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Ch 13- Early Renaissance A.

Architecture Renaissance architecture reflects a renewed interest in ancient Roman models for mathematically derive proportions as well as logic of construction 1. Pg. 8 Filippo Brunelleschi Considered to be greatest architect of Early Rennasiance Built Florence Cathedral, dome 1420-36 138 feet wide 367 feet high Major landmark of Florence Largest dome built since Pantheon Stone base because stronger material, brick upper Octagonal dome reinforced by eight major ribs, visible in exterior, plus three minor ribs in-between each Lantern later added to crown the roof

2. Pg. 9 Leon Battista Alberti Architect/author who worked to create beauty in architecture that derived from harmony among all parts using math to determine proportions Church of Sant Andrea in Mantua Designed in 1470 Ideal demonstration of the Early Renaissance devotion to the antique For the faade, combined the triangular pediment of a classical temple with the arches, characteristics of ancient Roman triumphal arches Faade balances horizontal & vertical lines Faade = front of building 4 colossal Corinthian pilasters paired with small pilasters

3. Pg. 10 Michelozzo di Bartolommeo Designed Palazzo Medici-Riccardi for Cosimo de Medici begun in 1445, completed 1452 probably emblematic of power of the family three story stone building becomes increasingly smoother successively diminishing height of each story neat and clear division, orderliness also seen in windows Medici coat of arms appears on corners of second story

B. Sculpture Renaissance culture promoted the notion of individual genius by encouraging competitions among artists for prestigious public and religious commissions. 4. Pg. 11 Lorenzo Ghbiteri The Creation of Adam and Eve, relief panel from the Gates of Paradise Florence, 1425-52 Use of continuous narration, a simultaneous presentation of events that took place sequentially Portrays 5 scenes from Genesis Top , God creates Heavens and earth Bottom left, Adam created from the earth Central: Even being created from Adams rib Left and behind: Adam & Eve are tempted by Satan in guise of serpent Right: Adam and Eve are expelled from Garden of Eden One of the earliest depictions of the female nude 5. Pg. 12 Donatello David, ca. 1425-30, bronze, Florence 52 tall The Early Renaissance interest in antiquity and the accurate portrayal of the nude are evidenced here Depicts shepherd boy David who slew Giant, Goliath with a stone from slingshot In sculpture, stone is still in slingshot, although giants head is beneath his feet Portrays hero as adolescent male wearing only hat and boots, because in Bible, David takes off heavy armortoo heavy for battle David adopts the contrapposto postureweight rests on one leg elevating hips and opposite shoulder, putting spine into S curve

Mary Magdalene, ca. 1452-55, wood painted and gilded, Florence height 62 Depiction of her after years of living in desert body is gaunt, arms and legs withered , praying intentionally unnerving, repulsive absence of beauty makes her both powerful and memorable Raises the question: Is beauty required for art?

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Painting Pg. 13 Masaccio In his short life, carried the naturalistic impulse in painting furthest Painted Trinity with the Virgin, St. John the Evangelist, and Donors, Santa Maria Novella, Florence ca. 1427-1428 , fresco Fresco painting-method of painting water-based pigments on freshly applied plaster, usually on wall surfaces. The colors, which are made by grinding dry-powder pigments in pure water, dry and set with the plaster to become a permanent part of the wall. Portrays Renaissance interest in lifelike portraiturecan be seen in life size depictions of two members of the Lenzi family (who commissioned the work) donors have a real presence in the scene Used linear perspective-chapel appears to recede into the wall, vanishing point just below bottom of the cross Lenzis, Mary and John the Evangelist plead with Jesus on behalf of humankind

7. Pg. 13 Piero della Francesca Also deeply interested in portraiture, a reflection of the Renaissance concern for the individual Created double depiction of Battista Sforza and Federico da Montefeltro, ca. 1472-3, Florence Shows wife and husband holding their heads motionless, high above the landscape behind them Noble, elevated, grand; profiled view highly popularreveals distinctive features Wife is shown in fashion of the timeplucked, shaved forehead, elaborate hairstyle jewels Husband- left view chose because missing right eye and bridge of nose/ hes a gentleman, scholar, warrior, bibliophile Portrays realismwarts and all 8. Pg. 13-15 Fra Angelico Painted Annunciation, San Marco, Florence ca. 1438-45, fresco Painting of Mary and Gabriel, crossed arms-sign of respect and reference to Jesus cross and prefiguration of his cruxfixion Garden has accurate depiction of real plants , spaced evenly acrossed to maintain individuality Figures placed in architectural setting without regard to proper relative scale Architecture rendered typical of Early Renaissance respect for the law of perspective

9. Sandro Botticelli Painted Birth of Venus, ca 1484-86, Florence Master of lineboth descriptive and decorative Depicts the goddess born from the sea, a subject from antique pagan mythology Important revival of the nude based on antique prototypes

High Renaissance Focus shifted from Florence to Rome due to the wealth and power of the popes. Begins around 1485-1490 to end around 1520 (close to the death of Raphael) because his art epitomizes Renaissance style. 10. Leonardo Da Vinci***** Painted The Last Supper between 1495-1499 Three of largest windows directly behind Jesusemphasizes him Curved pediment, which arches above him serves as halo Jesus perfectly centered in middleall perspective lines converge toward a vanishing point directly behind his head 12 apostles arranged 6 on each side, divided into 4 groups of 3 Jesus arms extended diagonally as to form a equilateral triangle Scene is psychologically powerful, Jesus has announced that one of his apostles will betray himeveryone responds with dismay

Painted Mona Lisa ca. 1503 Probably most famous painting in the world Portrait of Lisa di Antonio Maria Gherardini, 24 year old wife of an Florentine official She appears relaxed and natural Half-length, three-quarter view, hands showing Forehead indicates nobility of Mona Lisashaved hairline and no eyebrows Fame of painting rests on her mysterious smile Developed technique for modeling forms in light and dark called chiaroscuro. In Italian, chiaro = light/clear, obscure=dark/obscure. Also developed sfumato, in Italian it means smoky. The outlines of the object are hazy as if in smoky atmosphere.

11. Pg. 21 Raphael Considered the epitome of High Renaissance painters, celebrated for his ability to arrange several figures into compact units Painted Madonna of the Meadows, 1505, oil on panel Mary, Jesus, John the Baptist form a pyramida favorite Renaissance compositional device Typical of his style: pale, sweet, and serious She is referred to as Madonna of Humilityshe sits on ground, descended to an earthly level, rather than on a throne as she usually portrayed Even the halos have become thin gold bands Raphael contrasts the curved/rounded shapes of substantial figures with their triangular/pyramid position She is fully bodied, maternal

is

Painted the School of Athens, 1510-11, fresco Commissioned by Julius II to paint frescoes in several rooms of Vatican Palace The painting embodies Renaissance humanists quest for classical learning and truth Shows scientists, philosophers of antiquity, some of whom have been given facial features of Raphaels contemporaries In the center are ancient Greek philosophersPlato and Aristotle The scene includes representations of Diogenes or Socrates sprawling on steps Pythagoras calculating on slate at lower left Ptolemy holding a globe on right Euclid with slate & compass Raphael is also in the painting, looking at us, second to the right Architecture based on ancient Romans/ linear perspective

12. Michelangelo Believed the figure is imprisoned within the block of marble in the same way the soul is trapped within the body Believe beauty was found in imagination David, 1501-04, marble 135 Pose si taken from antiquity, contrapposto pose. Virtuosity evidenced in muscles, tendons, and veins which are recorded Sense of enormous, pent up energy read to explode Absesnce of nudity recalls heroic nudes fo antiquity Represents the battle between good and evil as well as every person who must face their foe Interest in nudity and human body, something u didnt see in Middle ages, which was forbidden

Painted Creation of Adam, detail of Sistine Chapel ceiling, 1511-12, fresco, Vatican, Rome Center features the story of creation Four other scenes from Old Testament appear on corners God, noble and powerful, flies in swiftly, bringing Eve with him under his arm Comparable to Ghibertis The Creation of Adam and Eve God momentarily gives Adam his soul bringing him to life, as their fingers are about to touch The figures are very masculine in nature, even women were based on male body Figures are heroic and powerful, yet graceful and beautiful

13. Pg. 27 Donato Bramante ***** Tempietto, Rome, 1502-after 1511 Small in size but of great importance-demonstrates the reuse of ancient pagan architecture for Renaissance Christian purposes little temple Constructed on site where St. Peter was believed to have been crucified Building itself is set on a stepped base and surrounded by a peristyle continuous row of columns The first story is topped by a balustrade, or carved railing, inside of which is a drum, or circular wall, on which Bramante set a classical hemisphere dome Dramatic play of light & dark 14. Pg. 28 Titian Favored paintings with complex iconographyclassified paintings as poetry Painted Bacchanal, ca 1518, oil on canvas Full bodied idea of beauty Derives from classical mythology Bacchus is ancient Roman god of wine Richness of painting is due to use of an underpainting of red bolus (an earth pigment) Used impasto , a thick paint made by mixing the pigment with beeswax Also, he is associated with the golden glow achieved by adding a bit of yellow pigment to the final protective glaze applied to the painting*

MannerismAnti-Classical style 15. Parmigianino Madonna with the Long Neck, ca. 1534-40, oil on panel Compared with Raphaels Madonna of the Meadows They are unreal, other worldly, elongated and ethereal, artificial and affected, graceful and refined beyond natures capabilities Mary is especially large with almost balloon-like inflation through hips and thighs Hands look like there are no bones Unbalanced and spatially ambiguous, with figures crowded on left side, right side almost empty

16. Agnolo Bronzino Allegory with Venus and Cupid, ca. 1546 Two main figures are Venus and Cupid, shown to uncomfortably erotic On the right, Folly throws roses On top, Father Time uncovers the follies of love (or tries to hide them?) Figure on the right in the background has the body of a snake, represents Deceit, the masks suggest falseness Figures on left are Hatred and Inconstancy Mannerist paintings are typically complex iconography, with pictorial space choked with figures.

17. Tintoretto***** The Last supper, ca 1592-94, oil on canvas Contrast with Da Vincis High Renaissance depiction The perspective leads the viewers eyes away from Jesus rather than towards him Many figures compete with Jesus for viewers attention, as jesus is singled out only by his central position & aureole of light The lighting is unnatural, radiating from Jesus and the hanging lamp, from which the smoke transform into floating angels The table is not parallel to the picture of thte plane, rather it is placed on a strong diagnol into the depth Setting is in a tavern, which is unusual for religious event Criticized for losing sight of spiritual and religious aspect, as it concentrates more on aesthetics, potential of light, drama, movement

18. Benvenuto Cellini Made Saltcellar of Francis I, ca. 1539-43, gold with enamel Functional and elegant Salt represented by the male figure Neptune, because salt comes from the sea (salt is in a little boat) Pepper is represented by the female figure Earth, because pepper comes from the earth Sit in an uncomfortable, awkward pose Base has complex allegorical figures of the 4 seasons and 4 parts of the day

19. Vestibule of Laurentian Library, begun 1524, staircase by Michelangelo Staircase seems to flow downward, fill most of floor space, and because three flights lead to a single doorway at top, a traffic jam is likely.

20. Andrea Palladia******** Villa Rotunda, ca. 1567-70 This home takes the idea of symmetry and repetition beyond the limits of practicality All 4 sides look the same Passion for antique prototypethe Roman Pantheon--inspired this

Chapter 14- Renaissance in Northern Europe

Robert Campin, Merode Alterpiece, ca 1426, egg tempera and oil on panel Illusions of texture and atmosphere ade made possible by painting in oil rather than egg tempera, the medium avored in the Middle Ages

Triptych- three paneled painting, hinged and can be closed to protect painting inside Iconographic- symbolic implication of an object

Jan and Hubert van Eyck, Ghent Altarpiece, ca. 1425-32, oil on panel Polyptych- a painting consisting of multiple panels

Jan van Eyck, Giovanni Arnolfini and his Wife Giovanna Cenami, 1434

Hieronymus Bosch, Hay Wain, ca. 1495-1500 People of all types try to grab the hay, which according to the proverb, represents material possessions.

Genre painting- paintings depicting the daily life of ordinary people Pieter Bruegal the Elder Harvesters, 1565, oil on panel A genuine interest in landscape as a subject, rather than as a mere background

Peasant Wedding, ca 1566-67, oil on panel Commotion of a rustic wedding Peasants

Ch 15 Baroque Art Baroque- style is characterized by drama and theatrically seen in a heightened realism and illusions of motion. Emotionalism is enhanced by striking contrasts of light and shadow. Tenebrism--a dramatic contrast of dark and light, highlighting out only what the artist wants the viewer to see Fra Andrea Pozzo Triumph of St. Ignatius of Loyola, 1691-94, ceiling fresco The epitome of illusionstic Baroque ceiling fresco on ceiling of San Ignazio, Rome. Tricks viewers into thinking the architecture of the church extends past the actual ceiling

Bernini, David, marble, 1623, marble, Rome Comparable to Michelangelos David, but it is not static, but rather caught in the split second when the direction of action is about to reverse

Bernini, Ecstacy of St. Teresa, 1645-52, Rome Depicts St. Teresa being pierced in the heat with a flaming golden arrow by an angel, causing her to swoon in pleasure and agony

Rembrant van Rijn The Night Watch, 1642, oil on canvas, Amsterdam Most remarkable aspect of the painting is the lighting , which creates atmosphere, unifies the composition, links the figures, highlights expressive features and subordinates unimportant details

Peter Paul Rubens, The Garden of Love, ca. 1638, oil on canvas Known for rich, lush style applied to setting and to figures Voluptuous, fleshy females Painting expresses the pleasures of life

Nicolas Poussin, Rape of the Sabine Women, ca. 1636-37, oil on canvas

Velazquez, Maids of Honor, 1656, oil on canvas Depicts himself in this group portrait in the process of painting a large canvas The presence of people in the viewers space is indicated by their reflection in the mirror in the back wall Compare to Van Eycks Arnolfini wedding portrait

Sir Christopher Wren, faade, t. Pauls Catherdral, London, 1675-1710 The facade of St. Pauls in London is comparable to St. Peters in Rome Although the basic dome, pediment and columns derive from antiquity, the Baroque influence is evident in the paired columns and double facade

Carlo Maderno, faade of St. Peters, Rome, 1607-15 Obelisk- a four-sided shaft topped with pyramid

Chapter 16: ROCOCO Jean-Antonoine Watteau, Pilgrimage to Cythera, 1717, oil on canvas Rococo style is characterized by lightness both of content and color Depicts light hearted Aristocratic hedonism

Francois Boucher, Bath of Diana, 1742, oil on canvas Displays the delicate French grace and charming Rococo sentiment Female nude not rugged or athletic, but pale and pampered

Fragonard, The Meeting, 1771-73, oil on canvas Delicate graceful gestures, and curving forms, including the twisting pose of the statue of VenusRococo characteristics

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