222 ren exam review

Principles of the Renaissance

• Imitation of nature

• To surpass classical models in quality

• Rationality and empirical knowledge

• Reconciling these other goals with Christianity

Principles of the Renaissance

Imitation of nature

– Giotto’s study of live models, animals, etc

– Realistic human anatomy and proportion

– Development of linear perspective

– Atmospheric perspective

– Contrapposto figures in sculpture and painting

Giotto diBondone, Arena or ScrovegniChapel(1305–1306)

Padua, Italy Each scene approx. 6’ 5" × 6’.

Principles of the Renaissance

To surpass classical models in quality

– Ad fontes – back to Antique sources in texts and

rediscovery of artworks

– Revival of Humanism as a philosophy placing

interest of humans as focus of life

– Embrace of nude male figure in art

– Return to Classical orders in architecture

MichelangeloSistine Chapel Ceiling (1511-12)

“Temptation and Expulsion”

Hagesandros, Polydoros, and Athenodoros of Rhodes.

Laocoön and His Sons. Probably the original of 1st century BCE or

a Roman copy of the 1st century CE. Height 8’.

22-09

Michelangelo

David

(1501-03)

22-17

Raphael, School of Athens (1509-11)Stanza della Segnatura, Vatican, Rome

http://www.mlahanas.de/Greeks/SchoolAthens.htm

Principles of the Renaissance

Rationality and empirical knowledge

– Realistic human anatomy and proportion

– Development of linear perspective

– Sophisticated compositions often idealized or

emphasizing interaction between figures

– Embrace of symmetry and proportion in design

– Technical innovations in materials (bronze, oil

paints), new theories and writing about art

(Vasari, Alberti, Durer)

Giotto (1303-6) and Leonardo (1490)

Raphael, Sistine Madonna (1512) Giotto, Ognissanti Madonna (1310)

Principles of the Renaissance

Christianity as major theme

– Subjects include Saints, Biblical characters

– Religious commissions for churches, chapels

– Reconciling religion with Classical ideals

(Ancient Greeks and Romans came before

Christianity)

Andrea Mantegna,

Saint Sebastian (1460)

Donatello, Saint Mark (1415)

Florence, Italy

Contrapposto

Iconography

22-09

Michelangelo

David

(1501-03)

Pietrodella Francesca,

The Annunciation (1455)

Left: Masaccio. Trinity with the Virgin, St. John the

Evangelist, and Donors. Florence, Italy.

Fresco. 1425–1428. 21' × 10’ 5”.

Top: Workshop of Peter Hemmel von Andlau.

The Trinity with the Virgin, Saints John the

Evangelist, Stephen and Lawrence and a Donor

German, 1479. Oil on panel. 31 7/16” x 55 3/16”

Masaccio, Tribute Money fresco in Brancacci Chapel (1425-28) Sainta Maria del Carmine,

Florence, Italy

Continuous narration: Apostle Peter shown in three separate moments in unified composition

One-point perspective

Jan van Eyck. Double Portrait of a Giovanni Arnolfini and His Wife.

1434. 33 × 22 1/2”.

Jan van Eyck. Man in a Red Turban. 1433. 13 1/8 × 10 1/4”.

Rogier van der Weyden, Annunciation (1435-40) Flemish, oil on panel

Bruegel (the Elder), Peasant Wedding (1565)

Bruegel (the Elder), Netherlandish Proverbs (1559)

Vitruvian Man (1487)Leonardo da Vinci

Self-portrait (1514)

Leonardo da Vinci

Virgin of the

Rocks (1490)

Key terms for Leonardo:

•Sfumato

• Chiaroscuro

Leonardo da Vinci

Mona Lisa(1503-06)