15Th Century Art In Italy

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Back 1

Alberti, The Rucellai Palace, 1452-70, Renaissance
-three levels
-columns articulated engaged in all three levels
-cohesive sense to where windows and doors should be
-rectangular forms
-columns frame it all together

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Back 2

Alberti, Sant’Andrea, 1470, Renaissance
-bring all the classical elements together
-broken up into different levels with a cohesive whole of the arch
side doors and very distinct clear parts
-same shape on the inside as on the outside
-clear articulation of parts
-not mysterious and cluttered like the gothic

Front 3

Back 3

Botticelli, The Birth of Venus, c. 1480s, Renaissance
-Neo-Platonism
-intertwining of secular and sacred
-Mary is the ideal
-Mary is shown as Venus
-she is the perfect woman
-Venus Putica
-commissioned by the Medici family possibly for a wedding
-supposed to be a lesson for the bride

Front 4

Back 4

Botticelli Primavera, 1480s, Renaissance
- a sort of Mandola
- rebirth etc
- allegorical figures

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Back 5

Botticelli, Venus and Mars, 1480’s, Renaissance
-fairly sensual
-suggestive drapery
-he is clearly dreaming
-reason over brute nature
-

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Back 6

Sacrifice of Isaac, 1401-2, Italian 15th century Renaissance, Brunelleschi
-pedestal recalls the aria pacis -puts the spinario in the bottom right
-quatrafoil
-each figure on its own
-drapery not as real
-Ghiberti wins and makes the doors

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Back 7

Brunelleschi, Santo Spirito, begun 1436, early renaissance Italy
-Corinthian columns
-very classical
-flat topped nave
-corbelled detailing
-takes proportions from perspective and applies to architecture
-all based on proportion and math

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Back 8

Brunelleschi, Santo Spirito, begun 1436, early
-takes proportions from perspective and applies to architecture
-bases the whole structure off of one module unit
-nave is twice as tall as the side isles
-all based on proportion and math

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Back 9

Donatello, David, 1428-32, Renaissance (move towards to secular)
-was in the medici palace
-first life-sized nude since antiquity

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Back 10

Donatello, Gattamelata, 1445-50, Renaissance
-a condotiary
-equestrian portrait as used in rome to exalt a great leader

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Back 11

Donatello, Mary Magdalene, 1450s, Renaissance
-she was a sinner
-she changes her ways
-she goes off and lives in the woods
-clothing is made out of her hair
-medium is glazed wood

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Back 12

Donatelo, S. George, 1415-17 , Italian Renaissance C.15th
-amour maker’s guild
-off balance, contraposto
-youthful, idealized
-see the musculature
-scene on the predella has st. George slaying the dragon
-conventions are relaxed
-perspective used on the archway in the predella

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Back 13

Donatello, S. Mark, 1411-3, Donatello, Italian Renaissance C.15th
-for the linen making guild
-elaborate background

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Back 14

Fra Angelico, The Annunciation and the Transfiguration. 1440-45, Italian renaissance 15thC.
-frescos in his monastery
-St. Marco Monastery in Florence
-Dominican monk in the back
-while the monk was praying he was in the presence of angel etc
-painting mimics actual architecture of monastery
-almost like an icon

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Back 15

Fra Angelico, The Annunciation and the Transfiguration. 1440-45, Italian renaissance 15thC.
-frescos in his monastery
-St. Marco Monastery in Florence
-Dominican monk in the back
-while the monk was praying he was in the presence of angel etc
-painting mimics actual architecture of monastery
-almost like an icon

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Back 16

Gentile Da Fabriano, Adoration of the Magi, 1432, Renaissance 15th Century
-reminiscent of international gothic style with the framing and gold
-decorative drapery
-small details in the vignettes from the Sienese Rennaisance.
-altarpiece
-predella scenes
-succinct narratives
-different stories around the beginning of jesus’s life
- not filled, more space to breathe

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Back 17

Sacrifice of Isaac, 1401-2, Italian 15th century Renaissance, Ghiberti
-made for contest in Florence for doors of the baptistery
-right across from the duomo
-pannel had to fit in a quatrafoil had to depict the sacrifice of Isaac
-had to pull from classical art
-Classical elements --> ara pacis reference
-drapery use looks classical
-idealized musculature, classic looking proportions
-contraposto
-shows depth a lot better with slanting cliff

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Back 18

Bapistry north doors, 1405, Italian 15th century, Renaissance, Ghiberti
-thinking about perspective, but based on observation
-not REAL perspective yet
-after competition
-one point perspective

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Back 19

Ghirandario, Birth of the Virgin, 1485-90, Renaissance
-golden age of Florence
-much more secular stuff going on
-the elite begin to establish themselves
-teacher of Michelangelo
-scene takes place in a palace
-reminiscent of ornate 3rd Pompeii style
-Patron is standing with her hands on tummy in the sacred space
-interest in classicism
-shown as rich, liking arts and interested in classcicsim

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Back 20

Ghirlandario, Old man and young boy, 1480, Renaissance
-Dude has weird nose, Veristic depiction
-made in memory of the grandfather
-show the love and gentility of the grandfather
-shows a landscape scene in the back to show depth etc.

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Back 21

Andrea Mantegna, St. James Led to his Martyrdom, 1455 renaissance
-on the way to James’s death he stops to bless another
-perspective is as if we are on the ground looking up
-puts the viewer in the same position as the dude being blessed
-

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Back 22

Mantegna, Ceiling of the Ducale Palace, 1474, renaissance
-playing with prospective
-trombloy
-fools the eye to look like you are actually looking up
-everyone is peering over
-unstable and playful
-emphasizes perspective
- in the duke’s palace SECULAR
SETTING

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Back 23

Mantegna, Dead Christ, 1501, Renaissance
-we are immediately confronted with his feet and the wounds on his feet
-exaggerated perspective to emphasize his wounds

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Back 24

Masaccio, Brancacci Chapel, 1425
-Adam is in internal and eve is exterior
-conveyed through gesture
-reminiscent of Giotto
-hills in the background leading us into the composition
-tribute narrative
-three parts of the narrative in one scene continuous, or sequential narrative
-weighty figures
-orthogonal lead to Jesus
-light coincides with the light in the chapel itself
-comes from Giotto

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Back 25

Tribute Money, Masaccio, 1425
sequential narrative
sculptural influences
Blue sky=Giotto
light source aligned with windows in chapel

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Back 26

Masaccio, Trinity, 1425, Italian Renaissance,
-vanishing point is at Jesus feet/eye level
-momento mori at the bottom
-pray

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Back 27

Expulsion from the Garden of Eden, Masaccio, 1425
gesture=giotto
emotional shape of adam and physical shame of eden

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Back 28

Michelozzo, Medici Palace, 1450’s Renaissance
-three levels are from the colloseum
-interior has columns and small round vignettes
-blocky and private on the outside and more ornamented on the inside
-Architect read Vitruvius’s treatise
-Rustication

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Back 29

Nanni di Banco, Four Saints, 1408-14
-for the stone workers guild
-on the orsanmichele
-predella – bottom panel
-predella has stone workers
-figures are classical because they are contraposto, S curve
-the four stand together, they interact
-drapery makes them classical
-each is pretty distinct in their faces
-saints from the roman times

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Back 30

Peter keys

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Back 31

Duke and Duchess of Urbino, Piero Della Francesca, 1455-60
-on the back there are matching horses with wagons
-both pulled by unicorns
-symmetrical
-allegories for values

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Back 32

Pierro della Francesca, the Flagellation of Christ, 1455-60
Renaissance
-very interested in math
-proportion
-black strip on top bracci is used as unit of measurement—similar to Brunelleschi
-firm upright cylindrical figures
-clear shapes for the heads
-inspires artists

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Back 33

Uccello , The Battle of San Romano, 1450s, Middle – transition from early to middle renaissance
-painted for Medicis, seen in the oranges
-focus on the vanishing point
-mercenary (condotiary) in the middle (famous dude)