture mentioned are the Hagia Sophia in Istanbul with its massive central dome structure, and San Vitale in Ravenna with its domed octagonal layout. Monastery churches like Hosios Loukas in Greece also exhibited characteristic Middle Byzantine architectural styles of the period.
Leon Battista Alberti was an Italian architect, linguist, and poet during the Renaissance period. He is notable for three works - Tempio Malatestiano in Rimini, Palazzo Rucellai in Florence, and Santa Maria Novella in Florence. For Santa Maria Novella, Alberti attempted to bring classical proportions and detailing to the existing Gothic church, adding Corinthian columns, pilasters, and an upper section to the facade. At Palazzo Rucellai, Alberti designed the symmetrical facade using the three classical orders of architecture in an upward progression inspired by the Colosseum. For St. Andrea in Mantua, Alberti designed the church based on a triumphal arch motif
In 15th century Italy, Florence emerged as an intellectual, financial, and artistic center under the patronage of the Medici family. Humanism flourished during this period, emphasizing secular ideals and the study of classical Greek and Latin texts. Important early Renaissance artists included Filippo Brunelleschi, who pioneered the use of linear perspective in painting and constructed the dome of Florence Cathedral, and Lorenzo Ghiberti, whose Gates of Paradise on the Florence Baptistery made use of classical influences and set new standards for realism in sculpture. Masaccio's frescoes in Florence further advanced the use of linear perspective and naturalism in figure painting.
The document provides a timeline overview of architectural history from prehistoric to Renaissance periods. It begins with Prehistoric architecture such as Paleolithic, Mesolithic, and Neolithic structures. Next it discusses Early Mesopotamian, Ancient Egyptian, Classical Greek and Roman, Byzantine, Romanesque, and Gothic architectures. Key characteristics and prominent examples of each style are mentioned. The document then focuses on the Renaissance period, describing its origins, time periods of Early Renaissance, High Renaissance, and Mannerism. It highlights influential Renaissance architects like Brunelleschi, Bramante, Leonardo da Vinci, Raphael, Michelangelo, Palladio and their major works.
St. Peter's Basilica is located in Vatican City and is one of the largest churches in the world. It was built over hundreds of years starting in the 4th century. The current basilica was reconstructed in the 15th century under Pope Julius II and features designs by artists like Michelangelo and Bernini. It houses important artworks and monuments and can accommodate thousands of visitors inside its grand interior decorated with marble, statues, and mosaic ceilings.
In 15th century Italy, a new artistic culture emerged under the influence of humanism. In Florence, artists were influenced by ancient Greece and Rome as well as science and math, creating works that reflected these ideals. Donatello was a leading early Renaissance sculptor who created realistic works like the bronze David that broke from Gothic styles. Luca della Robbia pioneered glazed ceramic sculptures that brought bright color to religious works. Their contemporary, Brunelleschi, designed Neoclassical buildings like the Hospital of the Innocents in Florence.
The document discusses developments in art and architecture during the Early Renaissance period from the 14th to 16th centuries. Key points include:
- Artists and scholars looked to classical Greek and Roman art and literature for inspiration, valuing humanity's achievements.
- Major patrons of the arts included the Catholic Church, wealthy families like the Medici, and local governments. Artists gained more social status during this time.
- Important early Italian cities included Florence, where major cathedrals like Santa Maria del Fiore were constructed. Architects like Brunelleschi pioneered new techniques like the double-shell dome to complete structures like the Florence Cathedral dome.
Early Christian/ Early Jewish Art PowerPointsmolinskiel
Early Christian and Jewish art from 200-500 CE was influenced by classical Roman styles but adapted to new religious needs. Early Christian art was created secretly in catacombs and featured narratives from the Bible influenced by Roman imperial styles. As Christianity became the official religion, churches incorporated Roman basilica and central plans, and mosaics and frescoes depicted Christ as triumphant. Early Jewish art, like the Dura Europos synagogue paintings, showed limited biblical narratives in stylized fashions unlike realistic Roman styles due to prohibitions on images.
The Baroque art movement originated in the 17th-18th centuries, emphasizing motion, drama, and emotion over Renaissance ideals. Religious Baroque art aimed to reinforce Catholic traditions through depictions of miracles and martyrdom during the Counter-Reformation. Notable artists included Bernini, Caravaggio, and Velázquez. Their works featured complex compositions, dynamic curves, and realistic emotion to serve religious and political propaganda for the Catholic church and absolute monarchies.
The document provides an overview of art in Europe during the Renaissance period from 1500-1600. It discusses the major artistic developments and works produced in Italy, the Holy Roman Empire, the Netherlands, and Spain. Key figures mentioned include Leonardo da Vinci, Michelangelo, Raphael, Titian, Dürer, Bosch, Palladio, and El Greco. The document outlines the dominant themes, styles, and techniques of Renaissance art including an increased focus on naturalism, linear perspective, and illustrations of religious subjects and classical mythology.
The Renaissance began in 14th century Italy as a period that saw a rebirth of interest in classical learning and humanist ideas. Key developments included new concepts like humanism which emphasized human potential and abilities, as well as a return to studying ancient Greek and Roman art. Major patrons like the Medici family in Florence helped fund developments in many areas including art, where techniques like linear perspective and studying anatomy led to more realistic depictions. Renaissance art, architecture, music, literature and more all saw a shift toward naturalism and humanism as defining characteristics of the period.
Romanesque art flourished between 1050-1150 CE across Europe. Key developments included the rebirth of large-scale architecture and sculpture in churches. Romanesque architecture used stone construction techniques similar to ancient Rome, featuring thick walls, small windows, and vaulted ceilings supported by rib vaults. Notable cathedrals were built, including Pisa, Durham, and Santiago de Compostela. Church portals featured sculpted scenes like the Last Judgement. Illuminated manuscripts contained vibrantly colored illustrations, while the Bayeux Tapestry used embroidery to narrate the Norman conquest of England. Romanesque art served religious functions through grand architecture and educational scenes that taught biblical stories.
Byzantine art developed out of eastern Roman imperial art and reflected Christian religious themes. It utilized styles like mosaics, icons, and illuminated manuscripts. Major artistic periods included the Early Byzantine era featuring works like the Hagia Sophia and mosaics of Justinian and Theodora, the Iconoclastic controversy which banned religious images, and the Middle Byzantine period when icons were restored. Art was used to convey religious messages and assert political power in monumental church buildings and luxurious objects.
The document summarizes the main characteristics of Baroque art in 3 paragraphs. Baroque art emerged after the Council of Trent to promote Catholic faith through clear, naturalistic representations that inspire piety. It strives for grandiosity and dramatic effects to evoke emotion. Baroque architecture uses classical columns, central plans, dramatic lighting, and ornate decorations. Sculpture and painting of the time had strong emotions, dynamism, and mastery of light and shadow. Key artists mentioned include Bernini, Borromini, Caravaggio, Velazquez, Rembrandt, Vermeer and others.
Baroque Art: Architecture, Sculpture and Painting.pptxAgustnFernndez19
The document summarizes the main characteristics of Baroque art in 3 paragraphs. Baroque art emerged after the Council of Trent to promote Catholic faith through clear, naturalistic representations that inspire piety. It strived for grandiosity and dramatic lighting to evoke emotions. Baroque architecture used classical columns, central plans, ornate decorations, and illusionistic techniques like trompe l'oeil. Sculpture and painting reflected grandeur or sensuality through strong emotions, mastery of light and shadow, and involvement of the viewer. The period saw influential artists like Bernini, Borromini, Caravaggio, Velázquez, Rembrandt, Vermeer, and others working in Italy, Spain
The document provides an overview of the Renaissance and Baroque periods in art history. It summarizes that the Renaissance flourished in Italy in the 1400s and was an era of great creativity and innovation in painting, sculpture, and literature. It also discusses key works like Leonardo da Vinci's Mona Lisa and Michelangelo's Pieta. The document then notes that the Baroque period from 1600-1800 was characterized by exaggerated motion, drama, and ornamentation. Important Baroque works mentioned include Rubens' portrait of his wife Helene Fourment and Bernini's Ecstasy of St. Teresa sculpture.
The Memory Project is a nonprofit organization that invites art teachers and students to create portraits for underprivileged youth around the world who have faced challenges. Since 2004, over 110,000 portraits have been created for children in 45 countries. The document provides information about the portrait creation process, how schools can get involved, funding, benefits of participation, and examples of portrait mediums created by students in the past like pencil, watercolor, collage, colored pencil, and marker. It also lists some of the countries where portraits have been created for children.
Two-point perspective is a technique in drawing where objects appear to recede into the distance on either side of the picture plane. This creates the illusion of depth and distance on a flat surface. It is distinguished from one-point perspective by having two vanishing points located on opposite sides of the picture plane rather than just one.
This document discusses one-point perspective in Renaissance art. It explains that during the Renaissance, artists became interested in making two-dimensional artwork appear three-dimensional. Artists used mathematics and close observation to develop linear perspective techniques. One-point perspective involves drawing orthogonal lines that converge at a single vanishing point, making distant objects appear smaller to create the illusion of depth on a flat surface. The document provides instructions for how to draw a simple one-point perspective scene using a horizon line and vanishing point.
Space exists between, around, and within all objects. There are two types of space: positive space, which are the shapes or forms of interest, and negative space, which is the empty area around objects. Shapes are defined by the negative space surrounding them, and understanding the relationship between objects and space is important for defining forms. Artists can manipulate space to create the illusion of depth on a two-dimensional surface.
The document provides instructions for creating block prints through a process of sketching compositions, carving a linoleum block, inking the block, and printing. It discusses considerations for composition such as use of space, rule of thirds, texture, balance of light and dark, and contrast. The reader is then instructed to create 13 prints exploring different color schemes such as primary/secondary/tertiary colors, warm/cool colors, analogous/complimentary colors, and more. Printing techniques including printing maximum two colors at a time and hand-coloring additional colors are also outlined.
Composition is the arrangement of elements in a work of art. There are several composition strategies an artist can use, including leading lines to guide the eye, framing to direct attention to a subject, and the rule of thirds for balancing elements. When composing a piece, an artist should consider principles such as balance, focus, movement, contrast, pattern, proportion, and unity.
This document discusses using line to create value and depict form. It introduces six line techniques to convey value: straight lines, crossing lines, scribbled lines, zig zag lines, and two invented techniques. Readers are instructed to use a variety of these line techniques to draw part of a photo, focusing on accurate shapes, proportions, values, details, and craftsmanship. A pencil sketch should be followed by use of markers to add tonal variety through line thickness.
Line, value, shape, form, space, color, and texture are elements of art. Line is a mark with greater length than width that can be horizontal, vertical, diagonal, straight, curved, thick, or thin. Value refers to the lightness or darkness of a surface. Shape is a closed line that can be geometric or organic. Forms are three-dimensional shapes that express length, width, and depth. Space is the area between and around objects, and can refer to both physical and optical depth. Color has characteristics of hue, value, and intensity, and is created through mixing primary, secondary, and intermediate colors. Texture is the surface quality that can be seen and felt.
The chapter test images were being prepared for Chapter 29. Photos were selected that aligned with the key concepts in the chapter, including photos that depicted protein synthesis and cell signaling pathways. Caption were written and attached to each image to reinforce the important ideas and processes shown in the visuals.
18th Century Art in Europe and the Americassmolinskiel
This document provides an overview of art in Europe and the Americas during the 18th century. It describes the major artistic styles of the period, including Rococo, Neoclassicism, and the beginning of Romanticism. It discusses Rococo architecture and painting, noting characteristics like asymmetry, ornate decoration, and themes of aristocratic leisure. Neoclassicism is described as a more democratic style inspired by antiquity, evident in architecture like Monticello that featured symmetrical designs with columns and pediments. Major artists like Tiepolo, Vigée-Lebrun, Reynolds, and Gainsborough are also mentioned.
Artists since 1945 have commented on social and political issues through their work, addressing problems like racism and weapons of mass destruction. There was great experimentation across media as new technologies emerged. Abstract Expressionism became a prominent American movement, with Pollock's drip paintings and Rothko's color field paintings reflecting the existential mood of the time. Pop Art emerged in the 1960s, drawing from popular culture with works by Warhol and Lichtenstein depicting celebrity and commercial images. Minimalism also gained popularity, emphasizing simple geometric forms and industrial materials.
Modern Art in Europe and the Americas 1900-1945smolinskiel
This document provides an overview of major art movements in Europe and the Americas from 1900-1945. It discusses Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Surrealism, and Art Deco. Key aspects covered include the optimism of the time period despite political and social upheaval, influential artists and patrons, and characteristics of each movement such as their use of color, form, and abstraction. Major works are cited from artists like Matisse, Picasso, Kandinsky, and others to illustrate styles and techniques.
The document discusses the history of chocolate, describing how it originated from cacao beans grown by the Olmecs and Mayans in Mexico and Central America. It then explains how Spanish conquistadors brought cacao beans back to Europe in the 16th century and how chocolate became popularized as a drink among European nobility before eventually becoming widely consumed around the world today.
Pacific art spans from 7000 BCE to the present across many diverse Pacific cultures. The art reflects the varied lives and traditions of peoples living on small islands across Australia, Melanesia, Micronesia, and Polynesia. While styles and materials differ between regions, common themes in Pacific art include boats and the sea due to the maritime nature of Pacific communities, as well as ancestral and spiritual figures and rituals central to Pacific cultures.
Japanese art has a long history spanning over 30,000 years. Early pottery from the Jomon period dates back to around 10,000 BCE. Major cultural influences came from Korea and China starting in the Yayoi period 400 BCE. Key periods include the Nara period which saw the founding of Japan's first imperial capital in 645 CE and the Heian period when literature became popular. Artistic styles evolved over time, influenced by Buddhism and periods of war. Famous works include Hokusai's 1831 woodblock print "The Great Wave" and calligraphy by the monk Ikkyu expressing his passion for Zen Buddhism. The 607 CE Horyu-ji Buddhist temple is considered the oldest wooden structure in
The document provides an overview of Indian and Southeast Asian art, including key ideas, historical background, and details on specific works and locations. It discusses how Indian art stresses interconnectivity across disciplines and is influenced by Hindu and Buddhist philosophies. It also describes the diverse landscapes, populations, and 18 official languages of India. Specific pieces are summarized, like the massive Borobudur Buddhist monument in Java and the iconic Taj Mahal mausoleum in Agra. Buddhist painting conventions and the architectural features of the Vishvanath Temple are outlined as well.
The document provides an overview of art from the Americas from 10,000 BCE to the present day. It describes the major historical periods and discusses the evolution from hunter-gatherer societies to agricultural civilizations with complex artistic traditions among cultures like the Olmecs, Mayans, and Incas. Specific artworks and sites highlighted include the Nazca lines, Colossal Olmec heads, a Hopewell pipe, and Bill Reid's modern Haida sculpture "The Spirit of Haida Gwaii." Machu Picchu is discussed as an example of Inca architecture and urban planning. The document also defines some key vocabulary terms related to Americas art.
Chinese art was heavily influenced by the philosophies of Daoism and Confucianism. Calligraphy was the most respected art form, while paintings came in scrolls, fans, and albums. Architecture featured courtyard homes expressing family and social hierarchies. Art aimed to be monumental. Culturally diverse, China was divided into historical periods named for ruling dynasties like Tang and Ming. The Forbidden City and Temple of Heaven are grand architectural examples. Sculptures included the Terracotta Army and seated Buddhas. Literati artists painted individually rather than for commissions.
2. Culture
• The
fine
arts
influenced
by
CLASSICAL
styles
• HUMANISM
emerges
–
stresses
secular
alongside
religious
• LINEAR
PERSPECTIVE
is
realized
–
arKsts
create
realisKc
painKngs
• Best
understanding
of
human
anatomy,
large-‐scale
nude
sculpture
• Architecture
emphasizes
open
light
spaces,
symmetry,
and
balance
• ArKsts
encouraged
to
explore
pagan
past
in
relaKon
to
modern
life.
• European
explorers
venture
out
=
knowledge
• Growth/appreciaKon
of
the
sciences
and
arts
History
• City-‐states
controlled
by
ruling
families
who
dominate
poliKcs
• Big
spenders
in
the
arts.
• Embellished
palaces
with
innovaKve
painKngs
• The
ruling
families
commissioned
architecture
3. •
•
•
•
•
MathemaKcs
important
in
engineering
these
buildings!
Geometric
designs
stressed
Harmony
achieved
by
ideal
proporKons
(Vitruvius
-‐
architectural
treaKse)
RaKos,
proporKons,
various
elements,
etc.
express
humanisKc
ideals
OYen
have
unvaulted
naves
with
coffered
ceilings
ProporKons
• Crossing
is
2X
the
nave
• Nave
is
2X
the
side
aisles
• Side
aisles
2X
the
side
chapels
4. • Ceiling
• Similar
to
Early
ChrisKan
wooden
type
• Rectangular
floor
grids
define
the
spaces
• Use
of
raKos
• Nave
=
two
aisles
• Aisles
=
two
side
chapels
• Interior
• Cool
and
harmonious
• Sparse
decoraKon
• Light
and
airy
• Not
much
stained
glass
SAN
LORENZO
Filippo
Brunelleschi,
1421-‐1469,
Florence,
Italy
5. DOME OF FLORENCE CATHEDRAL
Filippo Brunelleschi, 1420-1436
Lantern completed 1471
6. Brunelleschi’s
Dome
•
•
•
•
•
Older
domes
didn’t
have
as
much
verKcal
thrust
• Raised
on
a
drum
to
increase
height
Dome
is
OGIVAL
arch
shape
New
technique
–
pudng
one
dome
inside
of
another
=
strength/stability
• Built
without
centering
devices
Lantern
at
top
anchors
dome
into
place
Architecture
–
light,
order,
clarity
• Buildings
have
wider
window
spaces,
limited
stained
glass,
wall
painKngs
7. PAZZI
CHAPEL
Filippo
Brunelleschi,
1423,
Florence
Rectangular
chapel
afached
to
a
church
of
Santa
Croce
in
Florence
Two
barrel
vaults
on
interior
Small
dome
over
crossing
Restrained
sense
of
color
• Muted
tones
• Glazed
terracofa
Kles
•
•
•
•
8. PALAZZO
RUCELLAI
Leon
Badsta,
1452-‐1470,
Florence
• Three
separate
floors
• Separated
by
clear
“stringcourse”
• Pilasters
divide
space
in
square-‐ish
shapes
• Strong
cornice
at
top
• Not
rusKc
like
Michelozzo’s
palazzo
• Masonry
joints
are
beveled
• Different
style
plasters
• Friezes
have
Rucellai
family
symbols
• Ex.
Billowing
sails
9. SANT’
ANDREA
Leon
Badsta
AlberK,
1470,
Mantua
• Roman
triumphal
arch
• Huge
pilasters
on
either
side
• Pilasters
support
pediment
• First
to
be
used
in
ChrisKan
architecture
• Ancient
temple
façade
• Wanted
idenKcal
width/height
• Piazza
in
front
of
church
is
small
=
small
façade
• Large
barrel
vault
canopy
hangs
over
west
façade
• Shields
nave
window
from
sun
• Interior
• Huge
barrel
vaults
• No
side
aisles
• Coffered
ceiling
10. • PALACES
in
Florence
–
dominaKng
facades
–
three
stories
high,
austere
looking
• First
floor
• Public
areas
with
business
transacKons
• RusKcated
(rough
cut
stone),
heavily
arKculated
stone
• Second
floor
• Much
lighter
• Strong
horizontal
marking
the
ceiling
of
one
story
and
floor
of
another
• Family
l
• Third
floor
• Even
more
lightness
• Less
arKculaKon
of
stone
• Heavy
cornice
caps
off
roof
Palazzo Medici-Riccardi
Michelozzo, 1444, Florence
• Interior
courtyard
allows
light
into
interior
rooms
• Expresses
civic
pride
and
poliKcal
power
of
Medici
family
• Very
symmetrical
11. Pain0ng
• LINEAR
PERSPECTIVE
• Afributed
to
Filippo
Brunelleschi
• Developed
while
drawing
Florence
Cathedral
Bapistry
• ArKsts
create
different
arKsKc
effects
• PROPORTION
• ArKsts
start
showing
objects,
scenery,
and
people
proporKonately
• People
no
longer
dominate
the
image
• TROMP
L’OEIL
TECHNIQUE
• “trick
the
eye”
• PERSPECTIVE
• Even
used
in
sculpture
• Carved
at
different
depths
to
create
a
sense
of
space
• IMAGES
• Religious
scenes
• Portraits
• Mythological
scenes
• DepicKons
of
humanist
ideals/aspiraKons
• ExploraKon
of
the
nude
(especially
male)
12. The
First
Signs
of
One
Point
PerspecLve
•
Brunelleschi
was
the
first
architect
to
use
mathemaKcal
perspecKve
in
creaKng
designs
for
buildings
during
the
early
Renaissance
14. AdoraLon
of
the
Magi
GenKle
da
Fabriano,
1423,
Florence
Tempera
on
panel
• Patrons
• The
Strozzi
family
• Figures
in
fancy
dress
• “Courtly”
ouKng
to
see
baby
Jesus
at
the
Epiphany
• ExoKc
animals
reflect
private
zoos
of
Renaissance
princes
• Gold
leaf
used
in
frame
and
painKng
• Kings
are
shown
at
various
ages
• Symbolizes
the
ages
of
man
•
Animals
seen
at
different
angles
• NATURALISM
16. Holy
Trinity
Masaccio,
1427,
Florence
Fresco
in
Santa
Maria
Novella
• Patrons
• The
Lenzi
family
• Created
as
a
tombstone
for
the
family
• Kneel
outside
arch
• Faces
show
realism
• Christ
appears
in
two
roles
• Crucified
Christ
• Second
person
of
the
Holy
Trinity
• God
supports
him
• Dove
of
the
Holy
Spirit
is
between
the
two
of
them
• Mary
and
Saint
John
flank
Christ
• Typically
in
crucifixion
scenes
• Triangular
figural
composiKon
dominated
by
Brunelleschi-‐inspired
architecture
17. Holy
Trinity
• Vanishing
point
at
the
foot
of
the
cross
• Skeleton
below
painKng
symbolizes
death
• “I
once
was
what
you
are;
and
what
I
am
you
will
become.”
18. Mary
Saint
John
Christ
•
Holy
Spirit
• As
a
dove
T
he
tradiKonal
symbol
20. Tribute
Money
• Scene
from
New
Testament
• Jesus
is
asked
if
he
should
pay
tribute
to
civil
authoriKes
• One
big
narraKve
• Peter
gets
money
from
the
fish
(leY)
• Jesus
confronts
the
tax
collector
• Peter
pays
tax
collector
(right)
• NarraKve
moves
from
center,
to
leY,
to
right
• Figures
are
dominant
and
cast
shadows
on
the
ground
21. Expulsion
from
the
Garden
of
Eden
Masaccio,
1425,
Carmine,
Florence
Fresco
in
Santa
Maria
del
Carmine,
• Bold
use
of
nude
forms
• Intense
expressions
• Adam
• Hides
face
in
shame
• Eve
• Hides
body
in
shame
• Bleak
background
• DesolaKon
outside
Garden
of
Eden
• Angel
is
foreshortened
22. BaSle
of
San
Romano
Paolo
Uccello,
1455
Tempera
on
wood
23. BaSle
of
San
Romano
• Bafle
between
Florence
and
Siena
(1432)
• Looks
more
like
a
ceremony
• Strong
use
of
perspecKve
and
vanishing
points
• Orthogonals
in
figures
and
weapons
25. AnnunciaLon
• Architecture
of
painKng
reflects
architecture
of
monastery
• Serene
and
religious
• Humility
of
figures
• Solid
forms
–
like
Giofo
• Smoothly
modeled
figures
• Extreme
delicacy
• Spare
environment
• Focus
on
figures’
gestures
and
simple
sedngs
• Corinthian
columns
• Brunelleschi-‐type
arches
26. The
Last
Supper
Andrea
del
Castagno,
1447,
Sant’
Apollonia,
Florence
Fresco
27. The
Last
Supper
• Painted
for
a
convent
of
cloistered
nuns
• Red
brick
in
painKng
matches
red
brick
Kles
in
the
convent
• Figures
are
individualizes
• Lifle
communicaKon
between
them
• Everything
in
sharp
focus
with
precise
edges
• Judas
is
on
the
front
side
of
the
table
• Apart
from
others
• Symbolic
of
his
guilt
• Marble
pafern
behind
Judas’
head
• Symbolizes
lightning
poinKng
to
his
head
• Six
marble
panels
on
leY
and
back
walls
and
four
panels
and
two
windows
on
right
wall
• Implies
the
room
is
square
–
doesn’t
appear
square
• 2:1
raKo
of
loops
on
stringcourse
on
back
wall
implies
the
room
is
rectangular
28. BaSle
of
Ten
Naked
Men
(BaSle
of
the
Nudes)
Antonio
del
Pollaiuolo,
1465-‐1470
Engraving
• Dense
vegetaKon
• Contrasts
with
figures
and
“pushes”
them
forward
• Imprecise
anatomy
• Expressive
flexed
muscles
• AcKve
posses
• Figures
seem
to
be
in
mirroring
posiKons
29. ResurrecLon
Piero
della
Francesca,
1463,
San
Sepolcro
Fresco
in
the
Palazzo
Comunale
• Geometric
shapes
• Christ
• Stepping
out
of
tomb
or
has
foot
on
lid???
• Enormous
figure
who
conquers
all
• Holds
a
labarum
• Symbol
of
victory
over
death
• Height
of
drama
• Landscape
(flat
background)
• Might
symbolize
death
and
new
life
(live
tree/dead
tree)
• Morality
• LeY
is
bare
area
with
strong
and
mature
trees
• Hard
path
• Right
is
prefy
with
less
mature
trees
• Easy
path
30.
31. Room
of
the
Newlyweds
Andrea
Mantegna,
1465-‐1471,
Mantua
Fresco
in
Ducal
Palace
• Cube-‐shaped
room
“domed”
with
painted
central
panel
• There
is
no
real
dome
• Oculus
• Two
groups
of
women
leaning
over
a
balustrade
• Some
look
down
at
viewer
• Foreshortening
• Angels
seen
from
front
and
back
• Rest
their
feet
on
painted
ledges
• Bird
and
flower
pot
are
unsefling
32. Christ
Delivering
the
Keys
of
the
Kingdom
to
Saint
Peter
Pietro
Perugino,
1482,
SisKne
Chapel
in
Rome
Fresco
33. Christ
Delivering
the
Keys
of
the
Kingdom
to
Saint
Peter
• LeY
background
• Tribute
money
• Right
background
• Stoning
of
Christ
• Vast
piazza
in
one-‐point
perspecKve
• Arch
of
ConstanKne-‐like
structures
• Central
basilica
reminiscent
of
Brunelleschi
or
AlberK
• Open
space
around
keys
=
emphasis
• Figures
in
contrapposto
• Many
contemporary
faces
34. Birth
of
Venus
Sandro
Bodcelli,
1485,
Florence
Tempera
on
canvas
35. Birth
of
Venus
• Commissioned
by
MEDICI
family
• Venus
• Emerges
from
sea
foam
• Dreamy,
far
away
look
in
her
eyes
• Roses
scafered
before
her
• Roses
created
at
same
Kme
as
her
• Thorns
=
love
can
be
painful
• Physical
beauty
• LiYs
mind
to
God
(divine
love)
• Plato
• Venus
was
an
earthly
goddess
of
human
physical
love
• Heavenly
goddess
who
inspires
intellectual
love
• LeY
• Zephyr
(west
wind)
&
Chloris
(nymph)
• Right
• Handmaiden
rushes
to
clothe
her
• Figures
• FloaKng,
not
anchored
to
ground
• Crisply
drawn
• Many
pale
colors
• Landscape
flat
and
unrealisKc
• Simple
v-‐shaped
waves
37. Spring
(La
Primavera)
• LeY
• Mercury
holding
a
caduceus
up
to
the
air
to
dispel
storm
clouds
• Right
• Zephyr
reaches
out
to
Chloris
• Chloris
transforms
into
Flora,
goddess
of
Spring
• Center
• Venus
wears
a
bridal
wreath
on
her
head
• Cupid,
son,
is
above
her
• Three
Graces
dance
together
• Embodiment
of
beauty
Venus
creates
• Loose,
long
hair
is
a
symbol
of
virginity
• Narrow
stage
sedng
• Figures
closer
to
viewer
• FERTILITY
SYMBOLS
• Fruit,
flower,
spring,
Venus,
Cupid
• Large
oranges
may
refer
to
Medici
coat-‐of-‐arms
38. Birth
of
the
Virgin
Domenico
Ghirlandaio,
1485-‐1490,
Santa
Maria
Novella,
Florence
Fresco
39. Birth
of
the
Virgin
• Religious
scene
in
FlorenKne
home
–
MODERN
sedng
• St.
Anne
(Right)
• Mary’s
mother
• Reclines
in
palace
room
• Midwives
to
St.
Anne
• GIOVANNI
TORNABUONI
• Daughter
of
patron
• Center
• High
status
• Upper
leY
corner
• Story
of
Mary’s
parents,
Joachim
and
Anna
meeKng
41. Damned
Cast
into
Hell
• End
of
world
scene
–
very
common
• Upper
right
• Heaven
guarded
by
angels
• Upper
leY
• Angels
carry
off
the
damned
• Made
to
go
against
ideas
of
some
ChrisKan
hereKcs
who
quesKoned
existence
of
hell
and
heaven
and
purgatory
• Impenetrable
mass
of
human
bodies
• Many
figures
die
by
strangulaKon
• Largest
treatment
of
human
nudes
to
date
• Devils
discolored
=
evil
42. Sculpture
• Interest
in
HUMANISM/Rebirth
of
Classical
sculpture
• Peak
an
interest
in
Greek
and
Roman
sculpture
• Medieval
arKsts
thought
nudes
were
pagan
• 15th
century
Italian
sculptures
glorified
the
nude
• Like
the
ancients
• Revival
of
life-‐size
nude
sculpture
• Increased
study
of
human
anatomy
• Heroic
bodies
in
stone
and
bronze
***Much
sculpture
made
for
Florence
Cathedral
BapKstry
43. Sacrifice
of
Isaac
Lorenzo
GhiberK,
1401-‐1403,
Florence
Gilt
Bronze
• Made
for
a
compeKKon
to
do
a
set
of
bronze
doors
for
Florence
Cathedral
• Brunelleschi’s
lost
• Story
• God
asks
Abraham
to
prove
his
love
by
sacrificing
son
Isaac
• Abraham
is
about
to
kill
Isaac
when
an
angel
appears/reveals
it’s
a
test
• Tells
Abraham
to
kill
a
ram
instead
• Gothic
quatrefoil
pafern
• Had
to
match
Gothic
doors
already
on
the
BapKstery
• Influence
of
Gothic
style
• Gestures
are
graceful
• Figures
are
separated
• Helps
with
story’s
clarity
44. Sacrifice
of
Isaac
Filippo
Brunelleschi,
1401-‐1403,
Florence
Bronze
•
•
•
•
•
•
Lost
the
compeKKon
Dense
group
Great
drama
DramaKc
tension
and
rigor
Figures
are
heavy
looking
Figures
spill
over
the
edges
of
the
quatrefoil
45. Gates
of
Paradise
Lorenzo
GhiberK,
1425-‐1452,
Florence
Gilt
bronze
• GhiberK
gets
this
commission
aYer
winning
“Isaac
contest”
• More
sophisKcated
spaKally
than
his
other
doors
• Figures
have
more
convincing
volume
• Lean,
elegant,
elongated
bodies
• Different
facial
expressions
• 10
Old
Testament
scenes
46. Four
Crowned
Saints
Nanni
de
Banco,
1409-‐1417
Part
of
“Or
San
Michele”
in
Florence
Marble
• Built
for
guild
of
wood
and
stone
carvers
• Shows
four
ChrisKan
sculptors
• Refused
to
carve
a
statue
of
a
pagan
god
for
the
Roman
Emperor
DiocleKan/martyred
for
that
• Saints
• Wear
Roman
togas
• Heads
look
like
portraits
of
Roman
emperors
• Seem
to
be
discussing
their
fate
• Feet
step
outside
of
arch
• Pedestal
carved
in
arc
• Follows
their
posiKoning
• Figures
are
independent
of
the
niche
• Bofom
scene
has
view
of
sculptors
at
work
on
their
craY
47. David
Donatello,
1420’s
–
60’s
Bronze
First
large-‐scale
bronze
since
anKquity
Exaggerated
contrapposto
of
the
body
Probably
displayed
in
Medici
palace
David
• Looks
androgynous
• Stance
is
nonchalant
• ContemplaKng
victory
over
Goliath
• Foot
on
Goliath’s
head
• Head
lowered
to
show
humility
• Hat
has
laurel
leaves
on
it
• Means
he
was
a
poet
• Special
strength
comes
from
God
• Story
of
triumph
of
good
over
evil
• Story
• Israelites
fighKng
PhilisKnes
• PhilisKnes’
best
warrior
wants
to
fight
Israelites
best
warrior
–
David
volunteers
• David
refused
armor,
hits
Goliath
in
the
head
with
a
stone/cuts
off
his
head
•
•
•
•
48. Mary
Magdalene
Donatello,
1430-‐1450,
Florence
Wood
• Mary
• Was
a
reformed
sinner
–
followed
Christ
• Hair
covers
her
body
• Wiped
Christ’s
feet
with
hair
• Gilded
hair
indicated
spirituality
and
former
beauty
• Emaciated
from
30
years
of
penitence
• Hallowed
cheeks,
missing
teeth,
sunken
eyes
• Face
shows
torture
of
a
badly
leY
life
• Ravages
of
Kme
on
her
body
• Gesture
of
prayer
expresses
a
world
of
spirituality
• Eyes
focused
on
an
inner
reality
and
a
higher
form
of
beauty
• Completely,
introspecKvely
fixated
on
Christ
49. GATTAMELATA
Donatello,
1445-‐1450,
Padua,
Italy
Bronze
• Nickname
for
warrior
• “Honeyed
Cat”
• Gatamelata
• CommemoraKve
monument
for
a
cemetery
• Face
reflects
stern
expression
of
a
military
commander
• Horse
is
spirited,
resKng
one
leg
on
a
ball
• Rider
is
in
control
50. Madonna
and
Child
Luca
della
Robbia,
1455-‐1460,
San
Michele,
Florence
Terra
cofa
• White
glazed
terra-‐cofa
of
flesh
areas
simulates
marble
• Ceramic
is
cheap
• Retains
color
and
polish
even
outdoors
• Drapery
has
rich
colored
glazes
• Creates
luminous
ceramic
forms
• SoY
quality
of
ceramic
adds
genKlity
to
the
arKsKc
expression
51. Hercules
and
Antaeus
Antonio
del
Pollaiuolo,
1475,
Florence
Bronze
• Shows
ancient
myth
• Hercules
must
liY
Antaeus
off
the
ground
to
defeat
him
• Antaeus
gets
his
strength
from
his
mother,
who
is
the
earth
goddess
• AcKve
composiKon
with
limbs
judng
out
in
various
direcKons
• Strong
angles
of
the
body
• Sinewy,
strong
muscles
52. Colleoni
Andrea
del
Verrocchio,
1481-‐1496,
Venice
Bronze
• Military
leader,
fought
for
the
VeneKans
• Very
powerful
and
spirited
animal
tamed
by
an
animated,
victorious
leader
• DramaKcally
alive
and
forceful
appearance
• Bulging,
fiery
eyes
• Erect
posiKon
in
saddle
53. VOCABULARY
1. BOTTEGA
–
the
studio
of
an
Italian
arKst
2. HUMANISM
–
an
intellectual
movement
in
the
Renaissance
that
emphasized
the
secular
alongside
the
religious.
Humanists
were
afached
the
achievements
of
the
classical
past,
and
stressed
the
study
of
classical
literature,
history,
philosophy,
and
art
3. LANTERN
–
a
small
structure
with
openings
for
light
that
crowns
a
dome
4. OTHOGONAL
–
lines
that
appear
to
recede
toward
a
vanishing
point
in
a
painKng
with
linear
perspecKve
5. PILASTER
–
a
flafened
column
afached
to
a
wall
with
a
capital,
a
shaY,
and
a
base
6. QUATTROCENTO
–
the
1400s
(15th
century)
of
Italian
art
7. RUSTICATE
–
to
deeply
and
roughly
incise
stones
to
give
a
rough
and
rusKc
texture
to
its
appearance
8. STRINGCOURSE
–
a
horizontal
molding
9. TROMPE
L’OEIL
–
“fools
the
eye”
–
a
form
of
painKng
that
afempts
to
represent
an
object
as
exisKng
in
three
dimensions,
and
therefore
resembles
the
real
thing