1. Humanism and the Allure of Antiquity

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Renaissance Florence

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COMPETITION!

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FILIPPO BRUNELLESCHI,
Sacrifice of Isaac, competition
panel for east doors, baptistery,
Florence, Italy, 1401–1402.
Gilded bronze, 1’ 9” x 1’ 5”.
Museo Nazionale del Bargello,
Florence.

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LORENZO GHIBERTI,
Sacrifice of Isaac, competition
panel for east doors, baptistery,
Florence, Italy, 1401–1402.
Gilded bronze relief, 1’ 9” x 1’
5”. Museo Nazionale del
Bargello, Florence.

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LORENZO GHIBERTI, east doors (Gates
of Paradise), baptistery, Florence, Italy,
1425–1452. Gilded bronze, 17’ high.
Modern copy, ca. 1980. Original panels in
Museo dell’Opera del Duomo, Florence.

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LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence,
Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

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DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427.
Gilded bronze , 1’ 11 1/2 ” x 1’ 11 1/2”.

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PAOLO UCCELLO, Battle of San Romano, ca. 1455 (?). Tempera on wood, approx. 6’ x 10’ 5”. National Gallery,
London.

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LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence,
Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

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DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427.
Gilded bronze , 1’ 11 1/2 ” x 1’ 11 1/2”.

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Brunelleschi

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NANNI DI BANCO, Four Crowned
Saints, Or San Michele, Florence, Italy,
ca. 1410–1416Marble, figures 6’high.
Modern copy in exterior niche. Original
sculpture in museum on second floor of
Or San Michele.

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DONATELLO, Saint Mark, Or San Michele, Florence, Italy,
1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche.
Original sculpture in museum on second floor of Or San
Michele, Florence.

55. Masaccio
Used perspective to construct an
illusion of figures in three-
dimensional space.
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56. Brancacci Chapel, Florence
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MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco,
8’ 4 1/8” x 19’ 7 1/8”.

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MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca.
1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.

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LEON BATTISTA ALBERTI, interior of
Sant’Andrea (looking northeast),
Mantua, Italy, designed 1470, begun
1472.

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71. I once was what you are and what I am you also will be.
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72. Memento Mori
• A visual reminder of human mortality.
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74. Importance of Masaccio to Early
Renaissance
• Tribute Money – brings together innovations in 15th
century painting --- trailblazer whose work influenced
other artists
– Linear perspective
– Aerial perspective
– Classical body types (blend of realism with idealizing
the human form)
– Chiaroscuro to create a more realistic picture, single
light source from the right, modeling the human
anatomy to give figures weight
– Balanced, symmetrical composition
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MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel,
Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ x 2’
11”.

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DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo
Nazionale del Bargello, Florence.

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87. DONATELLO, Penitent Mary Magdalene, ca. 1455. Painted
and gilded wood, 6’ 2” high. Museo dell’Opera del Duomo,
Florence.
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ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze,
4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.

90. Neoplatonism
• A compilation of Platonic, Aristotelian and Stoic
ideas that experienced a strong revival during
the late Middle Ages and the Renaissance.
Central to the philosophy is the notion that
spiritual things are real and that material things
are not. The freeing of the spiritual element, the
soul, from the material element, the body, should
be the ultimate goal of all of mankind and could
be achieved through knowledge and
contemplation.
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91. Marsilio Ficino
Translated Plato into Latin
(from Greek)
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94. Syncretism
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95. Santeria
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96. Neoplatonism
Embraced by the powerful Medici family.
All sources of inspiration, whether Biblical or Classical (Pagan)
mythology, represent a means of ascending earthly existence to a
mystical union with “the One”.
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97. The Medici Dynasty
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ALEXANDROS OF ANTIOCH-ON-THE-MEANDER, Aphrodite
(Venus de Milo), from Melos, Greece, ca. 150–125 BCE. Marble,
6’ 7” high. Louvre, Paris.

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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli
Uffizi, Florence.

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106. Botticelli
Byzantine influence shown in lyrical
use of line.
Decorative and flat space, little
illusion of depth.
Strong focus on Classical
Mythology.
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109. Simonetta Vespucci

110. Sandro Botticelli, Primavera, ca. 1482. Tempera on wood, 6’ 8” X 10’ 4”. Galleria degli Uffizi,
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118. Individualism vs. “Original Sin”
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DONATELLO, Gattamelata (equestrian statue of
Erasmo da Narni), Piazza del Santo, Padua, Italy,
ca. 1445–1450. Bronze, 12’ 2” high.

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ANDREA DEL VERROCCHIO,
Bartolommeo Colleoni (equestrian statue),
Campo dei Santi Giovanni e Paolo,
Venice, Italy, ca. 1481–1496. Bronze, 13’
high.

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DOMENICO GHIRLANDAIO, Giovanna
Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6”
x 1’ 8”. Thyssen-Bornemisza Collection, Madrid.

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FRA FILIPPO LIPPI, Madonna and Child with
Angels, ca. 1455. Tempera on wood, 2’ 11 1/2”.
x 2’ 1”. Galleria degli Uffizi, Florence.

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PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy,
1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

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LEON BATTISTA ALBERTI, interior of
Sant’Andrea (looking northeast),
Mantua, Italy, designed 1470, begun
1472.

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ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy,
1465–1474. Fresco.

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ANDREA
MANTEGNA,
Camera Picta
(Painted Chamber),
Palazzo Ducale,
Mantua, Italy, 1465–
1474. Fresco, 8’ 9” in
diameter.

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ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”.
Pinacoteca di Brera, Milan.

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144. ANDREA MANTEGNA,
Saint James Led to
Martyrdom, Ovetari
Chapel, Church of the
Eremitani, Padua, Italy,
1454–1457. Fresco,
approx. 14’ X 11’
(destroyed 1944).
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145. Girolamo Savonarola
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LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–
1504. Fresco, 23’ wide.

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