the renaissance 9.1 renaissance means “rebirth.” a long period of intense artistic activity...
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The Renaissance 9.1
Renaissance means “rebirth.”
A long period of intense artistic activity began in Europe during the early 1400s. It was fueled by a renewed
interest (or rebirth) in the ancient Roman and Greek art styles,
as well as explorations in science and math.
The artistic revival began in the Italian city of Florence. The rich and powerful Medici family supported the arts, and
provided much of the funding for art activities.
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Filippo Brunelleschi (1377-1446)Brunelleschi was a sculptor and architect. His most famous work is
the design for the enormous dome of the Cathedral of Florence, 1420. It was built as two shells, one inside the other. The shells
were linked with ribs and supports. This huge structure can be seen from all over the city of Florence.
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The Sacrifice of Isaac 1401 Brunelleschi Ghiberti
In 1401, both Brunelleschi and Lorenzo Ghiberti created these sample sculptural reliefs. They were entries in a competition to win the commission to design the doors of the Florence baptistry. Ghiberti won the contest; the two doors took more than twenty years to complete, seen on the following slide...
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Lorenzo Ghiberti The Gates of
Paradise c. 1435
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Lorenzo Ghiberti: The Story of Jacob and Esau Within these images the artist has created the illusion of depth; figures are smaller as they go back in space, and parallel lines lead to a single vanishing point. Several of the figures seem to project out in space in front of the panel.
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Lorenzo Ghiberti c. 1435
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Ghiberti Joseph in Egypt c. 1425-47, Gates of Paradise
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DonatelloDavid
Life-size bronze1430-1432
Donatello’s style combines Classic style and
Renaissance expression. He combined the
contrapposto of the Greeks — suggesting movement —
with facial expressions suggesting pride, dignity
and self-reliance, which are Renaissance ideals.
This is the first life-size, freestanding nude sculpture
since ancient times.
Freestanding means it was meant to be viewed from all
sides.
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DonatelloGattamelata
Bronze, 11’ tall1445-1450
Donatello was commissioned to sculpt a huge equestrian statue
of the Venetian general, Gattamelata.
Equestrian means related to horseback riding.
This is the first large equestrian sculpture of the Renaissance, and the first larger-than-life
horse and rider since ancient Rome.
Donatella was influenced by the famous Classic statue of Marcus Aurelius in Rome, as we see in
the next slide...
TextText
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Equestrian Statue of Marcus Aurelius Donatello 1445-50 161-180 AD
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DonatelloSt. Mark 1411-13 St. George 1415-17
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DonatelloMary Magdalene
1454-55Wood 6’2”
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DonatelloFeast of Herod c. 1425
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PAINTING IN THE RENAISSANCERenaissance painting began in Florence, Italy, when a young artist named Masaccio painted frescoes on
a chapel wall.
Masaccio revolutionized painting. He combined visual perspective, a sense of natural light, and the monumental human forms of the earlier Italian
Gothic artist, Giotto.
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Masaccio, Tribute Money, Fresco, c. 1427Notice the strong light source coming from the right — shadows fall to the
left of the figures. The illusion of spatial depth is created by overlapping planes, atmospheric perspective, and the receding size of objects as they go back
into the distance.
Three different parts of a story are being told here, from left to right across the picture.
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MasaccioThe Expulsion from
EdenFresco, 1427
Notice the strong light source coming from the right —
shadows fall to the left of the figures. The play of light and shadows modeling the forms
make the rounded human bodies and expressive faces seem to occupy real space, suggesting a sense of three-
dimensional volume.
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MasaccioThe Holy Trinity with the Virgin, St. John,
and Two Donors 1425
Notice how the figures are located in an illusory
space, created by the painted overhead
archway which establishes a view of the figures as if seen from
below.
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Brancacci Chapel, 1427 Frescoes by Masaccio
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Fra Angelico, The Annunciation, Fresco, 1440-50Fra Angelico often painted figures located within architectural structures
which establish a strong sense of linear perspective. The people are delicately rendered
and colored. His use of light is more theatrical, rather than consistently realistic and
natural.
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Paolo Ucello, Battle of San Romano, Tempera on panel, 6’x10’, 1445
Ucello was concerned with perspective and pictorial spatial depth. Here we see soldiers located right up close to the viewer in the foreground; as the
action in the picture recedes back into space, objects diminish in size. This is part of a 3-panel painting.
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Ucello, The Hunt, 1470Ucello was concerned with perspective and pictorial spatial depth.
Here we see hunters located right up close to the viewer in the foreground; as the action in the picture recedes back into the
distance, people, animals and trees diminish in size, reinforcing the illusion of deep space.
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Paolo Ucello (1397-1475)
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Piero della Francesca, The Discovery and Proving of the True Cross
Fresco, 1453-1454Piero was very concerned with perspective, spatial depth, and the use of
decorative, flat geometric design. His painting has a cool and severe character; the
people appear to be without emotion.
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Piero della Francesca, The Flagellation of Christ, Fresco, 1400s
Piero’s figures are cool and calm. With a very deliberate use of linear perspective — and dramatic change in scale — the artist creates a feeling of
great depth in space.Notice how the main action of the narrative story (Christ and his tormentors) is
unexpectedly placed farther away from the viewer instead of a more typical foreground placement.
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Piero della Francesca
The Baptism of Jesus
Fresco, 1400s
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Piero della Francesca
ResurrectionFresco, 1463
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Piero della Francesca Portraits, 1472
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Sandro Boticelli, The Birth of Venus, Tempera on canvas, 6’x9’ 1482
Boticelli’s huge painting shows a scene based on traditional mythology. The imagery also carries a Christian symbolic meaning: Venus, the water and
Spring could represent Christ, baptism and John the Baptist. Boticelli was a master of delicate lines, gracefully drawn figures and carefully balanced
colors. Despite many carefully rendered details, it is not a realistic scene — the water is highly stylized, proportions are distorted, and the light is not
natural.
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Sandro Boticelli “Primavera” 1400sBoticelli’s figures are elegantly rendered in a pleasing manner, but
they are nonetheless elongated, stylized, and the entire scene disregards a natural circumstance of daylight. Light is
manipulated for theatrical purposes.
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Sandro Boticelli “Primavera” 1400sDetail of the larger painting.
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Sandro Boticelli, Mars and Venus, Oil and tempera, 1485
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The Renaissance in Venice and Northern Italy
Venice became a dominant economic and political power during the early 15th century. Both Ucello and Donatello had temporary art studios there, influencing the local artists with
their Florentine styles.
Andrea Mantegna (1431-1506) learned a lot from the visiting artists of Florence. He mastered form, anatomy, and excelled
in the use of perspective and foreshortening, seen in the following slide...
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Andrea Mantegna, The Dead Christ, 27”x 32” Tempera on canvas, 1501
Notice extreme foreshortening in the dead body of Christ, stretched out on a marble slab.
The viewer can see the crucifixion nail holes in Christ’s hands and feet. The feet appear to jump off the picture plane, entering directly into the viewer’s
space.
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Andrea Mantegna Notice extreme
visual angle; the scene is depicted from a worm’s eye point
of view.
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Andrea Mantegna, The Crucifixion, oil on panel, 1460
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Andrea Mantegna Ceiling of the
Camera degli sposi, Fresco,
1474
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Andrea Mantegna, The Court at Mantua, Fresco, 1471
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Andrea Mantegna
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Giovanni Bellini (1431-1516) St. Francis of Assisi, oil on canvas
The arrival of oil painting techniques in Italy enabled Bellini to develop a new
richness of color, using a full range of value.
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Giovanni Bellini (1431-1516) Oil on canvas
With the arrival of oil painting techniques
in Italy, Bellini developed a new
richness of color and range of value.
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Giovanni Bellini (1431-1516)
The Doge Leonardo Loredan 24 x 18”
Oil on Panel, 1502
Bellini concentrated on the specific facial features
of the Doge, who was elected as the leader of the Venetian Republic.
Careful attention was paid to the natural play of light and shadow throughout the picture, and to the delicate textures of the
luxurious fabrics in which the sitter was clothed.