Gardner s Art Through the Ages, 13e. Chapter 21 Italy, 1400 to 1500

Transcription

1 Gardner s Art Through the Ages, 13e Chapter 21 Italy, 1400 to

2 Renaissance Florence 2

3 Goals Understand the social, religious, and political influences of 15 th - century Italian art Discuss the increased popularity of Humanism Observe the influence of classical art and architecture in the painting and architecture of Renaissance Italy. Discuss the role of wealthy and powerful families Cite and understand art and architectural terms in relation to this historical period Analyze visual aspects of art and architecture Identify various artists of the period and their stylistic accomplishments Discuss the various roles of commemorative portraits 3

4 Rebirth of Italian Culture Understand the social, religious, and political influences of 15 th -century Italian art Discuss the increased popularity of Humanism Discuss the role of wealthy and powerful families 4

5 Artistic Achievements in 15 th Century Florence Cite and understand art and architectural terms in relation to this historical period Analyze visual aspects of art and architecture Observe classical artistic and architectural features in the art and architecture of 15 th century Florence Identify various artists of the period and their stylistic accomplishments 5

6 Important Artistic Elements to Observe Attention to the human form including the return of classical nudity and contrapposto --- influence of classical Roman statues Discovery and codification of linear perspective to create the illusion of three-dimensional space, usage of aerial perspective --- these values were important to classical painting Use of chiaroscuro to model forms, use of single light source --- greater realism Paintings that have balanced, symmetrical compositions, often using pyramidal composition Classical forms are incorporated more into architecture (triumphal arches, domes, coffers, harmonious geometric relationships) 6

7 21-1 Piero Della Francesca, Flagellation of Christ, ca , Galleria Nazionale delle Marche, Urbino. 7

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9 Figure 21-2 FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, Gilded bronze, 1 9 x 1 5. Museo Nazionale del Bargello, Florence. 9

10 Figure 21-3 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, Gilded bronze relief, 1 9 x 1 5. Museo Nazionale del Bargello, Florence. 10

11 Figure 21-8 DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, Gilded bronze, /2 x /2. 11

12 Figure LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, Gilded bronze, 17 high. Modern copy, ca Original panels in Museo dell Opera del Duomo, Florence. 12

13 Figure LORENZO GHIBERTI, Isaac and His Sons (detail of FIG ), (Gates of Paradise), baptistery, Florence, Italy, Gilded bronze, 2 7 1/2 x 2 7 1/2. Museo dell Opera del Duomo, Florence. 13

14 21-11A BERNARDO ROSSELLINO, Tomb of Leonardo Bruni, Santa Croce, Florence, Italy, ca Marble, /2" high. 14

15 Figure 21-4 NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, ca Marble, figures 6 high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele. 15

16 Figure 21-5 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, Marble, 7 9 high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence. 16

17 21-6 Donatello, Saint George, Or San Michele, Florence, Italy, ca Marble, 6 10 high. Museo Nazionale del Bargello, Florence. 17

18 21-7 Donatello, Saint George and the Dragon, relief below the statue of Saint George (Fig. 21-6), Or San Michele, Florence, Italy, ca Marble, 1 3 ¼ X 3 11 ¼, Museo Nzaionale del Bargello, Florence. 18

19 21-9a One-point perspective. 19

20 21-9b Two-point perspective. 20

21 International Gothic Style Not all painters incorporated classical features in their paintings Still a loyal following of International Gothic Style painting embodied in work of Gentile da Fabriano Even Gentile da Fabriano s work contains elements of the new naturalism (interest in modeling in light and shadow and developing recessional space) 21

22 Figure GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Strozzi Chapel, Santa Trinità, Florence, Italy, Tempera on wood, approx x 9 3. Galleria degli Uffizi, Florence. 22

23 Importance of Masaccio to Early Renaissance Tribute Money brings together innovations in 15 th 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 23

24 Figure MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca Fresco, 8 4 1/8 x /8. 24

25 Notice that Adam s and Eve s body types and poses are derivative of ancient Roman statuary. Compare Masaccio s Adam to Jan van Eyck s Adam from the Ghent Altarpiece. Eve has the modest Venus pose. Figure MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca Fresco, 7 x

26 Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base. Figure MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca Fresco, /8 x /4. 26

27 Figure FILIPPO BRUNELLLESCHI, cutaway view of the dome of Florence Cathedral, Florence, Italy, ( after Piero Sanpaolesi). 27

28 21-30A FILIPPO BRUNELLESCHI, Loggia of the Ospedale degli Innocenti (Foundling Hospital), Florence, Italy, begun

29 Figure FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed ; begun ca

30 21-31A FILIPPO BRUNELLESCHI, interior (looking east) of San Lorenzo, Florence, Italy, ca

31 Figure FILIPPO BRUNELLESCHI, early plan (left) and plan as constructed (right) of Santo Spirito, Florence, Italy, designed ; begun

32 Figure FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca

33 Figure FILIPPO BRUNELLESCHI, plan of the Pazzi Chapel, Santa Croce, Florence, Italy designed ca. 1423, begun

34 Figure FILIPPO BRUNELLESCHI, interior of the Pazzi Chapel (looking northeast), Santa Croce, Florence, Italy, designed ca.1423, begun 1442, with glazed terracotta roundels by Luca della Robbia. 34

35 21-35A LUCA DELLA ROBBIA, Madonna and Child, Or San Michele, Florence, Italy, ca Terracotta with polychrome glaze, 5 11 diameter. 35

36 Figure MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici- Riccardi, Florence, Italy, begun

37 Figure MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun

38 Figure PAOLO UCCELLO, Battle of San Romano, ca (?). Tempera on wood, approx. 6 x National Gallery, London. 38

39 First free-standing nude statue since antiquity. Notice the contrapposto Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality). Figure DONATELLO, David, late Bronze, 5 2 1/4 high. Museo Nazionale del Bargello, Florence. 39

40 21-12A DONATELLO, Penitent Mary Magdalene, ca Painted and gilded wood, 6 2 high. Museo dell Opera del Duomo, Florence. 40

41 Figure ANDREA DEL VERROCCHIO, David, ca Bronze, 4 1 1/2 high. Museo Nazionale del Bargello, Florence. 41

42 Pollaiullo Interest in Human Anatomy Hercules and Antaeus study of the musculature of struggling human form Battle of the Ten Nudes one of earliest known engravings, ecorche muscles look so defined that it looks as if they lack skin 42

43 Figure ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca Bronze, 1' 6 high with base. Museo Nazionale del Bargello, Florence. 43

44 Figure ANTONIO DEL POLLAIUOLO, Battle of the Ten Nudes, ca Engraving /8 x /4. Metropolitan Museum of Art, New York (bequest of Joseph Pulitzer, 1917). 44

45 21-27 Sandro Botticelli, Primavera, ca Tempera on wood, 6 8 X Galleria degli Uffizi, Florence. 45

46 Figure SANDRO BOTTICELLI, Birth of Venus, ca Tempera on canvas, approx. 5 9 x 9 2. Galleria degli Uffizi, Florence. 46

47 21-28A SANDRO BOTTICELLI, Young Man Holding a Medal of Cosimo de Medici, ca Tempera and gilded gesso on wood, /8 X 1 5 3/8. Galleria degli Uffizi, Florence. 47

48 Rise of Portraiture Understand the social, religious, and political influences of 15 th -century Italian art Discuss the various roles of commemorative portraits Identify various artists of the period and their stylistic accomplishments 48

49 Figure DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca Bronze, 12 2 high. 49

50 Figure ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca Bronze, 13 high. 50

51 Figure DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), Oil and tempera on wood, 2 6 x 1 8. Thyssen-Bornemisza Collection, Madrid. 51

52 Figure DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, Fresco, 24 4 x

53 Figure LEON BATTISTA ALBERTI BERNARDO ROSSELLINO, Palazzo Rucellai, Florence, Italy, ca

54 Figure LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca

55 Figure FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca Fresco, 7 1 x

56 Figure ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant Apollonia, Florence, Italy, Fresco, 15 5 x

57 Figure FRA FILIPPO LIPPI, Madonna and Child with Angels, ca Tempera on wood, /2. x 2 1. Galleria degli Uffizi, Florence. 57

58 Figure PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, Fresco, /2 x /2. 58

59 21-40A MELOZZO DA FORLÌ, Pope Sixtus IV Confirming Platina as Librarian, from the Biblioteca Apostolica Vaticana, Rome, Italy, ca Fresco transferred to canvas, /2" X Musei Vaticani, Rome. 59

60 Artistic Achievements of Mantua and Urbino Understand the social, religious, and political influences of 15 th -century Italian art Cite and understand art and architectural terms in relation to this historical period Analyze visual aspects of art and architecture Identify various artists of the period and their stylistic accomplishments 60

61 Figure LEON BATTISTA ALBERTI, west facade of Sant Andrea, Mantua, Italy, designed 1470, begun

62 Figure LEON BATTISTA ALBERTI, plan of Sant Andrea, Mantua, Italy, designed 1470, begun

63 Figure LEON BATTISTA ALBERTI, interior of Sant Andrea (looking northeast), Mantua, Italy, designed 1470, begun

64 21-46A Palazzo Contarini (Ca d Oro), Venice, Italy,

65 Figure ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, Fresco. 65

66 Figure ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, Fresco, 8 9 in diameter. 66

67 Figure ANDREA MANTEGNA, Foreshortened Christ, ca Tempera on canvas, 2 2 3/4 x 2 7 7/8. Pinacoteca di Brera, Milan. 67

68 21-49A ANDREA MANTEGNA, Saint James Led to Martyrdom, Ovetari Chapel, Church of the Eremitani, Padua, Italy, Fresco, approx. 14 X 11 (destroyed 1944). 68

69 Figure PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca Oil on wood, 8 2 x 5 7. Pinacoteca di Brera, Milan. 69

70 21-42A PIERO DELLA FRANCESCA, Battista Sforza and Federico da Montefeltro, ca Oil and tempera on wood in modern frame, each panel 1 6 1/2" X 1 1. Galleria degli Uffizi, Florence. 70

71 Figure PIERO DELLA FRANCESCA, Flagellation of Christ, ca Oil and tempera on wood, /8 X 2 8 ¼. Galleria Nazionale delle Marche, Urbino. 71

72 21-43A PIERO DELLA FRANCESCA, Resurrection, Palazzo Comunale, Borgo San Sepolcro, Italy, ca Fresco, 7 4 5/8 X 6 6 1/4". 72

73 21-43B PIERO DELLA FRANCESCA, Finding and Proving of the True Cross and Battle of Heraclius and Chosroes, east wall of the Cappella Maggiore, San Francesco, Arezzo, Italy, ca Fresco, True Cross 11 8 X

74 Figure LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, Fresco, 23 wide. 74

75 Discussion Questions What are the primary stylistic achievements of 15 th -century Italian artists? How do these traits reflect a change in man's view of spirituality and the emergence of Humanism? Do important political families today patronize the arts as during the Renaissance? Why or why not? Can you cite examples? 75