1. Chapter Seventeen
Renaissance Artists

2. “The eye, which is called the window of the soul, is the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature.”
Leonardo da Vinci

3. Early Renaissance ( )
Florence: the Medici
High Renaissance ( )
Rome: the Pope

5. Early Renaissance 1. patronage 2. the artist as hero and genius
3. the revival of the classical nude

6. New Techniques of Spatial Illusionism

7. Perspective Filippo Brunelleschi developed the laws of perspective.
Masaccio was among the first to use Brunelleschi's rules to achieve the illusion of perspective in his paintings.
Leon Battista Alberti theorized the method in the book On Painting

8. Definition
Perspective in art is a method of graphically depicting three-dimensional objects and spatial relationships in two-dimensional planes.
The illusion of depth in a painting, drawing, or graphic is created using the perspective method.
Perspective is based on elementary laws of optics: objects in the distance appear smaller and less distinct than objects that are near.

12. Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, ca. 1426-1427.

14. Basic principles of linear perspective. http://mh1. xplana

16. Aerial or atmospheric interference with visual perception causes loss of contrast, detail and sharp focus. The effect, which Leonardo called "the perspective of disappearance," tends to make objects seem to take on a blue-gray middle value as they increase in distance. This effect is used by film makers to give the illusion of great depth, but can be used to great effect by painters and draughtsmen. The illustration above shows loss of color saturation, contrast, and detail as the cubes fall further away from the viewer.

17. Aerial Perspective

18. Aerial Perspective

19. Masaccio, The Tribute of Money, ca. 1425. http://www. wga

20. Chiaroscuro
The arrangement or treatment of the light and dark parts in a pictorial work of art

24. Intarsia
Mosaics made of pieces of inlaid wood

26. Ghiberti, Baptistery of San Giovanni, Florence Solomon and the Queen of Sheba: Relief from the Doors of Paradise, 1425–

28. Leonardo
da Vinci

29. The Virgin of the Rocks
More haze
Some haze
A feeling of distance

30. The Last Supper

32. Mona Lisa
(La Gioconda)

33. The Venetian School Giovanni Bellini (c. 1430-1516)
Giorgione (c )
Titian (c )

34. The Venetian School Characteristics
Their art reflected the luxurious life of Venice.
Their aim was to appeal to the senses, not the mind.

35. Giorgione, Pastoral Concert

36. masterful blends colors
Titian, Venus of Urbino

37. Raphael
composition:
Clarity
Harmony
Unity of design

38. Raphael, Alba Madonna
Circle
triangle
Trapezoid

39. Raphael, the School of Athens

40. RAPHAEL. The Disputa. 1509

41. Michelangelo, Sistine Chapel ceiling

43. Painted between 1508 to 1512
Nine scenes from the Book of Genesis
Seven Old Testament prophets
Five sibyls, as well as four corners and eight triangular areas also containing scenes.

45. Creation of Adam God and Man Equal in size and muscular grace
The moment of fulfillment sought by Adam
Potential divinity of humankind

46. Michelangelo, the Last Judgment, 1536

48. Nude vs. Naked
“A naked body has to be seen as an object in order to become a nude.”
“Nakedness reveals itself. Nudity is placed on display.”
(John Berger, Ways of Seeing, 1972)

49. In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man. Everything is addressed to him. Everything must appear to be the result of his being there. It is for him that the figures have assumed their nudity. But he, by definition, is a stranger—with his clothes still on.
(John Berger, Ways of Seeing, 1972)

51. http://www. kingsborough

52. The Renaissance Portrait
Two reasons:
The desire to immortalize oneself by way of one’s physical appearance
The wish to publicize one’s greatness in the traditional manner of Greek and Roman antiquity
(Fiero 401)

53. Jan van Eyck, Marriage of Giovanni Anolfini and His Bride, 1434

55. The mirror is the focal point of the whole composition
The mirror is the focal point of the whole composition. It has often been noted that two tiny figures can be seen reflected in it, their image captured as they cross the threshold of the room. They are the painter himself and a young man, perhaps arriving to act as witnesses to the marriage. The essential point, however, is the fact that the convex mirror is able to absorb and reflect in a single image both the floor and the ceiling of the room, as well as the sky and the garden outside, both of which are otherwise barely visible through the side window. The mirror thus acts as a sort of hole in the texture of space. It sucks the entire visual world into itself, transforming it into a representation.

56. Jan van Eyck,
Man in a Turban
1433

57. Jan van Eyck, Portrait of Margareta van Eyck, 1439

58. Jan van Eyck, The Virgin of Chancellor Rolin, 1435 http://gallery

59. Sculpture

60. “Indeed, in this tribute to male beauty, Donatello rejected the medieval view of the human body as the wellspring of sin and anticipated the modern Western exaltation of the body as the seat of pleasure” (Fiero 395).

62. Pieta Lifeless Jesus held by young Virgin Protective pyramidal shape
Monumental statement on the meaning of Christian Sacrifice

63. Mother Mary is represented very young, three possible reasons:
1. incorruptible purity
2. Perhaps Mary was Jesus’ daughter, like all of humanity is, but is also his mother.
3. Viewer is actually looking at an image of Mary holding the baby Jesus

64. Renaissance Architecture

68. Florence Cathedral (Santa Maria del Fiore, called the Duomo), dome, 1420–36, by Filippo Brunelleschi (1377–1436)

69. S. Maria Novella by Leon Battista Alberti, at Florence, Italy, 1456 to

70. Dome of St Peter's
1564, Basilica di San Pietro, Vatican

73. http://mh1. xplana. com/imagevault/upload/53a2d52aaa9e29f1f4c8
Leon Battista Alberti. Interior of Sant'Andrea, Mantua, Italy. Designed 1470.

74. Leon Battista Alberti. Façade of Sant'Andrea, Mantua
Leon Battista Alberti. Façade of Sant'Andrea, Mantua. Designed

75. Leon Battista Alberti. Façade of Sant'Andrea, Mantua
Leon Battista Alberti. Façade of Sant'Andrea, Mantua. Designed

76. The End