Chapter 16: The Renaissance In Quattrocento Italy

Gentile de Fabriano, 1423, tempera on wood, Strozzi Chapel. Done by popular master of International Gothic. Striking foreshortening and poses in the animals.

Adoration of the Magi

Fra Angelico, San Marco, Florence, fresco, ca. 1438-1447. Fra=Friar. Simple and direct. Use linear perspective but is removed from reality via no light source.

Annunciation

Andrea del Verrocchio, bronze, c. 1481-1495. Made to rival Gattamelata.

Bartolommeo Colleoni (Equestrian Statue)

Paolo Uccello, 1435 or 1455, tempera on wood, Medici Palace in Cosimo's bedchamber. History painting of a battle involving a friend of the Medicis.

Battle of San Romano

Pollailuolo, engraving, 1465. Lacks narrative. Uses parallel hatching to show anatomy and underlayers of the body.

Battle of Ten Nudes

Ghirlandaio, Santa Maria Novella, Florence, c. 1485-1490. Commissioned by Giovanni Tornabuoni- part of a series of frescos about Mary's life. Shows Ludovica, Giovanni's daughter, as head of procession.

Birth of the Virgin

Brunelleschi, 1418. Financed by group of citizens led by Giovanni d'Medici.

Church of San Lorenzo

Andrea del Verocchio, bronze, Palazzo della Signoria, Florence, ca. 1465-1470. Lithe and youthful. Also commissioned by the Medicis but taken by the city after they were expelled.

David

Donatello, bronze, 1440-1460. First male nude of the Ren. David is symbol of Florence. Commissioned by Medici family

David

Massacio, fresco, 1424-1427, Brancacci chapel, Florence. outside light source.

Expulsion Of Adam And Eve From Eden

Donatello, Sienna Cathedral, 1423-1427, gilded bronze. Shows linear perspective . First example of rationalized perspective in western Renaissance art.

Feast of Herod

Nanni di Banco, Or San Michele, c. 1410-1414, marble. Commissioned by stone- and woodworkers' guild. Early Renaissance attempt to liberate sculpture from architecture.

Four Crowned Saints

Lorenzo Ghiberti, East Doors of the Baptistery of St. John, 1425-1452, gilded bronze. Early use of linear perspective. As the eye moves up, the image gets flatter. Incorporates references of classical statues

Gates of Paradise

Donatello, Padua, Italy, bronze, c. 1445-1453. Statue of recently deceased condottiere. First mounted portrait since antiquity to rival Roman ones. Horse's leg planted on globe to represent world domination.

Gattamelata (Equestrian Statue of Erasmo da Narni)

Antonio del Pollaiuolo, Florence, Medici Palace, ca. 1470-1475. Reflects Medici desire for humanist imagery.

Hercules and Antaeus

Massaccio, Santa Maria Novella, Florence, 1424-1427. Shows humanism and religion as not mutually exclusive.

Holy Trinity

Andrea del Castagno, Refectory of the Monastery of Sant'Apollonia, Florence, 1447, fresco.

Last Supper

1369-1444, wrote essay in 1403, calling Florence the successor of Rome. Published history of Florentine Republic in 1429. Honored funeral according to Roman customs.

Leonardi Bruni

Fra Filippo Lippi, ca. 1460-65, tempera on wood. Humanization of religious subjects-- Lippi used live models. Mary as a beautiful young mother in a rich Florentine home.

Madonna and Child With Angels

major project of the early 1400s was to place the sculptures guilds had agreed to place a hundred years earlier. In 1406 the city of Florence was blockaded and as a sign of morale and civic pride the guilds established their statues.

Or San Michele Sculptures

Brunalleschi, begun 1419. Foundlings and orphan home attached to a church. Commissioned by silk manufacture and goldsmithing guilds. First true Renaissance style building.

Ospedele Degli Innocenti

Michelozzo di Bartolommeo, Florence, begun 1445.

Palazzo Medici-Riccardi

Brunelleschi. Not finished until well after his death. Loggia and front facade were probably added by Giuliano de Maiano rather than Brunellschi.

Pazzi Chapel

Ghirlandaio, oil and tempera on wood, 1488. Sitter is wife of Giovanni Tornabuoni. Died at age 20 in childbirth. Shows class and courtly manners of Quattrocento Florence.

Portrait of Giovanna Tornabuoni

Sandro Botticelli, ca. 1482, tempera on wood. Commissioned by Lorenzo di Pierfrancesco de' Medici. Oranges are a symbol of Medicis. Probably a wedding portrait due to themes of love and springtime.

Primavera

Piero della Francesca, fresco, Borgo San Sepulcro, ca. 1463-1465. In town hall area.

Resurrection

Filippo Brunelleschi, bronze cast, 1401-1402. More dynamic composition

Sacrifice of Isaac

Lorenzo Ghiberti, bronze cast, 1401-1402, won contest

Sacrifice of Isaac

Donatello, ca. 1413-1418, marble, north side of Or San Michele. Commissioned by swords and armorers guild. Relief beneath statue shows use of accurate fore- and background

Saint George

Donatello, ca. 1411-1413, south side of Or San Michele, marble. Commissioned by linen makers' and tailors' guild. Contrapasto clothes reflect contrapasto pose

Saint Mark

Bernardo Rossellino, marble, 1444-1450. Artist from a family of stonecutters. Classically inspired tomb w/ some Christian elements.

Tomb of Leonardo Bruni

Masaccio, Brancacci chapel, Fresco, 1424-1427, specific light source. Aerial perspective.

Tribute Money

Renaissance Humanism

an intellectual movement centered in Italy that valued scholarship, language study, the arts, and particularly the ancient Greek and Latin classics in order to begin developing a worldview that could celebrate the individual human being as the unique pinnacle of God's creation.

rediscovered in 1420 by Filippo Brunelleschi. Rationalization of sight. this innovation made accurate maps and to-scale maps possible

linear perspective

quattrocento

the 1400s, or fifteenth century, in Italian art