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Brunelleschi’s Dome (FlorenceCathedral), 1417-36; 1471, etc.

Brunelleschi was favored by theMedici and jailed when Cosimowas jailed.

Artist who perfected system ofmathematical perspective

Daring innovator, engineer.

Designed dome WITHOUT centersupports; architectural feat for thattime. Dome supported on lantern.

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Applications-of-linear-perspective-in-the-renaissance go to 18:30min

Brunelleschi designed & built the Foundling Hospital (orphanage) in 1419. Themedallions are still loved today …

Patron: Silk & Goldsmith’s Guild of Florence as a public service

Example of Renaissance style architecture-Corinthian style column with high lightarches.. Proportions in line with Renaissance art/science of proportions

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Detail of TerraCottaMedallion,1487

FoundlingHospital,Florence

Andrea dellaRobbia

Family secretblue and whiteglazing -babies showhuman side ofRenaissancehumanism

Guild publicservice

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Trinity with the Virgin, St. John theEvangelist, and Donors

Masacccio, 1425

Masterpiece of perspective - 1st truepainting with linear perspective

Illusino of reality

You can see the grids and perspective lineswhere he laid strings in the plaster

http://luxmedia.vo.llnwd.net/o10/clients/nationalgallery/illusion/02_trinity.m4v

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Expulsion from Paradise, fresco, (adam andEve), 1427, Masaccio

From the Brancacci Chapel

Study of anatomy & underlying muscle andbone structure, combined with expressivismand emotions of Adam & Even upon beingcast out of Eden

More psychological than Flemish painters

Inspired by ancient Roman sculpture

flashcardTribute Money, Masaccio, 1427, fresco, Brancacci chapel. flashcard

Most innovative of early early Italian Renaissance painters..3 scenes w/in one setting,Peter catches a fish with a gold coin in its mouth to pay Caesar’s taxes on the right,central figures around Jesus where Jesus tells them to Render unto Caesar that which isCaesar’s (Florentines being taxed for military campaign at the time of this painting).

Integrates architecture, figures, and landscapes realistically w/perspective

Green robe shaded w/red, strong modeling of figures, consistent light source..this frescowas studied by Michelangelo.

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Annunciation, Fra Angeliao, fresco, 1438-45. Painted for a monastery inFlorence. Probably commissioned by Cosimo de’ Medici. Linear perspective,natural light. Part of a series painted in the monastery to help guide the monks’prayers. Columns here show new buliding technique used by Brunelleschi.flashcard

Hercules & Antaeus, bronzefigurine, 18” tall, del Pollaiuolo, c.1475 (early Renaissance)

Influence of classical Greek &Roman sculpture

Study of Anatomy

Patrons: smaller statues that couldbe enjoyed or placed in the homesof middle class families

Del Pollaiulo’s patron was theMedici family; he was trained as apainter, sculptor, and goldsmith

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Gates of Paradise, (east doors),Baptistry of San Giovanni,Florence, Ghiberti 1425-52,bronze, 15’ high (4.5 meters)

Flashcard“I strove to imitate nature as clearly as I could,and with all he perspective I could produce, tohave excellent compositions with many figures.”

Competition held in 1401 tocommission this prestigious setof doors… Brunelleschi &Ghiberti were top competitors

Patron: Wool Mfgrs. Guild

Name coined later byMichelangelo

1 point perspective, 10 oldtestament scenes

Technological advance fromearlier doors-revived LOST WAXmethod of relief sculpture

Jacob & Esau,panel from theGates ofParadise,Ghiberti 1435

Intuitive andlinearperspective,high and lowrelief figuresgive amazingsense of depth

Jacob & Esaustory fromGenesis inBible

EsausymbolizesJews and JacobChristiansFlashcard part 2

Ghiberti’s Gates of Paradise, 1425Pisano’s John the Baptist doors,1327

Donatello - NewExpressiveness

• Excelled in 3 areas:– Human emotions & expressions– Vision & insight in solving formal

problems– Technical skill in various sculpture

media• 1st life-size male nude since antiquity• 1st life-size equestrian statue since

antiquity• Used contrapossto, iconography, G-R

drapery

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David, Donatello, Bronze, 5’2”, 1446-60, earlyItalian Renaissance

1st life-size male nude statue since antituity

David shown standing on the head of Goliath

Exagerrated contrapossto position

Hat of a fashionable Renaissance young man;David shown as adolescent

Originally stood in courtyard of Medici palace-Medici were patrons of Donatello

Inscription suggests iconography symbolizing thevictory of Florence over Milan in 1428

“The victor is whoever defends the fatherland. Al-powerful God crushes the angry enemy. Behold,a boy overcomes the great tyrant. Conquer, Ocitizens!”

Gattamelata (Equestrian Monumentof Erasmo da Narni), Donatello,Bronze, about 12 feet high, 1443

1st life size bronze equestrianstatue since antiquity

Shows General of Venetian army

Self-made man of theRenaissance, powerful condottieri

Sources: Marcus Aurelius &another ancient Roman equestrianstatues.

Donatello stayed in Padua(northern Italy) for years andfounded a school of sculpture.

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Mary Magdalen, Donatello, wood, 6’ tall, 1450s

Extremely expressive statue of the saint, whobecame a hermit after Jesus’ death.

Shows her emaciated and aged, clothed in herown hair, after years of wandering in thewilderness.

Donatello rejected classical form in this figure.

Vision of the hereafter.

http://www.youtube.com/watch?v=ekkOfn002tI&feature=PlayList&p=6F27851475601E03&index=9

Battista Sforza & Federico da Montefeltro, oil on wood, 1474. Piero dellaFrancesca painted this dual portrait of the Duke of Urbino & his wifeBattista. flashcard

Flemish influenceseen in oil paint &luminous colors;also landscapebackground.

Strict profiletradition makessubjects seemdistant fromviewers

Painting on reverseside showshumanistic interestsof Montefeltro’scourt and is full oficonography.

Reverse side of dualportrait by dellaFrancesca,

Triumph of Federicoand Battista

Duke is crowned bya winged Goddess(either Victory orFortune); also shownare Justice,Prudence, Fortitude,and Temperance.Battista’s cart ispulled by a Cheruband driving a team ofunicorns.. Faith &Charity hold apelican, symbol ofmaternal sacrifices.Inscriptions praise Battista’s restraint and virtues, and

Federico’s moderation and fame.

Camera Picta (NewlywedCeiling), Andrea Mantegna,fresco, 1465-74, Mantua.

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Mantegna studied in Paduawith influence of Donatello.

Patron was the Gonzagafamily, painted this for theirpalace ceiling.

False oculus, trompe l’oeileffect.

Di sotto in su… Showsradical perspective viewsand foreshortening.

BEGAN LONG TRADITIONOF ILLUSIONISTICCEILING PAINTING.

Interested in classicalliterature & archaeology.

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In Venice, the Bellini brothers created many OIL paintings inspired by the Flemish

Procession of the Relic of the True Cross before the Church of St. Mark, Gentile Bellini,oil on canvas, 1496, Galleria dell’ Accademia, Venice. Narrative of annual festivalcelebrating a 1444 miracle recovery of a dying child. Father in red robe kneeling ispraying for his child’s recovery. perspective

Primavera, Sandro Botticelli, 1482, Florence. Tempera on wood. Allegory combiningChristianity with classical stories, Venus of Earth, Venus of Heaven. Orange trees meanfertility. Revived female nude in art. Figures seem to float. Secular painting of religioussubject made for Lorenzo Medici’s wedding. Inspired by Flemish tapestry. flashcard

Birth of Venus, Botticelli, tempera, 1484. Flashcard. Based on modest Venus classicstatue, philosophy of beauty=birth of beauty. http://www.youtube.com/watch?v=r5L-B_fW7Ow

Ghirlandio

Painted frescos in Sassettichapel in Florence

Showed poetic, mysticalspirit

Religious fervor at end of15th century

Nativity and Adoration of the Shepherds, Sassetti ChapelAltarpiece, Florence, Ghirlandaio, 1485. flashcard

Ghirlandaio paintedthis after viewing vander Goes’ altarpiece,which came toFlorence from Brugesin 1483.

He even copies someof Hugo’s flowers, theiris, and has Jesus onthe ground. However,he puts in classicalRoman pilastersinstead of a medievalsetting. Linear &aerial perspective.