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| FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze. |
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| LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze relief, |
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LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10, with an overlay of perspective othagonals), east doors (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.
Baptistry uses diagonal lines (orthogonals) to indicate recession.
This is called linear perspective and it was invented by Brunelleshi.
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Palladio, Villa Rotunda, near Vicenza, Italy, (in Venetian Republic)1566-1570. Purpose is for social events by a retired monsigneur.
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Bartolommeo, Façade of the Palazzo Medici-Ricardi, Florence, (in Florentine Republic)begun 1445. Purpose is family home with commercial and public purposes.
The Florentine style is rusticated, and it looks like a warehouse. The Venetian style of the following century, is classical, denoting luxury |
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| Florence baptistry and cathedral, 1420-1426, seen from the air. What were the technical innovations of Brunelleschi in the dome of the Florence Cathedral? |
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ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in diameter. The viewer becomes the viewed in the painted oculus as the figures look down into the room. This is a marriage chamber.
Trompe l’oeil (French for “deceives the eye.”
This is the first completely illusionistic decoration of an entire room.
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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”. Painted for the Vatican, the fresco depicts the event on which the papacy bases its authority. Christ holds out the keys to Saint Peter. Note linear and atmospheric perspective (sfumato)
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Donatello’s bronze David , late 1420-lagter 1450s, a Medici commission for the Palazzo Medici courtyard. It is 5 ‘ 2 ¼” high. The Medici were aware of an earlier sculputre by Donatello of David in the Palaxxo dell Signoria, the center of political activity in France. The Medici saw themselves as responsible for Florence’s prosperity and freedom.
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Commissioned by the Florence Cathedral building committee, Michelangelo’s marble David, 1501-1504, is 13’5” high. This sculpture led to major papal commissions for Michelangelo since pope Julius II, associated himself with the humanists and with Roman emperors.
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PIERO DELLA FRANCESCA, Battista Sforza and Federico da Montefeltro, ca. 1472–1474. Oil and tempera on wood in modern frame, each panel 1’ 6 1/2" X 1’ 1”. Galleria degli Uffizi, Florence.
Portrait is based on the young wife's death mask. |
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LEONARDO DA VINCI, Leonardo da Vinci, Madonna of the Rocks, from San Francesco Grande, Milan, Italy, begun 1483. Oil on wood (transferred to canvas), 6’ 6 1/2” x 4’. Louvre, Paris.
• This painting is famous for the way the artist used light and dark, imbuing the figures with radiance.
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LEONARDO DA VINCI, Vitruvian Man, ca. 1485–1490. Pen and ink on paper, 1’ 1 1/2" X 9 5/8”. Galleria dell’Accademia, Venice.
“drawing is the external physical manifestation of an internal intellectual idea or design.”
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| RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. |
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RAPHAEL, Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, ca. 1517. Oil on wood, 5’ 5/8” X 3’ 10 7’8”. Galleria degli Uffizi, Florence.
Leo X wanted to be seen as a man of learning and a collector of precious objects. |
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MICHELANGELO BUONARROTI, Pieta, ca. 1498-1500. Marble, 5’ 8 ½” high. Saint Peter’s, Vatican City, Rome.
. In gleaming marble, The Virgin is presented as a young woman to indicate her purity. |
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DONATO D’ANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, 1502(?).
• He was the first architect to revive the classical style. Roman temples inspired this “little temple.”
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GIORGIONE DA CASTELFRANCO, The Tempest, ca. 1510. Oil on canvas, 2’ 8 1/4” x 2’ 4 3/4”. Galleria dell’Accademia, Venice.
• The Venetians used color, the Florentines and Romans used sculptural form. Colorito (colored or painted) versus disegno (drawing and design).
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| TITIAN, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5”. Galleria degli Uffizi, Florence. Unknown woman. Patron is Duke of Urbino. Task for Titian is sensual flesh made for the gaze of the male patron. |
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TITIAN, Isabella d’Este, 1534–1536. Oil on canvas, 3’ 4 1/8” x 2’ 1 3/16”. Kunsthistorisches Museum, Vienna.
• Commissioned by the Marquess at age 60, she demanded Titian paint her at age 20. Her patronage of art and music was instrumental in developing the Mantuan court into an important cultural center.
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| LAVINIA FONTANA, Portrait of a Noblewoman, ca. 1580. Oil on canvas, 3’ 9 1/4" X 2’ 11 1/4". The paintings of Lavinia Fontana (1552-1614) constitute the largest surviving body of work by any woman artist before 1700. |
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| SOFONISBA ANGUISSOLA, Portrait of the Artist’s Sisters and Brother, ca. 1555. Oil on panel, 2’ 5 1/4” x 3’ 1 1/2”. The first Italian woman to become famous as a painter, she worked in the court of Philip II of Spain. This informal portrait is of her own two sisters and brother. |
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ARTEMISIA GENTILESCHI, Self-Portrait as the Allegory of Painting, ca. 1638–1639. Oil on canvas, 3’ 2 7/8” X 2’ 5 5/8”.
To paint a self portrait from the side, the artist set up a pair of mirrors to record her features. This is a highly original break from tradition and an assertion of her supreme skill in a field dominated by men. |
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REMBRANDT VAN RIJN, Self-Portrait, 1658. Oil on canvas, 4’ 4 5/8” X 3’ 4 7/8”. Frick Collection, New York.
• which now included people from many walks of life, not only aristocratic or clerical patrons, as in the past—purchased etchings of famous people, including artists. By using himself as the model for these and other studies, The wide dissemination of these and other prints was important in establishing Rembrandt's reputation as an artist.
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| JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art, Washington, D.C. |
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Aerial view of Saint Peter’s, Vatican City, Rome, Italy. Piazza designed by GIANLORENZO BERNINI, 1656-1667.
The Reformation movement led to the establishment of Protestantism, a belief in personal faith rather than an adherence to Church practices and doctrines, thus eliminating the need for Church intercession, which is central to Catholicism.
THE COUNTER-REFORMATION led a full-fledged campaign to counteract defection of its members to Protestantism.
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| Bernini’s David, 1623, marble 5’7” high. |
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Hans Baldung Grien, Witches Sabbath, 1510, woodcut, Protestant Baroque in the Netherlands
• Female nudity and macabre scenes were popular with men who avidly purchased the relatively inexpensive prints in large numbers.
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| Rubens represented Catholic patrons. Elevation of the Cross, 1610 is intended to convey Flemish allegiance to Catholicism and Spanish Habsburg rule after a period of Protestant iconoclastic fervor in the region. Note the diagonal placement of the body on a diagonal and the emotional and physical tension and the tenebrism (use of light and dark). Compare to Rembrandt, The Prodigal Son, 1665. |
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| Chiaroscuro is an Italian artistic term used to describe the dramatic effect of contrasting areas of light and dark in an artwork, particularly paintings. It comes from the combination of the Italian words for "light" and "dark." |
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| A system of thought that focuses on humans and their values, capacities, and worth. b. Humanism A cultural and intellectual movement of the Renaissance that emphasized human potential to attain excellence and promoted direct study of the literature, art, and civilization of classical Greece and Rome. |
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| Condottieri (Italian: [kondotˈtjɛːri]; singular condottiero andcondottiere) were the leaders of the professional military free companies (or mercenaries) contracted by the Italian city-states and the Papacy from the late Middle Ages and throughout the Renaissance. |
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| Quattrocento, the totality of cultural and artistic events and movements that occurred in Italy during the 15th century, the major period of the Early Renaissance. ... The Cinquecento delimits a fundamentally different period, one of intense and violent changes in the whole fabric of Italian culture. |
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Neoplatonism – earthly love is compatible with Christian theology |
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| In Christian architecture the baptistery or baptistry (Old French baptisterie; Latin baptisterium; Greek βαπτιστήριον, 'bathing-place, baptistery', from βαπτίζειν, baptízein, 'to baptize') is the separate centrally planned structure surrounding the baptismal font. |
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| The appearance of this ratio in music, in patterns of human behavior, even in the proportion of the human body, all point to its universality as a principle of good structure and design. Used in art, the golden ratio is the most mysterious of all compositional strategies |
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| A pendentive is a constructive device permitting the placing of a circular dome over a square room or an elliptical dome over a rectangular room. |
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French for “deceives the eye.” |
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| Definition & Characteristics. In fine art, the term "sfumato" (derived from the Italian word fumo, meaning "smoke") refers to the technique of oil painting which colours or tones are blended in such a subtle manner that they melt into one another without perceptible transitions, lines or edges. |
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| drawing or design: a term used during the 16th and 17th centuries to designate the formal discipline required for the representation of the ideal form of an object in the visual arts, especially as expressed in the linear structure of a work of art. |
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Colorito (colore) is a term usually applied to 16th-century Venetian painting in which colour is employed in a dominant manner, for sensual expressive purposes and as an important compositional element.
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