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The Renaissance Through the Eyes of the Masters MichelangeloLeonardo daVinci Fra Angelico Botticelli Raphael
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The Last Judgement ~ Fra Angelico 1431
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Annalena Altarpiece ~ Fra Angelico 1437-40
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Kiss of Judas ~ Fra Angelico 1450
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Christ in Limbo ~ Fra Angelico 1450
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St. Lawrence Distributing Alms ~ Fra Angelico 1447-49
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St. Nicholas Working Miracles ~ Fra Angelico 1447-49
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Madonna of the Magnificat ~ Botticelli 1481
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Trials of Moses ~ Botticelli 1481-82 (fresco) This fresco contains 7 episodes from the early life of Moses. Kills cruel slave master who was beating a Jewish man. Escapes from Egypt to Midian. Chases away 2 shepherds who were trying to stop Jethro’s daughters from getting water. Helps daughters at the well. Hears call of God. Takes off shoes. Receives God’s command to return to Egypt and free the Jews from slavery. Leaves from Egypt with wife, family & household.
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La Primavera ~ Botticelli 1482
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Venus and Mars ~ Botticelli 1483
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Birth of Venus ~ Botticelli 1485
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Botticelli's Annunciation ~ 1489-90
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Da Vinci’s Annunciation ~ 1472-75
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Virgin of the Rocks ~ Leonardo da Vinci 1483-86
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Lady With An Ermine ~ Leonardo da Vinci 1485
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The Last Supper ~ Leonardo da Vinci 1495-98
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Mona Lisa ~ Leonardo da Vinci 1503-06
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Virgin and Child with St. Anne ~ Leonardo da Vinci 1505-13
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Madonna of the Stairs ~ Michelangelo 1490-92
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Pietà ~ Michelangelo 1499
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David ~ Michelangelo 1501-04
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The Holy Family ~ Michelangelo 1504
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Sistine Chapel Ceiling ~ Michelangelo 1508-12
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The Last Judgement ~ Michelangelo 1536-41
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St. George and the Dragon ~ Raphael 1504-06
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Alba Madonna ~ Raphael 1510
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School of Athens ~ Raphael 1509-11
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Liberation of St. Peter ~ Raphael 1512-13
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Triumph of Galatea ~ Raphael 1513
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Transfiguration ~ Raphael 1518-20
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Fra Angelico used bright colors to show “good” The use of gold The “good” people have no shadow Depicting “Good”
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Depicting “Evil” All kinds of people are shown, kings, clergy, etc. Use of dark colors and shadows Scenes from Hell are taken from literature (Dante’s Inferno)
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Pleasing Patrons and Telling a Story Cosimo de’Medici was the patron of Fra Angelico The Saints depicted here St. Cosmas and St. Damian are honored as well as Cosimo de’Medici (medici means doctor in Italian and the 2 saints were doctors. Pictures told important stories to the illiterate
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Symbol in the Shadow In the background one of the shadows is in the shape of a serpent
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Black Halo Saints were painted with white or golden halos (taken from the sun discs the Egyptians used over their gods and goddesses) Fra Angelico painted Judas with a black halo
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A Real Santa Claus Fra Angelico painted the miracles of St. Nicholas St. Nicholas is the basis of our modern day Santa Claus
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Exploring the World Within the Picture Botticelli used an open window to draw the viewers eye to the outside world
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Golden Curls More gold was used in this painting than any other Color has meaning
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Pomegranate Symbol from Greek mythology
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Flowers Botticelli painted 500 different kinds of plants and 190 types of flowers
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Renaissance Astrology
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VENUS and MARS
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LOVE CONQUERS ALL No matter how hard the Satyrs try, they can not wake Mars. Mars has been conquered by Venus, the goddess of love.
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PARTY ANIMALS Satyrs, from Greek mythology, were wild woodland creatures, half man and half goat. They were friends of Dionysus (called Bacchus by the Romans) who was the god of wine. Satyrs loved to party.
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Venus and the Virgin Mary
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Flying for “REAL” Leonardo da Vinci painted the angel’s wings after he had studied a real bird. Da Vinci loved animals. Throughout his life whenever he saw a caged bird he would buy it and set it free.
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Look Alikes Leonardo painted the woman and ermine so they would visually “rhyme” or look alike. Note the high foreheads, brown eyes and paw and hand in similar position.
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ERMINE A small weasel, with dark fur whose silky winter coat is white except for a black- tipped tail.
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Be Careful What You Ask For! Leonardo had been working on The Last Supper for several years when the prior (the monk in charge) of the monastery where he was painting complained. Leonardo told him he had been in town watching thieves and criminals looking for someone who had a face evil enough to be Judas. When the monk continued to complain Leonardo said, “… if the prior is in a hurry I could always paint his face for Judas.”
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Aerial Perspective In real life mountains in the distance appear hazy and blue. All other colors are filtered out when they travel a long way through air. Leonardo was the first artist to paint distant backgrounds blue and hazy to make them seem far away. This technique is called “Aerial Perspective”.
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Young Mary When The Pietà was first exhibited people wondered how the mother of a grown man, in the depths of grief, could appear so young and beautiful. Michelangelo replied that physical perfection was a symbol of a pure and noble spirit.
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Vanity The Pietà is the only statue ever signed by Michelangelo. After overhearing visitors mistakenly identify a rival sculptor as the creator of The Pietà, Michelangelo snuck in at night and carved his name on to the statue.
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Bravery and Fear Michelangelo shows David’s emotions of confidence and anxiety before the battle with Goliath by a casual stance and a wrinkled brow.
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Creation of Adam ~ Michelangelo 1508-12
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DaVinci’s Demons Leonardo advised artists to paint imaginary beasts by combining different parts of real animals to make hideous creatures. “Take the head of a fierce dog, the eyes of a cat, the ears of a porcupine, the nose of a greyhound, the eyebrows of a lion, the temples of an old cock, and the neck of a turtle.”
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Use of Light When light shines on something it does not light it evenly. Painters use the way light falls to make people and things look solid and real. Fra Angelico used many shades of brown and beige to paint the robe of the old man even though it appears to be one color. The folds seem to catch the light.
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Self Portrait St. Bartholomew was a martyred saint who had been skinned alive for being a Christian. Michelangelo painted his face on the skin of St. Bartholomew. He painted himself without his beard because in Italian the word for “skinned” also means “clean- shaven”.
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Foreshortening Raphael made the rear of the horse larger than the front of the horse. He also made the body of the horse shorter. This makes the horse seem as if it is angled away from the viewer. This technique is called “foreshortening”, it adds to the illusion that this flat painting is 3-D.
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Geometric Art
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Saintly Symbols St. John – animal skins St. Sebastian – holding arrows St. Catherine – wheel St. Bartholomew – knife
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Linear Perspective Creates the illusion of 3-D space on a flat paneled surface People and things that are meant to appear farther away are painted smaller Vanishing Point – a single point on the horizon
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Artists as Philosophers
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Trompe l’oeil French term that means “trick the eye”. Linear perspective and shadowing are used to make the arch appear to be real and the cell to be set back in an alcove.
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Strange Creatures Greeks and Romans told stories of dolphins protecting people from sharks and other dangers at sea, even carrying children on their backs. Dolphins were seen as guardians, promising safety to those going into the unknown. The Ancient Greeks used to place tokens with dolphins on them in the hands of the dead so they would have a safe voyage to the afterlife.
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Disease or the Devil? In Biblical times, people with epilepsy and other diseases were thought to be possessed by the devil. The boy’s parents beg the disciples of Christ to cast out the demons they believe are inside him.
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Fra Angelico ~ 1400? - 1455 D ominican friar and Italian painter of the early Renaissance, Fra Angelico was noted for his great piety as well as his use of elegant realism and perspective to create paintings of serene religious subjects.
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Sandro Botticelli ~ 1445 - 1510 B orn Alessandro di Mariano Filipepi, a Florentine Renaissance painter whose works are characterized by a strong emphasis on lines and a certain melancholic elegance. His paintings are filled with tiny details. After apprenticing with Fra Filipo Lippi and working with Pollaiuolo, he spent most of his life working for the great families of Florence, especially the Medicis, and some of his best known paintings include Primavera and Birth of Venus, which reveal his interest in the revival of classicism, as well as the numerous renditions of the Madonna.
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Raphael ~ 1483 - 1520 Master painter and architect of the Italian High Renaissance, Raphael is best known for his Madonnas and for his large figure compositions in the Vatican in Rome. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. “While we may term other works paintings, those of Raphael are living things; the flesh palpitates, the breath comes and goes, every organ lives, life pulsates everywhere.” ~ Vasari, Lives of the Artists
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Leonardo da Vinci ~ 1452 - 1519 One of the versatile figures of the Italian Renaissance, Leonardo's interests encompassed a number of diverse fields such as painting, sculpture, civil and military engineering, anatomy, biology, and architecture. He began his career in Florence in the painting studio of Andrea del Verocchio. He later sought and gained employment with the Sforza family in Milan. In Milan he continued to paint great works, including "The Last Supper" fresco. However, his interest in science began to engage most of his time. From the numerous notebooks he kept, his exceptionally inventive mind and truly remarkable powers of accurate and painstaking observation are evident.
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Michelangelo ~ 1475 - 1564 A Florentine painter, poet, sculptor and architect, Michelangelo was one of the foremost Renaissance artists. Michelangelo perfected his technical skill while apprenticed to the artist Ghirlandalo. This skill, when combined with his thoughts on religion and Neoplatonic philosophy enabled him to create works of enduring genius. A sculptor by preference, Michelangelo's paintings reflect this influence to a great degree. Their clarity, brightness, and absence of shading were innovative methods and much imitated.
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The End
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The Renaissance Art Book by Wenda O’Reilly, Ph.D.
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