Presentation is loading. Please wait.

Presentation is loading. Please wait.

1 Chapter 21 Italy, 1400 to 1500 Gardners Art Through the Ages, 13e.

Similar presentations


Presentation on theme: "1 Chapter 21 Italy, 1400 to 1500 Gardners Art Through the Ages, 13e."— Presentation transcript:

1 1 Chapter 21 Italy, 1400 to 1500 Gardners Art Through the Ages, 13e

2 PMA Positive Mental Attitude – allowed Humanism to flourish Perspective, Modeling, Anatomy P = AM2 : mathematical Perspective and the second dawn (AM) provided by the Renaissance PAM: Greece – thanks for everything!

3 3 Renaissance Florence

4 Important Artistic Elements to Observe Attention to the human form including the return of classical nudity and contrapposto --- influence of classical Roman statues Discovery and codification of linear perspective to create the illusion of three-dimensional space, usage of aerial perspective --- these values were important to classical painting Use of chiaroscuro to model forms, use of single light source --- greater realism Paintings that have balanced, symmetrical compositions, often using pyramidal composition Classical forms are incorporated more into architecture (triumphal arches, domes, coffers, harmonious geometric relationships) 4

5 5 Florence

6 6 Figure 21-2 FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401– Gilded bronze, 1 9 x 1 5. Museo Nazionale del Bargello, Florence.

7 7 Figure 21-3 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401– Gilded bronze relief, 1 9 x 1 5. Museo Nazionale del Bargello, Florence.

8 8 Figure LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 17 high. Modern copy, ca Original panels in Museo dellOpera del Duomo, Florence.

9 9 Figure LORENZO GHIBERTI, Isaac and His Sons (detail of FIG ), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2 7 1/2 x 2 7 1/2. Museo dellOpera del Duomo, Florence.

10 10 Figure 21-4 NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, ca. 1410–1416Marble, gures 6high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele.

11 11 Figure 21-5 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, 7 9 high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence.

12 12 Figure DONATELLO, David, late 1440–1460. Bronze, 5 2 1/4 high. Museo Nazionale del Bargello, Florence. First free-standing nude statue since antiquity. Notice the contrapposto Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality).

13 13 Figure ANDREA DEL VERROCCHIO, David, ca. 1465– Bronze, 4 1 1/2 high. Museo Nazionale del Bargello, Florence.

14 14 Figure DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12 2 high.

15 15 Figure MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca Fresco, 8 4 1/8 x /8.

16 16 Figure MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7 x Notice that Adams and Eves body types and poses are derivative of ancient Roman statuary. Compare Masaccios Adam to Jan van Eycks Adam from the Ghent Altarpiece. Eve has the modest Venus pose.

17 17 Figure MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, /8 x /4. Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base.

18 18 Figure SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5 9 x 9 2. Galleria degli Uffizi, Florence.

19 19 Figure PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481– Fresco, /2 x /2.

20 20 Figure FILIPPO BRUNELLLESCHI, cutaway view of the dome of Florence Cathedral, Florence, Italy, ( after Piero Sanpaolesi).

21 21 Figure FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434– 1436; begun ca

22 22 Figure MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici- Riccardi, Florence, Italy, begun 1445.

23 23 Figure MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

24 24 Mantua

25 25 Figure LEON BATTISTA ALBERTI, west facade of SantAndrea, Mantua, Italy, designed 1470, begun 1472.

26 26 Figure LEON BATTISTA ALBERTI, plan of SantAndrea, Mantua, Italy, designed 1470, begun 1472.

27 27 Figure LEON BATTISTA ALBERTI, interior of SantAndrea (looking northeast), Mantua, Italy, designed 1470, begun 1472.

28 28 Figure ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

29 29 Figure ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8 9 in diameter.


Download ppt "1 Chapter 21 Italy, 1400 to 1500 Gardners Art Through the Ages, 13e."

Similar presentations


Ads by Google