ArtH 4423 Early Renaissance Final Essential Works

Filippo Brunelleschi, Arcade, Ospedale degli Innocenti, Florence, 1419-26

Orphan children were given the last name Innocenti once they left because they were not given a last name nor did they know what it was Arches serve as a entryway to the building; traditional antiquity building with a civil purpose (Hospital of the Innocents) Drawing a lot from Roman antiquity Never mistake it for a Roman building Uses a series of columns in the round Not seeing the arch forms in the top but Brunelleschi shows it Corinthian style architecture Much lighter and spaced out Tuscan order; fluting Varying the color; have the whitewash stone with a gray color stone with red tile grooves on the roof of the building

Leon Battista Alberti, Santa Maria Novella, Florence (1461-17)

Paid him and commissioned him Bottom level are original to the Trotrento Church The niches were already there when he takes on the project Green and white design; Romanesque view the 2 stories with the decorative view Create a perfect classical buildings with the problems Note how the volutes of the façade correspond to the aisles. Note the name of the patron (Giovanni Rucellai) and the date of completion (1470) inscribed on the frieze. Florence. Home to Ghirlandaio's Turnabuoni chapel

Duccio, Rucellai Madonna, begun 1285

-Key artist in this period -Activate in the early part of the 14th century -Counter part of Cimbaue -Blend the new styles of painting; uses Byzantine style mixed with modern style -Documentary evidence of his commissions and person he was; he was very disagreeable; refused to fight in battle, not a nationalist; connected to be using sorcery; the children and widow wife refused his inheritance; he had debt -Name given later till the 17th century -Angels in the Rucellai Madonna -Although he wrongly attributed the painting to Cimabue, Vasari describes "certain angels . . . [who] show that, although he still had the Greek manner, he was approaching . . . the modern." -Variation in colors but the modern showed in the legs and feet placement

Nanni di Banco, Quattro Coronati (Four "Crowned" Martyrs) (c. 1413-14)

4 Crowned Martyrs commisioned by the Stone and Wood carvers guild The four men were asked to carved a statue of a pagan god but it did not go with their religion so they were executed for going against Seeing in the niche is a replica and originals were put away the statues are hollowed out at the back to reduce their weight, but were otherwise left unfinished. Original pieces of Quattro Coronati Hollowed out; carved from the same block except for two of them The statues were carved from three separate blocks of stone: one for each of the figures at the left and one for the pair at the right. Similar to the chartres cathedral inspired from gothic church Roman influence of beard, robes and stance Details of antiquity of detailed hair and naturalism of face The Quattro Coronati at Work: building a wall, drilling a corkscrew column, measuring a capital, and carving a "putto" Carved reliefs below of the Statues Legends associated with the figures Each working in their workshop to show ability with wood and stone Representation of trade, guild and their work 3D relief

Donatello, Feast of Herod (c. 1425-27)

Attempting to create the illusion of space Development and interest in studying the world empirically Although the principle of linear perspective was discovered by Brunelleschi around 1420, it was first codified and described by Leon Battista Alberti (1436), who spoke of a painting as "a quadrangle . . . which is considered to be an open window through which I see what I want to paint." Alberti's words also hold true for relief sculpture. Daughter of Herod requesting the head of John the Baptist on a platter Particular noting for taking a painterly approach to a relief Impression of deep space; linear perspective and varying height drawn like technique; atmospheric perspective closest= greatest amount of detail farther away= less detail we see Donatello's piece is very cramped and can't get a sense of perspective location Donatello is more successful in depicting a narrative in the scene than Ghiberti Sense of drawing on stone for Donatello Greater emotion and expression; less accurate in composition and perspective D= has one scene in his relief; early creating 3D/field of depth with the background and columns; Particular noting for taking a painterly approach to a relief Impression of deep space; linear perspective and varying height drawn like technique; atmospheric perspective closest= greatest amount of detail farther away= less detail we see

Ghirlandaio, Last Supper (1480)

Bathed in soothing light Characters of the figures Cypress trees in the background that were native to the area emphasizing trade and business in the biblical narrative Judas sits outside of the group representing the betrayer Expressions are strong Rational monumental current Early renaissance shows more togetherness in completion Experimented with the spaces interior and exterior

Pollaiuolo, Hercules and the Hydra, 1460s

Bit of sense of the landscape Seen the sense of the human figure from Masaccio's work of Expulsion of Adam and Eve from Paradise Influence and movement of Greco style Lion skin and club seen throughout history

Ghiberti, St. Matthew (1419-23) (8 ft. 10 in. high), Orsanmichele

Cambio (Bankers or Money Changers) guild Apostle of Christ; tax collector; out to make a profit for themselves Animation in the pose, hands and drapery Sense of movement in the figure; a twist in moving his body forward Classical influences: drapery, beards, dynamisms in the pose The opening lines of the Gospel of St. Matthew; scribe writing

Botticelli, Madonna del Magnificat, 1485

Christian subject Tondo Impressive for its sheer beauty Life scale Bowing down to be crowned Writing the canticle Symbol of passion and resurrection Gold for ornamentation Trade relation Fading detail of atmospheric perspective

Anonymous Central Italian Artist, Crucifix that "Spoke" to St. Francis, also known as the San Damiano Crucifix, late 12th century (c. 1175-80?)

Christus Triumphans Note the "superscription" reading IHS NAZARE[NVS] REX IVDEORV[M] ("Jesus of Nazareth, King of the Jews") Church of Santa, Chiara, Assisi Meet needs of Church (about 7ft high) panel paintings (functional art) fir the viewer more dramatic works of art to gravitate and create space develop own style ( anonymous artist) which later causes booming reputation for people inspire to build Church

Ghirlandaio, Nativity and Adoration of the Shepherds, Sassetti Chapel, Santa Trinita, Florence. 1483.

Classicizing elements Sarcophagus symbolic scene of the life and death of Christ Arch= representing conquering over death The Latin inscription at the top of the frame reads, "Mary adored the one whom she had borne." Similar to Masaccio's piece of the Holy Trinity with the donor's portraits Interplay of roles of the artist and the patrons Black gown and white veil serves as well as a commemorative image Northern Flemish influences Symbols of representing of flowers, shepherds and arrangement of people Northern Flemish inspiration altarpiece individualized people weathered skin; rustic figure types monumental current with bits of lyrical

Verrocchio, Baptism of Christ (c. 1470)

Collaboration of painters Scene of the baptism of Christ First to be treated in a large scale altarpiece Highlights to create 3D appearance Articulation of clavicle and face to show weathered body Angels Leonardo apprentice to Verrocchio paint one of the angels seeking to finding the solution to spiritual vs earthly V: Detailed earthly; rugged figures, early renaissance L: high renaissance; figure out how to make them more spiritual instead of leaning towards too earthly Lyric painter L: Leonardo R: Verrocchio Posture of gracefulness and artificiality

Anonymous Sienese artist, Madonna degli Occhi Grossi ("Madonna with the Large Eyes"), early 13th century

Byzantine tradition; face is outlined and detailed; angular and linear quality, gold leaf in the style (Byzantine) Looking directly at us (Mary, Jesus, and angels) Right before battle, dedicated the city to Mary; keys of Sienna were given to the Virgin Mary Painting was cut down; possibly due to the parading around for festivals and holy days; lost in time of the execess Halo=filled with semi-precious stones to give it more glorious looks about 4½ ft. high

Uccello, Drawings/Perspective Study. c. 1430-40.

(This famous drawing includes over 2,000 intersection points.) According to Vasari, Uccello also made drawings of "spheres with 72 facets like diamonds, and on each facet shavings twisted around sticks." Vasari also says that Uccello showed these "and other oddities on which he wasted his time" to his friend Donatello, who criticized them.

Filippo Brunelleschi, "Sacrifice of Isaac," Competition Panel for East Doors, Baptistery of Florence Cathedral, Florence, 1401-1402, Guilded bronze relief

Before he solved the riddle of the dome and goes to Rome to learn about architecture Trained as a metal worker; jewelry maker problem solving for an aesthetic problem Brunelleschi goes beyond border of his; more truthful to the story depict landscape to the figures and Classical antiquity sense of 3D space of the angle of the sacrifice table

Ghiberti, St. John the Baptist (c. 1410) (over 8 ft. high), Orsanmichele

wool traders guild with the camel fur on his chest Ghiberti was in a complicated situation of creating piece: wouldn't be paid until the client was satisfied with the work of how they imagined it would look like Ghiberti approaches with drapery has become more detailed and shows movement in folds; curvilinear quality Hands are more detailed and free in Ghiberti's compared to the late Madonna of enclosed and stuck together fingers Hair is very detailed and other is very little showing of hair Ghiberti engraved his name in the drapery on the statue Detail of the hair is freeform and not incised on the head Calimala guild tinges of medieval style; more into the detail of pupils; defined detail of hair and free form; aim was mainly detail in appearance; bronze

Brancacci Chapel, with frescoes by Masaccio and Masolino, Santa Maria del Carmine, Florence, c. 1424-7

Commissioned by Felice Brancacci, who took over patronage of the chapel founded by his uncle Pietro. 1424-27. The Brancacci Chapel in Santa Maria del Carmine: church of the Carmelite Order in Florence Frescos were never finished Patron in the 15th century to complete but the artist is much more similar than it seems Took it to its further point of completion Window is above center and lower but expanded and added on much later Left wall of Brancacci Chapel, including Masaccio's Expulsion of Adam and Eve and Tribute Money Right wall of Brancacci Chapel, including Masolino's Temptation of Adam and Eve When thinking of naturalism there is a sense of detail but in this piece there is none but the expression is very strong and simple means of doing it Psychological intensity Monumental current= not a lot of detail but a massive position of body use of chiaroscuro, an Italian word meaning "light-dark." It refers to contrasts of light and shadow in paintings, especially as used to suggest 3-dimensional form. Masaccio=left; monumental current Masolino=right; lyric current; detailed in faces; Masolino is the end of medieval style Monumental and lyric to avoid the different in time Masaccio is the newer style Head of Christ is painted by Masolino while the rest was made by Masaccio Multiple episodes-continuous narrative Surrounding Christ is the apostles On the right is Peter paying off the tax collector Jesus and Peter are doing the same gesture to show that Jesus is transferring the power to Peter

Botticelli, La Primavera (Allegory of Spring) (c. 1482)

Described by Vasari (1568) as representing "Venus in company with the Graces and flowers, denoting Spring," the painting is believed to have been commissioned by Lorenzo the Magnificent on the occasion of Lorenzino's wedding in 1483, or perhaps by Lorenzino himself. Debates of what story or narratives it goes under Mythological characters but no exact story Dissect and discuss Tapestry like freeze of the figures Venus standing against an arbor of myrtle, with blindfolded Cupid, her son, flying above her: she makes a welcoming gesture; he shoots a flaming arrow. The West Wind Zephyr, the nymph Chloris, and the goddess Flora 42 flowers of different species in this painting Taking place in the garden of Venus Allegorical scene of the marriage of Lorenzo Dancing in see through garb and hands being locked together Completely transparent forms of the figures underneath them Mercury: the god who presides over the month of May, as does Venus over April Mercury stirring miniature clouds with his caduceus (serpent-entwined staff) Elongated figures Artificial Not to represent earthly at all

Fra Angelico, Annunciation, Convent of San Marco, Florence, c 1420

Detail showing part of the inscription: "When you come before this image of the intact Virgin, do not neglect to say an Ave"—that is, a "Hail Mary." Competed by architecture Micolozo Medici financed it Interest in perspective emphasis a receding space Narrow columns Tuscan style columns Vaulted ceiling Sparring amount of detail Stripped down and simplified Arched window and ceiling similar to friar's cell St. Peter Martyr St. Peter Martyr, with the bloody gash in his skull, serving as a "stand-in" for the inhabitant of the cell at San Marco. Doctrine of good deeds and charity Solid halo and decorative rays coming out of it Small and elegance about her Fresco in the cell Sense of variety of San Marco Tradition done by Giotto that creates a stillness and action

Donatello, David, c. 1440

Displayed in the courtyard of Medici family Would have been displayed on a pedestal 4-5 ft tall Figure casting in bronze not cheap but was given the money due to the Medici family's wealth Unique aspects free standing figure in the nude typical representations of David no one knows why it was made but many theories were given of why it was commissioned Heroic nudity bronze is not as detailed; naked; appears more younger; boyish; lazy pose/appears sexualized; feminine features; theorized could have been wearing armor but took it off to fight Goliath; Physical beauty and golden standard Intentionally sensual body but not athletic Could have been influenced of appearance from the patron or artist Courtyard of Medici Palace in Florence: original location of Donatello's David (presumably commissioned by Cosimo de' Medici, unofficial ruler of the city) Would have been out on displayed in this area Private piece but kind of public Sense of responsibilities of young boys in the family will become men

Alberti, Palazzo Rucellai, Florence, began 1446, (built for Giovanni Rucellai)

Family exiled Important patrons for many commissions Civil servant for papacy Domestic architecture people live in Remodeling of older buildings Not much of copying but paying homage imitation is the highest way of respect Got rid of heavy rusticated Heavy and uneven bottom then going up becomes more refined fortress appearance sturdiness Alberti abandon that with pilasters between the arches Engaged columns with arches Varies the order Simple bottom and more decorative as they go up Only for decorations; does not support anything Civic nod for citizens to rest in front of home Wealthy owe to the public; civic duty There is actually 4 floors Bottom: family business 1st: guest would rest/receive visitors 2: family would own and live 3: servants would rest and live

Perugino, Francesco delle Opere, 1494

Feathery trees and hair Silhouette against background Bulkiness fold of arms, clothes, and the suit himself

Donatello, St. Mark (also at Orsanmichele) (1411-13)

Figure in marble Niches are used for statue and the detailed background is done by another artist Background is done and paid to complete by the artist while the artists who did the statues like Donatello were not paid until the guild approved Why?= possible theories; some artists knew the process and could not complete the task At first the guild didn't like it at first and Donatello told the guild to give him more time and allow him to put it in the niche to complete it there; they allowed him to complete it and it was placed in the niche; Donatello put a curtain up and touched it up then called the guild back and he removed the curtain and they loved it; in actuality he didn't even touch it up; he just put it up to change the perspective of his work to show the better look to it The greek sculpture were still being carried into the renaissance through posture and expression St. Mark would represent Florence of the underdog; wasn't terrible; very fierce and hold his ground at whatever the cost Still thinks as a sculptor than a metal worker Drapery is less fluid and more naturalistic; sculpt the figure out in clay naked first then dip drapery in slit and drape on figure then fire it to get detailed scratched some lines there to show hair; aimed for expression and give them a liveliness than detailed; marble

Lorenzo Ghiberti,"Sacrifice of Isaac," Competition Panel for East Doors, Baptistery of Florence Cathedral, Florence, 1401-1402, Guilded bronze relief

Fluidity of Ghiberti of contemplation and indecision on the part of Abraham Both depict landscape to the figures and Classical antiquity sense of 3D space of the angle of the sacrifice table Ghiberti won competition cast two pieces of bronze; cheaper way of doing it and won usage of less material Heroic male nude

Botticelli, Giuliano de'Medici, 1478/1480

Flynn Rider's nose Painting of Juliono to commemorate his death Quarter view instead of profile or head on Display as memorial and forewarning of any more attacks Mourning dove and door open= symbols of deaths Eyes are lower than usual

Andrea del Castagno, Frescoes in the refectory of the Convent of Sant'Apollonia (Florence), featuring the Last Supper (c. 1445-50)

Great grand palace location Marble surrounding A sense of drama that plays out Corresponds just like San Marco Roofs around Florence Sense of stage; sense of drama from Christ's announcement John slumped over to surprise over news Judas is on the outside of the group exaggeration of ugliness to represent sinfulness Draws your eye in Jesus=Christ Peter= first Pope/ Judas= betrayer/ betrayer of the Church 3 other scenes above the last supper Crucifixion, entombment, and the resurrection Out door setting compared to the below inside setting

Andrea Pisano, South Doors, with 20 scenes from the life of John the Baptist, plus 8 Virtues (1330-36)

In 1329 a pair of bronze doors was commissioned for the Florentine Baptistry by the Arte di Calimala (Guild of Cloth Importers), responsible for supervising the building. Bronze casting was a specialized activity and no one in Florence was capable of the task. Therefore the Guild selected Andrea Pisano from Pontedera near Pisa, renowned for its bronze tradition. The doors (consisting of 28 rectangular panels) were destined for the south portal of the Baptistry, the most frequented entrance. Since they were always open, they were meant to be read separately, starting at the at the upper left corner like the page of a book. At the four corners of each scene are lions, heads (the Marzocco, symbol of the Florentines) with bands of alternating rosettes and studs between. Each door contains 10 scenes in the upper section from the life of St John the Baptist, the patron saint of Florence to whom the Baptistry is dedicated. On the panels of the lower section the theological virtues are depicted. Much admired, Andrea's doors became a symbol of the glory of Florence and were the model for the next set.

Fra Filippo Lippi, Tarquinia Madonna, 1437

Influence of Massacio Heavy features of the Madonna More of a linear quality to them Piece of paper that looks like its been attached to a painting Detail: cartellino ("small piece of paper") with the date 1437 in Roman numerals Rigid arm around the Christ child Stumpy hands and figures Shadow Strange perspective sharp perspective on the wall not quite linear closing in on itself Netherland painting In Padua he was possibly influenced by the Flemish paintings Strange use of perspective Domesticity

Pollaiuolo, Lorenzo de' Medici, nicknamed il Magnifico ("the Magnificent") (1449-92)

Influential art patron Takes over the matter of the state when he was 20 years old when his father passed away Stern/grimace face to show power and survived horrible attack on family and to never be attempted again Life like painting with the rosy cheeks and five o'clock shadow Life like appearance to it

Verrocchio, Lorenzo de' Medici, nicknamed il Magnifico ("the Magnificent") (1449-92)

Influential art patron Takes over the matter of the state when he was 20 years old when his father passed away Stern/grimace face to show power and survived horrible attack on family and to never be attempted again Life like painting with the rosy cheeks and five o'clock shadow Life like appearance to it

Donatello, David, 1408-9, Reworked 1416.

Interest is more on emotion than of detail work not skimping on the details but appears careless Significance of David David is the underdog rose to the occasion of defeating Goliath then became a king lowly rise up and became equal in power against their enemy states Commissioned for the Florentine cathedral to place as a part of the buttress but was taken down to move position with an engraving Interplay with society Engraving that was put when it was moved Wears a crown of amorith; symbol of power Goliath's head rests at his feet Playing with drapery is removed; creates negative space to show physicality of figure Very assertive and proudly aware of his triumph pose Similar detail of Ghiberti in clothing and shows a little more detail of hair "To those who bravely fight for the fatherland, the gods will lend aid even against the most terrible foes." clothed; naturalistic pose; later teens; Goliath's head is being stepped on

Giotto, Ognissanti Madonna, c. 1310

Larger in size; leans more toward a modern style angels stacked on each other in Giotto's Rational sense of space in Giotto's Sense of weightiness; knees projected out towards us Bulky looking; angels are stacked on each other; prophets are way in the back To situate the viewer in the Christ Holy figures; universal Responding to cultural change Baby chub and baby appearance 10 ft., 8 in. high

Cimabue, Santa Trinita Madonna, c. 1280?

Last artist to strongly use the Byzantine style Heavenly look and gold background Specific time and place Holy figures on Earth Provides some hints of greater degree of naturalism illusionism of the throne going back, receding; 3D; prophets= long beards and scrolls in hands evangelists= books in hands Foundation of the Old Testaments for the New Testaments Wants to show a sense of 3D but confuses audience by using multiple viewpoints Figure of Mary is very large; typical technique= to show significance very important figure during the medieval period she was the intercessor; deliver prayers to Christ (he was viewed as scary) Jesus appears to be more like an adult than a baby; medieval tradition= man of wisdom and formal look; elongated nose and hands; almond eyes Beginning of advancement of style and spacing Painted on wooden panels; egg-tempura; very limited due to drying quickly and doesn't spread evenly; clay layer (red pigment) Pound and add textures to the surface Details in folds and drapery Details to give the color and textiles Some sense of shadow and highlight isochromatism Angels are mirroring each other Byzantine symmetry; heavenly setting= perfection

Donatello, The Penitent Magdalen, 1430s-50s (?)

Made of wood; cheaper material; ritualistic and ceremonial figure; historians are astounded that its still intact and made out of wood Kept somewhere but unknown where Clue its Magdalen because of hair gave up wealth and worldly material to follow Jesus and the Apostles devoid of material needs Renaissance figure; contrapposto stance Range of motion to develop in Renaissance art Embodiment of empathy and sympathy Would have been painted Unknown why it was created could have been commissioned for community or for someone Gothic length to her body; spirituality focus than in detail Almost boney face Meant to represent 30 year in living in the wilderness Suffer water damaged from the early 20th century found that it could have been painted when restoring it by Donatello that could make the skin more wither

Perugino, Crucifixion with the Virgin and Sts. John, Jerome, and Mary Magdalen, San Domenico (c. 1482-85)

Not a lot of interest in emotion or drama Free from tension Atheist "Painters specially popular in pious circles, like Perugino, painted people who are general, unparticularized, interchangeable types. They provided a base—firmly concrete and very evocative in its patterns of people—on which the pious beholder could impose his personal detail." —Baxandall Arms showing pounced drawing Exactly the same appearance A technique with transparent and uses charcol Twig, flowers, leaves Copied from nature originally in the church of San Domenico in a small town near Siena "Pietro did so much work that he would often use the same figures; and he reduced the theory of his art to a manner so fixed that he made all his figures with the same expression." —Vasari

Donatello, Equestrian Monument of Gattamelata, Piazza del Santo, Padua, 1445-53.

Not in Florence Outside of cathedral in Padaua Far more contemporary Hired soldier/freelancer to capture for the Venetians Representing him as a serious figure Common antiquity of equestrian stance Donatello's influence of piece Marcus Aurelius survived because it sunk in a ship and was found later on and was theorized for being Constantine "Gattamelata"= honey cat Pronounced difference in stance Anatomy in details of the horse naturalism and details but a little too large and sad tail Attempting to recreate the posture of original but in his style Dedicate himself as soldier but will always choose money

Michelozzo, Palazzo Medici, begun 1444

Not much of copying but paying homage imitation is the highest way of respect for Alberti Heavy and uneven bottom then going up becomes more refined fortress appearance sturdiness A diplomat from Milan wrote in 1459 that the palace was "embellished on every side with gold and fine marbles, with carvings and sculptures in relief, with pictures and inlays done in perspective, by the most accomplished and perfect masters. " This plan was made in 1650, after the Medici had sold the palace to the Riccardi familv. The areas to the right have been lightened because they are later additions and not part of the Quattrocento palazzo. located in Florence, Italy.

Simone Martini and Lippo Memmi, Annunciation, 1333. Siena Cathedral.

Note that the frame is a late 19th-century reconstruction, though the inscription is original. The minor Sienese painter Lippo Memmi was Simone Martini's brother-in-law. It has not been determined which parts of the altarpiece he painted. "interior by implication": interior spaces that are only "implied" (rather than fully represented) by the presence of a pavement and some furniture. The angelic salutation: AVE GRATIA PLENA DOMINVS TECVM (Luke 1: 28: "Hail, Full of Grace, the Lord is with You") the pastiglia technique. For the first time, portions of Mary's (blond) hair peek out from beneath her mantle. the sgraffito (literally, "scraped") technique. Also various inscriptions: the name GABRIEL on the angel's sleeve and portions of the angelic salutation on his sash.

Masaccio, The Trinity (1426-27)

Note: The name Masaccio, a derivative of his given name, Tommaso (Thomas), has been translated into English in various ways: Big Tom, Clumsy or Hulking Tom, Sloppy or Messy Tom, etc. According to Vasari, "he was called Masaccio . . . on account of his extreme carelessness." Monumental Current= strongly influenced by sculptures and 3D forms and space First example of monumental current Style developed by Masaccio volumetric forms; strong sense of 3D forms looking at a lot of sculptures Influenced by Donatello and Nanni di Banco Ongoing competition of sculpture vs painting patogonia Not a lot of emphasis on color; subdued colors Name relates back to his characteristics; wasn't really a gentleman and was very dishelved Is a florentine Very short career Barrel vault and recedes accurately Renaissance setting for the scene but influenced by Brunelleschi Weren't much interested in space Started out with Giotto with the staging and placement Breakthrough and pivotal moment by Masaccio picture plane of a stage; thinking that way Christ on the cross; dove is flying towards above to represent the holy spirit Mary and St. John within the space of the arch Directly outside of it; supplicants (figure kneeling in paintings)=are the patrons/donors Iconography of the Trinity: • God the Father: elderly bearded man with blue cloak over reddish shirt. • The Son (Jesus Christ): shown semi-nude and crucified on a cross. • The Holy Spirit (Holy Ghost): appears in the form of a dove. The holiness or sanctity of the figures is denoted by a halo, usually a gold disk. Foreshorten halos except for God the father since he is facing towards us Lower portion of The Trinity, showing a skeleton on a sarcophagus and the inscription "I used to be what you are, and what I am, you too will be." Reminder of death or ultimate fate Members of the Lenzi family; actual tombs were below the fresco but it is unknown if this was where they were buried but was probably used to mark burial spot

Filippo Lippi, Bartolini Tondo, 1437

Note: a tondo (plural = tondi) is a circular painting that derives from the desco da parto ("birth tray") tradition. Nicknamed the Bartolini Tondo because painted for the Florentine banker and statesman Leonardo Bartolini. Increasingly popular in the midcentury Presented to woman for the success of child birth When was Mary conceived? Joachim and Anna kissed Exposed to Masaccio and monumental currents a little use of linear Deeply receding space and stage like space Orthogonal lines Detail with Meeting of Joachim and Anna Reference of the conceiving of Mary All taking place in a beautiful Renaissance home to appear as if she was born in Florence, Italy Delicacy of the rendering of the Madonna High forehead was considered beautiful Shy demeanor to Mary About to have a pomegranate seed Refers to the Resurrection Christ Child with a pomegranate seed Sense of motion=Bewegtes Beiwerk ("animated accessories" or "accessories in motion") Monumental= Madonna and child are huge with strong sense of shading scenes are playing in the background central focus on the background scene cabbage patch babies weirdly shaped figures in a motion made Botticelli his student

Pollaiuolo, Hercules and Antaeus., c. 1460. Hercules and Antaeus, 1470s. Bronze

Painting is also made into a bronze statue Hercules is straining but not only through expression but as well as body movement Vasari called Pollaiuolo's lost canvas of the subject "a splendid representation of the force of the hero, the muscles and nerves all braced for the effort, while the grinding of the teeth and the attitude of the head accord with the tension of the other members of the body."

Masaccio, Enthroned Madonna and Child: main panel of Pisa Polyptych, 1426

Panel painting placed behind the alter of a church more than 3 panels Dismembered (common to occur) and were scattered and lost Main central part of the alter piece Goes back to the Byzantine style of using gold background reason: much more formal and precious for significant piece Painting has been damage and gone through some restoration Alter pieces have to be restored and cleaned from centuries of candle burning and grime on them solvents have been used on them over time for cleaning Mary's face has been cleaned too many times causing the paint to wash away Mary enthroned; bulkiness in body; angels playing lutes that are accurately foreshortening and giving an accurate use of 3D space Not entirely uniformed angels' halos are not foreshorten but Christ is not yet a consistency of perspective throughout the painting at this point Plays with light and shadow Concern for naturalism Foreshadowing of Eucharist and wine but still childish in nature of a child Mary is not elongated and beautiful virgin but show power and monumentality of the monumental current Not sculpting but creates the light and shadow of 3D Light and deep shadows of folds creates it in a more Renaissance style; building ornaments Taking up more space

Sala dei Nove (Room of the Nine), or Sala della Pace (Room of Peace), Palazzo Pubblico, with Ambrogio Lorenzetti's Allegory of Good Government, 1338-39

People entering and leaving town Security (SECVRITAS), holding a miniature gallows and hovering alongside the city gate, which displays the lupa romana suckling the twins Romulus and Remus. The scroll held by Security reads (in Italian): "Without fear everyone may travel freely, and each may till and sow, so long as the commune maintains this lady [Security] sovereign, for she has stripped the wicked of all power."

Piero della Francesca, Madonna and Child with Saints (Montefeltro Altarpiece), mid-1470s

Piero's famous altarpiece was commissioned by Federico da Montefeltro for the new Franciscan church of San Bernardino that he began constructing across the valley from Urbino in 1472. Figures begin to look like regular people Idealized faces Based on real people Saintly figures appear more human/earthly unable to tell if they are spiritual Crooked nose Side he prefers for portrait Ostrich egg Hung in churches in honor for the virgin Mary ostrich laid its egg and it was born by the sun instead of being laid on Literal interpretation over the Virgin Mary

Arena Chapel, Padua (with frescoes by Giotto, 1303-05)

Relatively small chapel Used to be connected to a large palace Arena= sand Family's home the palace The chapel was sumptuous in the interior; more for vanity than for God Barrel vault; elongated arch form Building was built for optimal flat flooring more light be let in completely flat surface for the fresco be made on Giotto may have been the architect for the chapel so he could paint the frescos Padua less known than Venice; very important center for humanism and philosophy fostering of human talents chapel for private use; family use and/or dignitaries who visited Commissioned by the family called Enrico Scrovegni, wealthiest family in Padua Located on an old fighting ground that Romans would go and fight in an arena Telling the story of the biblical figures in the fresco human connection through the biblical stories intimate traits; moves away from medieval and into the new Renaissance style Top fresco= parents of the young Virgin Mary; Golden Legend Scenes from the birth and life of the Virgin Mary Second part= missions and life of Jesus Christ Bottom part= passions of Christ Above a neutral base; painted illusion of marble; very limited monochromatic pallet Vaulted ceiling- blue and golden stars; represent the sky life of Christ and Virgin Mary are used through out the scenes in the fresco the sky scene never ends The starry sky is meant to symbolize the "vault of heaven." Central bands that break up the fresco Exit and Entrance wall; scene of the last judgement The last thing you see when you leave Christ's second coming; story of Revelations casts the souls into heaven and hell as you exit; you will be judged, leave in holiness and spread holiness

Simone Martini, Maestà (Madonna with Angels and Saints), 1312 - 1315, fresco, Palazzo Pubblico, Siena

Secular queen Drapery appears gray from afar People look like courtiers instead of religious figures Organically arranged around her than in Duccio's Informality; less saintly Figures are gazing towards her Earthliness to them Hierarchal scale but not as much as Duccio's Updated some of the architectural details Pinaccles and columns Architectural influence of French Gothic Cloth of honor; like a monarch The political significance of the fresco is also indicated by an inscription on the scroll (an actual piece of parchment attached to the surface!) held by the Christ Child, which reads, "Love justice, you who judge the earth." Warning given by the Virgin Mary to remind the city of the good council; not the powerful taking advantage of the weak The medallions of the painted framework contain images of Old Testament Prophets with scrolls, the four Evangelists in the corners, and various other figures. In addition, both the framework and the canopy are adorned with the balzana, which alternates on the canopy with the arms of the Sienese popolo (a "rampant" lion on a red background). Christ standing= prior to this, he was exposed by French paintings and sculptures of Virgin and Child Gold to the gowns and background materials splendor Lavish details on the halo in Simone Would have been brighter and richer in color A lot of damage done to the fresco; evidence from a series of writings complaining of damage See the difference between the two Holding of flowers in a bowl compared to the vase Plump figures in Simone interest in French style paintings Simone's is much faster to complete and monumental in scale Technique in fresco painting; single day projects patch by patch

Donatello, St. George (also at Or San Michele), c. 1414-17 Donatello, St. George relief at Orsanmichele, 1414-17.

Sword and armory guild Soldier but less clad Would have been a weapon and helmet with statue Interesting expression Patron of knighthood Appears alert and nervous in stance To serve as a role model for youthful responsibilities Generally men of Florence were brash and would marry later; have the statue used to represent the youth of the men had of responsibilities in the future nervous determination expression; Decorative relief below St. George Legend of his work George was traveling and met the young woman who was bemoaning her fate of being eaten by a dragon that was harassing their village and she was picked to be sacrificed. George accompanied her and slayed the dragon and was called a hero creates the idea of the fantasy story of the knight saves the day Very shallow relief; very low Figures are only representative; less defined background Almost rushed/haphazard work stiacciato

Pollaiuolo, Battle of the Nudes, engraving, 1470s?

The Battle of the Nudes is a printed picture of a type called an engraving. Engravings are made by cutting a design into a metal plate (usually copper) with a pointed steel tool known as a burin. After cutting the design, ink is rubbed into the grooves and wiped off the surface. The plate, covered by a damp sheet of paper, is then run through a printing press, and the image from the inked grooves is imprinted onto the paper in reverse. The process is then repeated up to several hundred times. Engraving print of Battle of the Nudes Most important European engraving Printmaking was used to replicate and to share images quickly Same poses but different perspective Statuesque bodies Expressions are intense study of the form of the bodies heroic male nude in action no particular narrative cheaper to buy Classical Humanistic scene owning a piece of Classical Renaissance Instructing students on how to draw the body Similar to Masaccio's style same poses but with different perspective emphasis of muscularity worked under Medici one of the largest prints of the 15th century: about 2 ft. wide Pollaiuolo's signature is inscribed in Latin on a classical tabula ansata ("ansate tablet"): OPVS ANTONII POLLAIOLI FLORENTINI ("[The] Work of Antonio Pollaiuolo [the] Florentine")

Pollaiuolo, Studies of a Nude Man, pen and brown ink, 1470s?

The Latin inscription at the upper left translates as, "This is the work of the excellent and famous Florentine painter and outstanding sculptor Antonio, son of Jacopo. When he depicts man, see how marvelously he shows the limbs."

Perugino, fresco cycle in the Collegio del Cambio, Perugia, 1499-1500

The Latin inscription below the self-portrait is an epigram composed by a prominent Perugian humanist named Francesco Maturanzio. Translated into English, it reads: "Pietro Perugino, celebrated painter. If the art of painting became lost, he would restore it. If it had never been invented, he alone could bring it to this point." Banker's guild Illusionistic architect painting All fresco

Filippino Lippi, Vision of St. Bernard (c. 1485-90)

The altarpiece in its original frame, but not its original location (a church of the Cistercian Order near Florence). St. Bernard (1090-1153) was the Order's most illustrious member. Note that Cistercians wear all-white habits and are therefore nicknamed White Monks. Dominant painter of his generation Encounters with the virgin Takes place outdoors Hallmark of the lyrical current Very detailed Northern painting is very loaded with symbolic meaning Flemish painting Introduction of Flemish painting Bright colors Luminous Visual excitement reds, blues, and yellows adds a luminosity to it; precious appearance Echoed appearance of prayer patron and angel angel is more significant in scene compared to patron in the corner has luminous wings Fair blond and delicate figure Sense of shadow and 3D appearance and see a little of the same but with more stark outline Devil gnawing on chains, and owl: symbols of heresy combated by Bernard. Above the demons are the monks and an abbey Above and triumphing over 2 figures: sick old man being carried to the buildling Some element of landscape; sense of receding space Manuscript of the Bible open to Luke 1: 26-31, describing the Annunciation to the Virgin. Note especially the words Missus est Angelus Gabriel ("The Angel Gabriel was sent") on the left side, and Ave gr[ati]a plena ("Hail full of grace") on the right. Note the Latin inscription Substine et Abstine ("Bear and forbear" or "Be patient and abstain"), a maxim by the Stoic philosopher Epictetus that serves as a sort of motto for Bernard himself and for the Cistercian Order. Cartilino Small message or signature of artist themselves Instead is a Latin inscription

Uccello, Battle of San Romano (mid-1430s)

The complete series comprises three panels, each about ten feet wide, now dispersed among three different museums: the National Gallery in London, the Uffizi in Florence, and the Louvre in Paris. Who patronized this work and who originally owned it was in question assumed that it was owned by the Medici family but recent discovery that a man commissioned for it by Lorenzo Quismo Panels were moved to a villa in Florence Lorenzo the magnificent takes them from the villa and puts them in the Medici palace There is no horizon line found out that they have been cut off to fit in the space Intended to fit in an arch or vaulted space Tapestry like affect Flatness about them London panel Sense of motion Lacks the intensity and frozen quality Staged tournament; theatrical performance instead of a battle Geometrical forms and ornamentation costumes, armor, and the horses saddle and bridle Fallen in perspective in neat orthogonal lines artificiality to them Died in perspective Wooden/painted horse Armor in the painting that is extremely rendered and accurate of the century The headdresses were used in festivals and victory after the battle; not during the battle Holding a scepter in his hand Hired soldier who was hired to lead the soldiers into battle Stylized feeling to it like the foreground Accurate of the hills and landscape of San Romano

Piero della Francesca, Resurrection of Christ, c. 1458

The fresco is located in the former city hall of Sansepolcro (now the local art museum), though it was moved from one room to another in the 16th century. Since it represents Christ rising from the "Holy Sepulcher," the image has been adapted to serve as the emblem of Sansepolcro. Monumental current Codified and describe it Long and regal face 3D Very sculpture figures Wide open gaze challenge the viewer Facial features are still existent in the city Soldiers who were guarding the tomb Self portrait of himself Large cheek bones and eyes Seen in Etruscan sculptures pre roman Outside of florence Very slow techniques Church of San Francesco in Aresso Preliminary numbers Monumental figures Figures pushed forward in the image Forshortening Larger in Piero compared to Masaccio that is pushed back in the plane Masaccio is more organized compared to Piero Diverting from pure symmetry

Botticelli, The Birth of Venus (c. 1484-86)

The image relates to a literary description by Angelo Poliziano (called Politian in English): renowned Florentine poet, scholar, and tutor of Lorenzo de' Medici's children. Poliziano's most famous poem, La Giostra ("The Joust"), celebrates a tournament won in 1475 by Giuliano de' Medici, Lorenzo's younger brother. Here Venus emerging from the sea is described as "wandering across the waves, . . . a damsel of unearthly countenance, borne upon a shell, urged on by playful zephyr breezes . . . pressing her hair with her right hand, covering with the other her sweet apple." Sensuality to her Only see nude figure if it was of the biblical figure, Eve based off stance from Modest Venus Wind god and breeze blowing Venus ashore Idealized beauty Weightiness to her body Animated accessories Platonic views of beauty Physical, sensual, and erotic beauty will lead to the devotion of the individuality Instead of thinking sinful ways lean more toward of reconcile to it Goddess or nymph of spring about to cloak Venus as she arrives onshore Influenced from Roman vases Black line around body to show influence from Roman ceramics Based off of La Bella Simonetta who the greatest beauty of Florence New courtly art

Perugino, The Delivery of the Keys or Christ Giving the Keys to St. Peter (1480-82)

The rock on which the church built is on First pope Highlight of power and linage of Christ Contrapposto pose Arch of Constantine in the background

Piero della Francesca, Portraits of Federico da Montefeltro and Battista Sforza (Duke and Duchess of Urbino), c. 1472-74

Urbino Crooked nose Side he prefers for portrait

Verrocchio, Portrait bust of Giuliano de'Medici

Verrocchio was principally a sculptor and, like Pollaiuolo, a favorite artist of the Medici. These terracotta portrait busts, now in the National Gallery in Washington, were probably designed and/or executed by him Brother was killed and stabbed to death and Lorenzo escaped with a wound Julius was the more handsome and athletic brother

Duccio, Maestá Altarpiece, 1308-11.

Very common of the deconstruction of altarpieces Mary was the patronage and protector of Siena Removed from the high altar in the 16th century and dispersed but found later on in the 18th century Massive and glowing experience with candles around it first example of maesta= enthroned and loved royalty by angels surrounding her below is the story of Christ's birth and infancy Closes of the altar from the nave; wall/screen Worshipped behind it and in front of it depended on the person Back= been seen by the clergy; choir of the church Debate on the appearance of the altarpiece was shown to the public possibly elevated metal gate could have separated (but that was later on) Side piers that echo the one's on the church Sienna style Silk Trade= connection of the Byzantine empire that could contact the east; very prized and only for the rich could get textiles Lavishes so much attention of the textiles on all the figures The saints and angels have a look of personality and each one are different traditional: similar appearance, symmetry of stance Sense of 3D of figure under drapery Inscription at the base of the throne with Duccio's signature: "Holy Mother of God, grant Siena peace and Duccio life because he painted thee so." Is an interested amount of position on such a holy piece shows his significance as the Artist of Siena artist had achieved the status of renown; elite member of society Showing more baby like and chubbiness of Jesus as a child Elongated fingers and nose with small eyes and nose Four patron saints that are adoring the Virgin Grounding and centering the cult of the Virgin in Siena First to see the inclusion of saints Elaborated gold drapery textile that looks like Eastern script style writing imitation; not legible Took over 3 years to construct He could not take any other commissions until this piece was complete Theories: May have been the carpentry was made first then painted by Duccio and his assistants OR could have been in pieces and painted then put all together Egg tempera paint: egg white mixed with the pigment; not easy to spread; linear in quality Panels of the passion and the finally in the top (7 scenes after the resurrection of Christ) Section of the back of the Maestà Altarpiece with scenes from the Passion The word "Passion" refers to the events leading up to and following the Crucifixion. It derives from the medieval Latin passio (literally, "suffering").

Giotto, Padua Crucifix, c. 1310

about 7 1/2 ft high embellish story of Giotto and Cimabue meeting went to Rome together The skull is a reference to the hill outside of Jerusalem where Christ was crucified: called Golgotha (a transliteration in Greek from the Aramaic or Hebrew word for skull) or Calvary (from the Latin calvaria, a bare skull). not traditional large scaled work but metal work and detail of framing gentle light cast over figure features of a man are more noticeable; human quality render as a human way left hand side shadowed and right bathed in light for light source landscape element; mountain and skull

School of Pisa, Crucifix No. 20, early 13th century (about 10 ft. high)

after his death and Resurrection Christus Patiens

Cimabue, Florence Crucifix, 1280s (about 14½ ft. high)

gold background identifiable figures sheer/see through loincloth moved away from shadow, raises hands higher, body more slumped dramatic curvature; dramatic suffering affected by great flood in 1996 60% of paint loss; pieces of paint were floating in water and able to be fix

Cimabue, Arezzo Crucifix, 1270s (about 11 ft. high)

little less stylized of shadow compared to Coppo use of Chrysography little of subtly; more of shadow but similar to Coppo's work on face

Ghiberti, East Doors of the Baptistery, nicknamed the Gates of Paradise (1425-52)

replicas of doors(real ones in museum) Prominent of doors; leads right to the cathedral Original location of doors so success that they made a second set of doors Ghiberti stayed then moved to be replaced by another commission by Ghiberti no quatrefoils on the second set of doors fewer scenes 27 years it took to complete the doors Wool manufacturing guild Called gates of paradise because of Michelangelo said they are so beautiful that they could be the entrance way to paradise Final arrangements of Gates of Paradise Old Testament From one scene and continues on Bouncing around narrative Not very much emotion and express but beautiful accuracy of narrative

Coppo di Marcovaldo, Crucifix, 1260s (about 9½ ft. high)

shading and shadows over the face emotive, increase drama of pathos; emphasis on suffering sense of 3D in loin cloth; fallen drapery Christus Patiens

Ghiberti, North Doors, with 20 scenes from life of Christ, plus the 4 Evangelists and 4 "Doctors" or "Fathers" of the Church (1403-24)

• 1404-24 • gilded bronze • moved to be protected from the damages of war then stayed protected in the museum • Baptistery- Romanesque or early Christian design has been debated • Less fire and brimstone design and more Romanesque • Exterior is Romanesque and building design is early Christian • Calimala Guild=patron o Wool and ??? guild • Competition was held by the guild to have the strength of the artists • New testament stories instead of the original plan of old testament o Double his pay and extended his contract until completion and not allow him to work on any other commission • Are meant to be shut so you can see all the stories and starts from the bottom to the top • Monochromatic scheme • A lot of impact and readable in one small scene • Curved to be seen from below; angle to see the scene from all the way from the top • Classical forms o Contrapposto stance • Arms lead to the next part of the story o Ghiberti's reason for winning was in his scene they lead up to the event • Bottom half shows the saints and icons • Foliage and prophets heads were used as the borders • Used perspective and foreshortening o Considered the viewpoint of the audience

Brunelleschi's dome (cupola) for the Cathedral in Florence, Santa Maria del Fiore, 1446-61

• Cathedral of Florence • 8 white ribs • one of Italy's largest churches made of bricks • faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century style • church constructed with a big hole in it o 1296 was trying to being fixed • competition for a plan and Brunelleschi comes in to fix it • he was a goldsmith before he began • some thought it was impossible o he had a plan • technical problems were the first part of the job o created a pulley system with special rope • Costello- a crane that could hold over thousand pounds • Ideas were not fully accepted until the industrial revolution • Herringbone Technique= to direct the weight of the dome • Two shells o Inner-lighter material o Outer- heavier and wind resistance • Solved the problem of the weights and thought of the safety of the workers • Important flower plan • Finished in 1476 • Buried in the crypts of the cathedral but did get to see it before his passing • Oak supports had to be replace • Masonry dome