Sacrifice of Isaac

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Why does the Renaissance Occur?

Rediscovery of Classical Greece and Rome

Dante’s publication of the Divine Comedy in the Italian vulgate

Guttenberg’s invention of the printing press

What effect does it have?

Development of artistic formulas

Study of optics-single point perspective, threedimensional techniques

Emphasis on human anatomy and proportion

Commemoration of the individual

Greater exploration of those capabilitiesengineering

Agnolo

Bronzino,

Portrait of

Eleanor of

Toledo and her

Son, Giovanni de Medici,

Florence,

1544-45

Filippo Brunelleschi, Florence Cathedral Dome, 1420-

36

Lantern

Cupola

Drum

Baptistery of Saint John

Filippo Brunelleschi, Sacrifice of Isaac, 1401-02

Lorenzo Ghiberti, Sacrifice of Isaac, 1401-02

Lorenzo Ghiberti,

Sacrifice of Isaac,

1401-02 use of the Classical nude as a model-1st since antiquity

Interest in depth-fore, middle, and background

Foreshortening of figures

Very emotionally charged representation of the story

Contest shows a new concept of religious art commissions

Andrea Pisano,

Life of John the Baptist,

South Doors,

Baptistery of San

Giovanni, Florence,

1330-36

Ghiberti,

Gates of Paradise,

1424-52

Gilded panels of Old

Testament scenes

Flat grounds and backdrops are abandoned in favor of spatial illusion

Ghiberti, Gates of Paradise Detail, 1424-52

Increasing interest in

Linear perspective and spatial arrangement of objects

Single-point perspective, orthogonal converge toward a vanishing point

Developing study of optics

Classical setting

Donatello, David, 1428-32

Commissioned and owned by the

Medici family for their courtyard symbol of Florence-represents their history as the smaller victor over larger city-states first freestanding male nude bronze since antiquity

Highly idealized state of nudityyouthful and androgynous

Polykleitos,

Doryphoros,

450 BC

Greece

Massaccio,

Holy Trinity, 1428

Monumental use of one-point perspective: coffered barrel vault

Structures composition in triangular form

Focus on mortality and salvation

“I was once what you are, and what I am you will become”

Massaccio, Tribute Money, 1427

Brancacci Chapel, Santa Maria del Carmine

Gesture suggests emotion

Illusion of depth: one point perspective, color saturation, chiaroscuro

Sandro Botticelli, Birth of Venus, 1482

Aphrodite of Knidos, 350 BCE

Aphrodite of Melos, 150 BCE

Bernardo Rossellino,

Tomb of Leonardo Bruni,

1445-50

•Leonardo Bruni, Humanist scholar and chancellor of Florence from 1427-

44

•Iconography places the figure in classical Rome-

•One single Christian element-Virgin and Child in the tondo

•Glorification of an individual-was given a state funeral in the ancient

Roman customs

•Revives the Roman virtues of honoring human achievement

Leon Battista Alberti,

Sant’Andrea,

Mantua, Italy, 1470

•Commissioned by the Marquis of Mantua

•Housed a relic of the Blood of Christ

•Regulations: 1. must accommodate masses of pilgrims 2. must allow visitors to see the altar at mass 3. Must be cost effective

•Set up on a system of proportions-the module-basic unit of measurement

•Incorporates two elements from antiquity: triumphal arch and temple pediment

•Coffered, barrel-vaulted arch on facade

Andrea Mantegna, Ceiling of the Camera degli Sposi,

1474

“Trempe l’oeil”

painting: “fools the eye”

Reminiscent of

Classical Roman interiors

Image is perceived “di sotto in su”-seen from beneath

Foreshortened putti in oculus

Second style wall painting,

Roman, 2nd-

3rd century ad

Perugino, Christ delivering the Keys of the Kingdom

to St. Peter, 1481-83

Piero della Francesca, Portraits of

Battista Sforza and Federico da

Montefeltro, Florence, ca. 1474

The 15 th century in Northern Europe

Paintings of Several Parts!

Triptych Polyptych

Jan

(and Hubert)

Van Eyck,

Ghent

Altarpiece

Flanders, 1432

Jodocus Byd and Isabel Borluut

Atmospheric Perspective

Atmospheric interference with visual perception causes loss of contrast, detail and sharp focus. It tends to make objects seem to take on a blue-gray color as they move farther away.

Jan van Eyck,

Man in a Red

Turban,

Flemish, 1433

Oil vs. Tempera

Robert Campin, The Merode Altarpiece, Flanders,

1425-28

Jan van Eyck,

Giovanni Arnolfini and His Bride,

Flanders,

1434

Claus Sluter, Well of

Moses, Dijon,

France, 1395-1406

Jean Fouquet, Étienne Chevalier and Saint Stephen,

Melun Altarpiece, France, ca. 1450

Limbourg Brothers,

Les

Tres Riches Heures du

Jean, Duc de Berry,

France, 1411-16

The Very Rich Hours of John, the Duke of

Berry

February

February

Apr.

May

Oct.

Nov.

Martin Schongauer,

St. Anthony

Tormented by

Demons, Germany,

1480-90

Engraving

Printmaking

Antonio del Pollaiuolo, Battle of the

Ten Nudes, Florence, 1465

Printmaking -- Woodcut

The design is cut into a wood block leaving the raised surfaces to be inked and print.

Printmaking -- Engraving

Lines are cut into a copper plate with a burin.

Ink is forced down into the grooves and the surface is wiped clean. It is then run through a press.

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