Ch 21 painting part 2

Mid-late 1400s in Italy

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Figure 21-24 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490. Fresco, 24’4” x14’9”.

Originally we see it in A contemporaryHome….

Now we see it in a SPECIFIC contemporary home…What does it say about the patrons and their home?

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Figure 21-25 DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”.

Thyssen-Bornemisza Collection, Madrid.

The re-emergence of An interest in the portraitIn this time-

Related to the new interestIn the Renaissance viewer’sExperience as a subjectiveOne----

The glorification of the “period eye”

Here: profile view and objects Show a family’s status and wealth…

A Man with His GrandchildGhirlandaio 1480-90

Influenced by Flemish painting seen in Italy in the 1450s….

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Figure 21-28 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence.

A pagan themeBut BotticelliKnows how toDraw the Audience in..

Here the Venus is meant to reference the part of her dual nature that governsuniversal love….a more spiritual and extraterrestrial version of Venus…here –sheBecomes synonymous with the Virgin Mary…

This work surprisingly Survives his spiritualCrisis….

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Figure 21-40 PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

Sistine wall fresco…Christ gives the keys to heaven directly to Saint Peter –Showing the inheritance of the sight it is painted upon…illustrates Alberti’s ideal city…perfectBalance in composition and city design….

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Figure 21-41 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide.

Figure 21-43 PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455-1465. Oil and tempera on wood,

1’ 11 1/8” X 2’ 8 ¼”. Galleria Nazionale delle Marche, Urbino. 9

ForeshorteningMeasured formsPerfect geometry Strong volumesClassical formsCool rational expressions

Engaging the viewer….

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Figure 21-42 PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472–1474. Oil on wood, 8’ 2” x 5’ 7”.

Pinacoteca di Brera, Milan.

Here…the patron isShown in the presence Of the miracle…symbols And depth of space Engage the viewer in theStory…and glorifyThe patron at the same time

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Figure 21-44 LEON BATTISTA ALBERTI, west facade of

Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

A Medieval church Transformed into a temple…Glorified as it houses the Blood of Jesus..

Alberti designs it to be largerThan the original…

-Combines:Roman triumphal archClassical temple front

pedimentpilasters

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Figure 21-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy,

designed 1470, begun 1472.

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Figure 21-46 LEON BATTISTA ALBERTI, interior of Sant’Andrea

(looking northeast), Mantua, Italy, designed 1470, begun 1472.

Colossal size and unity willInfluence architecture for centuries

Inspired by the ruins of Ancient Rome…

14Figure 21-49 ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7

7/8”. Pinacoteca di Brera, Milan.

Here-alterationsTo the foreshorteningAllow the viewer A more intimate Experience with the Scene…

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Figure 21-47 ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

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Figure 21-48 ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo

Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in

diameter.

ExtraordinaryForeshorteningIn a honeymoon Suite….anotherInside joke betweenThe viewer/patron/Artist…

We are all aware,Despite the illusionismThat it is a constructedWorld

di sotto in su… (seen from directly below)

TIME TO TRAVEL THROUGH TIME!

TO THE TIME OF….PICASSO

Picasso: Distorting the actual world of form….

Picasso: A Genius with something to say…

Picasso

Connection through time…Boticelli’s “Venus”