Early Europe and Colonial Americas Content Area 3 Part II: 1400-1600 Early Europe and Colonial Americas

69. David. Donatello. c. 1440–1460 C.E. Bronze. Early Italian Renaissance The Medici family commissioned Donatello to create this bronze statue for the Palazzo Medici courtyard. This was the first lifesize freestanding nude, bronze statue created since ancient times. This statue portrays the biblical David, the young slayer of Goliath and the symbol of the independent Florentine republic. David possesses the relaxed classical contrapposto stance and the proportions and beauty of Greek Praxitelean gods. The Medici family chose the subject of David, perhaps because they had seen Donatello’s previous statue of David which is located in the center of political activity in Florence. This shows that the Medici family identified themselves with Florence, and the prosperity of the city.

Early Italian Renaissance 63. Arena (Scrovegni) Chapel, including Lamentation. Padua, Italy. Unknown architect; Giotto di Bondone (artist). Chapel: c. 1303 C.E.; Fresco: c. 1305. Brick (architecture) and fresco. Masaccio, The Tribute Money, 1427, Brancacci Chapel, Florence 71. Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood. 71. Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood. 25”x36” Early Italian Renaissance

Early Italian Renaissance Neoplatonic thought conceived Venus, the goddess of love, as having two natures, one ruling earthly, human love and the second over universal, divine love, depicted in this allegory (symbolic illustration of a concept) of love. Sandro Botticelli was one of the best known artists who produced works for the Medici. A poem on the theme of the famous Birth of Venus by Angelo Poliziano was what inspired Botticelli to create this lyrical image. Zephyrus (the west wind) blows Venus, born of the sea foam and carried on a cockle shell to her sacred island, Cyprus. The nymph Pomona or one of the Hours runs to her with a brocaded mantle. Early Italian Renaissance 72. Birth of Venus. Sandro Botticelli. c. 1484–1486 C.E. Tempera on canvas. Adoration of the Magi, Botticelli, 1481-82. Tempera on panel. 72. Birth of Venus. Sandro Botticelli. c. 1484–1486 C.E. Tempera on canvas.

67. Pazzi Chapel. Basilica di Santa Croce. Florence, Italy 67. Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429–1461 C.E. Masonry. Early Italian Renaissance

Early Italian Renaissance 70. Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry. Early Italian Renaissance 70. Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry. 44. Colosseum (Flavian Amphitheater). Rome, Italy. Imperial Roman. 70–80 C.E. Stone and concrete.

66. Annunciation Triptych (Merode Altarpiece) 66. Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427–1432 C.E. Oil on wood. 66. Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427–1432 C.E. Oil on wood. Northern Renaissance.

68. The Arnolfini Portrait. Jan van Eyck. 68. The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood. 68. The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood. (detail not in our set) Northern Renaissance

Melancholy elk, choleric cat, phlegmatic ox, and sanguine rabbit (four temperaments/humors of man); mouse=Satan; parrot=false wisdom or pride; goat=scapegoat in the Bible; Durer’s first use of Greco-Roman canon of proportions used here. 74. Adam and Eve. Albrecht Dürer. 1504 C.E. Engraving. Greek Late Classical, Apollo Belvedere 325 bce (probably by Leochares) Praxiteles, Cnidian Aphrodite, ~350 BCE approx 10” x 8” 74. Adam and Eve. Albrecht Dürer. 1504 C.E. Engraving. Northern Renaissance

77. Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C. E 77. Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C.E. Oil on wood Northern Renaissance.

77. Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C. E 77. Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C.E. Oil on wood. 77. Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C.E. Oil on wood. Northern Renaissance

79. Allegory of Law and Grace. Lucas Cranach the Elder. 1530 79. Allegory of Law and Grace. Lucas Cranach the Elder. 1530. woodcut and letterpress. Northern Renaissance

83. Hunters in the Snow. Pieter Bruegel the Elder. 1565. oil on wood 83. Hunters in the Snow. Pieter Bruegel the Elder. 1565. oil on wood. Northern Renaissance

73. Last Supper. Leonardo da Vinci. ca. 1494-1498. tempera and oil on plaster; refectory, Santa Maria delle Grazie, Milan. Italian Renaissance

High Italian Renaissance 75. Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco. (The Delphic Sibyl, The Great Flood) 133’x46’ High Italian Renaissance 75. Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco.

High Italian Renaissance 76. School of Athens. Raphael. 1509–1511 C.E. Fresco. 76. School of Athens. Raphael. 1509–1511 C.E. Fresco. Stanza della Segnatura. High Italian Renaissance

80. Venus of Urbino. Titian. c. 1538 C.E. Oil on canvas. High Italian Renaissance-Venice .

78. Entombment of Christ. Jacopo da Pontormo. 1525–1528 C. E 78. Entombment of Christ. Jacopo da Pontormo. 1525–1528 C.E. Oil on wood. approx. 10’3”X6’6”. Altarpiece in Capponi Chapel, Church of Santa Felicita, Florence. High Italian Renaissance Mannerism