Art 2: Test 1

Fresco

any of several related mural painting types, executed on plaster on walls, ceilings or any other type of flat surface. The word fresco comes from the Italian word affresca [afˈfresːko] which derives from the Latin word for "fresh"

Giorgio Vasari

"Lives of the Artists" (1550) "The work of barbarians"

Colossal Order

eally huge columns or pylasters (anything that extends more than one story) Italian habit of not finishing front of buildings; not taken as a priority

Pylasters

engaged columns to ornament buildings

International Style

in this period, artists and portable works such as illuminated manuscripts traveled widely around the continent, creating a common aesthetic among the royalty and higher nobility and considerably reducing the variation in national styles among works produced for the courtly elites.

Altarpiece

picture or relief representing a religious subject and suspended in a frame behind the altar of a church

Formal Analysis

the language of art elements and how they create meaning as a whole: medium, formal elements and principles of design, composition, line, color, light, modeling, volume, perspective, subject matter

Orthogonal

the perspective imagined lines pointing to the vanishing point

Modeling

using color and white to create shadows to portray a sense of drapery in garments

What is the work's historical and social context?

- subject matter - patronage -societal customs - class, gender

Gothic Europe

1140-1400+

Diptych/Triptych/Polptych

A polyptych generally refers to a painting (usually panel painting) which is divided into sections, or panels. The terminology that follows is in relevance to the number of panels integrated into a particular piece of work: "diptych" describes a two-part work of art; "triptych" describes a three-part work; "tetraptych" describes 4 parts; "pentaptych" describes 5 parts; "hexaptych" describes 6 parts; "heptaptych" describes 7 parts; and "octaptych" is the term used for an eight-part, or eight-panel, work of art.

Bonaventura Berlinghieri. "Panel from the Saint Francis Altarpiece." Italo-Byzantine style. 1235 (tempera on wood, 5' x 3'6")

At this time, painting is all done on wood- higher decay rate, limited by heaviness Meant to be an altarpiece; be behind it Central panel, tells story of St. Francis- he had only been dead for six years, very early rendering of St. Francis Start of the Christian church cannonizing St. Francis Images of the miracles of his life Generalized face, shaved bald spot of a monk, monastic garb Prayed to take on the pain and suffering of Christ, wounds of the crucifixion Elongated body stretched to fill panel, hovering Background is covered in gold leaf Make us think about the afterlife- gold background is a heavenly setting, make us think about our heavenly lives Big, gaping eyes that look straight out despite meditative pose- frozen icon

Filippo Bruneleschi. Pazzi Chapel (facade, plan, interior), Florence, Italy. Early Renaissance, begun in 144

Basilican vs. central plan Centrally planned building works better Died before it was completed Closer to a Roman temple or building Inside feels perfectly in tune with each other

Sandro Botticelli. "Birth of Venus" Early Renaissance, ca. 1482 (tempera on canvas 5'8" x 9'1")

Botticelli focused on beauty during Renaissance Less concerned with linear perspective; never focused on mathematical recession into space Clear sculptural type of forms Contemplate the beauty of the female body Excuse to show her in the nude (being born out of the sea) Humanism- basic understanding of the revival of classical learning Bringing God back into our own realm, more fuller understanding of the world that does include God Man is the measure of all things- basis of humanism; man can help us access God and our faith Humanism was about civic virtue; support your city, community, the arts Ideal that Venus had two realms; goddess of love that takes two avenues; earthly love (love of the body, sexuality); heavenly love (Virgin Mary) Color modeling No need for linear perspective Graceful forms Background seems very sketched in Abilities to have more styles are opening up

Leonardo. "Virgin and Child with Saint Anne and the Infant Saint John the Baptist. High Renaissance, c. 1505-7. (charcoal and white on brown paper, 4'6" x 3'3")

Cartoon: full scale final prepratory drawing for what will become a painting Chiaroscuro: light, dark; building your form up in shades and highlights (forms are more 3-dimensional as though they are living and pushing out of the surface of the painting) Sfumato: smoky; the term we associate with Leonardo; starts all drawings by painting them all dark and then building up highlights on top of the figures; veil of humidity or smokiness out of which the faces and images emerge Pyramidal composition: stability and order in a piece; narrow at the top, wider at the bottom (triangle); want figures to feel statuesque and monumental; still feels naturalistic Monumentality Ability of women to break into art world becomes less and less Design of the piece (mathematical proportions, recession of space) becomes the most important Birth of design Valuing drawings and collecting them; wanting to preserve them Leonardo rarely finishes anything (famous not for paintings but rather for drawings)

Cimabue (Cenni di Pepo). "Madonna Enthroned with Angels and Prophets." Proto-Renaissance/Italo-Byzantine, c. 1280-90. (Tempera and gold on wood panel, 12'7" x 7'4". Painted for high altar of the Church of Santa Trinita, Florence)

Cimabue is artist's nickname (ox head); not yet have the tradition of first and last name, given first name and last name is linked to town of origin Monumental step in proto-renaissance away from italo-byzantine Massive piece, altarpiece for a high cathedral, one of the richest objects the cathedral would have owned Gold-leaf background Meant to be seen as an other-wordly object Structure of Mary's face, angels' faces - very Byzantine Most churches at this time dedicated to the Virgin Mary and her child; appear with halos A woman shown in red (passion of Christ) and blue (purity; without sin herself)- sacred symbols of Mary; Blue- outside panel, Red- inside panel Head slightly tilted- sense of her trying to look out at us, the congregation; points how that child on her lap is more important than her Not as stretched out and elongated as St. Francis Seems like she is starting to occupy space She is enthroned and feels present to viewers Artist unifies entire picture into one scene rather many scenes pictured Angels are overlapping; stand together and float around the throne, they are lifting and hovering the throne 4 men abstracted, don't actually occupy that space

Isenheim Altarpiece: Ext: St. Anthony (center): St. Augustine (left): St. Jerome (right) c. 1512-15 Matthia Grunewald. Isenheim Altarpiece. Northern Renaissance. 1510-15 (oil on wood panel, center panel 9'9" x 10'9")

Closed: Saint Sebastian and Saint Anthony Crucifixion Lamentation Saint Sebastion: patron saint of the plague Site being in a hospital "St. Anthony's fire"- ergotism Everything about this piece is meant to wring our heartstrings Sense that Jesus is already dead- telltale signs in the body Welts show that Christ also has St. Anthony's fire- comfort for the patients First set of wings open: Annunciation, Angels and Madonna and Child, Resurrection Open of feast days, other important days- images of hope One extreme emotion to another

Donato Bramante. "Plan for the new St. Peter's." High Renaissance. 1505

Coins issued to show the church

Leon Battista Alberta, Church of Saint Andrea, Mantua, Italy. Early Renaissance, designed ca. 1470 (know plan, facade, nave)

Colossal order Barrel vault framed by post and lintel structure Roman temple on top of arch Everything perfectly proportionate to everything else Two barrel vaults helps to disperse the weight Barrel vaults into side chapels - quote from the Pantheon

Giorgione. "The Tempest." High Renaissance, ca. 1510 (oil on canvas 2'7" x 2'4")

Combination of atmospheric and linear perspective Smoky undertones Realistic bodily figures Muted color palette with a couple of areas of deep saturation color Figures are in the middle ground Background and figures competing for the attention of the viewers Framing trees (feels like two parenthesis) Middle seems empty Disegno: proper designs and drawing; works out forms and composition, onto cartoon, then onto painting (drawing) Colorito: color Expressiveness and mood that the paint can convey Work out compositions as they go rather than focused on creating the final painting

Michelangelo Lodovico Buonarroti Simoni (1475-1564) "David" High Renaissance, 1501-4 (marble 13'5" high)

Contrapposto fully wrapped into narrative Engaged arm is holding the strap of the slingshot Highest psychological moment of the battle- hasn't gone forth against Goliath- we don't know the outcome of the battle Believes sculpture is the highest art form Sense of veins and musclulature in stone (marble looks like skin) Head is too large for the body Hands are proportionally too large Carved from one piece of marble Block of marble this large is very expensive (Michelangelo said he was the only artist that could handle it) Enlarges head and hands to fix viewpoint

Filippo Brunelleschi. Dome of Florence Cathedral, Florence, Italy. Early Renaissance, 1420-1436

Dome is the emblem symbol of Florence Latern Ribs (Ogival) Double shell brick Oculus Drum Used stone rather than brick- lighter and less expensive to produce Cascading domes- byzantine era Look to tradition but aren't afraid to see problems and improve them

Paolo Uccello. "Battle of San Romano." Early Renaissance, ca. 1455 (tempera on wood, 6' x 10'5") Florentine victory over Sienese in 1432. Commissioned by Lorenzo de' Medici

Equivalent of the mob Medici family commissioned nearly every artist of the time Series of paintings to depict this battle- hung in the marital bedroom Needs a male heir Medici translates as orange; orange trees appear in these commissions Color modeling, linear perspective Stage-like setting; landscape feels like a curtain Not a smooth transition from foreground to middle ground to background Unconvincing use of directional light; no cast shadows Linear perspective; orthogonals- but difficult to do with landscape and a battle (every body and equipment falls to be directed towards vanishing point)

Leonardo. "The Last Supper." Refectory of the monastery of Santa Maria delle Grazie, Milan, Italy. High Renaissance. 1495-98 (tempera and oil on plaster- not fresco) 13' x 9" x 29' 10"

Establishes the symbol of the mass Reveals that one of them has betrayed Jesus- Judas All the figures on one side of the table to show full portraiture; except for Judas Jesus in Red (passion) and Blue (holiness) Jesus is solidly in the center with the window (three symbolic windows) in the background Largest window acts as a halo All the apostles and Jesus on the same side; grouped in three- up to us to follow the psychological reactions to figure out who is Judas and the other apostles Mural (any picture painted on a wall), not a fresco (not done completely with plaster embedded into it) Limited in what you can accomplish artistically on a fresco Oil painting techniques starting to trickle down from the North Using plaster and oil paint at the same time Within a couple years, paint starts flaking off A new doorway is cut through the bottom Over the centuries, conservation techniques applied (grabbing flecks of paint and reapplying piece by piece) Artists interested in mathematics and perfect geometry (stability of the exactness) Pyramidal compositions (stability and monumentality) Leonardo is wanting us to work harder to grasp the narrative "Mary"-like figure is actually John (younger, more important apostle with delicate, feminine features)

Duccio di Buoninsegna. Virgin and Child Enthroned with Saints, main panel of the Maesta Altarpiece. Italian Gothic art, 1308-11. Tempera and gold on wood panel (7' x 13' 6 1/4) Altarpiece for Siena Cathedral. Synthesized Italo-Byzantine painting (maniera greca) with northern Gothic

Faces appear to be conversing Altarpiece: any major painting or painted form that becomes a background behind the altar "Super-altarpiece"- polyptych for under the dome of Siena's cathedral Predella: Ministry of Jesus Main Panel: Passion Pinnacles: Resurrection Most common form is a triptych (can take the form of a winged triptych; side panels fold down to reveal additional paintings); these forms are important to adding variety to the church Further ornament on top with pinnacles Backside is more innovative (start to experiment with innovations that Giotto created) Peter cutting ear, other apostles are fleeing Considered a relic and a major accomplishment in its day Major event to take this relic from the studio to the cathedral Major destination for worshippers and other artists coming to see the altarpiece All artists at this time are part of a guild; at age 5-8 become an apprentice Wanted your paintings to look exactly like your master's (paying tribute from studying so diligently)

Leon Battista Alberti, Church of Santa Maria Novella. Florence c. 1458-70

Faux, decorative Roman temple Rhythmic perfect circles Pointed arches rather than rounded arches

Rome: Sistine Chapel: ceiling frescos: The Libyan Sibyl

Figura Serpentinata (serpentine figure); term linked to Michelangelo Herculean woman reading Scripture Interested in anatomy and form not drapery (telling of a sculptor)

Andrea Mantegna. Frescoes in the Camera Picta (Cameria degli Sposi), Ducal Palace, Mantua. Early Renaissance, 1465-74

First completely consistent illusionistic decoration of an entire room Painted in architectural forms (arches) Status picture that elevate the family Ceiling is the most famous Made to look like painted plaster Made to believe there is an open occulus Trompe L'oeil: fool the eye Di sotto in su: ("from below upwards") perspective (first time this type of perspective enployed fully) Reversing perspective lines so our position is now below the painting Playful shock of the flower pot balancing on the thin stick Little baby angels are symbols of love; goddess of married women; female attendants - Newlywed bedroom (painted observers) Elaborate and playful- sense of humor

"Tribute Money" from the Brancacci Chapel, Florence Italy. 8'1" x 19'7"

Following St. Peter's life Strange and obscure narrative for an artist to use at this time (not sure why Masaccio and Masolino picked it and who influenced that decision) Jesus and his disciples Give God what his due God; separation of church and state Lake-fish-coin in fishes mouth that is due to the tax collector Simultaneous narrative (3 events in the same scene) Visible environment and sense of landscape and space Figures occupying naturalistic space Atmospheric perspective (further back in space- figures are blue-ing and gray-ing out) Halos done in foreshortening (tipping forward and occupying real space) Sense of the anatomy underneath figures (sparking interest in anatomy during Renaissance) Color modeling on drapery What does a crowd actually look like (some of the figures will be more obscured) Clear, spatial recession and ordering of the space Figures cast shadows in a realistic perception The entire chapel appears painted from the same light source Using linear perspective Discoveries of Brunellschi and how they can be applied to paintings Vanishing point appears just above the head of Christ (Jesus as the center of the narrative) Figures much more statuesque; very solidly occupying space Rational ordering of space; figures in logical relationship to each other

Andrea Palladio. "Villa Rotonda." Vicenza, Italy. High Renaissance, ca. 1566-70 (exterior and plan)

Four temples on cardinal points Formal, rigid type of building Never intended to live in a perfect architecture space Actually not functional

Giotto di Bondone. "Madonna Enthroned." Proto-Renaissance (Italian Gothic), c. 1310 (Tempera and gold on wood panel, 10' 8" x 6' 8")

Giotto has the ability to draw a perfect freehand circle Color scheme of the Virgin Mary Same subject matter compared to Cimabue Collection of angels to gather around throne Moving forward with overlap, even more Side profile of figures; eye lines looking up to Mary (cues for viewers) Throne more physically occupying space Sense of a grounding floor made from Italian marble tiles (sense of occupying space) Orthogonal: visual line that angles in the image that implies it is angling back in space (two parallel lines and shaded area creates step projecting back into space); renaissance of a Roman technique No use of gold in the lines of her mantling; however, do have sense of modeling Color modeling- using lighter colors to show occupying space Sense of a body underneath draping; sense of a human form rather than heavenly body

Virgin and Child. French Gothic art, c. 1339. Silver gilt and enamel (heigh 27 1/8")

Grandness Mary has an elegant figure

Michelangelo. "Plan and exterior view of Saint Peter's, Rome, Italy. High Renaissance, 1546

Greater sense of an ambulatory to walk around Ogival rather than hemispheric dome Model for dome found in other architecture Wants it to look like a Greek or Roman temple but the columns aren't actually functional

Donatello (Donato di Niccolo Bardi). "Saint Mark," Or San Michele. Florence, Italy. Early Renaissance, ca. 1411-1413 (marble 7'9")

Greater sense of naturalism Creating a niche and appears as though he will step out of that niche into our surroundings Contrapposto (weight shift) - how you apply in a counter position a body in motion Standing on right leg, left leg bent, right arm straight, left arm bent and holding testament

Michelangelo. "Ceiling of the Sistine Chapel." Vatican, Rome. High Renaissance, 1508-12 (Fresco 128' x 45'; 5800 sq ft. 70 ft above the floor)

He had wild outbursts of anger; very difficult to work with Largest painting commission Rome had ever given Given to Michelangelo because he worked alone, and was a sculptor Fresco stayed intact once it was cleaned Clean paintings shifted art historical scholarship (no longer the smoky effect) High tone, very bright and colorful palette (accused of over-cleaning) Story of Genesis Monumental paintings Sense of where Michelangelo started and where he proceeded Had to build scaffolding (poems about the aches in his body from painting a ceiling for years); eventually the scaffolding covers what you are working on As you moved down the ceiling the figures get larger so the narrative is more visible from the ground God's creation of Adam Underneath God's arm is another woman and a child (no wings- not another putti) Creating complete Theology (links Genesis text with what Christian church eventually becomes) The human figure is all and enough to convey the psychological moment of the narrative (mindset of a sculptor rather than a painter)

Pontormo. "Descent from the Cross." Mannerism. 1525-28 (oil on wood 10'3" x 6'6")

High tone colors moving into the pastels Swirling dynamism Jesus has just been crucified, body is removed from the cross, gathers gather around before body is put in a tomb Have to work harder to find the subject matter because of the swirling of figures No idea the space Mary occupies Heads small, elongated forms More of a concept of an ideal beauty and elegance of the body Two-toned figure

Albrecht Durer: "Adam and Eve" Northern Renaissance, 1504 (engraving 9 7/8" x 7 5/8")

Known as the Michelangelo of the North Rational and left a lot of evidence Trained in goldsmith and painting Prints solidify his prints Savy business man Looks to the innovations of printmaking First artist to lead a lawsuit; argues that prints have artistic value and worth Ox, deer symbolize diseases

Arnolfo di Cambio and others. Florence Cathedral, begun 1296 Santa Maria del Fiore

Latin cross: basilica (basilican plan) Elements, nave, transept, crossing (140 feet across), clerestory, bay Secondary hallway at 90 degrees (point where those meet- crossing) Horizontal lines that lead us from front entrance of the church to the crossing Space can accommodate 30,000 people but not the 100,000 people in Florence at the time Repetitive circles These cathedrals aren't built quickly Stood unfinished for about 120 years Goal was for all of Florence to worship under the same roof Wanted it to feel more integrated Done in Italian way rather than Northern Gothic way Vaulted stone roof- wooden scaffolding

Bramante. "Tempietto, San Pietro in Montono." Rome, Italy. High Renaissance, 1502

Looks like a miniature Greek temple Church/shrine to mark the spot where St. Peter was crucified Crucified upside down to not take on the symbolism of Jesus' crucifixion Mathematically in rhythm and proportion with each other

Italian City-States

Maintained independence from popes and emperors giving individual cities confidence and self-sufficiency Many had republican forms of government "Italy" never completely lost touch with the Classica period- lived amongst its ruins on a daily basis Economic stability: port cities, major maritime trade and control of star of overland routes Rise of professionalization: guilds provided economic stability and quality... broke down control of feudalism: potential to advance in class Professional guilds is the start of unions, enhanced skills Papal Rome: also economic power, major banking transactions and financial sophistication

Donatello. "David" Early Renaissance, late 1420's-late 1450's (bronze 5'2")

Many statues of David Bronze- cast rather than carved First free-standing nude since antiquity Rebirth of classical statuary

Giorgione (and Titian?). "Pastoral Symphony." High Renaissance, ca. 1508 (oil on canvas 3'7"x 4'6") Colorito

More about the sensual, emotional, the touch No narrative Women as nymphs Muted palette Colors are very close together (small areas of saturated colors) Female body as one of the key subjects Main figures pushed to the foreground Framing tree, deep recession into atmospheric perspective Fuzzy, humid feel

Donatello. "Feast of Herod." Early Renaissance, ca. 1425 (Gilt bronze 23 1/2 x 23 1/2") panel for Baptismal font, Sienna Cathedral. schiacciato- "flattened out" (sculpture's equivalent of atmospheric perspective

Naturalistic bodily figures Drapery showing body Brunelleschi is credited with creating linear perspective (one-point/linear/scientific perspective) -artist's individual decisions out of it to create a very orderly space with a vanishing point; create space on the two-dimension

Giotto di Bondone. Lamentation from the Arena (Scrovegni) Chapel, Padua. Proto-Renaissance art, c. 1305 (Fresco 6'6 3/4" x 6' 3/4")

No longer use gold leaf, instead have intense blue (produced by lapis more expensive than gold) Figures solidly occupy space Body types that are proportioned Color modeling- drapery covering bodies that fully occupy space Body of Jesus has been removed from the cross, moment for followers to be in present of the body before it is placed in the tomb More human qualities of the narrative of Christianity Designed to wring our heartstrings Closed off by a barren wall Start on the empty dead tree (Tree of Knowledge; died after Adam and Eve were cast out of paradise) Line to Jesus and face of Mary Capturing different facial reactions; different reactions to mourning, obscenity Mary putting her face to her son's face Quiet moment from other women Very human reactions 3-dimensional scene on a 2-dimensional object Angels are occupying space and moving forward through the sky Color modeling Figures appear to be rounded out and occupying space Two figures who have the audacity to have their backs to us (back of the figure carries no information on that form, not done in other periods); sets the ground line of where we occupy Transition between our space and the space of the image

Robert Campin. "Merode Altarpiece." Northern Early Renaissance, c. 1425-28. (Oil on wood panel, center 25 1/4" x 24 7/8")

Oil takes a very long time to dry; lay in heavily the general forms of the painting then thin out layers of paint with glazes (6 to 60 layers of paint) Image is built up slowly over time Artist can more carefully capture the luminosity of the objects (glass look like glass) Play with surface qualities Triptych Small altarpiece- indicates it is a private altarpiece Commissioned for a private household Left panel is a portrait of the couple that put up the commission More personal approach to religion Fascination of surface quality capturing the exact likeness Traditional Flemish household but loaded with religious symbolism Rose is a symbol of the Virgin Mary Mary not yet aware of Gabriel the ark angel

Leonardo. "Fetus and Lining of the Uterus." High Renaissance, c. 1511-13 (pen and ink, 12" x 8")

One of his many drawings left behind; notebooks Mirror writing; wrote everything background Idealized the spherical shape of the uterus First artist at the forefront of medical observation

Pietro Lorenzetti. "The Birth of the Virgin" from the Altar of Saint Savinus. Proto-Renaissance (Italian Gothic), 1342 (tempera on wood, 6'1" x 5'11")

People interacting Woman sitting on the floor with back to us Twisted and turned figures No gold leaf Entire scene is meant to be the interiors of rooms Fairly accurate representation of Italian household Birth of the Virgin (start of her life); parallels the Nativity Midwifes bathing baby Mary Attended by women bringing gifts New approach to religion; Religion and our faith can occupy our world; Human stories and human reactions Pietro died of the plague Movement of humanism "Man is the measure of all things" Belief that art should represent something natural from our own world

Raphael. "Baldassare Castiglione." High Renaissance, c. 1514 (oil on wood, 2'6" x 2'2")

Portraiture modeled after Leonardo High upper classes that want artwork for themselves not just in churches How the properly educated man should operate in society (embodiment of the liberal arts) Head down to waist (similar to Mona Lisa) Sets the standard for how portraiture should be done Looking at him; feel out a personality More than just a surface reporting of the person Very dark clothing because he is an educated man; richest forms of cloth

Jan Van Eyck. Portrait of Giovanni Arnolfini and his Bride (Giovanna Cenami). Northern Early Renaissance, 1434. (oil on wood panel, 33 x 22 1/2")

Possibly a symbol of marriage or engagement Voluminous dress shows bride will bear children Artist signature and title above the mirror Now not considered a wedding, rather a commission from Giovanni to remember this day to remember his wife One lit candle over the husband, one unlit over the wife She possibly died during childbirth If a marriage ceremony they should be joining their two right hands Gargoyle centered over the women's hand

Titian. "Venus of Urbino." High Renaissance, 1538 (oil on canvas, 4' x 5'6")

Previous scale for altarpieces, now hanging in a home Hung in the banquet room but curtain hung over it "Contemplating divine love..." Controlled sexuality; faithful to her love Female attendants digging out her clothes Woman that is about to be dressed (safer narrative) Bursts of red in the foreground and background to be balanced against each other Formal organization of canvas Leading lines Deep sense of sexuality

Perugino. "Christ Delivering the Keys of the Kingdom to Saint Peter." Early Renaissance, 1481-1483 (fresco in the Sistine Chapel, Vatican, Rome; 11'5" x 18'8")

Private chapel for the worship of popes and cardinals in Rome Where popes are elected Symbolic narrative of Peter being the rock of the church and the first elected pope Clear blending of contemporary Italians along with biblical figures Linear perspective Orthogonals- tiling in the flooring All lines converge to one horizon line Atmospheric perspective Sense of a wide landscape rather than a shallow stage-like background Fooled to not think that this is merely a flat surface with pigment on it

Masaccio. "Holy Trinity" from Santa Maria Novella, Florence Italy. Early Renaissance, ca. 1427 (fresco, 21' x 10'5")

Private family tomb Money to pay for private chapels that hold private tombs Commissioned to create wall for tomb Fool eye all with painting- flat fresco wall made to look with tomb underneath it and a barrel vault that extends back into space 4 patrons dressed in traditional Florentine garments Major destination of artist from the Early Renaissance and on Meant to believe we are looking at a marble altar and coffin; columns and pylasters; Roman barrel vault Vision of the crucifixion and Holy Trinity Complete exercise in linear perspective "I was once that which you are and that which I am you will also be" carved over head of the skelton (human beings is a very temporary moment) Meant to believe skeleton projects out to us; barrel vault receding back into a room that isn't there Taking advantage of where we exist in real time and space

Filippo Bruneleschi. Santo Spirito (interior and floorplan). Florence, Italy. Early Renaissance, ca. 1436.

Regular, perfect mathematical proportions: 2:1 nave twice as high as it is wide, crossing square unit of measure, double the bays 1:1 arcade and clerestory of equal height; height of arcade equals nave width Pietra serena- the most serene stone; architectural accents to building Where aisles meet- form perfect square Actual building feels much more static than what Bruneleschi would have wanted Wants us to see the elevations Arches that bring us up to the highest elevation

Nicola Pisano. The Annunciation and the Nativity, detail of pulpit of Pisa Cathedral baptistery, Pisa, Italy. Proto-Renaissance. 1259-60 (marble relief, 2'10" x 3'9")

Relief sculpture Growing monumentality Naturalism in the figures Combination of Annunciation and Nativity Ancient Antiquity- load the image as much as possible; very small of amount of negative space No interest in creating a rational, orderly, 3-dimensional space

Antonio Pollaiuolo. "Battle of the Ten Nudes." Early Renaissance, ca. 1465 (engraving 15" x 33")

Return of the fascination on human anatomy as it actually is (can you scientifically understand anatomy?) Investigating the body Rise of modern science and medicine Start of dissection Set up to show as many different angles of the full body in action Doesn't demonstrate that when one muscle is engaged the other muscle has to be relaxed (biceps and triceps)

1300's

Rise of Italian city-states Late Gothic Proto-Renaissance (nucleus that leads us to Renaissance) Trecento (century of the 1300's)

Lorenzo Ghiberti. Gates of Paradise (East Doors), Baptistery of Florence Cathedral. Florence, Italy. Early Renaissance, 1425-52. (Gilt bronze, height 15')

Rising sense of humanism and importance of the artist Ghiberti's self-portrait (status of artist has risen enough that he can included his likeness among saints) Isaac and His Sons- detail from the "Gates of Paradise" Classicized dance-like figure Simultaneous narrative

Giotto di Bondone. Arena (Scrovegni) Chapel, Padua, Proto-Renaissance (Italian Gothic), c. 1305-06. (Fresco; know interior view, p. 520/9) Enrico Scrovegni and 7th layer of hell...

Scrovegni- banking family equivalent to the Trumps Interest is money over time; sense of controlling time- only God can do that Fresco- wet plaster; painting fairly long standing; only have time to add figures as painting stays wet; great skilled artist 38 "framed scenes in fresco Life of the Virgin Life and Ministry of Jesus Passion and Resurrection of Jesus Virtues and Vices (rendered in grisaille plus painted color marble veneer)

Raphael. "Madonna in the Meadow." High Renaissance, 1505-6. (Oil on wood panel 3'8" x 2'10")

Sculptural clarity Hue- intense colors Saturation- how red is the red itself Clear mathematical triangle image is focused around Most graceful of the three (master that gets along with everyone; completes commissions on time; integrates with upper classes; trains a lot of artists); Most Influential Images about sweetness (frosting of the High Renaissance) Famous for images of the Virgin Mary

Parnassus and Philosophy ("The School of Athens"). High Renaissance, 1510-11; 19' x 27'

Shoot us back into space but in an orderly way Focus in on the two central figures (Plato holding book and pointing upwards- looking for great ideas and truths that are in heaven; know the ideal and reach the ideal); (Aristotle gesturing- foreshortening - points to our world; birth of modern empirical science; what we can know must be what we can observe and test) Greatest hits of all the great thinkers; Line up in terms of what Plato and Aristotle stand for Figures that look like contemporary Italians Specific portraits of people (Plato might actually be a portrait of Leonardo) Euclid working ideas of geometry (portrait of architect Vermonte) One figure looking out to viewer (inviting viewer into painting- self portrait of Raphael) One figure that isn't quite integrated with the rest of the composition- possibly added later (attempt to honor Michelangelo as well) identified through Florentine leather boots Humanism Classical rebirth Painting to mirror the architecture of the room Deep recession of space Influence of his teacher Peregino

Old St. Peter's basilica, Rome. Early Christian art, c. 320-27 CE

Site of Christianity Very powerful pope to believe in himself enough to tear down a centuries-old church

Andrea Mantegna. "Dead Christ." Early Renaissance, ca. 1501 (tempera on canvas, 2'2" x 2'7") foreshortening

Small size indicates a small painting commission for an individual family Body is being rammed out at us through foreshortening Form that is supposed to be closer to us is going to seem larger What is closer to you is visually slightly larger Use of any technique is up to the artist and their expressive qualities; can decide whether to employ those tools Through use of foreshortening the head should actually be quite smaller Doesn't want us to believe Jesus had a pin head; ultimately he wants us to see the head as the main point of this painting Eyes draw us to the face to think of Jesus before his crucifixion Mourners further the idea of the pain of the image (these figures should be smaller as well) Great artist will choose the extent to use the design tools

Masaccio and Masolino. Interior of the Brancacci Chapel, Church of Santa Maria del Carmine, Florence. Early Renaissance, 1424-27. Fresco

Smaller individual chapels is where we get the most innovative artwork Fully fresco Intense hues of the Renaissance Masaccio does more to revolutionize painting than possibly any other person in the history of painting (by 27)

Simone Martini. Annunciation. International Style, 1333. (tempera and gold leaf on wood, approx 10'1" x 8') altarpiece for Siena Cathedral, Ave gratia plena dominus tecum ("Hail, thou that art highly favored, the Lord is with thee)

Start of the prominence of Mary Luxurious, ornate figures First time the Annunciation is used as the subject matter- develops the prominence of Mary

Tintoretto. "Last Supper." Mannerism/Late Renaissance, 1594 (oil on canvas, 12' x 18'8")

Subject matter is the last supper More dynamic Greater sense of movement Not as much stability as Leonardo's Jesus isn't central in the painting Images of dishwashers, cleaners, dogs Floating angels Greater sense of dynamism rather than sense of straight, naturalistic orderly space

Arnolfo di Cambio and others. Florence Cathedral, begun 1296

The east doors, facing the cathedral's entrance... the most prestigious commission to the era Competition (start of the 15th century) to create cast-bronze entrance doors

Raphael, Frescoes of the Stanza della Segnatura. Vatican Palace, Rome. Renaissance, 1508-1511. Fresco.

The four branches of human knowledge: religion, philosophy, poetry, and law The Three Virtues under Civil Law and The Disputa

Parmigianino. "Madonna with the Long Neck" Mannerism, ca. 1535 (oil on wood, 7'1" x 4'4")

Title describes the subject matter Color palette closer to Raphael; saturated blue Delicate, courtly head Stretched neck, small shoulders, delicately long stretched fingers Enormous birthing hips that fill out the triangle

"Merode Altarpiece"

Traditional Flemish household Mary has not yet responded to Gabriel's news Sense of stone tiles, wooden bench, ceramics, metal and brass Texture of hair Three flowers on the branch of the Lily, one has not bloomed- Jesus hasn't been born Blue stripes on towel indicates it is a Jewish prayer shawl Kettle is perfectly clean and unused- virginity If you get married in the north it tends to be a civic ceremony and then a parade; family of the bride marches her and all her goods to the groom's house Marriage isn't complete until it is consumated Groom blows out lighted candle in the window to indicate sex was a success :) Little baby Jesus soaring into window carrying a cross Third image of Joseph in his carpentry shop Mousetraps symbolize catching the devil Some believe he is constructing a wine strainer- symbol of the Eucharist

Leonardo. "Mona Lisa." High Renaissance, c. 1503. (Oil on wood panel 30 1/2 x 21") LIsa di Antonio Maria Gherardini; wife of Florentine aristocrat Francesco del Giocondo

Typical lunar landscapes (beings placed in other-worldly landscapes) Kidnapped and held for ransom several times (built up fame) Leonardo completed very few paintings in his lifetime Subtle three quarters view Adjusts head slightly to give dynamism of the piece Unusual innovative way to show down to the waist Enigmatic (half smile that emerges due to shadowing on the face) Achieve expressiveness Sitter never got this painting, Leonardo kept it (so invested himself in the painting); why it is in the Lourve and not in Italy Leonardo died in France (lived there due to the King of France)

Jan van Eyck. Ghent Altarpiece (closed). Northern Early Renaissance, 1432 (oil on wood, approx. 11'6" x 7'6")

Winged altarpiece Two apostles painted only in gray, meant to look like carved marble sculptures Sense that it occupied real space but ceilings are very low Magnificat- My soul magnifies the lord (these words are backwards behind Mary; she is telling God rather than the viewers) Figures are over life size- meant to believe Adam and Eve are before us Idea of what the human body looks like proportionally Replicas of modern day instruments Bottom four wings have symbols of what is considered the cardinal virtues (temperance, prudence

Relief Carving

a sculptural form in which figures are carved in a flat panel of wood. The figures project only slightly from the background rather than standing freely.