Art History: Renaissance - Modern

elements of form

"the stuff we see"; line, shape, light (value), mass, pattern, space, and time

Donatello - "Equestrian Monument of Gattamelata"

(Gattamelata was a mercenary general, who was fairly successful. ) In this work, he is dressed as a Roman general. This work is reminiscent of the statues of Marcus Aurelius. The making of this piece is truly remarkable, because there is a lot of bronze present.

Nicola Pisano - "Fortitude and Nativity"

- Fortitude is Hercules, with his Nemean lion. - story of Hercules' tasks has a Christian parallel - this work is an example of the Christian tendency to baptize Roman stories. - Pisano was interested in classical antiquity, which makes sense, since Pisa is an old Roman town. - the baptistry was important because it brought children into both Christendom and civic life. - the "accumulation" seen in the Annunciation/Nativity scene is reflective of Roman art.

Author unknown - "Madonna Enthroned" (Byzantine)

-painting stolen by the Latins during the occupation of Constantinople. -highly stylized, with gold ripples on Mary's cloak. -flat, with angels in little circles, with no obvious position in space; no 3D element

Cimabue - "Madonna Enthroned"

-similar to previous Madonna, but angels are more people-like, and everything is more realistic. -there is more of an interest in volume and space.

Ambrogio Lorenzetti "Good Government in the City and Good Government in the Country"

-this piece shows the importance of civic humanism at this time -shows some interest in 3D space -paintings meant to tell council members: "this is what will happen if you do your job right; there will be new construction, a thriving commerce, and all will be safe" -The opposite, "the Allegory of Bad Government" shows Justice all bound up. Also, Vainglory, Fraud, and a whole host of other malicious creatures are the advisors to the ruler in this painting. -in "the Allegory of Good Governement"; Faith, Hope, Love, Charity, etc. are all the rulers' advisors.

Goals to keep in mind during study of art history:

1. Heighten powers of observation, because our own visual experience of each work of art is important. 2. Also step outside ourselves, and immense ourselves in history so we can try to understand art from other perspectives.

Jan Van Eyck - "Man in a Red Turban"

1433. Oil on panel. This may be a self-portrait, because the tension around the eyes shows intense focus.

Jan Van Eyck - "The Arnolfini Portrait"

1434. Oil on Panel. This painting celebrates the marriage of two very rich folks. They have removed their shoes, which signifies that they are standing on holy ground. The lady is wearing green, which symbolizes fertility. The single candle represents God's presence. The dog represents Fido, or fidelity. The roundels of the mirror behind the couple have images of the Passion of the Christ.

Conrad Witz - "The Miraculous Draught of Fishes"

1444. oil on panel.

Giovanni Bellini - "St. Francis in Ecstacy"

1480 St. Francis is standing on holy ground, and the light from Heaven is shining upon him. He is receiving the stigmata on his hands. Bellini tries hard to show the beauty present in nature, which reflects God's presence.

High Renaissance

1490-1510 Florence was no longer the artistic and cultural capital; there were no patrons left in Florence. In Rome, the popes gain power and are able to attract artistic talent to Rome. Venice is also very important during this period. Order, unity, clarity, simplicity, balance, and symmetry will be highly valued during this time. During the High and Late Renaissance, there was an ongoing debate on the subject of the identity of the "Paragone," or most important art form. People argued whether sculpture or painting was the art form that fulfilled art's purpose (the imitation of nature)? Sculptors said that it was sculpture, since sculptures actually take up three-dimensional space. Painters said it was painting, since paintings could depict side views, front views, and back views of people; these could be seen at the same time, without forcing the viewer to walk around the piece of art.

Michelangelo - Reconstruction of Michelangelo's plan for the tomb of Pope Julius

1505 Originally going to be 3 stories tall The lower story was supposed to be filled with niches and captives The second level was going to have carvings of Moses, St. Paul, and personifications of the Active and Contemplative life. Then there were delays, Francis dies, and Michelangelo redesigns the tomb, leaving many partially finished statues. Michelangelo thought that statues were already inside the blocks he was working with; his only job was to bring them out.

shape

2D; geometric or organic; the relationship of the shape to the overall background (figure v. ground) is important

mass

3D equivalent of shape; as above, organic or geometric

linear perspective

A perspective that has a vanishing point on the horizon, with the horizon at the eye level of the viewer. This is an excellent system for drawing architectural plans. Brunelleschi invented this system. See also: one-point perspective (cubes)

Alberti - "On Painting"

A writing that was probably Alberti's most influential work. Humanity -> is what distinguishes us from the animals. Alberti was an elitist, and he only wrote for the upper class. He also built some important buildings.

separation of planes

Alberti invented this system. This system probably came from theater (as a system of set design, with background, middle ground, and foreground). This system is serene, organized, and clear, even though it also looks a little contrived.

Alberti - "Façade of Santa Maria Novella"

Alberti redid the face of this church. He was free to do what he saw fit, except he could not remove the niches or the big round window. He made the top portion look like a Greek temple. He continues the motif of the circles, and he adds the curvy things to make the composition smoother. Everything in this work is determined by numerical ratios.

Michelangelo

All about clarity and brilliance; not interested in subtleties like Leonardo was.

perspective

Anything you do to create illusion of 3D space could be considered to be (a particular) perspective.

Overview of Middle Age art

As in early Christian art, there was an interest in preserving the sanctity of the image, and not an interest in realism. There was a concern for the soul, and not the body; the message was more important than the visual experience. The general idea was to put flat things on flat parchment, and not try to create the illusion of space like the Romans did. When civilization made it past the year 1000, people were excited, because they thought they wouldn't make it that far (because God would wipe them out). So, to celebrate, they built tons of churches. But, they put pictures of the Last Judgement on the doors/exteriors of the churches, to remind people that God is still in control. (But later, for better or worse, worldview will shift from God-centered to people-centered) Then, flying buttresses were invented, which relieved the walls of some of the weight they had to hold. This allowed people to make stained glass windows. People began to become more and more interested in the way things looked. This can be seen be looking at the different parts of the cathedral that were constructed at different times. For example, sculptures of people on columns get more life-like, and tell more of a narrative, as time goes on. The stage for the Renaissance is set...

Raphael - "Baldasare Castiglione"

Baldasare is dressed in black and white. Rembrandt bid on this painting when it came up for auction. Baldasare's look is serene, and he is in a trance. He was a stoic who emphasized the importance of reason. He thought that there could be no virtue where there was no reason.

wood cuts

Became more and more important during the renaissance. they are a type of relief printing, where "what sticks up" is printed, and what is carved out is white. This results in a reversed image. People would hang their woodcut prints in important places, like over the fireplace. (see Robert Campin's "Annunciation")

"Brunelleschi" - "Church of San Lorenzo"

Brunelleschi helped the church expand. The project was funded by the Medicis and the city government. This church was patterned after a Roman basilica; it was not supposed to create mystical experience, like medieval churches. There is no stained glass. There are classic columns and a flat ceiling. This work tries to attain geometric perfection. Everything in this room was made so that it would be easily understood. Reason and knowledge prevail.

Donatello - "David"

David is in the contrapposto pose. He is the first standing nude made since antiquity. This is actually the second of Donatello's David statue; after Donatello made his first, David became a symbol of the Florentine city; this may be why the Medicis asked that he create this second statue. The statue was displayed on the lower level of the Medici villa/hôtel. By putting this statue here, Lorenzo is saying that he is young and in charge. In the sculpture, David seems to be internalizing the event that just occurred. The hat is used to tell us that David is just a simple country boy.

Two important mendicant orders:

Dominicans, founded by St. Dominic (1170-1221) and Franciscans, founded by St. Francis (1181 - 1226). Since members of these orders were mendicants, they donated whatever money they had or earned to the churches, which used the money for beautification projects, among other things. These two order emphasized personal devotion, and thought that each person should imitate Christ. This reflected/contributed to the growing importance of the individual that was occurring during this time. In Italy, people started to regain an interest in Roman art; Roman arches and Roman facial types started appearing in art.

pattern

Due to the repetition, pattern tends to flatten things out

Early Renaissance

During the early Renaissance, there was a decline in the power of the Church. The Great Schism (in which two popes claimed to be legitimate) lasted from 1378-1417. The Black Death wiped out between one to two thirds of people. But, this meant that the people left had more resources to work with. :/ Petrarch - main figure, "started the Renaissance..." He studied law and read many Roman texts. He was crowned "poet laureate," the first since Roman times. He was the "first modern man." He always tried to find the balance between the active v. contemplative life. Why did the Renaissance start in Florence? There was a booming, free-market economy, mostly based on the textile industry. As a result, they had a need for banking. So, they minted coins that had an extremely high value; these coins were trusted everywhere and became the international currency. Several important figures helped the arts in Florence, one of which was Lorenzo de Medici, or "Il Magnifico." He was a total mover and a shaker, and he encouraged everyone in Florence to buy art. The Florentines almost lost to the Milanese, and they decided the reason they almost lost was because they didn't educate their children well. So, they revamped their education system, and art was a part of this new system. Meanwhile, many other things were changing. In 1445, Gutenberg invented movable type. Painting became more and more important, as opposed to solely architecture. There was a growing sense of the potential, and the possibility of human individuals. There was also an increasing desire for realism, and much experimentation with new materials. Math, geometry and optics became important to art. With all these changed and opportunities, artists were able to flourish. Sadly, Florence experienced many events later in the 15th century that caused its influence to fade...The Medicis were exiled when French troops invaded.

Overview of early Christian art

Early Christian art developed in the Roman world, and so took many elements from it. For example, mosaics remained important. However, in general, the art was more idealized, and stylized; details were removed for the sake of the message/ clarity of image. There were also some otherworldly elements in this type of art; an example would be the use of gold as the background of a mosaic (instead of blue or something more realistic). Early Christian Art moved away from realism; divinity was conveyed with symmetry and stiffness. Other Roman influences can also be seen. For example, in one of the mosaics, Jesus is dressed like the Roman emperor (with purple garments) in order to show his power. The Byzantines had some of the same trends; their art was very idealized and stylized.

Michelozzo di Bartolomeo - "Palazzio Medici-Riccardi"

Florence Lower level is more rusticated; upper levels are less rusticated. On the top, there is a huge cornice. This project was begun in 1444. It served as the inspiration for Alberti's Palazzo Rucellai.

Alberti - "Façade of Palazzo Rucellai"

Florence, 1446-1451 Even stories and even levels of rustication. However, the capitals do get more and more embellished the higher up on the building they are (which was a Roman invention). However, Alberti did not copy the Romans exactly. Columns included to break apart the heavy horizontal lines.

ways to approach art history:

Formalism (concerned with iconography, which deals with meaning, and iconology, which deals with cultural context); Marxism; psychology; feminism multiculturalism; and deconstructionism. Looking at art using the last five "lenses" can be valuable, but only in the right context

Masaccio - "The Tribute Money"

Fresco inside of Brancacci Chapel completed in 1425. Dimensions about 8' by 20'. In this work, the apostles are all based off of real Florentine peasants and artisans. The people are all volumetric, and take up space. All people have eyes that are lined up; they shorten from the bottom to the top. Everyone has a shadow. These shadows make the painting seem real because the shadows in the room where the fresco is line up with the shadows in the painting. The tax person is the only person with Florentine garb. More details were included in the picture than were needed to tell the story. The idea is that if more details were included, the religious experience would be better.

Giorgione (and Titian?) - Fête Champêtre

Giorgione was an excellent musician, and a lute can be seen in this painting. People cannot agree on whether or not Titian, Giorgione's pupil, contributed to this painting. In this painting, there are two female nudes in the foreground, and two men seated in the center of the background. Since the men are in the center, one might think that they are the main subject of the painting. However, their faces are covered in shadow. These men are oblivious to the women, so something interesting is going on here... There is a very interesting play of light and shadow in this piece, so Giorgione probably saw the "Mona Lisa", or one of Leonardo da Vinci's other pieces.

Leonardo da Vinci

He was convinced that art and science were related, but he did not attempt to replace one with the other. He always rejected authority. He wasn't particularly interested in religion or in the ancient world. He though that the human eye was the measure of all things. He was excellent in a variety of subjects. He was fascinated by human form, but he didn't really have any close relationships with anyone. He was an illegitimate child. He was left-handed. He wrote all of his journals in mirror writing. To paint something, he would draw it in monochrome (using a silver pen to scratch the surface of treated paper) first, and then add color with the paints. He kept extensive notebooks on a variety of subjects. He did dissections on the human body to learn how bones, muscles, and skin worked together. "All of our knowledge has its roots in observation" "Knowledge is the natural desire of good men" He never built a building, but he made plans for them. He thought the best buildings are the ones that reflect things in nature. So, many of the buildings he planned were radiosymmetric. He was a pacifist, but he made war machines. He was fascinated with the idea of flight, and with the way water moves. At the end of his life, King Francis I of France invited him to live at a château. His sketch, the Vitruvian man, reminds us that man is the measure of all things. Freud wrote a biography on Leonardo.

Alberti- "Church of San Francesco"

In Rimini, Malatesta's city; he wanted to make Rimini a great place, like Florence. There are 3 arches in this building, which are reminiscent of Roman triumphal arches. The arches are in the same proportions as Augustine's triumphal arch. Two of the arches are blind, and one is open.

Duccio - "Madonna Enthroned" (center of the Maesta altar

In this painting, there is an increase in a natural, realistic approach. While the center of the painting is mostly iconic in function, other parts of the painting tell stories.

Raphael "La Belle Jardinière."

In this work, there is a perfect and clear sense of space. Raphael painted with the glory of Michelangelo and with the subtleties of Leonardo. His works are the most typical of the High Renaissance. He came to Rome in 1508. He was very concerned with the universality of humanity. He was very much involved in Neo-Platonism, and he also tried to combine both ancient and Christian beauty.

Why did the Renaissance occur in Italy?

Italy was decentralized, and there were many independent city-states. These city-states had wealthy merchants who could fund paintings, and religious orders who wanted to decorate their churches.

Michelangelo - "Sistine Chapel"

Julius II asked Michelangelo to paint the ceiling of the Sistine Chapel. The ceiling of this chapel was originally a depiction of the firmament (dark blue with many stars) The ceiling was 80 ft. high, curved and interrupted by triangular ceiling-wall sections and lunettes. The theology of the painting was very complex and involved; there was someone who talked to Michelangelo and influence the painting in that way. In this work, a great effort was made to combine classical knowledge and classical stories with Christianity. For example, Libyan Sibyl from classical mythology is seen sitting with the Old Testament prophets. The Delphic and Cymaean sibyls were also present. The Cymaean sibyl was very old, and so she was a symbol of the age and the prestige of the Roman Catholic Church. To prepare for this work, Michelangelo made hundreds of preliminary drawings. The lunettes depicted members from the lineage of Jesus Christ. The figures in the lunettes were painted freehand, and it took about 3 days for Michelangelo to complete each lunette. Michelangelo divided the ceiling into sections by painting architectural dividing lines (columns, cornices, etc) There is a poem that M. wrote that is about the joys of painting the ceiling. The cleaning of the Sistine Chapel took place recently, and the amazing colors M. used were brought out. The "ignudi" are present; they are naked, wingless angels (and they are naked because they are pure). They are holding acorns, and acorns were the symbol of the family who funded this project, the Ravera family. In the scene of the Creation of Adam, Adam is very much attached to the earth and he is holding his arm out limply. God is light, quick, and stretching his arm out to Adam. He is also holding Eve. There is a reverence for God in this painting, but he is human-sized. This shows how much Michelangelo revered humanity and agreed with the statement that "man is the measure of all things"

What was happening in Northern Europe during the time of the Proto-Renaissance/Renaissance?

Life was changing. The society was changing from an agrarian one to an urban one; cities and trade were growing. Literacy was also growing. And, there was a growing desire to read what the Bible said. This was because there had been a lot of turmoil in the church (Great Schism was mended in 1417), and people didn't trust it as much. Another important date is 1453, which is when the 100 years' war ended. Artists in this time were very concerned with details (due to their previous preoccupation with book illumination), but not so much with ideas or systems. For example, in Sluter's sculpture of Moses, all the details are fine, but you can't see the form of Moses' body under his robes. Details, details, details. Robert Campin was first significant oil painter in this region!

Hans Memling - "Madonna and Child"

Madonna and Child in the left picture; a picture of a patron/customer on the right. The one on the left was created much before the other one, suggesting that maybe these paintings were churned out and later customized. These pieces have been analyzed using dendrochronology and binocular microscopy Pieces like these became more and more popular, as people individually sought Jesus more and more.

Alberti - "Church of Sant'Andrea"

Mantua, designed in 1470. Ludovigo Gonzaga commissioned this church. There is a "barrel vault" of immense proportions. There were coffers cut into the ceiling, which were then painted. The aisles are not really aisles; they are divided into chapels that make the nave look bigger.

Leonardo da Vinci - "The Virgin of the Rocks"

Mary, Jesus, John the Baptist, and an angel are present. The cave represents sin, the cave of the nativity, and the cave where Jesus was buried. Mary's hand is over Jesus's head, and this may be a reference to a halo. The preparation for the angel was done in silver point. Da Vinci thought that painting was superior to drawing because painting was more reflective of optical fact.

Michelangelo - "David"

Michelangelo was inspired by "Laocoön and his sons", which was uncovered in Rome. He really liked the energy and dynamism of the piece. This work was made from a famous block of marble, which had been rejected by all of the other sculptors. David was still a Florentine symbol. His gaze and his stance are imposing; he has the rock and the sling and is about to fight Goliath. This is to remind the Florentines that they must be brave and fight their enemies; decisions made at the crossroads can have enormous implications. The fact that he is 3x life size also makes him look more formidable. This statue connects the Florentines to the classical tradition; it refers to the myth of Hercules at the crossroads. The tree behind his leg is just there to support the statue. David's hair is supposed to remind one of the mane of the Florentine lion. David's hand is extremely detailed.

Importance of oil painting

Oil painting is really cool, because you can create many "sheer layers of glaze," which makes it a lot easier to create more realistic skin tones. Artists can also work more slowly, because oil does not dry very quickly. Oil paintings are also very easy to transport (because they can be carried on a canvas), unlike many other forms of art. As a result of oil painting, art changes. Portraits become much more important.

Donatello - "St. George"

Paid for by the armorers guild, so St. George looks super imposing. His pupils are present, giving energy to his glance, and he has a dramatic stance. The predella below him has a picture of him slaying the dragon. The predella has a separation of planes and linear perspective.

Masaccio - "The Holy Trinity with the Virgin, St. John, and Two Donors"

Painted in Santa Maria Novella, Florence in 1425. Fresco, detached from wall. memento mori Perspective based off of viewers eye-level. Separation of planes present.

Rogier van der Weyden - "The Descent from the Cross"

Paintings in this era started to relate more and more to the viewer...The figures in this painting seem to jump out at the viewer.

Brunelleschi and others - "Pazzi Chapel"

Part of Santa Croce in Florence. Begun 1442 and finished in 1469(?). Based on model of a square, meant to evoke order and serenity. Carefully mathematically proportioned. Off-white walls and gray stone borders draw attention to the geometric design. Pendentives- part of the chapel below the dome. The planning of this chapel was influenced by the idea that God's intentions are completely knowable, just like mathematics.

Raphael - "The School of Athens"

Pope Julius II invited him to paint this painting in the Vatican. Statues of Apollo and Minerva, gods of the arts and wisdom, respectively, frame the painting. There are 3 windows, which symbolize the Trinity. There are many famous ancient philosophers engaged in discussion. Plato and Aristotle are in the middle. They represent the importance of heaven and earth, respectively. To the left, Socrates can be seen enumerating things on his fingers. He is seen as a precursor to Jesus because he died for his beliefs. Down below, Pythagoras is seen with his slate. His calculations end with the number 10, which symbolizes the 10 Commandments. Ptolemy can be seen with a globe. Euclid is bending over and drawing. The model for this picture is Bramante, Raphael's mentor. On the edge, Raphael is present, along with the person whose painting had previously graced the wall. All 3 types of perspective are used. The person drawing near the center is not in Greek garb, but in Italian stone-mason garb. This is thought to be Michelangelo. The stone block he is using as a desk symbolizes Christ, the rejected cornerstone/stumbling block to unbelievers. This painting shows the value of both the liberal arts and the visual arts, and puts them on the same level. This painting represents art as a learned profession, not just as a craft. This painting shows contemporary life in Rome, and it is a celebration of Renaissance thinking.

overview of Roman art and culture

Romans were "big, loud, and enjoyed taking over the world" They were enthralled by Greek aesthetics. They were good engineers, and they put the round arch to good use. They built the Colosseum, which was the largest amphitheater ever. This structure shows how important war was to the Romans. The structure has 4 layers, with each successive layer having more ornamentation than the last. The Pantheon was perhaps the most influential building ever; echoes of it can be seen everywhere. It was made out of concrete, which the Romans invented. It contains an extraordinary engineering feat: a massive dome, which is basically an arch rotated around 360 degrees. This building is a nod to Greek aesthetics; the "front porch" has massive Greek columns. The Romans also built victory arches, which were first made out of wood. However, Augustus started the trend of making them out of stone instead. Victory arches are one of the manifestations of the Romans' skill in making propaganda. Emperors would have the arches constructed and then decorated with engraved images of their success. Constantine's arch had pictures of him as well as pictures of other successful emperors on his arch. This was significant, because Constantine had been part of a tetrarchy, and he beat the other three rulers. The arch signified his entry into the long line of powerful, single emperors of Roman history. Generally, Romans were fascinated by realistic sculpture; they didn't think wrinkles were bad because the old and the wise were highly venerated. However, Augustus tweaked one of his statues to make him look younger (and more like Alexander the Great). Romans also enjoyed making 3D art on 2D surfaces. They liked realism, and creating the illusion of space .

Giovanni Bellini - "Madonna and the Saints"

San Zaccaria, Venice, 1505. The symmetry lends dignity to the scene. This is an example of a "sacred conversation" piece. Only St. Peter is looking at us. St. James is reading. Baby Jesus' foot sticking out is supposed to remind us of his step out to the tomb after the third day.

Donatello - "St. Mark"

St. Mark, a statue, is depicted as standing on a pillow. He puts his weight on one foot; he is standing in the contrapposto pose. This is the first instance of this pose seen since ancient times. St. Mark's face is expressive, contemplative, and not just a blank gaze.

Michelangelo - "Moses"

St. Peter's (S. Pietro) in Vincoli, Rome, 1513-1515 Moses has rippling muscles and an intense gaze

Michelangelo - "Pietà"

St. Peter's, Rome. ca. 1498. Marble. In this sculpture, Mary's legs are really huge so that she can hold Jesus. Michelangelo disguises this by putting robes around her legs. Mary is not depicted as being old, even though she was old when Jesus was 33. Her youth in this work depicts the state of her soul. M. was 23 when he made this work. This particular pose that Mary and Jesus were in is not a common one in Italy...but it was common in France and Germany. This is because the work was commissioned by a French cardinal.

overview of Greek art and culture

The Greeks were interested in using art to tell stories (narrative). They thought beauty was to be found in perfect proportions. They thought that man is the ideal rational being, so to celebrate that, they made sculptures of man that were idealized. They also celebrated humanity in an allegorical fashion. The Parthenon, for example, was the ultimate statement of perfect proportions. It was also a celebration of the Greek victory over the Persians. But, instead of painting themselves defeating the Persians, they painted the myth of the defeat of the centaurs.

Venice

The Venetians were really good at using color. They embraced oil painting (Because Venice's climate and geography was bad for frescos) and became really good at it, good enough that they could realistically depict colors that were really subtle, like the color of skin, cloth or leather. They mixed ground glass into their paint to give it depth and vibrance. They reintroduced female nudes into western art. For a western European city, Venice was fairly cosmopolitan. There were Italians, Germans, Jews, and Muslims.

Giotto - Scrovegni Chapel, Padua, Italy

The entire interior is covered in fresco (buon fresco; good fresh). Mistakes were patched up with "fresco secco." There is a scene of the Last Judgement, as well as a scene depicting Enrico Scrovegni (the patron) offering the building to Mary, John the Baptist, and someone else. He wanted himself painted in the chapel in this way in order to combat his bad reputation; his father had been a usurer. There was also a scene of Christ entering Jerusalem. This scene is interesting, because it starts to show some perspective. The angels in this picture are all crowded, and you can't see all of them; this is more realistic than paintings that show everyone in a crowd. The Lamentation was also depicted. This painting was interesting because the main element was not in the center; actual people in actual places are depicted. However, the lighting is not realistic.

"classical"

The term has a variety of meanings, but typically refers to a traditional standard of excellence that emphasizes balance, clarity, moderation, and restraint

how did Renassance artists create illusion of space in their artwork?

They used atmospheric perspective, linear perspective (imagine railroad tracks coming to a point on the horizon), and separation of planes.

Simone Martini - "Annunciation"

This is the first artist who made narrative, instead of icons, the most important part of the work (which was on an altarpiece). In this painting, Mary is actually reacting to Gabriel's entry into her room.

Giorgione - "The Tempest"

This painting depicts the city Casafranco, and the surrounding, somewhat hostile, countryside. In addition, there is a storm in the sky that gives this work more energy and makes the mood more foreboding. In this scene, there is a woman nursing her child, who is looking out towards the viewer. On the other side of the painting, a man is looking at her with somewhat of a haughty look. No one knows what this painting is really about... One of the guesses is that it depicts Adam and Eve after they left Eden...However, not all the elements of the painting lend credit to this view.

Leonardo da Vinci - "Mona Lisa"

This was made in a time in which portraits were becoming more and more popular. This portrait is crazy for its time because it is not a profile (doesn't follow tradition of Roman coinage) Portrait of women were usually made to show off wealth, but this women has a simple dress and no jewelry. It is also strange that she is looking directly at the viewer, because usually, women were not supposed to look directly at others. She looks a little strange because she shaved her eyebrows, like most Florentine women did at the time. There are a lot of careful subtleties in her face. sfumato - smoky Her hands are really prominent in this painting, and hands are the ultimate symbol/expression of individuality. This piece owes some of its fame to an episode that happened in the early 20th century. It had been stolen from the Louvre, and then found in Italy. The Italians wanted to keep it and the French wanted it back. Eventually it was agreed upon that it would go on a several year tour of Italy and then go back to France.

Donatello - "Feast of Herod"

This work completed on on of the sides of the baptismal font. The arches in the work are rounded. Linear perspective was used to create depth; there is a "reasonable, spatial, room". There is somewhat of a Medieval medley of scenes. The closest scenes have the highest relief.

brunelleschi - "Dome of Florence Cathedral"

This work completed when the role of architect shifting to that of a manual laborer to that of a studio worker/artist/drafter. The drum of this dome was finished in 1418, but not by Brunelleschi. The construction of this work was particularly challenging, and Brunelleschi had to come up with his own special plans and designs in order for him to complete it. One problem was that if the dome was constructed in the traditional way, too much scaffolding would have to be imported. To solve this problem, Brunelleschi constructs two domes, lays down bricks of different sizes in a herringbone pattern, puts ribs on the sides, and a large pointy thing on top to hold it all together. He also used really heavy aggregate at the bottom, and lighter aggregate at the top. Brunelleschi drew from his study of ancient buildings, like the Pantheon, to come up with his solutions. The whole thing is carefully mathematically and theoretically designed. While the church is from the middle ages, the dome can be considered to be a Renaissance work because of the innovations that were made.

Leonardo da Vinci - "The Last Supper"

This work was painted in Milan, in a room where monks would gather to eat their meals. The piece was a very large fresco that was painted using a strange tempura/oil mix, which soon began to deteriorate. In WWII, part of this piece was damaged. There is also damage resulting from the high water table. In this piece, linear perspective, separation of plains, and atmospheric perspective give the room a sense of space. There are 4 groups of 3 apostles. This is numerologically significant because 4 symbolizes the earth/mankind, while 3 symbolizes the Trinity. The fact that both of these numbers are so prevalent points to Jesus, who is both God and man. Little groups are also more realistic than one long line of people. Jesus is framed by the window behind him. Leonardo used real models to help him paint his works. Judas is the only one who is recoiling, and whose face is in a shadow.

fresco

To make a fresco, a wall is covered in plaster, and then another sheer layer of plaster is applied to this; the second layer is the layer to which the pigment is applied. Pigment (which is applied to brush) must be applied when the plaster is still wet. The pigment becomes part of the wall.

Italian Proto-Renaissance

Why was there a sudden interest in volume and space at this time? Commerce and industry were taking off, which increased the importance of the material. Belief in God was prevalent, but people also thought that they could control their own destinies. People were also becoming more wealthy during this time, and as a result, more educated.

sculpture methods

additive method, subtractive method, and replacement method

architecture characteristics

always has a function, always site-specific, and usually public

texture

any 3D surface will have a texture; paintings can have illusion of texture; architecture has texture

context

art must always be considered with reference to major ideas and events in religion, politics, and society

What we want to know when we identify a work of art:

artist, title, date, media, size, and location (especially for architecture)

Three groups of people to think about when looking at works of art:

artists, patrons, and viewers

binding agent of encaustic

beeswax

Robert Campin - "Mérode Altarpiece"

c. 1425-30. Oil on panel. triptych This painting makes much use of symbolism; reflects view that the physical world is a mirror of divine truths. The patrons are on the left panel, and Joseph is on the right panel making mousetraps (alludes to how Jesus crushed the devil)

Bernardo Rossellino - "Tomb of Leonardo Bruni"

c. 1445-50. Marble. Leonardo Bruni advocated the active life, that of civic humanism. There are many symbols on his tomb, which tell a lot about who Bruni was and what Italy was like. The lions present symbolize the Florentine republic, and the Madonna and Child are present in the roundel near the top. Bruni is holding a copy of a book that he wrote.

Sandro Botticelli - "Primavera"

ca. 1482 The figures are Mercury, the three Graces, Venus, Chlora, Flora, and Zephyr, but this work does not really refer to a specific myth. There are orange trees and myrtle bushes. The oranges refer to the gold balls that were the symbol of the Medici household.

Sandro Botticelli - "The Birth of Venus"

ca. 1485 Figures include Zephyrus, Chloris, and Flora. It was very typical in the late 15th century to use myth as a the subject of the painting. The middle class was starting to become interested in art, and they became very interested in the details. This work was probably commissioned by a cousin of Lorenzo de Medici. Neoplatonism may have influenced this piece. The Medicis were interested in a Christianized version of Neoplatonism, and they believed that all knowledge came from the same place; they believed that there was something valuable to be learned from myths.

color

can be used realistically or emotionally/expressionistically

style

constancy across works of art; both artists and movements have their own styles

Renaissance

during the Renaissance, people began to appreciate realistic art more. This contributed to a rebirth in interest in classical art, because this type of art was made using the powers of direct observation as well.

Masaccio - "The Expulsion from Paradise"

fresco in Brancacci Chapel, Florence 1425

binding agent of watercolor

gum arabic

principles of design

how elements are put together; include balance, unity and variety, focal points, proportion and scale (size), rhythm

Gutenberg

invents printing press in 15th century (1439) And Europeans were able to print a lot because they had received paper from China (via the Middle East)

binding agent of oil paints

linseed oil

binding agent of fresco:

plaster (Pigments are applied directly to fresh plaster in "buon fresco," but in "fresco secco," pigments are applied to water and egg yolk, and applied to moistened, but not fresh, plaster)

binding agent of acrylics

plastic

Raphael - "Portrait of Pope Leo X with Cardinals Guilo de' Medici and Luigi de' Rossa"

realistic and not flattering painting of Leo X Leo X was Lorenzo the Magnificent's son, and so he was good at spending money on art. He was a master fund-raiser, because he let people buy their way into Heaven. This portrait shows how Leo X was a powerful earthly and spiritual leader. The bell in the painting was cast in the beginning of Leo X's career. The globe in the painting reflects the whole room; Raphael definitely saw "The Arnolfini Portrait".

value

relative lights and darks; can be manipulated to bring attention to a certain element or part of the work

"Penelope at her Loom"

tapestry of Penelope weaving, one in a series of famous women on tapestries This tapestry is reflective of the time period/region, because there are no big flat areas of color. Instead, there is a complex background composed of flowers ("mille fleurs" style).

tapestry

the weave is totally weft-faced the resulting image is very pixelated tapestries are easily transported, and have a practical purpose (they make dark, drafty old castles more inhabitable) Aristocrats in the Burgundy region of France were fond of tapestries.

atmospheric perspective

things that are farther away are painted fuzzier, and with less color

Rogier van der Weyden - "St. Luke Painting the Virgin"

this scene occurs in a Netherlandish town. The painting is a celebration of mothers and children, but also a celebration of artists.

Hieronymous Bosch - "Garden of Earthly Delights"

triptych made sometime between 1480 and 1515. Sacred or secular purpose? Under the influence (of ergot poisoning)? What is going on? The fountains depicted in this painting resemble an alchemist's glassware. Many people/things in the painting appear like they are in pairs...So could this be the Garden of Eden? Could the painting be a visual representation of proverbs or folk sayings? Is the third panel supposed to represent hell? This painting was owned by Henry III of Nassau, who was a little cray. So this painting could just be a reflection of that. This painting, like other Northern Renaissance paintings, was painted with an obsession for detail.

Leonardo da Vinci - "Adoration of the Magi"

unfinished, because he leaves to go to Milan (He may have gone because there was too much competition in Florence, or because Florence was politically unstable) This piece is very "busy."

line

used to outline, to suggest shadow; used for major compositional lines that can influence the energy level of the piece