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ITALY, 1400- 1500 GARDNER CHAPTER 21-4 PP. 565-572

ITALY, 1400-1500

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ITALY, 1400-1500. GARDNER CHAPTER 21-4 PP. 565-572. PALAZZO MEDICI. MICHELOZZO, Palazzo Medici-Riccardi, 1444, Florence Simple, massive structure -> rusticated ground floor; second floor strongly articulated blocks; third floor smooth surface -> building seems to get lighter as it goes up - PowerPoint PPT Presentation

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Page 1: ITALY, 1400-1500

ITALY,1400-1500

GARDNER CHAPTER 21-4PP. 565-572

Page 2: ITALY, 1400-1500

PALAZZO MEDICI

MICHELOZZO, Palazzo Medici-Riccardi, 1444, Florence Simple, massive structure -> rusticated ground floor; second

floor strongly articulated blocks; third floor smooth surface -> building seems to get lighter as it goes up

Roman arches at bottom used as entries to shops and businesses

Strong cornice placed on top

Page 3: ITALY, 1400-1500

PALAZZO MEDICI-RICCARDI

Interior courtyard allows light and air into the interior rooms of the palace

Palazzo built to express the civic pride and political power of the Medici family -> rusticated ground floor exterior expressed the fortitude of the Medicis

Symmetrical plan

Page 4: ITALY, 1400-1500

LEON BATISTA ALBERTI

The first Renaissance architect to understand classical architecture in depth

The first to study seriously the ancient Roman architectural treatise of VITRUVIUS

Author of On the Art of Building -> advocated a system of ideal proportions -> believed that the central plan was the ideal form for a Christian church

Page 5: ITALY, 1400-1500

PALAZZO RUCELLAI LEON BATTISTA ALBERTI, Palazzo

Ruccelai, Florence, Italy, ca. 1452-1470

Exterior is much more severe than the Palazzo Medici-Riccardi

Three horizontal floors separated by a strongly articulated stringcourse

Pilasters rise vertically and divide the spaces into squarish shapes

Not rusticated

First floor pilasters are Tuscan/derived from Doric, second floor composite derived from Ionic, third floor are Corinthian -> inspired by the Colosseum

Page 6: ITALY, 1400-1500

SANTA MARIA NOVELLA LEON BATTISTA ALBERTI, west façade of Santa

Maria Novella, Florence, Italy, 1456-1470

The Rucellai family commissioned Alberti to design the façade of the 13th century Gothic church of Santa Maria Novella

Small, pseudo-classical pediment capped temple on the upper part

Lower part -> pilaster framed arcade that incorporated the six tombs and three doorways of the Gothic building

Believed in the eternal and universal validity of numerical ratios as the source of beauty -> goes back to the true spirit of the High Classical age of ancient Greece = POLYKLEITOS

New feature -> the scrolls the united the upper and lower levels and screen the sloping roofs over the aisles inside

Page 7: ITALY, 1400-1500

GIROLAMO SAVONAROLA 1490’s -> Florence experiences a

political, cultural, and religious upheaval

French armies are threatening Florence and all of Italy

Dominican monk Girolamo Savonarola takes absolute control over the city -> denounces the paganism of the Medici and their artists -> denounced humanism -> exhorted people to repent their sins -> banishment of wealthy families -> destroy classical and worldly possessions

THE BONFIRE OF THE VANITIES

Page 8: ITALY, 1400-1500

THE PRINCELY COURTS

Florentine artists and architects led the way in creating the Renaissance

The papacy in Rome and the princely courts in other city-states nurture Renaissance art

The princely courts consisted of the prince (his title varied from city to city), his consort and children, courtiers, household staff, and administrators = little emperors -> wealth -> artistic patronage

Art for the princes had several purposes:

1. Showed princely sophistication and culture

2. Form of prestige and commemoration

3. Public education and propaganda4. Demonstration of wealth5. Visual pleasure

Page 9: ITALY, 1400-1500

PERUGINO

PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, 1482, fresco, Sistine Chapel, Rome

Christ delivers the keys of his earthly kingdom to Saint Peter -> a theme treasured by the popes, who saw themselves as descendants of Saint Peter

Left background -> tribute money

Right background -> stoning of Jesus

Models of the Arch of Constantine in the background; central basilica reflects the ideas of Brunelleschi and Alberti on architecture

One-point perspective, vast piazza

Open space provides dramatic emphasis on keys

Figures stand in contrapposto

Many contemporary faces in the scene

Page 10: ITALY, 1400-1500

LUCA SIGNORELLI

LUCA SIGNORELLI, Damned Cast into Hell, 1499-1504, fresco, Orvieto Cathedral, Italy

Further develops Pallaiullo’s interest in depiction of muscular bodies in violent action

One of a colossal series of frescoes depicting the end of the world

Saint Michael and the hosts of Heaven hurl the damned into hell

Demons vigorously torture the dense writhing mass of the damned

The fiends are depicted in bizarre and lurid coloration -> evil and putrefaction

Page 11: ITALY, 1400-1500

DAMNED CAST INTO HELL - detail

Page 12: ITALY, 1400-1500

PIERO DELLA FRANCESCA

PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro, ca. 1472-1474, oil on wood, 8’2” x 5’7”

One of the greatest artistic patrons of the 15th century was the Federico da Montefeltro, the Duke of Urbino

Federico clad in armor kneels at the feet of the Virgin -> behind him stands his patron saint, Saint John the Evangelist

Missing figure opposite Federico would have been his wife Battista Sforza -> she died

Figures appear in an illusionistically painted, coffered barrel vault

Page 13: ITALY, 1400-1500

ENTHRONED MADONNA AND SAINTS ADORED BY FREDERICO DA MONTEFELTRO - detail

Page 14: ITALY, 1400-1500

FLAGELLATION PIERO DELLA FRANCESCA,

Flagellation of Christ, ca. 1455-1465, oil and tempera on wood, 1’11” x 2’8”

Setting is the portico of Pontius Pilate’s palace in Jerusalem

Focus of the composition is not Christ but the three figures in the foreground -> scholars still debate who they are

The reveals a mind cultivated by mathematics -> the clarity and purity of geometric shapes