Annunciation + Nativity
Nicola Pisano
•
•
Pisa Baptistry Pulpit
Mixture of Medieval &
Revival Humanism (turning
point)
•
Hierarchical Scale
•
Etruscan Posturing + Corinthian Columns + Rounded
Arch + Trefoil (Classicism)
•
Virtue [Fortitude] : Hercules
(Male Nude)
•
Marble
Madonna Enthroned
Giotto di Bondone
•
Tempera on Wood
•
Dimensionality/Modeling
•
Linear Perspective
•
Architecture enthrones
(Church)
Duccio
•
•
Cathedral (Placement)
Sacre Conversazione
Madonna surrounded by
Saints (Conversation)
Predella
Lower Narrative part of Altar
•
Polyptych
•
Virgin as Queen of Heaven
1310
Florence
1308
Maesta
•
1259
Pisa (Baptistry Pulpit)
Sienna
•
High Altar
•
Multiple pieces separated,
partially restored
•
Betrayal of Jesus (detail)
•
Individual emotions
•
Humanization of religious
subject matter
1305
Arena Chapel
Giotto Di Bondone
Padua
•
Lamentation (Panel)
•
Emotive Figures (Individual)
•
Scrovegni (Patron)
Banker, demonstrating
devoutness by sponsoring
chapel
•
Lapis Luzuli (Blue Pigment)
•
Dramatic Posturing
•
Foreshortening
•
Worldly Background
•
Audience Involvement
•
Fresco (Wet Plaster)
•
Lower Register (Christ)
Upper Register (Mary/Anne)
Annunciation
Simone Martini
•
+ Lippo Memmi
•
Symbols of Mary
•
Word fully written to Mary
•
Emergence of Patterns
•
International Style
1333
Siena
1342
Birth of the Virgin
Pietro Lorenzetti
•
Altar of Saint Savinus (Cathedral)
•
Linear Perspective
•
Secular Locale
•
Holy events depicted as taking place in patrons’ homes
Siena
1338
Effects of Good Gov.
Ambrogio Lorenzetti
•
Sala dei Nove (Council
Room)
•
Symbolic representations of
good government
•
Liberty depicted in all panels
•
Earliest Landscape
Siena (Palazzo Pubblico)
St. Francis Altarpiece
Bonaventura Berlinghieri
•
Maniera Greca
(Greek Style)
Italo-Byzantine Style
•
Illustration/Storytelling narrative depicted around figure
•
Francis identified by brown
robe + stigmata (crucifixion
wounds) + three knot rope
•
Hierarchical Scale
•
Gold Leaf
Adoration of the Magi
Gentile da Fabriano
•
Altarpiece for Palla Strozzi
chapel in Santa Trinità
•
Sanctifies Aristocracy
•
Naturalistic details
•
Foreshortening (Animals)
•
Late Gothic splendor (color
+ costume + frame ornamentation)
1235
Pescia / Lucca
1423
Florence
•
Rainbow of Color + Gold
•
Elements of Linear Perspective
1424
Tribute Money
Masaccio
Florence
•
Fresco
•
•
Created for Brancacci family
chapel in Santa Maria del
Carmine
Freely moving figures (show
anatomy)
•
Atmospheric Perspective
•
Christian statement on taxation (Gospel of Matthew)
•
Three panel narrative
•
Psychological detail
1424
Holy Trinity
Masaccio
Florence
•
Fresco
•
•
Application of mathematics to organization and
perspective
Portraits of patrons (Lorenzetti)
•
Placed exactly within perspective of church (use of
Trompe L’oeil)
•
Depiction of space
•
Formation of trinity in composition
•
Italian style architecture
Florence Cathedral
Arnolfo di Cambio
•
Created through rivalry with
Siena and Pisa, to show
pride of Florence
•
Architecture and art style in
response to growing power
structure
•
Campanile (Giotto)
•
Baptistery Gates (Ghiberti)
•
Dome (Brunelleschi)
•
Ornamentation in Tuscan
style marble geometric
designs
Madonna Enthroned
Cimabue
•
Composition of Byzantine
models
•
Depiction of receding space
•
Santa Trinità (Location)
•
Gold embellishments enhance depth of drapery
•
Overlapping figures
Battle of San Romano
Paolo Uccello
•
Creates illusion of space
Linear Perspective
Orthogonal Lances
Foreshortening
•
Bartolini (Patron)
•
Mis-identified as Medici due
to medicine apples
•
International Style
1296
Florence
1280
Florence
1438
Florence
•
Commemorates Florentine
victory over Sienese in 1432
•
Niccolò da Tolention (friend
of Cosimo de’ Medici) depicted leading charge
Camera degli Sposi
Andrea Mantagna
1474
Mantua
•
Oculus
•
Fresco
•
Room of the Newlyweds
Peacock is attribute of Hera/
Juno (signifies marriage)
•
Reminiscent of Pantheon
•
Gonzaga (Patron)
•
Depiction of cupids in the
window to the heavens
•
Trompe L’oeil
(Deceives the Eye)
Perspective and illustrated
architecture
1501
Dead Christ
Andrea Mantagna
•
Extreme foreshortening &
perspective
•
Unusual depiction of Lamentation
•
Naturalistic depiction of
Christ (light halo)
•
Entombed body, drapery
highlights anatomy
Milan
•
Study from cadaver shows
growing science in relation
to religion
1440
David
Donatello
•
First revival of free-standing
nude in Bronze
•
Commissioned by Cosimo
de’ Medici (Humanist)
•
David is symbol of Florence
(relationship to other citystates)
•
Male youth depicted as
Florence
effeminate (possible homoeroticism in winged helmet)
•
Boyish depiction shows
hand of God in defeat of
Goliath
1482
Birth of Venus
Sandro Botticelli
•
Revival of female nude
•
Tempera on Canvas
•
Based on poem by Angelo
Poliziano
•
Zephyrus and Chloris deliver
Venus to Cyprus, met by
Pomona
•
Stylized background
Florence
(pageantry) distinct from
humanism
1482
Primavera
Sandro Botticelli
Florence
•
Venus shown as Madonna
•
Cupid (son of Venus) above
•
Depiction of Christian subject through classic figures
(reconciliation)
•
Three Graces + Zephyrus
(west wind) + Chloris + Flora
+ Mercury
•
Represents Spring and
Fertility
•
Humanist setting
•
Symbolic halo
•
Orange Trees show Medici
(Patron)
Flagellation of Christ
Piero della Francesca
•
Setting is palace portico of
Pontius Pilate
•
Focus not on Christ
•
Classical architecture with
Linear Perspective
•
Focus on mathematics and
architecture - beauty in geometrical clarity and purity
•
1455
Urbino
Wrote first treatise on systematic perspective
Gates of Paradise
Lorenzo Ghiberti
•
Isaac and His Sons (detail)
•
Linear perspective
•
Placement on east doors of
Baptistery
•
Gilded Bronze
•
Result of competition (comparison of Sacrifice of Isaac
by Brunelleschi)
•
Abandons quatrefoil pattern
on south and north doors
•
Scenes from Old Testament
•
Combination of painterly
one-point perspective and
sculptural modeling
1445
Gattamelata
Donatello
•
Revival of Equestrian statue
•
Accurate relative proportion
between man and horse
•
Erasmo da Narni (Subject)
•
Symbolic of Individualist
•
Hegemony over the Earth
Padua
1438
Annunciation
Fra Angelico
•
Simple & Serene depiction
of humble Mary
•
Architecture is plain and
humanist
Florence
Giovanna Tornabuoni
Domenico Ghirlandaio
•
Oil and Tempera on Wood
•
Conventional profile portrait
(though three-quarter views
were beginning)
•
Character reading
•
Subject identified through
symbols and patterning
Holy Family with Angels
Fra Filippo Lippi
•
Tempera on Wood
•
Holy family depicted in
distinct humanist style
•
Precise & smooth delineation of forms
•
Linear style shows contours
of form
•
Movement through drapery
1425
Florence
•
1488
Florence
1455
Florence
Use of live models for paintings & referenced landscape
Hercules and Antaeus
Antonio del Pollaiuolo
•
Revival of Greco-Roman
mythology symbolism in art
•
Straining figures show
departure from frontal and
casual forms in sculpture
•
Similar forms depicted in
engravings by Pollaiuolo
(Battle of Ten Nudes)
1465
David
Andrea del Verrocchio
•
Medici (Patron)
•
Realism and Naturalism
•
Triumphant posturing,
casual grace
Florence
Bartolommeo Colleoni
Andrea del Verrocchio
•
Figure depicted as strong
and righteous, horse noble
and prancing
•
Colleoni (Patron) commissioned to compete with
Donatello’s Gattamelata
•
Created after death of
subject
Santa Maria Novella
Leon Battista Alberti
•
Design of West Facade only
(covering Gothic church)
•
Balance and harmony
through symmetry and
repetition
•
Mathematical approach
•
Square proportions
•
Geometrical relationships
Duomo (Dome)
Filippo Brunelleschi
•
Dome of the Florence
Cathedral
•
Solved problem of spanning
the opening with thin double
shell anchored with lantern
•
Ogival structure (pointed
arch)
•
Originated theory of Linear
1470
Florence
•
1481
Venice
1456
Florence
Scrolling Volute Form +
Triumphal Arch
1420
Florence
Perspective (used in paintings, early Masaccio)
1495
The Last Supper
Leonardo da Vinci
Milan
•
Refectory, Santa Maria delle
Grazie
•
Judas traditionally displayed
on opposite side of the table
•
Oil + Plaster
•
Relatable, human figures
•
Experimental medium, not
Bonne Fresco
•
Halo indicated by doorway
•
Disciples in four groups of
three
•
Use of life models live
models in studies
•
Instructing disciples in communion
•
John as youngest (feminine)
1511
Fetus + Uterus
Leonardo da Vinci
•
Anatomical studies from
cadavers displays scientific
interest and understanding
•
Originated cut-away views
for scientific illustration
1503
Mona Lisa
Leonardo da Vinci
•
Character portrait (knowledge of the soul through
viewing)
•
Popularized three-quarter
perspective
•
Innovative at time
•
Smiling indicates family name Giocondo (light
Florence
hearted or bemused)
•
•
Sfumato
(Vanishing)
Layers of Glaze + Oil
Soft, glowing texture
Chiaroscuro
Light + Dark
Modeling
1509
School of Athens
Raphael
Rome
•
Stanza dell Segnatura, Vatican Palace (Papal Study)
•
Plato (Leonardo)
Points up (God)
•
References to Greco-Roman
Architecture (Triumphal Arch)
Sculptures (Apollo + Athena)
•
Aristotle
Points down (Observation)
Convention in search of
Truth (Intellectual + Divine)
•
•
Heraclitus (Michelangelo)
•
Euclid (Bramante)
•
Raphael (far right, next
to Ptolemy)
•
Philosophers + Scientists
Madonna of the Meadow 1505
Raphael
•
Oil on Wood
•
Influence of Leonardo (pyramidal composition)
•
Light tonalities and surroundings (after Perugino)
•
Preferred clarity to obscurity
Baldasarre Castiglione
Raphael
•
Friend of Leo X (Pope)
•
Author of handbook on
genteel behavior
•
Attributes of Renaissance
Courtier
•
Half-length, three-quarter
•
Attention to personality and
psychological state
1514
1511
Sistine Ceiling
Michelangelo Buonarroti
Rome
Disegno
(Holy) Design + Preparation
•
Sistine Chapel, Vatican City
•
•
Pope Julius II (Patron)
Wanted to restore Rome to
its former glory
•
Grisaille
Monochrome painting imitating sculpture
•
Focus on human figure
•
Overcame complicated
surface perspective
•
Scenes of Genesis
•
Creation of Man in God’s
Image (detail)
•
Sibyls + Prophets
1501
David
Michelangelo Buonarroti
Florence
•
Emotionalism and Tension
(Hellenistic)
•
Abandons self contained
figures (turn of head)
•
Attention to detail and surface contours
•
Connection to presence
beyond scope of sculpture
•
Depiction before victory, in
preparation for it - David as
strong figure, not helpless
•
After classical nude
1498
Pietà
Michelangelo Buonarroti
•
Sadness and eternal beauty
of Virgin (appears younger
than Christ)
•
Attention to texture
•
French cardinal Jean de
Bilhères Lagraulas
•
Displayed in Old Saint
Peter’s
Last Judgement
Michelangelo Buonarroti
•
Altar wall of the Sistine
Chapel
•
Self portrait in flayed skin of
Saint Bartholomew
•
Paul III (Patron)
•
Saved on left
Damned on right
•
Depiction of wrath in motion
Rome
•
Pietà, standard mourning scene from northern
repertoire
1536
Rome
of Christ and violent deformation of figures
Early Italian Renaissance
14 Century
1200-1400
th
13th Century
•
•
Classical tradition revived
• Nicola + Giovanni Pisano
• Bonaventura Berlinghieri
• Cimabue
•
•
•
•
•
•
•
Beginning of Humanism
(Scholarly concern with the
natural world)
Giotto di Bondone
Duccio
Ambrogio Lorenzetti (Secular)
Simone Martini
Masaccio (15th)
Gentile da Fabriano
Arnolfo di Cambio
Middle Italian Renaissance
1400-1500
15th Century
•
Florence (Medici Patronage)
Center of Renaissance
•
Patronage also from Papacy,
courts in Urbino & Mantua
•
Revival of Greco-Roman
Mythological themes
•
•
•
•
•
•
•
•
•
•
•
•
Donatello
Andrea del Verrocchio
Lorenzo Ghiberti
Antonio del Pollaiuolo
Paolo Uccello (Secular)
Domenico Ghirlandaio (Secular)
Filippo Brunelleschi
Sandro Botticelli (Classical)
Leon Battista Alberti
Fra Filippo Lippi
Piero della Francesca
Andrea Mantagna
High Italian Renaissance
1500-1521
Early 16th Century
•
Further development of perspective, anatomy, classical
cultures
•
Florence & Rome (Centers)
Design preparation (Disegno)
•
Venice (Color + Paint)
• Leonardo da Vinci
(Chiaroscuro)
(Atmospheric Perspective)
(Sfumato)
• Raphael
• Michelangelo
• Giovanni Bellini
• Titian
• Giorgione
• Bramante
• Andrea Palladio
EIR
Early Italian Renaissance
MIR
Middle Italian Renaissance
HIR
High Italian Renaissance