Ch 21 painting part 2
Mid-late 1400s in Italy
Originally we see it in A contemporary
Home….
Figure 21-24 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa
Maria Novella, Florence, Italy, 1485–1490. Fresco, 24’4” x14’9”.
Now we see it in a SPECIFIC contemporary home…
What does it say about the patrons and their home?
2
The re-emergence of
An interest in the portrait
In this timeRelated to the new interest
In the Renaissance viewer’s
Experience as a subjective
One----
The glorification of the
“period eye”
Figure 21-25 DOMENICO GHIRLANDAIO, Giovanna
Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”.
Thyssen-Bornemisza Collection, Madrid.
Here: profile view and objects
Show a family’s status and wealth…
3
A Man with His Grandchild
Ghirlandaio 1480-90
Influenced by Flemish painting seen in Italy in the 1450s….
This work surprisingly
Survives his spiritual
Crisis….
A pagan theme
But Botticelli
Knows how to
Draw the
Audience in..
Here the Venus is meant to reference the part of her dual nature that governs
universal love….a more spiritual and extraterrestrial version of Venus…here –she
Becomes synonymous with the Virgin Mary…
Figure 21-28 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera
on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence.
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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…perfect
Balance in composition and city design….
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Figure 21-41 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel,
8
Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide.
Foreshortening
Measured forms
Perfect geometry
Strong volumes
Classical forms
Cool rational expressions
Engaging the viewer….
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.
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Here…the patron is
Shown in the presence
Of the miracle…symbols
And depth of space
Engage the viewer in the
Story…and glorify
The patron at the same time
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.
10
A Medieval church
Transformed into a temple…
Glorified as it houses the
Blood of Jesus..
Alberti designs it to be larger
Than the original…
-Combines:
Roman triumphal arch
Classical temple front
pediment
pilasters
Figure 21-44 LEON BATTISTA
ALBERTI, west facade of
Sant’Andrea, Mantua, Italy,
designed 1470, begun 1472.
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Figure 21-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy,
designed 1470
, begun 1472.
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Colossal size and unity will
Influence architecture
for centuries
Inspired by the ruins of
Ancient Rome…
Figure 21-46 LEON BATTISTA ALBERTI,
interior of Sant’Andrea (looking
northeast), Mantua, Italy, designed
1470, begun 1472.
13
Here-alterations
To the foreshortening
Allow the viewer
A more intimate
Experience with the
Scene…
Figure 21-49 ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7
14
7/8”. Pinacoteca di Brera, Milan.
Figure 21-47 ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale,
Mantua, Italy, 1465–1474. Fresco.
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Extraordinary
Foreshortening
In a honeymoon
Suite….another
Inside joke between
The viewer/patron/
Artist…
We are all aware,
Despite the illusionism
That it is a constructed
World
di sotto in su…
(seen from directly below)
Figure 21-48 ANDREA
MANTEGNA, Camera Picta
(Painted Chamber), Palazzo
Ducale, Mantua, Italy,
1465–1474. Fresco, 8’ 9” in
diameter.
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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”