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A Comparison of Art from Medieval to the Renaissance
A Comparison of Art from Medieval to the Renaissance
We start with:
Late Medieval Art
Á Giotto, ca 1288-92?
Á Tempera on wood and ground gold.
St. Francis’ Rule Approved
Á Giotto, 1302 ca.
Á Tempera on wood and ground gold.
The Lamentation
The Crucifixion
Á Giotto, 1305 ca.
Á Tempera on wood and ground gold.
Medieval Art = Religious Themes
ÁGiotto, 1320 ca.
ÁTempera on wood and ground gold.
The Epiphany
1. Realism & Expression
� Expulsion fromthe Garden
� Masaccio
� 1427
� First nudes sinceclassical times.
2. Perspective
Perspective!Perspective!Perspective!
Perspective!Perspective!
First use of linear
perspective!
Perspective!Perspective!
� The Trinity
� Masaccio
� 1427
What you are, I once was; what I am, you will
become.
3. Classicism
� Greco-Roman influence.
� Secularism.
� Humanism.
� Individualism free standing figures.
� Symmetry/BalanceThe “Classical Pose”
Medici “Venus” (1c)
4. Emphasis on Individualism� Batista Sforza & Federico de Montefeltre:
The Duke & Dutchess of Urbino
� Piero della Francesca, 1465-1466.
5. Geometrical Arrangement of
Figures� The Dreyfus Madonna with the Pomegranate
� Leonardo da Vinci
� 1469
� The figure as architecture!
6. Light & Shadowing/Softening
Edges
Chiaroscuro
Sfumato
7. Artists as Personalities/Celebrities
� Lives of the Most Excellent Painters, Sculptors, andArchitects
� Giorgio Vasari
� 1550
� David by Donatello
� 1430
The Liberation of Sculpture
3 Ninja Turtles!!!3 Ninja Turtles!!!
1. Self-Portrait -- da Vinci, 1512
1452 - 1519
� Artist
� Sculptor
� Architect
� Scientist
� Engineer
� Inventor
Leonardo, the Artist
� The Virgin of the Rocks
� Leonardo daVinci
� 1483-1486
The Last Supper - da Vinci, 1498& Geometry
horizontal
vert
ical
Perspective!
The Last Supper - da Vinci, 1498
� Detail of Jesus
� The Last Supper
� Leonardo da Vinci
� 1498
Deterioration
Leonardo, the Sculptor
� An Equestrian Statue
� 1516-1518
Leonardo, the Architect:Pages from his Notebook
� Study of a central church.
� 1488
2. Michelangelo Buonorrati
� 1475 – 1564
� He represented the body in three dimensions of sculpture.
� David
� MichelangeloBuonarotti
� 1504
� Marble
15c
16c
What
a
difference
a
century
makes!
� The Pieta
� MichelangeloBuonarroti
� 1499
� marble
The Popes as Patrons of the Arts
The Sistine Chapel
Michelangelo Buonarroti
1508 - 1512
The Sistine Chapel’s Ceiling
Michelangelo Buonarroti1508 - 1512
The Sistine Chapel Details
The Creation
of the Heavens
The Sistine Chapel Details
Creation of Man
The Sistine Chapel Details
The Fall from Grace
The Sistine Chapel Details
The Last Judgment
3. Raffaello Sanzio (1483-1520)
Self-Portrait, 1506 Portrait of the Artist with a Friend, 1518
Baldassare Castiglione by Raphael,
1514-1515� Castiglione
represented the humanist “gentleman” as a man of refinement and self-control.
Perspective!
Perspective!
Betrothal
of the Virgin
Raphael
1504
The School of Athens – Raphael, 1510 -11
Raphael
Da Vinci
Michelangelo
Aristotle:looks to thisearth [thehere and
now].
Plato:looks to theheavens [or
the IDEALrealm].
The School of Athens – Raphael, details
Averroes
Hypatia
Pythagoras
Zoroaster
Ptolemy
Euclid
Pope Leo X with Cardinal Giulio deMedici and Luigi De Rossi by Raphael, 1518-1519� A Medici Pope.
� He went through the Vatican treasury in a year!
� His extravagances offended even some cardinals [as well as Martin Luther!].
� Started selling indulgences.
Birth of Venus – Botticelli, 1485
An attempt to depict perfect beauty.
, Should not be considered an appendage to Italian art.
, -But, Italian influence was strong.-Painting in OIL developed in
Flanders, was widely adopted in Italy.
, -The differences between the two cultures:Italy change was inspired by
humanism with its emphasis on the revival of the values of classical antiquity.
Northern Europe change was driven by religious reform, the return to Christian values, and the revolt against the authority of the Church.
, CHARACTERISTICS:, -More princes & kings were patrons of artists.
, -The continuation of late medieval attention to details.
, -Tendency toward realism & naturalism [less emphasis on the “classical ideal”].
, -Interest in landscapes.
, -More emphasis on middle-class and peasant life.
, -Details of domestic interiors.
, -Great skill in portraiture.
Jan van Eyck (1395 – 1441)Jan van Eyck (1395 – 1441)
, The Virgin and Chancellor Rolin, 1435.
Giovanni Arnolfini and His
Wife
(Wedding Portrait)
Jan Van
Eyck
1434
Jan van Eyck - Giovanni Arnolfini & His Wife
Jan van Eyck - Giovanni Arnolfini & His Wife
Rogier van der Weyden (1399-1464)
Rogier van der Weyden (1399-1464)
The Depositio
n
1435
van der Weyden’s Deposition (details)van der Weyden’s
Deposition (details)
Quentin Massys (1465-1530)
Quentin Massys (1465-1530)
Massys’ The Moneylender & His Wife, 1514
, A new phase of Italian influence in France began with the French invasions of the Italian peninsula that began in 1494.
, -The most important royal patron was Francis I. -Actively encouraged humanistic
learning. -Invited da Vinci and Andrea del Sarto
to France. -He collected paintings by the great
Italian masters like Titian, Raphael, and Michelangelo.
Jean Clouet – Portrait of Francis I, 1525
Jean Clouet – Portrait of Francis I, 1525
Lucas Cranach the Elder (1472-1553)
Lucas Cranach the Elder (1472-1553)
, Court painter at Wittenberg from 1505-1553.
, His best portraits were of Martin Luther (to the left).
Matthias Grünewald (1470-1528)
Matthias Grünewald (1470-1528)
, -Converted to Lutheranism.
, -Possibly involved in the Peasants’ Revolt on the peasants side.
, -Depictions of intense emotion, especially painful emotion.
, The Mocking of Christ, 1503
Albrecht Dürer (1471-1528)
Albrecht Dürer (1471-1528), Self-Portrait at 26, 1498.
Dürer – Self-Portrait in Fur-Collared Robe, 1500
Dürer – Self-Portrait in Fur-Collared Robe, 1500
Dürer
The Last Supper
woodcut, 1510
Dürer
The Last Supper
woodcut, 1510
Durer – The Triumphal Arch, 1515-1517
Durer – The Triumphal Arch, 1515-1517
The Triumphal Arch, details
The Triumphal Arch, details
The Triumphal Arch, details
The Triumphal Arch, details
Dürer
FourHorsemen
of theApocalyps
e
woodcut, 1498
Dürer
FourHorsemen
of theApocalyps
e
woodcut, 1498
Hans Holbein, the Younger (1497-1543)
Hans Holbein, the Younger (1497-1543)
, -One of the great German artists who did most of his work in England.
, -While in Basel, he befriended Erasmus.
, -Henry VIII was his patron from 1536.
, Great portraitist noted for: Objectivity &
detachment. Doesn’t conceal
the weaknesses of his subjects.
, Erasmus Writing, 1523
Artist to the TudorsArtist to the Tudors
Henry VIII (left), 1540 and the future Edward VI (above), 1543.
Holbein’s, The Ambassadors, 1533
Holbein’s, The Ambassadors, 1533
A Skull
Multiple PerspectivesMultiple Perspectives
Pieter Bruegel the Elder (1525-1569)
Pieter Bruegel the Elder (1525-1569)
, One of the greatest artistic geniuses of his
age.
, Worked in Antwerp and then moved to
Brussels.
, In touch with a circle of Erasmian
humanists.
, Was deeply concerned with human vice
and follies.
, A lot of his work is biblical…parables
Bruegel’s, The Triumph of Death, 1562
Bruegel’s, The Triumph of Death, 1562
Bruegel’s, Hunters in the Snow, 1565
Bruegel’s, Hunters in the Snow, 1565
Bruegel’s, Winter Scene, 1565
Bruegel’s, Winter Scene, 1565
Bruegel’s, The Harvesters, 1565
Bruegel’s, The Harvesters, 1565
, master of landscapes; not a portraitist.
-People in his works often have round, blank, heavy faces.
-They are expressionless, mindless, and sometimes malicious.
See The Beggars – next slide
Bruegel’s, The Beggars, 1568
Bruegel’s, The Beggars, 1568
ConclusionsConclusions, The artistic production of Northern
Europe in the 16c was vast, rich, and complex.
, The Northern Renaissance ended with a Mannerist phase, which lasted a generation longer in the North than it did in Italy, where it was outmoded by 1600.
, Mannerism = maniera – style, Distorted figures and exaggerated
musculature and heightened color to express emotionTitian – master of color – Vivid Red & BlueMichalangelo – Last Judgement