Upload
smolinskiel
View
666
Download
1
Tags:
Embed Size (px)
Citation preview
Italian Renaissance: 15th Century
1400-‐1500 In Italian city-‐states: Ferrara, Florence, Mantua, Naples, Rome, Venice, etc.
• 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
Culture
• 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
SAN LORENZO Filippo Brunelleschi, 1421-‐1469,
Florence, Italy
• 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
DOME OF FLORENCE CATHEDRAL Filippo Brunelleschi, 1420-1436
Lantern completed 1471
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
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
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
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
• 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
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)
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
BEFORE PERSPECTIVE AFTER PERSPECTIVE
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
AdoraLon of the Magi
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
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.”
Mary Saint John Christ
Holy Spirit • As a dove
• T he tradiKonal symbol
Tribute Money Masaccio, 1425, Florence
Fresco in Santa Maria del Carmine
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
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
BaSle of San Romano Paolo Uccello, 1455 Tempera on wood
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
AnnunciaLon Fra Angelico, 1438-‐1447
Fresco
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
The Last Supper Andrea del Castagno, 1447, Sant’ Apollonia, Florence
Fresco
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
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
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
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
Christ Delivering the Keys of the Kingdom to Saint Peter Pietro Perugino, 1482, SisKne Chapel in Rome
Fresco
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
Birth of Venus Sandro Bodcelli, 1485, Florence
Tempera on canvas
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
Spring (La Primavera) Sando Bodcelli, 1482, Florence
Tempera on wood
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
Birth of the Virgin Domenico Ghirlandaio, 1485-‐1490, Santa Maria Novella, Florence
Fresco
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
Damned Cast into Hell Luca Signorelli, 1499-‐1504, Orvieto Cathedral
Fresco
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
• 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
Sculpture
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
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
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
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
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
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
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
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
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
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
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