1.Florentine (Early) RenaissanceQuattrocento Italy

2. Gutenberg and his press Causes of the Renaissance Greater individual wealth (merchant and artisan class) Lower population (due to previous plague years) lead tolittle competition for resources Printing press and printmaking techniques lead to greateravailability of education and spread of ideas. Removed powerfrom clergy. Re-exposure to literature and philosophy ofancient Greece. Increased international trade lead to growth of cities, andincrease in the number of very wealthy individuals Wider variety of art patrons lead to wider variety of artsubjects. 3. Vitruvian ManLeonardo da VinciHumanism Renaissance-era Humanism:1. Discover the beauties of life in the here and now (not thehereafter)2. Reaffirmation of man nothing more wonderful than man3. Invention of the printing press spreads ideas from the people, tothe people4. Investigation of ancient texts and writers from Classical Greeceand Rome (i.e. Plato, Aristotle, Ovid, etc)5. Promoted a revival of interest in the affairs of the everydayworld, such as science, engineering, mathematics, and medicine6. Reassertion of the faith of men and women in themselves7. Reinforce the role of individuals in all spheres8. Emphasis on individual improvement and excellence rewardedwith fame and honor.9. Emphasis on civic duty 4. Italy c. 1400 Power in Quattrocento Italy In the 1400s, Italy was still divided into politically volatile city-states, with shifting power relations among them. Some regions were republics, while others (such as Milan andNaples) were ruled by individuals. The city-states of this time that were ruled by an individual arereferred to generically as princely courts, for though they wereruled by rulers with various titles (such as duke, marquis, count,cardinal, pope, or condottiere [mercenary warlord]), all them hadthe imperial powers of a monarch. These princes often appointed a court painter. At the time,most artists were still considered middle-class craftsmen. Beingappointed the court painter was a significant elevation of socialstatus (in addition to providing a steady income). Princes selected their court painters carefully, as the quality ofwork done by their painter reflected upon their own reputation. In addition to portraits, sculptures, and frescoes, court painterswere in charge of the tapestries, costumes, masks, and decorationsfor the frequent lavish social functions of court life. 5. Cosimo the ElderThe Medicisde Medici By the time of his death in 1429, the Florentine banker Giovannidi Bicci de Medici had established a vast family fortune. His son, Cosimo de Medici, was a great patron of the arts and oflearning in the broadest sense (in one example, he spent theequivalent of $20 million on the first library since ancient times). Florence was supposedly a republic, but in fact it was ruledindirectly by Cosimo. Although he did not hold public office, heused his wealth to control politics through bribery and threats. Cosimos son, Piero, was in perpetually ill health, and only ruledfor five years after his father before his own death. Pieros son Lorenzo was was a member of the Platonic Academyof Philosophy, and gathered about him a variety of artists andgifted men in all fields. He spent lavishly on buildings, paintings,and sculptures. Piero the Gouty Although Lorenzo continued to rule Florence in the same style as di Cosimo de Medicihis grandfather Cosimo, Lorenzo was not as gifted at banking as hisforefathers, and the family business shrank dramatically under histenure. Lorenzo the Magnificent de Medici 6. Teachings of the Neo-Platonic AcademyPlato and Aristotle1. The eternal absolutes of truth, goodness, and beauty existedonly in the divine mind.2. Such absolutes are not wholly within human grasp.3. Mortals, by learning, observation, and creativity, could catchoccasional glimpses of the absolutes4. TRUTH could be obtained by pursuing scientific knowledge5. GOODNESS could be obtained through performing and observinggood deeds and through the experience of love, first physical thenspiritual6. BEAUTY could be obtained through nature and experiencinggreat works of art 7. East Doors of the Baptistery of SanNorth (originally East) Doors of the Baptistery ofGiovanni (Florence Cathedral)San Giovanni. Lorenzo Ghiberti Baptistery of San Giovanni, Florence, Italy In 1401, the Cathedral of Santa Maria del Fiore (FlorenceGilded bronze. 1401-1402.Cathedral) held a competition to design the new East doors of thebaptistery (the south doors were done by Andrea Pisano in 1330). The artwork would be commissioned by the wool merchantsguild. Each prospective artist had to submit a relief panel depictingAbrahams near sacrifice of his son Isaac in a similar French Gothicquatrefoil frame. This scene is a metaphor for Gods sacrifice of his son, Christ. It also represents covenants (binding agreements between Godand humans). Baptism (in the baptistery) initiated a person intothese covenants. It may also represent the sacrifice of the civic duty to protect thecity to ensure freedom, as Florence was at the time under siege byVisconti, the duke of Milan. 8. Sacrifice of IsaacLorenzo Ghiberti Ghiberti vs. Brunelleschi Sacrifice of Isaac Filippo Brunelleschi 9. Sacrifice of Isaac Ghibertis panel won out for a number of reasons: Brunelleschi 1.It was cast in only two pieces of bronze, whereas Brunelleschiswas cast in several pieces. This meant lighter doors, less materialsexpense, and better durability against the elements of weather.2.Brunelleschis depiction emphasizes movement and passion,whereas Ghibertis depiction is more contemplative and graceful.3.Ghibertis composition has a greater sense of depth4.Ghibertis depiction of Isaac recalls the nudes of Classical Greece(as does his acanthus leaf decoration of the altar Isaac kneels on).Ghiberti 10. Gates of Paradise In 1425, Ghibertis patrons moved his original doors to the northEast Doors of the entrance, and commissioned him to make a new set of completelyBaptistery of San gilded doors for the east entrance.GiovanniLorenzo Ghiberti The artist Michelangelo later described these new doors as beingBaptistery of so beautiful that they would do well for the gates of Paradise,San Giovanni, and the nickname Gates of Paradise stuck. Florence, Italy Ghibertis rival, Brunelleschi, had recently developed the systemGilded bronze.of linear perspective, which Ghiberti adopted in these panels.1425. Ghiberti abandoned the quatrefoil frame of the previous doors,and made ten larger panels, instead of 28 smaller ones. The panels depict episodes from the Old Testament. In addition to linear perspective, Ghiberti used depth of relief tocreate a sense of depth (closer objects are in higher relief, whereasfurther items are in shallower relief). 11. Isaac & His Sons This is one of the panels from Ghibertis Gates of Paradise. Instead of the panel serving as an architectural space, Ghibertidepicted architecture in the background. The elegant architectural elements in the background lend asense of dignity and importance. Synoptic narrative the same characters appear several timeswithin the same frame to depict the story.-Left: Women attend the birth of Esau and Jacob-Center: Isaac sends Esau and his dogs to hunt game-Right: Isaac blesses the kneeling Jacob as Rebecca looks on Sense of realistic space enhanced by showing some figures frombehind. Isaac & His Sons Lorenzo GhibertiEast doors of the Baptistery of San Giovanni, Florence, Italy Gilded bronze. 1425. 12. Or San Michele The Or San Michele was an early 14th century building thatconnected the Palazzo della Signoria (seat of the Signoria,Florences governing body) and the cathedral. At various times, Or San Michele housed a church, a granary, andthe headquarters of Florences guilds. City officials had assigned niches on the buildings four sides tospecific guilds, instructing each guild to place a statue of its patronsaint in its niche. After nearly a century, only five of the fourteen niches werefilled, so city officials issued a mandate requiring the guilds tocomply. The niches house sculptures by some of the leading artists of the1400s, including Ghiberti and Donatello.Or San MicheleFlorence, Italy 13. Four Crowned SaintsFour Crowned SaintsNanni di Banco Or San Michele, Florence, Italy Commissioned by the Florentine guild of stone- and wood-cutters.c. 1410 The sculpture depicted the four patron saints of the guild, who weresculptors that refused to sculpt a Roman god for the Roman emperorDiocletian (ruled 284-305), and were subsequently put to death. At the time, Florence was under siege by King Ladislaus of Naples.These saints were the perfect role models for 15 th century Florentineswhom city leaders exhorted to stand fast in the face of Ladislaus armies. The recessed niches of Or San Michele allowed di Banco to face thefigures towards each other, making it seem as though they areinteracting and sharing the same unified space (as opposed to previousjamb figures, which all faced the same direction). As the man on the right speaks, the two men on the left listen closely,and the third man looks into space, pondering the meaning of the manon the rights words, creating a psychological unity. The emotional intensity of the two inner figures is based on thirdcentury Roman emperor portrait busts. The bearded heads of the outer saints reveal a familiarity with second-century imperial portraiture. 14. Saint Mark Saint Mark Donatello.Or San Michele, One such niche sculpture is the depiction of Saint Mark by the Florence, Italy.sculptor Donatello (full name Donato di Noccolo Bardi) c. 1411. Commissioned by the guild for linen makers and tailors. Marble, 7 9. Donatello utilized the classical contrapposto pose The folds of St. Marks robes seem to flow with the movement ofhis body, giving the sense that the figure is a nude human wearingclothing, not a stone statue with arbitrarily incised drapery. The robe does not conceal but rather accentuates the movementof the arms, legs, shoulders, and hips. The focus on the flowing drapery is appropriate given the guildfor whom the work was commissioned. The life-like statue almost seems ready to move out of the niche. 15. St. George Saint GeorgeDonatello This statue was commissioned by the guild for armorers andOr San Michele,sword-makers. Florence, It originally had a bronze helmet, and held a bronze sword (both Italyfashioned by guild members). c. 1410 The figure appears tense, ready to defend Florence againstinvading armies. Below the statue, Donatello installed a relief depicting St. Georgefighting a dragon. The background details are lightly incised lines,creating an sense of depth similar to atmospheric perspective. 16. Mary Magdalene Mary MagdaleneDonatelloWood Also known as Penitent Mary Magdalenec. 1455 Depicts an aged and withered Mary Magdalene, clad in nothingbut a garment of her own hair. Was probably originally commissioned by an housed in theBaptistery of San Giovanni, Florence. Was remarkable for its physiological realism and heightenedemotionalism. 17. DavidDonatelloc. 1440Donatellos DavidBronze Commissioned by the Medici family for display in their courtyard.5 2 Donatello revived the free-standing nude sculpture, which hadbeen considered indecent and/or idolatrous during the middle ages. Instead of a Greek god, Donatello depicted David, the young biblicalhero who slayed the giant Goliath. David was seen as a symbol for Florence, which had survivedseveral sieges by outside forces. The Medici either identified with Florence, or saw themselves asresponsible for its prosperity, and that is why they commissioned astatue of David. The incorporation of the classical contrapposto pose andproportions would have appealed to the Medici, as humanists. 18. DavidAndrea del Verrocchioc. 1465 Verrocchios DavidBronze Verrocchio was a prominent sculptor as well as painter.4 1 His version of David (also commissioned by the Medici family) isless classically idealized than Donatellos. Verrocchios David is a sturdy, wiry young apprentice clad in aleather doublet who stands with jaunty pride over the head ofGoliath. The easy balance of the weight and the lithe, still thinlyadolescent musculature, with prominent veins, show how closelyVerrocchio read the biblical text, and how clearly he knew thepsychology of brash young men. The Medici family later sold Verrocchios David to the Florentinegovernment for placement in the Palazzo della Signoria. 19. Hercules &AntaeusAntonio delHercules & AntaeusPollaiuolo What story is being depicted here? In what medium have wec. 1470 seen this story before?Bronze Also commissioned by the Medici family.1 6 Small in size. The Greek subject matter and emphasis on anatomy indicate theMedici interest in humanist art. Hercules is also related to the city of Florence because he hadbeen included on the citys seal since the 1300s. Again, the Medicifamily sought to associate themselves with the glory and success oftheir city. Unlike the two David statues, this statue depicts the human formin violent motion. 20. GattamelataDonatello. 12 2.GattamelataPiazza del Santo, Padua, Italy. The most expensive sculptures of the era were the larger-than-Bronze. C. 1445.life equestrian bronze statues. This statue depicts a recently-deceased Venetian condottiereErasmo da Narni, nicknamed Gattamelata (honeyed cat). The family of Gattamelata commissioned the piece to be madeby Donatello. The Venetian senate formally authorized its placement in thesquare in front of the church of SantAntonio in Padua,Gattamelatas birthplace. Donatello likely studied the equestrian statue of MarcusAurelius in Rome, but Donatello did not make the horsedisproportionately small. Gattamelata dominates the horsethrough character and will instead of size. The sculpture was elevated on a high platform. This image shows the ideal Renaissance individualist intelligent, courageous, ambitious, and frequently of humbleorigin, who could, by his own resourcefulness and on his ownmerits, rise to a commanding position in the world (representedby the orb below the horses foot). 21. Equestrian Statue of BartolomeoColleoniAndrea del Verrocchio Bartolomeo ColleoniCampo dei Santi Giovanni e Paolo, Another condottiere who fought for the Venetians was Colleoni,Venice, Italy.who wished to have an equestrian statue of himself to rival thec. 1480. Bronze. 13 high.fame of Gattamelata, and left funds in his will to pay for thecommission. The artist Verrocchio presented a different interpretation of amilitary leader. Placed on a pedestal even taller than Gattamelatas. The horse appears mid-stride, leaning forward with one foot inthe air. Colleoni twists his torso and seems to stand up in the stirrups ofthe saddle. Both horse and rider are depicted with an exaggerated tautness the animals bulging muscles and the mans fiercely rigid bodytogether convey brute strength. Donatellos Gattamelata depicted grim wisdom; VerrocchiosBartolomeo Colleoni is a portrait of merciless might. 22. Artist copying a master painting in the Louvre (Paris).Painter Training In Renaissance art, certain themes, motifs, and compositionsappear with great regularity, fostered by training practices thatemphasized the importance of tradition. Although many artists developed their own individual styles,tradition and convention still dominated. Aspiring artists began their training by copying master paintings(imitation). They would closely study works by the greatest artists,and repeatedly copy them to learn their style and techniques. Once an artist developed their technical skills, they stoppedcopying artworks exactly, and began making their owncompositions. However, they would still incorporate stylisticelements and techniques learned from the great artists(emulation). Although imitation still provided the foundation for the practiceof emulation, an artist used features of anothers art only as aspringboard for improvements or innovations. Thus, developing artists went beyond previous artists andattempted to prove their own competence and skill by improvingon established masters (in effect competing with the masters). Eventually, artists would develop their own distinct style. 23. Adoration of the Magi by Gentile da Fabriano Adoration of the MagiStrozzi Chapel altarpiece, Santa Trinita, Florence,Italy. 1423. Tempera on wood. 9 11 x 9 3. The Late Gothic International Style of Simone Martini persistedduring the first half of the 1400s. This altarpiece was painted by Gentile da Fabriano, the leadingInternational Style artist of the time, by the Strozzi family (one ofthe wealthiest in Florence) for their family chapel in the church ofSanta Trinita in Florence. The elaborately carved and gilded frame shows off the familyswealth, as does the use of elaborate costumes, gold leaf, and richcolors in the image. The image focuses on the Magi praising the Christ child and theVirgin Mary, but it also depicts all of the pomp and chivalricetiquette of the Late Medieval era, which would have appealed tothe wealthy family. Although this is primarily an example of International Stylepainting, the artist did incorporate the more naturalistic use ofvaried angles and fore-shortening to create a sense of depth (suchas with the horses, or the man kneeling to remove the spurs fromthe magus). The bottom left predella panel may be the first night-time versionof the Nativity, lit from within (the radiant Christ-child). 24. Tribute Money, Masaccio. Brancacci chapelTribute Money Santa Maria del Carmine, Florence, Italy,c. 1425. 8 4 x 19 7. The young artist Masaccio (who unfortunately died at age 27)painted a series of frescoes for the Brancacci familys chapel. In Tribute Money, Masaccio used synoptic narrative to show thestory of a Roman tax collector asking for tribute money (center),Jesus instructing Peter to check inside the mouth of a fish, wherehe finds a coin (left), and then pays the tax collector (right). Although similar to Giottos style, Masaccio improves uponGiotto by lighting the entire scene with a consistent light source.The light is to the right, and hits the figures at an angle, creating astrong sense of three-dimensional form. Instead of having the figures all lined up in the same plane, thefigures circle around Jesus, and Peter with the fish appears furtherback into space. The landscape itself is spacious in its depth (atmosphericperspective). Masaccio used linear perspective in the building on the right,and located Jesus head on the vanishing point. The Expulsion of Adam and Eve from Eden is another fresco fromthe Brancacci family chapel. 25. Holy Trinity Vanishing point is at Christs feet, about 5 feet off the ground andat eye level to the viewer. God the Father presents Jesus to the viewer, with the dove of theHoly Spirit in between, and the Virgin Mary and John the Evangeliston either side. The two outer figures are the donors who funded the painting(Lorenzo Lenzi & his wife). The scene takes place under an illusionary triumphal arch Below is painted a tomb with a skeleton and the inscription, Iwas once what you are, and what I am you will become. By placing the vanishing point at the viewers eye level, theillusion is more convincing. The tomb seems to jut out towards theviewer, and the barrel vault seems to recede into space. The ascending pyramid of figures leads viewers from the despairof death to the hope of resurrection and eternal life throughChrists crucifixion.Holy Trinity Masaccio. 1425. Santa MariaNovella, Florence.21 10 x 10 5 26. Annunciation. Fra Angelico.San Marco, Florence, Italy, c. 1440.Fresco, 71 x 10 6.Annunciation This fresco was painted with a simple clarity by the monk Fra Angelico (fra = brother). This was painted in the Dominican monastery of San Marco in Florence. It is located at the top of the stairs leading up to the monks cells. Dominican monks devoted their lives to prayer and work, and their abbey was mostly spare and austere to encourage the monks to immerse themselves in their devotional work. This painting is appropriately simple in nature, and includes the admonition, As you venerate, while passing before it, this figure of the intact Virgin, beware lest you omit to say a Hail Mary, to remind the monks not to be distracted. The two figures appear on a plain loggia (an architectural feature that refers to a gallery or corridor at ground level, sometimes higher, on the facade of a building and open to the air on one side, where it is supported by columns or pierced openings in the wall), resembling the portico of the abbeys cloister. 27. Madonna & Child with Angels Also painted by a monk, Fra Filippo Lippi. Fra Filippo Lippi was an orphan, raised in the monastery adjacent to the church of Santa Maria del Carmine, where he was exposed to Masaccios frescoes. He was unsuited for monastic life, and indulged in misdemeanors ranging from forgery and embezzlement to the abduction of a petty nun, Lucretia, who became his mistress and the mother of his son. Only the intervention of the Medici family on his behalf saved him from severe punishment. He became known for his linear style, which emphasized the contours of his subjects. This later work of his depicts Mary as a beautiful young mother, seated in prayer in an elegant Florentine home. The realistic landscape includes recognizable features of the Arno valley. The figures all reflect a level of personality that indicates they were likely based on live models.Madonna andChild with AngelsFra Filippo Lippic. 1460.Tempera on wood2 11 x 2 1 28. Resurrection. Piero della Francesca.Palazzo Comunale, Borgo San Sepolcro, Italy, c. 1465.Fresco. 7 4 x 6 6Resurrection Piero della Francesca was a Tuscan artist. He painted a scene ofthe Resurrection for the town hall of his birthplace, the PalazzoComunale of the city Borgo San Sepolcro. The city chose this subject for its city hall (instead of the usualbattle or landscape scene) because the name of the city refers tothe Holy Sepulchre (San Sepolcro), the tomb in which Jesus wasburied. The legend was that two 10th century saints had broughtfragments of the Holy Sepulchre to the town. Francesca framed the fresco with two painted columns. The figures create a triangular composition. The vanishing point is low in the composition, creating theillusion that the viewer is looking up at the scene from below. The Roman guards have fallen asleep in foreshortened poses (theman 2nd from left may be a self-portrait of the artist). Christ rises from the grave, holding the flag of victory over death,his muscular body reflecting the influence of classical Greek nudes.His tired eyes and facial expression communicate his suffering onthe cross. Christ is depicted from straight on, instead of below, violating theperspective of the rest of the composition to create an iconicquality. 29. Legend of the True Cross Legend of the True Cross Piero della Francesca Church of San Francesco, Arezzo. Francesca is well known for the cycle of frescoes he painted forc. 1450.the Church of San Francesco, Arezzo. The cycle included several frescoes depicting various miraculousevents in the history of the true cross (upon which Jesus wascrucified), from its legendary origin as a tree in the Garden of Eden,to its miracles performed after Christs death. The following website has interactive information on the artwork:http://projects.ias.edu/pierotruecross/pieroimages.html 30. Birth of the Virgin Birth of the VirginDomenico Ghirlandaio. Capella Maggiore, Santa Maria Novella, Florence, Italy. Domenico Ghirlandaio was renowned for his opulent c. 1490. Fresco.depictions of wealthy Florentine life. This fresco was one of a cycle of frescoes depicting scenes fromthe lives of the Virgin Mary and John the Baptist for the choir ofSanta Maria Novella. In this fresco, St. Anne reclines in an ornately decoratedpalace, while ladies in waiting wash the newly born Mary. To the left, a somber procession of women approaches, lead bya female member of the powerful Tornabuoni family (probablyLudovica, the daughter of the works patron, GiovanniTornabuoni). As with the Northern Renaissance, it was common for patronsto be depicted in artworks, along with important religiousfigures. However, unlike the humble depictions of Northern patrons,Italian patrons were often depicted in the center of the artwork,stealing the show from the saints. Each fresco in the cycle contains a prominently placed femalemember of the Tornabuoni family, representing their importantrole in society. 31. Giovanna Tornabuoni (?) Giovanna Tornabuoni Domenico Ghirlandaio.Oil & tempera on wood.1488. 2 6 x 1 8. This image probably depicts Giovanna Tornabuoni, wife ofLorenzo Tornabuoni. It was painted after her death (she died in childbirth in 1488),indicated by the epitaph in the background which quotes theancient Roman poet Martial. The depiction shows a proud but sensitive and beautiful youngwoman, dressed in elegant fabrics. This portrait tells viewers much about the advanced state ofculture in Florence, including the breeding of courtly manners, thevalue of beauty, and the importance of classical literature. The quote behind her reads: If art could depict character andsoul, no painting on earth would be more beautiful. 32. Battle of San RomanoPaolo UccelloBattle of San Romanoc. 1455. Tempera on wood. This painting was one of three acquired by Lorenzo de6 x 10 5.Medici for his bedroom chamber. Documents have suggestedthat only one of the paintings was commissioned by Lorenzo,and the other two were bought already painted. As such, theexact date of this painting is unclear. The painting depicts the 1432 Battle of San Romano, duringwhich the Florentines were victorious over the Sienese. The man on the white horse is Niccolo da Tolentino, a friendand supporter of Cosimo de Medici. The fruit in the upper left are mela medica (medicinalapples), which represent the Medici family (as Medici meansdoctors in Italian). Uccello was trained in the International Style, which isevident in the processional style of this work. However, he was also interested in the new development ofperspective, and used linear perspective to create a sense ofdepth (observe the fallen soldier and spears that follow theorthogonal lines to the vanishing point). In the distance, rolling hills rise up to reach the top of thepicture frame. 33. Birth of VenusSandro Botticelli Birth of Venusc. 1485. Tempera on canvas. Botticelli was a student of Fra Filippo Lippi, and his style5 9 x 9 2.reflects the elegant, linear style of Lippis. Commissioned by the Medici family. Based on a poem byAngelo Poliziano, a leading humanist of the day. Zephyrus (the west wind), carrying Flora (goddess ofspringtime and flowers), blows Venus, born of the seafoam, tothe shore of her sacred island, Cyprus, where the nymphPomona runs to meet her with a brocaded (decoratively woven)mantle. The movement of the wind is felt in the lightly flowing fabricsand hair, rippling water, and falling flowers. A depiction of a nude female Greek goddess would have beenunacceptable during the medieval era, but in the humanistRenaissance, under protection of the Medici family, it was not. Neo-Platonists believed that those who embraced thecontemplative life of reason would immediately contemplatespiritual and divine beauty whenever they beheld physicalbeauty, thus making the subject matter acceptable. Botticelli did not directly imitate classical antiquity, but usedthe myths in a way still tinged with medieval romance. 34. PrimaveraSandro Botticellic. 1482. Tempera on wood.Primavera6 8 x 10 4. Commissioned by the Medici family (represented again by theapples). Primavera = Spring. Venus stands at center, encircled by a halo-like opening in thetrees behind her. To the left are the dancing Three Graces, clad in thin garments.Left of them is Mercury, who turns away from the others to pointupwards with his staff, the caduceus. To the far right is Zephyrus, in ice-cold blue, abducting the nymphChloris, whom he transforms into Flora, the goddess of springtime(wearing a floral gown). The sensuality of the representation, the appearance of Venus inspringtime, and the abduction and marriage of Chloris all suggestthe occasion for the painting was the wedding of Lorenzo deMedicis cousin in May 1482. The painting also shows the Neo-Platonists view that earthly loveis compatible with Christian theology: Venus as the source of loveprovokes desire through Cupid. Desire can lead either to lust andviolence (Zephyrus) or, through reason and faith (Mercury), to thelove of God. This painting reminds the newlyweds to seek God through love. 35. Christ Delivering the Keys ofthe Kingdom to Saint PeterPerugino. Sistine Chapel, Christ Delivering the KeysVatican, Rome, Italy. The remaining paintings in this PowerPoint are1483. Fresco. 11 5 x 18 8.NON-Florentine Italian Renaissance of the 1400s. This was commissioned by Pope Sixtus IV of PietroVannucci, who was known as Perugino after his birthcity of Perugia. This event was the basis for the papacys claim toinfallible control over the Catholic church. In the background is a central plan temple in themiddle, and triumphal arches on either side. Thearches are based off the Arch of Constantine. Although anachronistic, the arches serve toconnect St. Peter to Constantine, the first Christianemperor of Rome, and builder of the great basilicaover St. Peters tomb. The figures in the foreground are an imaginary mixof apostles and Renaissance contemporaries. Perugino used linear perspective to create a senseof depth (vanishing point is in the doorway of thecentral plan temple). 36. The Damned Cast Into Hell Damned Cast Into HellLuca Signorelli. C. 1500.San Brizio chapel, Orvieto Cathedral, Commissioned by Pope Alexander VI Orvieto, Italy. Fresco. 23 wide. Saint Michael and the hosts of Heaven hurl the damnedinto Hell, where, in a dense, writhing mass, they arevigorously tortured by demons. Signorelli was a master of foreshortening the human figureand depicting bodies in violent movement. Each individual figure was based on a study of a model, butSignorelli was able to incorporate all of them together in aconvincing group. The skin of the demons is painted in greens and blues,signaling the putrification of flesh. 37. Camera Picta The Camera Picta (meaning painted chamber) is a room in theducal palace of Mantua. Like other princes of princely courts, the duke of Mantua(Ludovico Gonzaga) believed an impressive palace was animportant expression of his authority. In the Camera Picta, Mantegna created the first completelyconsistent illusionistic decoration of an entire room. Tromp loeil (pronounced tromp loyee) French for deceivesthe eye. A painting intended to create the optical illusion of three-dimensionality or space. Similar to the Second Style of ancient Roman wall painting (as inPompeii). Even the ceiling has a tromp loeil oculus, which includes putti Camera Pictaand a peacock looking down upon the people in the room.Andrea Mantegna The peacock was a symbol of Juno (Hera), and oversaw all legal Palazzo Ducale,marriages (the room was also known as the Room of theMantua, Italy. c. 1470. Fresco.Newlyweds). 38. Dead Christ or Foreshortened Christ Dead ChristAndrea Mantegna. C. 1500. Tempera on canvas.2 2 x 2 7. Like the Camera Picta, this painting shows off the artists masteryof perspective, and his enjoyment of challenging himself withdifficult perspective problems. Although the painting seems to be a strikingly realistic study inforeshortening, in actuality the feet have been reduced in size, soas not to block the view of the rest of the body, and the head hasbeen enlarged. Tempering naturalism with artistic license, Mantegna presentedboth a harrowing study of a strongly foreshortened cadaver and anintensely poignant depiction of a biblical tragedy. 39. Dome of the Florence CathedralFilippo BrunelleschiDome of the Florence Cathedralc. 1430. Stone masonry. After losing the commission of the bronze doors of the Baptistery of San Giovanni to Ghiberti, Filippo Brunelleschi turned his interest towards architecture (although he did continue to do some sculptural works as well). In 1402, he travelled with his friend, Donatello, to Rome, where he was captivated by its ruins and ancient architecture. His understanding of architecture helped him develop his system of linear perspective. Earlier generations of architects made plans to add a dome to the crossing of the Florence Cathedral, but it was Brunelleschi who had the technical skill to make it happen. The dome has two layers. The outer layer is based on a gothic pointed arch, using ribs to support the vault. It is supported by an octagonal drum at its base, and topped with an oculus and lantern. The inner structure is comprised of vertical marble ribs and horizontal sandstone rings, connected with iron rods. The inner and outer shells were connected with a series of arches. The structure reinforces itself, and requires no external buttressing. 40. Loggia of the Ospedale degli Innocenti(Hospital of the Innocents)Brunelleschi. Florence, Italy. Begun 1418. Ospedale degli Innocenti Ospedale degli Innocenti means Hospital of the Innocents, and was a hospital for orphans and foundlings (abandoned children). The Guild of Silk Manufacturers and Goldsmiths commissioned Brunelleschi to design and build the hospital/orphanage. As was traditional with charitable buildings, a loggia was built out front to provide shelter. Brunelleschi designed the loggia to be light and airy, with an arcade supported by smooth, Corinthian-capped columns. Each bay in the arcade was as wide as the 20-foot supporting column was tall, creating a pleasing geometric harmony. The ceiling of the portico was a series of pendentive domes, which were half as high as the columns. The bays on each were slightly wider, creating a frame. The glazed blue terracotta medallions depicting children were added later by Andrea della Robbia. The medallions are a reminder of the human side of humanism the most powerful and wealthy guild of the city cared for the most helpless members of society. The hospital/orphanage was located next to the church of the Santissima Annunziata (Holiest Annunciation), which housed a miracle-working painting of the Annunciation. 41. Santo Spirito One of two basilican churches designed by Brunelleschi (the other is San Lorenzo). This cruciform building is designed using modules based on the size of the dome-covered crossing square. The repetition of a standard unit created a sense of rhythm and harmony. The aisles, subdivided into small squares covered by shallow, saucer-shaped vaults, run all the way around the flat-roofed central space. The church was not completed until after Brunelleschis death, and the subsequent architects made a few changes to Brunelleschis original design. -The aisle was originally intended to cross in front of the entrance, but it would have required four doorways, instead of the traditional and symbolic three. -Successor builders also modified the appearance of the exteriorSanto Spiritowalls by filling in the recesses between the projecting semicircularBrunelleschi.chapels, to make the wall appear flat.Florence, Italy. Height of nave = 2x width. Arcade = clerestory in height.Designed 1436. Decorated with Brunelleschis trademark use of dark stoneBegun 1446.(petra serena) and white stucco walls. No space left for frescoes to detract from the austere clarity of the design. 42. San Lorenzo This is the other basilican church designed by Brunelleschi. For the Medici family, Brunelleschi worked on their parish churchof San Lorenzo, building a sacristy (room for keeping ceremonialattire and vessels) as a burial chapel for Giovanni de Bicci de Medici(now known as the Old Sacristy), and rebuilding the basilican nave. Like Santo Spirito, Brunelleschi designed this nave on a series ofregular modules. The columns are similar to the Hospital of the Innocents, smoothwith a Corinthian style top. Above the capital, Brunelleschi addedan impost block before the springing of the archway. The arcade is also repeated on the arched openings of the sidechapels, as well as the lunettes above them. Again, Brunelleschi decorated the church simply, using the San Lorenzocontrasting dark gray stone and white stucco walls. Brunelleschi. Florence, Italy.C. 1440. 43. Pazzi Chapel Although wealthy families could build their own chapel as a side-arm within their church, the wealthiest families built their familychapel as a complete, stand-alone building next to their church. The families endowed chapels to ensure the well-being of thesouls of family members. The chapels served as burial sites and asspaces for liturgical celebrations and commemorative services. The popularity of such chapels increased after the poperecognized the existence of Purgatory in 1215. The loggia in front was probably added after Brunelleschis deathto accommodate more Franciscan monks, who used the chapel astheir chapter house (meeting hall).Pazzi Chapel Inside, the chapel is the first independent Renaissance buildingBrunelleschiconceived as a central-plan structure.Santa Croce, Florence, Italy. Contains aspects typical to Brunelleschi, such as modular plan,Begun 1433. petra serena & white stucco, and pendentives. The medallions (tondi) on the pendentives are glazed terra cottaby Lucca della Robbia (uncle of Andrea), and depict the fourevangelists. The tondi on the pilaster-framed wall panels depict theapostles. 44. Palazzo Medici-RiccardiPalazzo Medici-Riccardi Palazzo = palace Michelozzo di Bartolommeo The commission for the Medici palace was awarded toFlorence, Italy Begun 1445.Michelozzo di Bartolommeo instead of Brunelleschi, asBrunelleschis proposal was deemed too ostentatious by Cosimo,who preferred to rule from behind the scenes. However,Brunelleschis stylistic influence on Bartolommeo is evident. The palace was later bought by the Riccardi family in the 1700s,hence the hyphenated name. The outer wall features rusticated masonry on the ground floor,to emphasize its strength. Each story decreases in size and roughness, making it seemlighter as it goes up. The building is capped with a large, heavy cornice. Although his design incorporates ancient Roman elements, itcombines them in a way that is innovative and new. How does the interior court show Brunelleschis influence? How is this building different from Gothic architecture? 45. Palazzo Rucellai. Florence, Italy. C. 1470.Leon Battista Alberti and Bernardo Rossellino., Palazzo Rucellai Alberti was the first Renaissance architect to study Vitruvius, anancient Roman writer who wrote a treatise on architecture. Alberti wrote his own treatise called On the Art of Building. He disliked the combination of the column and the arch. Hebelieved an arch was a wall opening, which should be supported bya section of wall (pier), not a separate sculptural element. Alberti designed the Palazzo Rucellai, and his pupil BernardoRossellino constructed it from his sketches. Crowned by a classical cornice, each story is defined by pilasterswith a different order of capital. The flat, low profile pilasters emphasize the flatness of thebuilding (as opposed to the deep roundness of the famous buildingoff which this building is based). 46. Santa Maria NovellaSanta Maria NovellaLeon Battista Alberti. Florence, Italy, 1470. The Rucellai family also commissioned Alberti to design thefaade of the 13th century Gothic church of Santa Maria Novella inFlorence. Alberti styled the building after an Italian Romanesque church,with a small, pediment capped temple front supported by a pilasterframed arcade. However, he also strongly believed that harmonic numericalratios were the source of beauty, a more Renaissance notion(which he shared with Brunelleschi). The building is the same height as it is wide. The cornice acrossthe middle divides the building perfectly in half, making the bottomhalf twice as wide as it is tall. The upper structure is the size ofthe total faade, and the entire faade could be fit perfectly into asquare. This faade is the first instance of the use of the scrolls thatsimultaneously unite the broad lower and narrow upper levels andscreen the sloping roofs over the aisles. 47. SantAndreaSantAndrea in MantuaAlberti. The Marquis Ludovico Gonzaga (a famed condotierre, who ruledMantua, Italy Mantua, a princely court) heard of Albertis work in Florence, andc. 1470.commissioned him to redesign and replace the 11 th century churchof SantAndrea. The faade Alberti designed combined two major ancient Romanarchitectural motifs: the triumphal arch, and the temple front. Albertis concern for proportion led him to equalize the verticaland horizontal dimensions of the faade, leaving it considerablyshorter than the church behind it. Even so, the faade does match the architecture behind it insome ways: the pilasters are the same height as those on thenaves interior walls, and the large barrel vault over the centralportal, with smaller barrel vaults branching off at right angles,introduces on a smaller scale the arrangement of the churchs naveand chapels. The pilasters on the faade run uninterrupted through the levels. Alberti criticized the use of colonnades to mark off the side aislesof churches, as the colonnades blocked the view of the ceremoniesfor worshippers in the side aisles. He instead made one large opennave, with private side chapels branching off at right angles.