Early Italian RenaissanceOriginally created by Mr. Douglas Darracott, Plano West HS Plano, TX

View of Florence, copy of the Carta della Catena, c.1480

Left: Lorenzo Ghiberti. Sacrifice of Isaac, competition panel for the east doors of the baptistery of Florence, 1401-2, gilded bronze reliefandRight: Filippo Brunelleschi. Sacrifice of Isaac, competition panel for the east doors of the baptistery of Florence, 1401-2, gilded bronze relief

Brunelleschi and Ghiberti/ contest sponsored by a guild/ blend of Gothic and classical features/ foreshortening

Right: Boy Removing a Thorn from his Foot, Roman copy of a Greek original (Augustan period)

Left: Lorenzo Ghiberti. North doors of the Florence Baptistery, 1403-1424, gilt bronzeBelow: Self-Portrait of Ghiberti, detail of the north doors of the Florence Baptistery

Nanni di Banco. Quattro Santi Coronati, (Or San Michele, Florence), c. 1408-1414, marble

Nanni di Banco/ Christian sculptors as martyrs/ architectural setting (tabernacle)/ influence of Roman portraiture/ bottega

Relief below Nanni di Bancos Four Crowned Saints

Donatello. St. Mark, 1411-13, marble

Donatello/ return of the contrapposto pose/ a humanist emphasis on the individual

Donatello. Saint George (Or San Michele, Florence), c. 1415-17, marble

Donatello. Prophet figure (Zuccone) from the campanile of Florence Cathedral, 1423-25, marble

Zuccone/ power of characterization

Donatello. Saint Louis of Toulouse, c. 1423, bronze

Donatello. Feast of Herod (Baptistery of San Giovanni, Siena), 1423-27, gilded bronze

Donatello. David, c. 1428-32, bronze

a symbol of Florence/ the Medici/ the effeminate male as a hero and an object of beauty

Left: Bust of Antinous from the time of HadrianBelow: Detail of Donatellos David

similarity to classical works (such as that of Antinous)

Donatello. Annunciation from the Church of Santa Croce (Florence)

Donatello. Gattamelata, c. 1445-1450, bronze

Gattamelata (Erasmo da Narni)/ equestrian statue/ the Renaissance individualist/ condotierre/ gorgon

Donatello. Mary Magdalene, c. 1454-1455, wood

Mary Magdalene/ Donatellos varied approaches to sculpting/ heightened expression favored over classical beauty

Donatello. Judith and Holofernes, late 1450s, bronze with some gilding

Judith and Holofernes/ mingling of death and eroticism /a triangular base decorated with scenes of Bacchic revelry/ the defeat of tyranny by virtue expressed after the expulsion of the Medici

Gentile da Fabriano. Adoration of the Magi, 1423, tempera on wood

Gentile da Fabriano/ Feast of the Ephiphany (January 6)/ the Magi (Caspar, Melchoir, and Balthasar)

Palla Strozzi/ blend of the International Gothic Style and a new naturalism

predella

Masaccio. The Holy Trinity, Santa Maria Novella (Florence) 1425, fresco

Masaccio/ Giorgio Vasari/ application of one-point perspective/ vanishing point/ references to the Trinity/ donors (the Lenzi family)/ a memento mori/ aedicule (framed niche)

classical symmetry and architectural features (pilasters, coffers, a barrel vault, etc.)

Masolino, Masaccio, and others. Brancacci Chapel of Santa Maria del Carmine (Florence), c. 1424-7, fresco

Masaccio. Tribute Money, Brancacci Chapel, Santa Maria del Carmine (Florence) c. 1427

Brancacci Chapel/ Masolino/ Golden Legend of Jacobus de Voraigne/ tribute money/ chiaroscuro/ foreshortened halos/ influence of Giotto and Nanni di Banco

horizon line/ atmospheric (or aerial) perspective

Left: Masaccio. Expulsion of Adam and EveRight: Masolino. Temptation of Adam and Eve

Left: Medici Venus, 1st century CE, marbleRight: Masaccio. Expulsion of Adam and Eve

Left: Masolino. Saint Peter PreachingMasaccio. Saint Peter Baptizing

Left: Masaccio. Saint Peter Healing by the Fall of his ShadowRight: Saint Peter Distributing Alms and the Death of Ananias

Filippo Brunelleschi. Dome of the Florence Cathedral, 1420-36

Filippo Brunelleschi/ close study of Roman monuments/ strict, but simple, proportions/ tall drum, or cylindrical base/ eight visible ribs/ inner and outer shell/ lantern

inner and outer shell

Filippo Brunelleschi. Santo Spirito (Florence) begun c. 1436

Latin cross plan/ use of a square module/ pietra serena/ appeal to reason and intellect

Left: Plan of Santo Spirito; Right: Interior of Santo Spirito

Filippo Brunelleschi. San Lorenzo (Florence), 1418 -1466

Filippo Brunelleschi. Pazzi Chapel (Santa Croce, Florence) begun c. 1440

centrally-planned chapel/ clarity of architectural structure expressed/ glazed terracotta reliefs/ Luca della Robbia

Luca della Robbia. Madonna and Child, from Or San Michele (Florence), c. 1455-60, glazed terracotta

Michelozzo. Palazzo Medici-Riccardi (Florence) begun 1444

Michelozzo/ Cosimo de Medici/ conservative tastes/ rustication/ cornice/ cortile

Benozzo Gozzoli. Procession of the Magi (Palazzo Medici-Riccardi), 1459, fresco

Benozzo Gozzoli/ expression of political interests/ Medici dress (Cosimo and Piero)/ self-portrait of the artist in the crowd

Medici villas and castles in the landscape

Lorenzo Ghiberti. The Gates of Paradise, east door, Florence Baptistery, 1424-52, gilt bronze relief

Lorenzo Ghiberti/ paradiso (space between a cathedral and a baptistery)/ relationship to painting and the writings of Alberti/ use of the square panel

Lorenzo Ghiberti. Genesis, showing the Creation of Adam, the Creation of Eve, the Temptation, and the Expulsion from the Gates of Paradise

schiacciato developed by Donatello

Lorenzo Ghiberti. Meeting of Solomon and Sheba, from the Gates of Paradise

Solomon and the Queen of Sheba

Lorenzo Ghiberti. Jacob and Esau, from the Gates of Paradise

Lorenzo Ghiberti. Detail of Scenes from the life of Joseph from the Gates of Paradise

Lorenzo Ghiberti. The Baptism of Christ, from the Gates of Paradise

Jacopo della Quercia. Creation of Adam, detail of the main portal of San Petronio (Bologna), 1425-39

Jacopo della Quercia. Expulsion of Adam and Eve (left) and Adam and Eve at Work (right), details of the main portal of San Petronio (Bologna), 1425-39

Paolo Uccello. Battle of San Romano, c. 1455, tempera on wood

Paolo Uccello/ Battle of San Romano/ Niccolo da Tolentino without a helmet/ tapestry-like richness in the ritual and pageantry of war

oranges, roses, and pomegranates (symbols of fertility)

interest in experimenting with perspective and foreshortening

Paolo Uccello. Drawing of a mazzocchio, 1430s, pen and ink

Paolo Uccello. Battle of San Romano, c. 1455, tempera on wood

Left: Andrea del Verrocchio. David, c. 1465-70, bronzeRight: Donatellos David

Andrea del Verrocchio/ use of an open form/ assertive depiction of an adolescent

Kufesque script

Andrea del Verrocchio. Doubting Thomas (Or San Michele in Florence), c. 1466-1467, bronze

Andrea del Verrocchio. Bartolommeo Colleoni, (Venice), c. 1483-8, bronze

Antonio Pollaiuolo. Hercules and Antaeus, c. 1475, bronze

Antonio Pollaiuolo/ Hercules and Antaeus/ abandoning the frontality of medieval sculpture/ combining nudity and Classical subject matter/ small bronzes for humanist art patrons

Antonio del Pollaiuolo and Piero del Pollaiuolo. The Martyrdom of Saint Sebastian, c. 1475, oil on wood

St. Sebastian/ a variety of poses/ ecorche

Antonio Pollaiuolo. Battle of the Ten Nudes, c. 1465, engraving

Fra Filippo Lippi. Madonna and Child with Angels, c. 1455, tempera on wood

Fra Filippo Lippi/ linear style/ use of models

Fra Filippo Lippi. Madonna Adoring Christ, 1450s

Sandro Botticelli. Birth of Venus, c. 1482, tempera on canvas

Sandro Botticelli/ NeoPlatonism and Marsilio Ficino/ Lorenzo di Pierfrancesco deMedici/ birth of a Venus and the Virgin Mary/ based on the Medici Venus

Zephrus and Chloris/ intellectual contemplation of beauty

Sandro Botticelli. Primavera (Spring), c. 1482, tempera on canvas

sacred and profane visions of Venus/ Flora and the arrival of spring/ Mars and his caduceus/ a halo of laurel

the three Graces and a blind Cupid

a study of botany

Unicorn at the Fountain, from the Hunt of the Unicorn series, c. 1498-1500, tapestry

Sandro Botticelli. Adoration of the Magi, 1470s, tempera on panel

elevation of sacred figures over secular personages/ crumbling stones and a peacock/ self-portrait of an artist gazing out toward us

Right: Sandro Botticelli. Portrait of a Youth, early 1480s, tempera on panelBelow: Detail of Madonna del Magnificant, c. 1480s

Sandro Botticelli. Madonna of the Pomegranate, c. 1480, tempera on panel

Sandro Botticelli. Venus and Mars, c. 1445-1510

Domenico Veneziano. Saint Lucy Altarpiece, c. 1445, oil on panel

Bernardo Rosselllino. Tomb of Leonardo Bruni (Santa Croce, Florence, Italy), c. 1445-1450, marble

Leonardo Bruni/ mixture of Classical and Christian iconography/ catafalque/ a deceased humanist with a book/ winged genii/ escutcheon

Domenico Ghirlandaio. Giovanna Tornabuoni (?), 1488, oil and tempera on wood

Domenico Ghirlandaio/ profile portrait/ a quote from classical literature

Domenico Ghirlandaio. Birth of the Virgin (Cappella Maggiore, Santa Maria Novella), 1485-1490, fresco

Ludovica Tornabuoni in center stage/ secularization of sacred themes/ rational order /

Studiolo of Federico da Montefeltro at the Ducal Palace in Urbino, 1476 grotesque style/ intarsia with the artists signature

Domenico Ghirlandaio. Adoration of the Shepherds, 1485

Melozzo da Forli. Pope Sixtus IV, His Nephews, and the Librarian Platina, 1480-81, fresco

Leon Battista Alberti. Palazzo Rucellai (Florence), c. 1452-70

Leon Battista Alberti/ referencing the Colosseum/ flat vs. recessed faade/ supercolumniation (placing one order above another)/ ashlar masonry/ an architectural metaphor for the city

Leon Battista Alberti. Santa Maria Novella (Florence) c. 1458-1470

continued application of the square module/ scroll buttresses/ Dominican solar emblems/ reliance on Vitruvius

Leon Battista Alberti. SantAndrea (Mantua) designed c. 1470

combined Roman architectural motifs/ colossal order/the artist emerging as an intellectual

absence of side aisles/ wide barrel vault with coffers

Plan of SantAndrea (Mantua), begun 1472

Fra Angelico. Annunciation from San Marco (Florence), c. 1440-45, fresco

Fra Angelico/ life in a Dominican monastery/ influence of Brunelleschi in the loggia/ enclosed garden and crossed hands

Fra Angelico. Mocking of Christ with the Virgin and St. Dominic at San Marco (Florence), 1438-1445

an austere, surreal setting in a simple cell/ disembodied head and hands

Fra Angelico. Annunciation (with St. Peter at the left) at San Marco (Florence), 1438-1445

Andrea del Castagno. Last Supper, from the refectory of SantApollonia (Florence), 1447, fresco

Andrea del Castagno/ recession of space in a refectory

inscriptions of the names of the disciples/ panels of colored marble

Left: Andrea del Castagno. The Youthful David, c. 1448, leather mounted on woodRight: Andrea del Castagno. Pippo Spano, 1449-51, fresco

Andrea del Castagno. Niccolo da Tolentino, Florence Cathedral, 1456, fresco

Luca della Robbia. Madonna and Child, from Or San Michele (Florence), c. 1455-60, glazed terracotta

Luca della Robbia. Boys singing from a Choir Book, from a Cantoria (singing gallery) at Florence Cathedral

Andrea della Robbia. Annuniciation (Arezzo)

Andrea della Robbia. The Ascension (Arezzo)

View of the Sistine Chapel (Rome)Left: Present-day viewBelow: Reconstruction drawing of the interior of the time of Sixtus IV

Perugino. Christ Delivering the Keys to the Kingdom (Sistine Chapel, Rome) 1481-83, fresco

Perugino/ expression of the churchs authority in a classical setting (Petrine Doctrine) / Sixtus IV

Attribute (keys of St. Peter)/ antique structures referencing Solomon and Constantine

Biblical figures alongside contemporary figures

Botticellis Punishment of Korah

Perugino. Baptism of Christ, (Sistine Chapel, Rome) 1481-83, fresco

Andrea Mantegna. Camera degli Sposi, 1474, frescoes

Andrea Mantegna/ Camera degli Sposi/ portraits of Roman emperors

di sotto in su/ putti and a peacock in an oculus

Ludovico Gonzaga and his family at the court of Mantua/ Vittorino da Feltre and the uomo universale

Andrea Mantegna. Saint Sebastian, 1450s-1470s.

Andrea Mantegna. Dead Christ, c. 1501, tempera on canvas

foreshortening/ emphasis on Christs wounds

Andrea Mantegna. St. James Led to Martyrdom, from the Ovetari Chapel (Padua), c. 1455 (now destroyed)

St. James/ interest in the archeological past/ challenging problems with perspective

Andrea Mantegna. Parnassus, c. 1499-1502, tempera on canvas

Piero della Francesca. Baptism of Christ, c. 1452-53, tempera on panel

Piero della Francesca/ divine composition: the square and the circle/ John the Baptist and three angels/ distant Italian landscape of Sansepolcro/ qualities of light and serenity

three angels separated by a tree

Luciano Laurana. Ducal Palace at Urbino, begun c. 1465

Anonymous. Ideal City, late 15th century, tempera on panel

Piero della Francesca. Flagellation of Christ, c. 1460, oil and tempera on panel

flagellation of Christ/ an architectonic composition

Piero della Francesca. Battista Sforza and Federico da Montefeltro, c. 1472, oil and tempera on panel

the court of Urbino/Federico de Montefeltro/ Battista Sforza, recently deceased

diptych/ portraits suggesting rank and status/ influence of Northern (Flemish) painting

triumphal processions with allegorical personifications

Piero della Francesca. Brera Altarpiece, c. 1472-1474, oil on panel

sacra conversazione/ absence of Battista Sforza/ volumetric construction of form/ a coral necklace, a scalloped shell, and an egg

Piero della Francesca. Resurrection, Palazzo Comunale (Borgo San Sepolcro ) c. 1463, fresco

rebirth and resurrection in a secular setting

Christ as a vertical axis

Piero della Francesca. Finding of the True Cross and Proving of the True Cross (San Francesco, Arezzo), c. 1455, fresco

Luca Signorelli. Damned Cast into Hell (Orvieto Cathedral), 1499-1504, fresco

Luca Signorelli/ Girolamo Savonarola

Luca Signorelli. Detail from the Apocalypse (Orvieto Cathedral), 1499-1504, fresco

Left: Luca Signorelli. Detail showing self-portrait and that of a monk (Fra Angelico?) Below: Resurrection of the Flesh (Orvieto), fresco

inspired by Dante and lingering medieval traditions

bold images of the human form

Early Italian Renaissance

************************************************************************************************************************************************************************************