Chapter 8 part 2

France

LIMBOURG BROTHERS, Les Très Riches Heures du Duc de Berry,

1413–1416. Fig. 8-9.

FranceExample: • Book of Hours for private

patron • Illusionistic treatment of

space• Luxury item• Scenes of daily life,

identifiable settings• Painting by secular

artists, not monksLIMBOURG BROTHERS, Les Très Riches

Heures du Duc de Berry, 1413–1416. Fig. 8-9.

Holy Roman Empire

MARTIN SCHONGAUER, Saint Anthony Tormented

by Demons, ca. 1480–1490. Fig. 8-12.

Holy Roman EmpireExample: • Print, engraving • Cross-hatches for

shading • Surface description of

textures• Printing responds to rise

in literacy and improved economy

MARTIN SCHONGAUER, Saint Anthony Tormented

by Demons, ca. 1480–1490. Fig. 8-12.

ItalyDates and Places: • 1400-1500• Independent courts on

the Italian peninsula

People:• Humanism • Revival of classical

learning• Self-aggrandizing patrons

LORENZO GHIBERTI, Sacrifice of Isaac, 1401–1402. Fig. 8-14.

ItalyThemes:• Life of Christ and the

Virgin Mary • Secular life • Classical themes

Forms:• Linear perspective• Classical forms• Optical naturalism• Window onto the

world

PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455–

1465. Fig. 8-35.

Italy

LORENZO GHIBERTI, Gates of Paradise, 1425–1452. Fig. 8-15.

ItalyExample: • Civic commission • Bronze doors of

baptistery• Linear perspective• Aerial perspective• Classical models• Story-telling narrative

clarityLORENZO GHIBERTI, Gates of Paradise, 1425–1452. Fig. 8-15.

Italy

DONATELLO, David, ca. 1440–1460. Fig. 8-19.

ItalyExample: • First nude sculpture

since antiquity• Bronze cast sculpture• Civic symbol of Florence• Private patron (Medici)• Sensuous contrapposto

for calm hero

DONATELLO, David, ca. 1440–1460. Fig. 8-19.

Italy

DONATELLO, Gattamelata, ca. 1445–

1453. Fig. 8-20.

ItalyExample: • Public monument• Bronze equestrian

portrait • Modeled after Marcus

Aurelius• Contemporary

condottiere dressed as Roman general

• Image of strength and power

DONATELLO, Gattamelata, ca. 1445–1453.

Fig. 8-20.

Italy

MASACCIO, Holy Trinity, ca. 1424–1427. Fig. 8-23.

ItalyExample: • Fresco in church, donor

portraits • Applies linear perspective

based on location of viewer’s eye

• Illusionistic extension of viewer’s space

• Classical architectural vocabulary MASACCIO, Holy Trinity, ca.

1424–1427. Fig. 8-23.