2. Culture
• 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
3. •
•
•
•
•
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
4. • 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
SAN
LORENZO
Filippo
Brunelleschi,
1421-‐1469,
Florence,
Italy
5. DOME OF FLORENCE CATHEDRAL
Filippo Brunelleschi, 1420-1436
Lantern completed 1471
6. 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
7. 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
•
•
•
•
8. 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
9. 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
10. • 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
11. 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)
12. 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
14. 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
16. 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
17. 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.”
18. Mary
Saint
John
Christ
•
Holy
Spirit
• As
a
dove
T
he
tradiKonal
symbol
20. 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
21. 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
22. BaSle
of
San
Romano
Paolo
Uccello,
1455
Tempera
on
wood
23. 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
25. 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
26. The
Last
Supper
Andrea
del
Castagno,
1447,
Sant’
Apollonia,
Florence
Fresco
27. 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
28. 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
29. 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
30.
31. 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
32. Christ
Delivering
the
Keys
of
the
Kingdom
to
Saint
Peter
Pietro
Perugino,
1482,
SisKne
Chapel
in
Rome
Fresco
33. 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
34. Birth
of
Venus
Sandro
Bodcelli,
1485,
Florence
Tempera
on
canvas
35. 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
37. 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
38. Birth
of
the
Virgin
Domenico
Ghirlandaio,
1485-‐1490,
Santa
Maria
Novella,
Florence
Fresco
39. 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
41. 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
42. Sculpture
• 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
43. 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
44. 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
45. 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
46. 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
47. 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
•
•
•
•
48. 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
49. 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
50. 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
51. 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
52. 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
53. 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
