Medievel to Renaissance PART 2
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This document provides information on art and architecture in Siena and Florence between the medieval and Renaissance periods. It discusses Ambrogio Lorenzetti's 1338-1339 frescoes depicting the effects of good government in the Palazzo Pubblico in Siena. It also describes Duccio di Buoninsegma's 1308-1311 Maestà altarpiece in the Siena Cathedral, including its central panel and life of Jesus scenes on the back. Brief sections cover condottieri warriors and Francesco Traini's fresco of the Triumph of Death. The document concludes with images of Florence Cathedral between 13th-14th centuries.
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The document summarizes the competition held in 1401-1402 for the commission to design the bronze East Doors of the Baptistery of Florence Cathedral. Brunelleschi and Ghiberti submitted entries, with Ghiberti's winning design showing a more advanced use of linear perspective and a greater sense of emotional complexity. Though he lost, Brunelleschi's studies of classical architecture and development of linear perspective led to his later success as a renowned architect, including his dome for Florence Cathedral. Ghiberti went on to complete the doors and later received another commission to design the Gates of Paradise doors for the Baptistery.
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This 3 sentence summary provides the essential information about the document:
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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The document provides instructions for an assignment to create a hidden face within an overall pattern. Students are asked to sketch the outline of a face with pencil first, then fill in the negative space around it with patterns and lines of varying thickness using sharpie pens. The goal is to camouflage the face within the pattern so it is not immediately visible but still able to be spotted with clarity. Design fundamentals students should focus on pure pattern while drawing students can incorporate mixed techniques. The assignment will be graded based on concept, professionalism, and originality.
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0134484592 ch18
This document provides an overview of fourteenth-century European art. It discusses key artists and developments in Italy, including Giotto di Bondone's frescoes in the Scrovegni Chapel in Padua which depicted biblical scenes in a realistic way. Duccio di Buoninsegna's Maestà altarpiece for Siena Cathedral synthesized Byzantine and Gothic styles. Ambrogio Lorenzetti later painted frescoes for the Palazzo Pubblico in Siena depicting the effects of good and bad government. The document also notes the impact of the Black Death pandemic on art in mid-fourteenth century Europe.
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Giotto and other early Italian Renaissance artists like Duccio and Lorenzetti moved painting away from the flat Byzantine style towards realistic three-dimensional naturalism through techniques like foreshortening and realistic proportions. Giotto's frescoes in the Scrovegni Chapel showing biblical scenes with complex emotions helped establish him as the father of modern European painting. Duccio and Simone Martini combined Byzantine elements with Italian trends towards realism, creating works with elegant lines and refined colors.
12. 14th – 15th c. italy
An artist creates visual works through skills like drawing, painting, or sculpting. They think creatively and use elements of design. The role of the artist has changed since prehistoric times, evolving from a craftsman in medieval times to a respected intellectual during the Renaissance who was seen as skilled in both art and philosophy. The document discusses important artworks from 13th to 15th century Italy that demonstrate developments for artists during the Early Renaissance period.
Top 10 tourist attractions in Verona
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Precursor to the Renaissance
International Gothic was a style of painting and sculpture in Europe from 1150-1450. This period saw a precursor to the Renaissance in Italy, with artists beginning to consciously revive classical styles and focus on humanism and naturalism in their works. Some key developments included Nicola Pisano's classical-inspired pulpits from the 13th century, Giotto's frescoes showing more realistic human emotion and form, and Duccio's large altarpieces which helped to establish panel painting as a major artistic medium in Italy.
Early Renaissance - Italy, 1400-1500
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.
Parma Cathedral
The painted Romanesque churches are uncommon in the Middle Ages. There are only a few noticeable examples of these left in Europe, mainly in Italy. Among them are The Monreale Cathedral (1174) in Sicily, St Mark (1117) in Venice and the Parma Duomo (1059). It is interesting to note the that Duomo of Pisa, which has similar façade as the Parma Duomo is not a painted church. The The Lombard-Romanesque Duomo of Parma is among the finest in Italy. The oldest example of the painted church is Hagia Sophia (537) in Istanbul, suggesting that the tradition of painted churches, date back a very long time.
The Parma Duomo is renowned for its illusionistic painting of the Assumption (1534) that fills its main cupola by Correggio. The nave is adored with the work of pupils of Correggio. The south transept features a carved frieze (1178) by Benedetto Antelami who was responsible for much of the exquisite Baptistery (1160) just south of the cathedral. Building began on the Duomo in the second half of the 11C, following the destruction of the old cathedral by fire in 1058. It was practically finished in 1074. Other artists contributed were Gerolamo Mazzola Bedoli and Francesco Mendogni who painted the ceiling, Lattanzio Gambbara and Bernardino Gatti who painted the frescoes in the nave and the apse walls, Bertolino de Grossi who painted the Valeri Chapel.
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directional force DEBEAUFORT
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de Beaufort REFLECTION AND REFRACTION
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Introduction to objective, scope and outcome the subject
Chapter 2
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Chapter 5
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Chapter 6
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Medievel to Renaissance PART 2
- 4. Siena 4
- 6. 6 Aerial view of the Campo with the Palazzo Pubblico, Siena, Italy, 1288–1309. • INSERT FIGURE 19-15
- 11. AMBROGIO LORENZETTI, Allegory of Good Government, north (left) and east (right) walls of the Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco, north wall 25’ 3” wide, east wall 46’ wide. 11
- 12. 12 Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.
- 13. 13 Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.
- 56. 56 DUCCIO DI BUONINSEGNA, Virgin and Child Enthroned with Saints, principal panel of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1308–1311. Tempera and gold leaf on wood, 7’ x 13’ (center panel). Museo dell’Opera del Duomo, Siena.
- 57. DUCCIO DI BUONINSEGNA, Life of Jesus, 14 panels from the back of the Maestà altarpiece, from Siena Cathedral, Siena, Italy, 1308– 1311. Tempera and gold leaf on wood, 7’ X 13’. Museo dell’Opera del Duomo, Siena. 57
- 58. 58 DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from Siena Cathedral, Siena, Italy, 1309–1311. Tempera and gold leaf on wood, detail 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo, Siena.
- 59. DUCCIO DI BUONINSEGNA, Entry into Jerusalem, panel from the back of the Maestà altarpiece, from Siena Cathedral, Siena, Italy, 1308–1311. Tempera and gold leaf on wood, 3’ 4 1/2" X 1’ 9 1/8”. Museo dell’Opera del Duomo, Siena. 59
- 60. Condottieri 60
- 61. 61 Francesco Traini, Triumph of Death.
- 62. 62 Francesco Traini, Triumph of Death.
- 63. 63 Francesco Traini, Triumph of Death.
- 65. 65
- 66. 66
- 67. 67