1. EUGENIA LANGAN MATER ACADEMY CHARTER HIGH SCHOOL HIALEAH GARDENS, FLORIDA WITH APOLOGIES TO FRED KLEINER

2. THEME PMA PMA POSITIVE MENTAL ATTITUDE – HUMANISM PERSPECTIVE MODELING AND MATHEMATICS ANATOMY

3. TIMELINE  GENERAL OVERVIEW: WARS AND RIVALRY AMONG ITALIAN REPUBLICS – FLORENCE AND MILAN COME OUT ON TOP, THEN VENICE  1401: BAPTISTERY COMPETITION  1417: WESTERN SCHISM OVER – POPES BACK IN ROME (USUALLY CONTROLLED BY SIGNORI)  © 1425: BRUNELLESCHI INVENTED MATHEMATICAL LINEAR PERSPECTIVE (?)  1434: MEDICI DYNASTY (STARTING WITH COSIMO) IN CONTROL OF FLORENCE

4.  1469: LORENZO DE’ MEDICI (“THE MAGNIFICENT”) MEDICI ARE GREATEST PATRONS OF RENAISSANCE ARTS  1447: SFORZA/BORGIA OFFICIALLY IN CONTROL OF MILAN  1494 – 1559: ITALIAN WARS  1494: OVERTHROW OF MEDICI  1494-97 – SAVONAROLA RULES FLORENCE, BONFIRE OF THE VANITIES

5. GENERAL GOALS:  UNDERSTAND THE SOCIAL, RELIGIOUS, AND POLITICAL INFLUENCES OF 15 TH -CENTURY ITALIAN ART  DISCUSS THE INCREASED POPULARITY OF HUMANISM  OBSERVE THE INFLUENCE OF CLASSICAL ART AND ARCHITECTURE IN THE PAINTING AND ARCHITECTURE OF RENAISSANCE ITALY.  DISCUSS THE ROLE OF WEALTHY AND POWERFUL PATRONS

6.  IDENTIFY VARIOUS ARTISTS OF THE PERIOD AND THEIR TECHNICAL AND STYLISTIC ACCOMPLISHMENTS  DISCUSS THE VARIOUS ROLES OF COMMEMORATIVE PORTRAIT  OBSERVE IMPORTANT ARTISTIC ELEMENTS OF QUATTROCENTO PAINTING AND SCULPTURE  GREATER NATURALISM/ REALISM, INCLUDING:  ATTENTION TO THE HUMAN FORM INCLUDING THE RETURN OF CLASSICAL NUDITY AND CONTRAPPOSTO

7.  DISCOVERY AND CODIFICATION OF LINEAR PERSPECTIVE, AND THE USE OF ATMOSPHERIC PERSPECTIVE, TO CREATE THE ILLUSION OF THREE- DIMENSIONAL SPACE (CLASSICAL INFLUENCE)  USE OF CHIAROSCURO TO MODEL FORMS (CLASSICAL INFLUENCE)  USE OF SINGLE LIGHT SOURCE (NEW)  USE OF BALANCED, SYMMETRICAL COMPOSITION IN PAINTING, OFTEN PYRAMID/ TRIANGULAR (MATHEMATICAL) COMPOSITION  OBSERVE THE INCREASED INCORPORATION OF CLASSICAL FORMS INTO ARCHITECTURE (TRIUMPHAL ARCHES, DOMES, COFFERS, HARMONIOUS GEOMETRIC RELATIONSHIPS)

8. THE BAPTISTERY COMPETITION 1401

11. BATTISTERO DI SAN GIOVANNI (FLORENCE BAPTISTERY), DEDICATED 1091

12. ANDREA PISANO, SCENES FROM LIFE OF JOHN THE BAPTIST, PANEL FROM SOUTH DOORS OF FLORENCE BAPTISTERY, GILDED CAST BRONZE

13. DETAIL FROM PISANO’S DOORS

14. FILIPPO BRUNELLESCHI, SACRIFICE OF ISAAC, COMPETITION PANEL FOR EAST DOORS OF FLORENCE BAPSTISTERY, 1401-02. GILDED CAST BRONZE, 1' 9" X 1' 5 ½". MUSEO NAZIONALE DEL BARGELLO, FLORENCE

15. LORENZO GHIBERTI, SACRIFICE OF ISAAC, COMPETITION PANEL FOR EAST DOORS OF FLORENCE BAPTISTERY. 1401-02. GILDED CAST BRONZE. MUSEO NAZIONALE DEL BARGELLO, FLORENCE

16. COMPARE PISANO AND BRUNELLESCHI

17. COMPARE BRUNELLESCHI AND GHIBERTI

18. COMPARE BRUNELLESCHI AND GHIBERTI ANGELS

19. COMPARE ABRAHAMS, BRUNELLESCHI AND GHIBERTI

20. GHIBERTI'S ISAAC CLASSICAL MALE NUDE

21. PAINTING

22. FLORENTINE PAINTING

23. MASSACIO, TRIBUTE MONEY, BRANCACCI CHAPEL, SANTA MARIA DEL CARMINE, FLORENCE © 1424 – 27. FRESCO, 8' X 4 1 / 8" X 19' 7 1 / 8". WHAT'S NEW? SINGLE LIGHT SOURCE, LINEAR AND ATMOSPHERIC PERSPECTIVE, COMPOSITION, MORE NATURALISM

24. WHERE'S THE VANISHING POINT? (STAGE) RIGHT EYE OF JESUS

25. MASACCIO, EXPULSION OF ADAM AND EVE FROM EDEN, BRANCACCI CHAPEL © MASACCIO, EXPULSION OF ADAM AND EVE FROM EDEN, BRANCACCI CHAPEL © 1424–27. FRESCO, 7’ X 2’ 11”. MOST DIRECT INFLUENCE? ROMAN STATUES, ESPECIALLY COPIES OF HELLENISTIC GREEK STATUARY WHERE HAVE WE SEEN EVE’S POSE BEFORE? MODEST VENUSES

26. PRAXITELES, APHRODITE OF KNIDOS © 350 B.C.E. – ROMAN COPY – MUCH COPIED ALEXANDROS OF ANTIOCH, VENUS DE MILO © 130 – 100 B.C.E. ALSO MUCH COPIED

27. MASACCIO, HOLY TRINITY WITH DONORS, SANTA MARIA NOVELLA, FLORENCE, ITALY, CA. 1424–1427. FRESCO, 21' 10 5 / 8 " X 10' 4 ¾". PERFECT LINEAR PERSPECTIVE, TROMPE L' OEIL. VANISHING POINT? FOOT OF THE CROSS: VIEWER'S PERSPECTIVE COMPOSITION? PYRAMIDICAL -- HOW MANY TRIANGLES CAN YOU COUNT?

28. FATHER, HOLY SPIRIT, AND SON

29. MEMENTO MORI: "I WAS ONCE WHAT YOU ARE AND WHAT I AM YOU WILL BECOME." MEMENTO MORI: "I WAS ONCE WHAT YOU ARE AND WHAT I AM YOU WILL BECOME."

30. FRA ANGELICO, ANNUNCIATION, SAN MARCO, FLORENCE, ITALY, CA. 1438–1447. FRESCO, 7' 1" X 10' 6". RETABLE. LESS HUMANIST, BUT ILLUSIONIST. PRETTY AND POPULAR! "BEWARE LEST YOU OMIT TO SAY A HAIL MARY!"

31. FRA FILIPPO LIPPI, MADONNA AND CHILD WITH ANGELS, © 1455, TEMPERA ON WOOD, 2' 11 ½" X 2' 1". UFFIZI GALLERY. WHAT'S NEW AND HUMANIST? NATURAL YOUNG MOTHER WITH NATURAL BABY AND NATURAL CHILD ANGELS – NOTE THE SUBTLE HALO. "SECULARIZATION" OF RELIGIOUS SUBJECTS

32. ANDREA DEL CASTAGNO, LAST SUPPER, REFECTORY OF CONVENT OF SANT' APOLLONIA, FLORENCE. 1447. FRESCO, 15' 5" X 32'. WHAT HAPPENED WHEN ARTIST TRIED TO USE LINEAR PERSPECTIVE BUT DEPICT IMPOSSIBLE SCENE (EXAMPLE: WE CAN'T SEE CEILING AND ROOF AT THE SAME TIME IN REAL WORLD!)

33. SANDRO BOTTICELLI, BIRTH OF VENUS © 1484-86. TEMPERA ON CANVAS, 5' 9" X 9' 2". UFFIZI GALLERY. WHAT A PRETTY CARTOON!

34. PROPORTIONS? POSES?

35. HER PROPORTIONS? UNLIKELY! ELONGATED NECK, TORSO POSE? IMPOSSIBLE CONTRAPPOSTO: WEIGHT IS SHIFTED TOO FAR TO LEFT AND SHE'S ON EDGE OF SHELL – BUT IT ISN'T TIPPING SO SHE MUST WEIGHT ZIP!

36. DOMENICO GHIRLANDAIO, BIRTH OF THE VIRGIN, CAPPELLA MAGGIORE, SANTA MARIA NOVELLA, FLORENCE, 1485–1490. FRESCO, 24' 4" X 14’9”. A MASTERPIECE OF PERPECTIVE, NATURALISM, HUMANISM, DETAIL AND PATRONAGE – BUT?

37. DOMENICO GHIRLANDAIO, GIOVANNA TORNABUONI(?), 1488. OIL AND TEMPERA ON WOOD, 2' 6" X 1' 8". THYSSEN-BORNEMISZA COLLECTION, MADRID. SIGNIFICANCE? PATRONAGE – RE- EMERGENCE OF PORTRAITURE DISPLAY OF WEALTH, EDUCATION, PRIDE OIL PAINT USED FOR DETAILS – UNDER TEMPERA

38. PAOLO UCCELLO, BATTLE OF SAN ROMANO, © 1455 (?). TEMPERA ON WOOD, APPROX. 6' X 10' 5". NATIONAL GALLERY, LONDON. PATRON: PROBABLY LORENZO DE MEDICI. METHODICAL LINEAR PERSPECTIVE MORE IMPORTANT THAN MOTION, NATURALISM

40. ANTONIO DEL POLLAIUOLO, BATTLE OF THE TEN NUDES © 1464. ENGRAVING. 1' 3 1 /8" X ' 1’ 11 ¼ 1/4”. MET, NY. OBSESSION WITH MUSCLES – ÉCHORCHÉ – NOT NATURALISM

41. OTHER ITALIAN PAINTING

43. PERUGINO, CHRIST DELIVERING THE KEYS OF THE KINGDOM TO SAINT PETER, SISTINE CHAPEL, VATICAN, 1481–1483. FRESCO, 11' 5 ½" X 18' 8 ½". "LOOK, MA! LINEAR PERSPECTIVE! SEE MY ORTHOGONALS AND VANISHING POINT? LOOK MA, PYRAMIDICAL COMPOSITION!"

44. PIERO DELLA FRANCESCA, ENTHRONED MADONNA AND SAINTS ADORED BY FEDERICO DA MONTEFELTRO (BRERA ALTARPIECE), © 1472–1474. OIL ON WOOD, 8' 2" X 5' 7". PINACOTECA DI BRERA, MILAN. WHAT'S EXTRAORDINARY HERE? USE OF LIGHT – USE OF REFLECTED LIGHT TO BATHE EACH FIGURE IN LIGHT

45. PIERO DELLA FRANCESCA, FLAGELLATION OF CHRIST © 1455-1465. OIL AND TEMPERA ON WOOD, 1" 1/8" X 2' 8 ¼". GALLERIA NAZIONALE DELLE MARCHE, URBINO. PRECISE PERSPECTIVE?

46. LUCA SIGNORELLI, DAMNED CAST INTO HELL, SAN BRIZIO CHAPEL, ORVIETO CATHEDRAL, 1499–1504. FRESCO, 23' WIDE.

47. DETAIL, SIGNORELLI'S DAMNED CAST INTO HELL

48. ANDREA MANTEGNA, INTERIOR OF THE CAMERA PICTA PALAZZO DUCALE, MANTUA, ITALY, 1465–1474. FRESCO. WALLS "DISSOLVED" LIKE SECOND-STYLE ROMAN!

49. MANTEGNA, TROMPE L'OEIL CEILING, CAMERA PICTA. FRESCO, 8' 9" DIAMETER.

52. ANDREA MANTEGNA, FORESHORTENED CHRIST, © 1500. TEMPERA ON CANVAS, 2' 2 ¾" X 2' 7 / 8 ". PINACOTECA DI BRERA, MILAN.

53. SCULPTURE

54. LORENZO GHIBERTI, EAST DOORS, FLORENCE BAPTISTERY. GILDED BRONZE. MODERN (1980) COPY OF 1425-52 ORIGINAL. 17’ HIGH. ORIGINAL PANELS IN MUSEO DELL’OPERA DEL DUOMO, FLORENCE.

55. GHIBERTI, ISAAC AND HIS SONS, PANEL FROM BAPTISTERY EAST DOORS.

56. DONATELLO, FEAST OF HEROD, PANEL ON THE BAPTISMAL FONT OF SIENA CATHEDRAL, 1423–1427. GILDED BRONZE, 1' 11 ½" X 1' 11 ½". PAINTERLY! LINEAR PERSPECTIVE!

57. COMPARE GHIBERTI AND DONATELLO

58. NANNI DI BANCO, FOUR CROWNED SAINTS, OR SAN MICHELE, FLORENCE © 1410–1416. MARBLE, FIGURES 6’HIGH. (COPIES HERE -- ORIGINALS IN MUSEUM ON 2 ND FLOOR OF OR SAN MICHELE). IN THE ROUND INFLUENCE: ROMAN, ESPECIALLY LATE IMPERIAL PORTRAITS COMPOSITION  UNITY INTERACTING WITH EACH OTHER

59. THIS BLACK AND WHITE PHOTO GIVES BETTER VIEW OF THE FOUR CROWNED SAINTS' FACES PREDECESSORS = PORTRAIT BUSTS OF TRAJAN, MARCUS AURELIUS, ETC.

60. DONATELLO, SAINT MARK, OR SAN MICHELE © 1411 – 13. MARBLE, 7' 9". (COPY HERE, ORIGINAL ON 2 ND FLOOR OF OR SAN MICHELE) WHAT'S REVOLUTIONARY HERE? TRUE CONTRAPPOSTO, DRAPING HANGS NATURALLY (DOESN'T CONCEAL BODY) DONATELLO WAS THE FIRST SINCE ANTIQUITY TO DO EITHER! NOTE THE EMOTIONAL POWER OF HIS SCULPTURE

61. DONATELLO, SAINT GEORGE, OR SAN MICHELE © 1410 – 15. MARBLE, 6' 10" HIGH. MUSEO NAZIONALE DEL BARGELLO, FLORENCE

62. DONATELLO, SAINT GEORGE AND THE DRAGON, RELIEF BELOW STATUE OF SAINT GEORGE, OR SAN MICHELE ©1417. MARBLE, 1' 3 ¼" X 3' 1 ¼". BARGELLO (EARLIER THAN HEROD!) PAINTERLY ILLUSIONISM (INCISED LINES  ATMOSPHERIC EFFECT)

63. DONATELLO, PENITENT MAGDALENE, © 1453-55. WOOD WITH POLYCHROMY AND GOLD, 188 CM HIGH. MUSEO DELL'OPERA DEL DUOMO, FLORENCE. APPROX. 6' 1" HIGH. NATURALISM (REALISM!) SECULARIZATION OF SACRED SUBJECTS

64. DETAIL, PENITENT MAGDALENE

65. DONATELLO, DAVID, © 1440-60. BRONZE, 5' 2 ¼" HIGH. WHAT'S NEW? FIRST FREE-STANDING NUDE STATUE SINCE ANTIQUITY! NOTE NUDITY ≠ SINFULNESS (WE SAW THAT IN N. PISANO'S PULPIT AND GHIBERTI'S COMPETITION PANEL) NOTE CONTRAPPOSTO, ALSO MORE "CLASSICAL" THAN SOME OF HIS OTHER WORK – NOTE IMPASSIVE EXPRESSION OF DAVID PATRON: MEDICIS – DAVID = SYMBOL OF FLORENCE

66. ANDREA DEL VERROCHIO, DAVID, © 1465-70. BRONZE, 4' 1 ½" HIGH. BARGELLO MORE EMOTIONAL ALSO COMMISSIONED BY MEDICI HERCULES ALSO SYMBOL OF FLORENCE

67. COMPARE DONATELLO TO VERROCHIO

68. ANTONIO DEL POLLAIUOLO, HERCULES AND ANTAEUS, © 1470-75. BRONZE, 1' 6" HIGH. BARGELLO NATURALISTIC ANATOMY, MOTION AND EMOTION PATRON: MEDICI – HERCULES ALSO A SYMBOL OF FLORENCE

69. DONATELLO, GATTAMELATO (EQUESTRIAN PORTRAIT OF ERASMO DE NARNI, PIAZZO DEL SANTO, PADUA © 144053. BRONZE, 12' 2" HIGH. POWER AND AUTHORITY – CONDOTTIERE EQUATED WITH EMPERORS PROPORTIONS ACCURATE

70. VEROCCHIO, BARTOLOMMEO COLLEONI, CAMPO DEI SANTI GIOVANNI E PAOLO, VENICE, © 1481-96. BRONZE, 13' HIGH INSPIRED BY GATTAMELATA – MORE POWER AND AUTHORITY?

71. FOX AND LION?

72. ARCHITECTURE

73. FLORENCE CATHEDRAL: CAMPANILE BY GIOTTO, DOME BY BRUNELLESCHI, 1420 - 36

74. CUTAWAY VIEW OF BRUNELLESCHI'S DOME, 1420-26. WHAT PROBLEM DID HE HAVE? HOW TO SUPPORT A DOME OVER 140' CROSSING HOW DID HE SOLVE IT? OGIVAL ARCHES RIBBED DOUBLE SHELL

75. BRUNELLESCHI'S PLAN AND ACTUAL PLAN, SANTO SPIRITU, FLORENCE, 1434 -36.

76. BRUNELLESCHI, INTERIOR, SANTO SPIRITU, LOOKING NORTHEAST. ILLUSION OF CENTRAL PLAN (ROMAN HERITAGE!)

77. FAÇADE OF PAZZI CHAPEL, SANTA CROCE. DESIGNED BY BRUNELLESCHI © 1423, BUILDING BEGUN 1442

78. CENTER = BRUNELLESCHI'S PLAN FOR PAZZI CHAPEL: HE CREATED "CENTRAL PLAN" WITHIN AXIAL PLAN

79. BRUNELLESCHI, INTERIOR OF PAZZI CHAPEL, LOOKING NORTHEAST. ON PENDENTIVES: GLAZED TERRACOTTA ROUNDELS OF THE EVANGELISTS BY LUCA DELLA ROBIA NOTE USE OF GRAY "PIETRA SERENA" TO DEFINE MODULES OF PLAN AND ELEVATION (RECALL ITALIAN FONDNESS FOR LIGHT/DARK CONTRAST

80. MICHELOZZO DI BARTOLOMMEO, FAÇADE OF PALAZZO MEDICI- RICCARDI, FLORENCE. BEGUN 1445. WHY SO PLAIN? MASSIVE, LIGHT, MASSIVE: RUSTICATED MASONRY ON 1 ST STORY, INCREASINGLY SMOOTH DRESSED MASONRY ON 2 ND AND 3 RD STORIES, THEN PROTRUDING CORNICE. CLASSICAL AND NEW ELEMENTS

81. INTERIOR COURT, PALAZZO MEDICI-RICCARDI: INNOVATION – INTERNAL COURT SURROUNDED BY ARCADE

82. LEON BATTISTA ALBERTI, PALAZZO RUCELLAI, FLORENCE © 1452-70. SHOWS ALBERTI'S CONCERN WITH CLASSICISM: ALL DRESSED MASONRY AND SMOOTH WALLS, AND ASCENDING ORDERS OF COLUMNS DEFINE LEVELS (TUSCAN, COMPOSITE, CORINTHIAN) TO MAKE BUILDING "LIGHTER" ON TOP

83. LEON BATTISTA ALBERTI, WEST FAÇADE OF SANT' ANDREA, MANTUA, DESIGNED 1470, BEGUN 1472 CLASSICAL: TEMPLE FRONT AND TRIUMPHAL ARCHES -- NOT CLASSICAL: NO COLUMNS! FAÇADE SHORTER THAN CHURCH: WHY? ALBERTI'S DESIRE FOR EQUAL PROPORTION SMALL SQUARE IN FRONT BUT COLOSSAL ORDER PILASTERS = NAVE HEIGHT AND BARREL VAULT ECHOES THOSE IN CHURCH!

84. ALBERTI, PLAN OF SANT'ANDREA: NO AISLES! NAVE WITH CHAPELS ALONG SIDES – ALBERTI DEPARTS FROM CLASSICAL MODEL

85. ALBERTI, INTERIOR OF SANT'ANDREA ECHOES OF PANTHEON, BASILICA NOVA – ROMAN UNINTERRUPTED INTERIOR SPACE NO AISLES – EVERYONE HAS GOOD VIEW OF APSE