Combo Exam 1

Fra Filippo Lippi, Madonna and Child with Angels, Quattrocento Italy 1455, tempera on wood

Fra Filippo was a monk guilty of many misdemeanors, the virgin and child are represented in a very worldly manner, carries the humanization of the holy family

Andrea del Castagno, Last Supper, Quattrocento Italy 1447, fresco

Judas sits isolated, figures are small in contrast to the setting, she is preoccupied with the science of perspective

Paolo Uccello, Battle of San Romano, Quattrocento Italy 1455, Tempera on wood Style: International Gothic Surface decoration, further away is higher up. Horse not right, no single light source.foreshortened and orthogonals are off. Commemorate Florentine victory over Sienese.

Noccolo da Tolentino leads the charge against the Sienese, the foreshortened spears and figures reveal his fascination with perspective

Filippo Brunelleschi, facade of the Pazzi Chapel, Quattrocento Italy designed 1423, begun 1442

Pazzi family had this erected as a gift to the Franciscan church of Santa Croce, served as a monks' chapter house, central plan created by placing all emphasis on the dome covered space at the heart of the building, the interior trim is gray pieta serena that stands out against the white stuccoed walls

Antonio del Pollaiuolo, Battle of the ten nudes, Quattrocento Italy 1465, engraving

Pollaiuolo was fascinated by how muscles and sinews activate the human skeleton, he enjoyed displaying nudes in action with many foreshortened viewpoints

Donatello, Saint Mark, Quattrocento Italy 1411-1413, marble, modern copy in exterior niche

carved for the guild of linen drapers, introduced contrapposto again, drapery is now natural and flowing

Donatello, Gattamelata, Quattrocento Italy 1445-1453, bronze

convey an overwhelming image of irresistible strength

Luca Signorelli, Damned Cast into Hell, Quattrocento Italy 1499-1504, fresco

displays writhing, foreshortened muscular bodies being tortured by demons in hell, terror and rage explode like storms through the wrenched and twisted bodies

Lorenzo Ghiberti, Gates of Paradise (east doors), Quattrocento Italy 1425-1452, gilded bronze

employed painterly illusionistic devices

Domenico Ghirlandaio, Birth of the Virgin, Quattrocento Italy 1485-1490, fresco Sets up figures like a play.

evidence of the secularization of sacred themes in 15th century Italian painting, Mary's mother (Saint Anne) reclines in a palatial Renaissance room

Antonio del Pollaiuolo, Hercules and Antaeus, Quattrocento Italy 1470-1475, bronze

exhibits the stress and strain of the human figure in action, embodies the ferocity and vitality of elemental physical contact

Leon Battista Alberti, west facade of Santa Maria Novella, Quattrocento Italy 1456-1470 Romanesque design, scrolls unite upper and lower

features a pediment capped temple front and pilaster framed arches, numerical ratios are the basis for the proportions of all parts of this facade

Lorenzo Ghiberti, Sacrifice of Isaac, Quattrocento Italy 1401-1402, gilded bronze Isaac nude- beautiful greco roman statuary. classical. Spatial illusion in rocky landscape, foreshortened angel. Better composition and Abraham not psychotic looking

features gracefully posed figures that recall classical statuary, Abraham is contemplating the act rather than actually completing it

Piero della Francesca, Flagellation of Christ Quattrocento Italy 1455-1465, oil and tempera on wood

figures on the right (possibly biblical figures) appear to discuss the Biblical tragedy that takes place in Pilate's palace on the left

Fra Angelico, Annunciation, Quattrocento Italy 1438-1447, fresco

for the DOminican monks of San Marco, simple and direct, pristine clarity that befits the fresco's function as a devotional image

Donatello, Saint George, Quattrocento Italy 1410-1415, marble

for the armorers' guild, once had a sword and helmet, ready for battle, continues the Gothic tradition of having warrior saint on church facades

Andrea del Verrocchio, Bartolommeo Colleoni, Quattrocento Italy 1481-1496, bronze

in competition with Donatello so the pedestal in even taller moves in a prancing stride, arching and curving its powerful, exaggerated tautness

Sandro Botticelli, Birth of Venus, Quattrocento Italy 1484-1486, tempera on canvas CANVAS?! Cermonial banner!=unsual. Linear perspective, deep landscape. Nude= nothing to hide, truth

inspired by Angelo Polizano and classical statues, revived the theme of a nude female in an elegant and romantic representation, Venus is being born of sea foam and carried on a cockle shell

Sandro Botticelli, Primavera, Quattrocento Italy 1482, tempera on wood Serve to urge newly weds to seek God through love

intended to commemorate the May 1482 wedding of Lorenzo di Pierfrancesco de' Medici, celebrates love in spring, venus and cupid in the center of the composition

Michelozzo di Bartolommeo, facade of the Palazzo Medici-Riccardi, Quattrocento Italy begun 1445 Town house, cosimo bought 20 houses to build in the space. Heavy stonework-rustification on first level. Refines as you go up.

is a combo of dressed and rusticated masonry and classical moldings, draws heavily on Roman architecture yet still creatively reinterpreted

Lorenzo Ghiberti, Isaac and his sons, East doors (gates of Paradise, Quattrocento Italy 1425-1452, gilded bronze

linear perspective is employed to create the illusion of distance

Andrea del Verrocchio, David,Quattrocento Italy 1465-1470, bronze

made for the Medici family, brash confidence, narrative realism

Donatello, Feast of Herod, Quattrocento Italy 1423-1427, gilded bronze

marks the advent of rationalized perspective space in Renaissance relief sculpture, two arched courtyards of diminishing size open the space of action well into the distance

Filippo Brunelleschi, interior of Santo Spirito, Quattrocento Italy designed 1434-1436, begun 1446

one of two basilican churches in Florence, showcases the clarity and classically inspired rationality that characterize his designs

Andrea Mantegna, Foreshortened Christ, Quattrocento Italy 1500, Tempera on canvas

overwhelming emotional power, strikingly realistic study of foreshortening, reduced the size of the greet so they would cover much of the body if properly represented

Donatello, David, Quattrocento Italy 1440-1460, bronze

possesses relaxed contrapposto and the sensuous beauty of nude Greek gods, revived classical statuary

Masaccio, Holy Trinity, Quattrocento Italy 1424-1427, fresco

premier example of the application of math to pictorial organization in Brunelleschi's new science of perspective, illusionism is breathtaking

Andrea Mantegna, interior of the Camera Picta (Painted Chamber), Quattrocento Italy 1465-1474, fresco

produced for the duke's palace, the first completely consistent illusionistic fresco decoration of an entire room

Masaccio, Tribute Money, Quattrocento Italy 1424-1427, fresco

recalls Giotto's in their simple grandeur, convey a greater psychological and physical credibility, the figures are modeled with light coming from a source outside the picture

Leon Battista Alberti, west facade of Sant' Andrea, Quattrocento Italy designed 1470, begun 1472

reflects his study for Roman architecture, employs a colossal order, locked together a triumphal arch and a Roman temple front with pediment, abandoned the medieval columnar arcade for the nave of Sant' Andrea

Nanni di Banco, Four crowned saints, Quattrocento Italy 1410-1416, marble

represents the four martyred patron saints of Florence's sculptor's guild, early attempt to solve the problem of integrating figures and space on a monumental scale

Domenico Ghirlandaio, Giovanna Tornabuoni, Quattrocento Italy 1488, oil and tempera on wood -Traditional profile view, advertise for mate, died from childbirth, sensitive/beautiful

reveals the great waltz, courtly manners, and humanistic interest in classical literature, she is an aristocratic young woman

Filippo Brunelleschi, Sacrifice of Isaac,Quattrocento Italy 1401-1402, gilded bronze

shows a frantic angel about to halt Abraham from killing his son Isaac, displays Brunelleschi's ability to observe and represent all of the elements in great detail

Masaccio, Expulsion of Adam and Eve from Eden, Quattrocento Italy 1424-1427, fresco

stumble on blindly driven by the angel's will and their own despair, the hazy background specifies no lacale

Michelozzo di Bartolommeo, interior court of the Palazzo Medici-Riccardi, Quattrocento Italy begun 1445

the austere design clearly reveals his debt to Brunelleschi, surrounded by arcades (first of its kind)

Perugino, Christ Delivering the Keys to the Kingdom to Saint Peter, Quattrocento Italy 1481-1483, fresco

the converging lines of the pavement connect the action in the foreground with the background, depicts the event on which the papacy bases its authority

Leon Battista Alberti and Bernardo Rossellino, Palazzo Rucellai, Quattrocento Italy 1452-1470

the illusion that it becomes lighter towards the top happens by adapting the Roman manner of using different capitals for each story, the capitals are as follows (bottom to top): Tuscan, Composite, Corinthian

Andrea Mantegna, ceiling of the Camera Picta (painted chamber), Quattrocento Italy 1465-1474, fresco

the viewer becomes the viewed as figures look down from a painted oculus opening onto blue sky, first perspectival view of a ceiling from below

Piero della Francesca, Enthroned Madonna and Saints adored by Federico da Montefeltro, Quattrocento Italy 1472-1474, oil on wood

the viewer is compelled to believe in Federico's presence before the Virgin, Christ, and saints, directly behind Federico is his patron saint, Saint John the Evangelist

Donatello, Saint George and the Dragon, Quattrocento Italy 1417, marble Atmospheric effect- foreshortening. High relief in horse show depth. Saved the virgin!

took a painterly approach to sculpture, creates an atmospheric effect by using incised lines

Gentile da Fabriano, Adoration of the Magi, Quattrocento Italy 1423, tempera on wood

worked in the International Style, successfully blended naturalistic details with Late gothic splendor in color, costume, and framing ornament