HART 3-WORKS

Northern Renaissance

Renaissance in Northern Europe or more broadly in Europe outside Italy. Before 1450 Italian Renaissance humanism had litte influence outside Italy. From Late 15th century -ideas spread around europe. In france King- King Francis the first imported Italian art, commissioned Italian artist e.g. Da Vinci and built grand palaces at great expense - Trade and community in cities like Bruges in 15th century. Subject matter = Domestic interiors; Portraits religious scenes. Style= Attention to minutesurface surface deatail, naturalism; remnants of Gothic influence - Medium= oil on panel-sculpture= wood. Italian= Fresco etc- Northern- needed a medium that would dry , slowly and last. Italy produced marble sculpturesbecause it has marble quarries. Youll note that Northern Renaissance sculpture is by and large worked in wood.

Botticelli- The adoration of the Magi Renaissance- 1475-1476

Patronage- Medici family are in the painting. Botticelli- puts the patron in it as it would have been very expensive. Botticelli just honours the medici family but the medici family didnt commission it. The person who comissioned it- Gaspari del lama. Subject matter-The adoration scene- Old subject done in a new way. Botticelli recreates the scene.- during the Roman empire- Roman ruins on the side . Holy family- juxtaposition- combination of contrast- bring togethertwo contrasting things. Botticelli emphasises the coming of the fall of the Roman empire- but centering holyness as still being eternal- compares Roman Empire and God as the Roman empire will eventually fall- Cosmo Medici- is touching Jesus' foot. Status of the Artist- Boticelli puts himself into the painting emphasising his importannce of the Art and showing that he is as equal as the medici family.

Nanni di Banco-Four crowned saints 1410-1416

- Used to be on one of the exterior niches. It has been brough inide to keep it safe.The Four Crowned Saints is a set of 4 marble figure sculptures by Nanni di Banco. The sculpture used to be on the exterior niches of the Orsanmichele church in Florence. It was made between the years 1410-16. 4 Ancient Roman Sculptors were asked by the Roman Emperor, Diocletian to create a sculpture of a pagan god. The sculptors refused and were then sentenced to death by the emperor. The work is a depiction of the moment the four sculptors have realised their coming faith. The work was commissioned by the Stone Mason's Guild. Each guild had a niche outside the church which represented their patron saints. The four figures are shown in interaction, almost as if in the middle of conversation. The use of Marble allowed for the artist to create the expressions and forms of the figures in detail as marble is a soft stone and has a shiny flesh like appearance once polished. There are quite a few features of the classical roman and Greek style within these figures. They are dressed in Roman togas, standing in a contrapposto pose. One of the figures, 2nd from the left, demonstrates this stance as we see his knee through the drapery. Florence during the 15th century- sculptors looked back at ancient Greek and Roman styles and her Banco is really focusing on the ancient Roman technique The faces of the figures are evident to ancient Roman republican statues. Figures are looking at eachother gesturing man on the right is speaking-wonderful dark shadow in that really deep carving and all of them are paying attention. Not necessarily focused on him visually. The stone guild is showing their profession thats stone can get to the heart to the emans to be human- very ancient roman- faces look like figures from ancient Rome. Wearing roman Toga's- several of them stand in contrapposto especially the one second from the left- where we can see his knee pressing through the drapery a sense of his hips and realsitic body. Shows humanism sticking together. Underneath is the niche is the predella- with relief sculpture of people building stone= Marble emphasising a sortof trade mark.

Donatello: Saint Mark

1411-1413- 7,9ft-Arte dei Linaioli (the Guild of linen manufacturers) The statue of St. Mark was commissioned by the Linen guild, one of the poorer guilds in Florence whose patron was St. Mark. As this sculpture was made for the linen guild, Donatello emphasized the garments on the figure. The cloth covering his body falls over him like it would fall over an actual body with clothing on it. Revived the use of contrapposto stance in free standing sculpture.The natural pose and very human face and bod make it seem like he could walk out of his place at any moments. Standing on a pillow presumably made by the linen workers.Furrowed brow, eyes that glazes out, beard that animates his face, receding hairline. Donatello purposely elongated St. Mark's torso, shortened his legs and enlarged his head and hands. This made it seem proportionate when viewed from the proper angle.Veins visible in hand. Over the knee, cloth is falling in perfect unbroken lines. Knee is breaking the cloth. Saint Mark stand in "contrapposto". Marble Statue There was a growing demand for the intricate decorative detail in stone sculpture, which led to a significant increase in the use of marble Larger than life size (7ft 9inch) Placed on a niche, on the streets of Florence, sense of civic pride brings beauty to the city. Look of intelligence, kind of internal focus and awareness Naturalistic Donatello has clearly thought about the autonomy instead of just generalised shapes for hands but a sense of bone and muscle and veins. Donatello anticipated the way the statue would be seen from below. The niche in Orsanmichele in which the work was originally placed, was a bit above eye level. Donatello made St. Mark's head and hands and torso over-sized or elongated a bit, so that they compensated for the angle that people viewed this from. He was taking the viewing angles of the statue into account in his approach, and this is something that other artists would pick up on in the Renaissance.

Donatello Saint George

1417-Donatello carved this statue of St. George for the guild of armorers and sword makers of Florence.Because the guild was of average size, it could only afford a statue of marble, rather than bronze. St. George was the patron saint of the armorer's guild and was known as a military figure, one who was well-known in the Byzantine East, but who was also known by the Crusaders who battled Muslim forces in the Holy Land. A popular story also that involved St. George is George and the Dragon which was brought to the attention of others is through the collection of stories called the Golden Legend in the late 13th century. To enhance the look of the statue, the guild created special special adornments for it, which might have been put on display on special days of the year, such as the Feast of St. George. (Sword, Helmet, belt) St. George's facial expression complements the posture of his body to create a memorable statement not only about this man in particular, but also about the Florentine spirit in general. He stands tall with his shield in front of him that looks as if could rotate on its small base which touches the ground. (Sense of readiness) St. George doesn't stand in contrapposto. Instead, both legs are clearly supporting the saints weight. Because the guild was of average size, it could only afford a statue of marble, rather than of bronze.An advantage of it being Marble is that it is slightly softer than bronze and so is easier to shape and mould into the shape you wanted. Obviously Marble is a lot less expensive than bronze and is not as nice looking and easily breakable if not taken care of. The St. George is widely regarded as a tribute to the classical heroes of antiquity. His features are strong and masculine, yet delicate and youthful, as Florentines of the period liked to imagine the fabled heroes of the past.Allegedly, Donatello sculpted St. George as he was thought to have been just moments before encountering and slaying the dragon. He appears deep in thought; his expression is slightly hesitant, yet determined and fearless. Scholars debate the nature of his pose, but it is generally accepted that the St. George is in contrapposto, leaning on his left leg. His left arm is curled out in front of his body, coming to rest on the top of his shield.For a man about to fight a dragon, St. George is rather modestly armed and clad. He is wearing only a chest plate, cloak, plate skirt, boots and gloves. He holds a shield in front of him and the fingers of his right hand are curled as if holding something (originally, probably a lance or a sword). The leather thongs at St. George's knees and shoulders were probably meant as a subtle tribute to Rome; as armour they have no practical value.Among other things, Donatello is frequently praised with regard to the St. George because of his ability to almost magically change the texture of his medium according to what he was sculpting: the St. George is composed of bronze cloth, metal, leather, flesh and hair. Observing each part of the statue, however, one gets the feeling of looking at actual cloth, metal, leather, flesh, and hair - not bronze renderings thereof. This is further evidence of Donatello's commitment to absolute realism: he believed that hair sculpted with bronze or marble should still look like hair.

Brunelleschi Ospedale Delgi Innocenti 1419-1427

1419 The "Ospedale degli Innocenti" is more than an architectural milestone. It has provided care of infants and children continuously for more than five centuries. Beginning with its sponsorship and through its services as well as its architecture, the "Innocenti" represents the evolving humanistic views of Florence of the early Renaissance. The Gallery is arranged in one of the most famous and important architectural complexes of the early Florentine 15th century, that was commissioned and financed by the WooI Guild and built by Filippo Brunelleschi. The refectory, cloisters, dormitories, infirmary, nurses, rooms and porticoes were purposely balanced by Brunelleschi to create a harmonious and rational hospital architecture. Later, they were enlarged and decorated with frescoes, thus documenting the on-going activities of the institution and the favours of the reigning dynasty of the Medici. The Gallery has been arranged in the loggia above the cloister and in the former dayroom of the children above the main portico. It consists of fine works that represent only a small section of the rich collections put together Down the centuries by the Hospital through gifts, bequests, loans or works commissioned by the institution itself. Although the most important works of the collection (Della Robbia, Beato Angelico, Vasari, Giambologna), were dispersed in the l9th century, the collection still preserves outstanding panel paintings, detached frescoes, furniture pieces, decorations and a series of precious illuminated manuscripts dating back to the 14th and 15th centuries, which are considered some of the finest preserved in Florence. The best paintings include The Adoration of the Magi by Domenico Ghirlandaio (1449-1494) made for the Hospital church. Among splendid and rich colours, the painting portrays some historical personalities (merchants of the Guild of Silk and their servants) connected with the life of the Hospital, worshipping the Child. In addition to some fine "gold ground" paintings, the Gallery also exhibits a Madonna with Child attributed to the young Botticelli (1445-1510), still under the influence of his master Filippo Lippi; one of the most attractive glazed terracottas by Luca della Robbia; an altar piece by Piero di Cosimo (1461/62-1521) also made for the Hospital's church and a typical Madonna degli Innocenti of the school of Granacci (1469-1543), where the Madonna is seen protecting the children in front of the Hospital's portico. Non religious building- civic architecture- patrons were the silk guild. Hospital for babies/orphans designed by brunelleschi. First public orphanage in Florence. Brunelleschi is a member of the silk guild- they gace him a job for this building- they pay foir this orphanage to be opened. Florence wanted to become the civilised city. Open a charity of welfare for the children. They will raise these kids to be shown as good citizens. They educated the children. Children were taught to be architects(boys) Girls were taught to sow and learn to be good wives- they would provide a Dowry- a marriage gift from the brides family. This place makes children become great citizens. Architecture- Now a museum- very balanced, mathematical and symetrical-Mix of classical/ romanesuq- round arches -romanesque. Spandrels- spacings between the arches- showing babies in roundels stating its form and function. Columns are spaced equallty- roundels are the babies- glazed in blue terracotta- clay. Ionic/ corinthian columns. Probably created 1463- 1466- installed 1487. Only one of the 8 children in the roundal is unbound to signify jesus and that babies will not suffer as they are free. Inside the building- pedimented space- it shows- drum door is used for people to abandone their children and put them inside and winde it round by a wheel to the orphanage. Central area- community area- mens cloister- womens cloister- in a seprate area.

Robert Campin -Merode altarpiece oil on oak

1425-1430- Tryptic painting- Altar Piece- shows patrons left and Mary and Gabriel in the middle and Joseph on the right. Shows the annuciation in a modern way- Lovely house. Everything is so specific- tools in painting look incredible- Campin was a craftsmen- shows Jesus coming through the crack of the window towards Mary. Oil Painting is luminous- candle stick is reflected along with the vase and dress of Mary. Linear perpsective- Table is tilted- Figures are larger than the room. Shows the annuciation in an incredible way as if they were born in a lovely city- Flemish city in the background shows a modern scene. Joseph is making a mouse trap on the right panel to emphasise the trap of the devil which Jesus would do- predicts before jesus is born. Very Northern painting- Baby jesus-flows through window without breaking it which emphasises how jesus will not harm or destroy Mary. Pot is polished and clean along with white linen cloth. Blown out candle forbodes that jesus will die. Contempry ducth poetry- show white lily showing virginity and beauty and pure towards Mary. Marys Drapery- suggests that her leg isnt in proportion. Blue colours- Emphasising the Holy Family- Very northern- Loads of symbols- shiny objects. The orthogonal lines dont line up and meet a vanishing point making the linear perspective uneven. Painting was made in his workshop. Olive garden on the left represents Marys virginity with Patrons. Scale is 2 ft tall. Joseph is boring into the wood, next to him emphasising stigmata which symbolises cricifixion. Would be used in private space for contemplation in prayer. They can feel this closer more correct setting for it to be in there. Not mathematically proportional. Takes place in a Flemish household. Donors are knealing- represent patrons. Nails on the door- each nail is defined- with rust and shine. Oil paint reflects on metals- Key in the door has a shine- gift of oil paint. Sharp folds of drapery- cloth is thick- Many objects e.g. candles, cloth and fire place and ketel. Pot shines reflects light from the window- reflects virgin Mary's purity. Levelof realism e.g. Candle and double of shadow of the pot on the wall. Linear perpsective has not been spread to the north yet- brunelleschi founded linear perspective. Joseph panel- was made on oil on panel- Background shows Gothic town. Joseph panel shows rust and shine on the windows. Background we see merchants walking- Another mouse trap is outside for sale- Shows merchantile culture and there interest in things.

Merode altarpiece by Robert Campin-

1430-Northen Renaissance. It's tryptic. Patrons on the left . Very northern as their are lots of symbols. In the middle it shows Angel Gabriel and Mary and Jesus coming through an unbroken window emphasising that Jesus will not harm Mary . Everything looks so specific. It shows the prediction (coming of Jesus) painting shows annunciation of Jesus. Figures aren't facing the viewer . Drapery for both suggest the body form as being disproportionate. The figures are larger than the room which breaks linear perspective. Dark blue on the left emphasises holy family. Blown out candle emphasises Jesus death. Flowers in the middle emphasise arts beauty. On the right shows Joseph making a mouse trap which emphasises the trap of the devil which Jesus would do. All the tool kit is so specific. Campin was a craftsmen. In the background you see a city . This whole piece of art depicts the annunciation of Jesus in a modern way. Shows white colour around the room that lights up the room as with natural light. Shows a fire place as though they are living in a wealthy area with lots of luxury. Contrast of different colours as their is Gabriel with light blue and Mary with red and the patrons with dark black and Joseph with red to show that Joseph is her husband.

Ghent Altar piece- by Jan Van Eyck-

1432-media -Tempera-oil paint -wood. Made up of many panels-Eight panels. -Polyp tic.Its open and closes. Its closed much of they year. Van Eycks brother Hubert started the painting but Jan finished it. At the top there are figures with scrolls and books and these are prophets and sybils. They are predicting the coming of Christ. The moment they are predicting happening underneath them which is the scene of the annunciation of Jesus showing Gabriel announcing the coming for Christ to Mary on the right. In the middle it shows empty space to show city scape and a still life in the middle right panel. Gabriel holds lily's to emphasise Marys virginity- her sinnlessness and purity . You can see words coming out of Gabriel's mouth in Latin which means hail Mary full of grace blessed art thouw among women. Mary has a dove above her head which represents the holy spirit. Mary speaks back and the words are presented backwards to show that she is speaking back. These give the idea that she is speaking either to God or Gabriel. These words are upside down. This makes us question who she is speaking to - maybe God from above. Their is a sense of space and city scape as well as the shine if objects. Depicts linear perspective as the space seems to rush back. There is heavy drapery hiding the body underneath. The figures look as though they will bump their heads. 11ft high. The Altar piece shows the patron at the bottom. Shows a lot of symbolism. Left to right like a book. Not like the Italian renaissance as drapery suggests that its a weird form. 4 figures at the bottom. sculptures in the middle and 2 people on each side. Artist uses oil paint to have an impact on the painting showing life like aspects. Van Eyck also uses sculptures below which are painted. This is a side altar piece.

Van Eyck: the Arnolfini Portrait

1434-oil on oak- Arnolfini portrait was originally believed to be a portrait of Giovarni di Arrigo Arnolfini and his wife Giovanna Cenami, but it is now thought that the couple married 13 years after this painting was painted. The painting depicts a rich couple , both from the largest banking families in Lucca convening in a parlor of french fashion. The couple is warmly and finely dressed their garments are cat with fur , even though the fruit outside the windows on the trees that it is summer time. While the pair are expensively dressed, they do show some restraint. Besides the womens plain necklace and rings, she does not wear an abundence of jewellery which would have been reserved for aristocrats. The painting probably resembles a wedding or an agreement of marriage of some sort. It is important to note that this painting would have been proof of the agreement and would been legally binding.Jan van Eyck had just acquired property in the area and could have been fully recognized as a notary. Interpretations-1. A memorial for a dead wife. 2. A gift for the Arnolfini that had the purpose of showing their wealth. 3. Grant of legal authority fom husband to wife to conduct business in his name. To show Giovannis good character, possibly to promote marriage- That none of the symbols have any deep meaning. It is only a double portrait and nothing else. Gender roles- The position of the Characters suggest a portrayal of gender roles as the women stands next to the bed as the caretaker and husband stands next to the window as his work is outside of her home. She looks at him squarely and not at the floor showing that she is his equal. His hand is raised, showing power while she has her hand lowered or possibly his raised hand is a sign of oath taking in their marriage. Joining hands-The holding of hands is thought to represent a marriage contract. It also has been argued that the joined hands mean equal hands in business deals and he is giving her the power to act in business. Pregnant- Although the women looks to be pregnant, it is thought that it was simply the fashion at the time. The more clothing a person wore the richer they were. Also of the possible women in this painting could portray all died childless. Headdress- Non married women would wear their hair down. This women wears her's up indicating that she is probably married. Clogs- there is a pair of clogs thrown a side. After marriage husbands usally presented their wives with clogs. The Dog-the lap dog could be seen as the couples desire to have a child or as a symbol of fidelity, or simply marking their status as a dog signifys wealth. The candle- There are two candles, one lit and one burnt out. Possibly the candle represents the death of the wife. The candle could also be the candle used in Flemish marriage customs. Saint Margaret- There is a carved statue of Saint Margaret on the bedpost- Saint margaret is the patron saintof pregnancy and childbirth. Mirror- The mirror gives the viewer the most encompassing visual perspective in the paintings. In the Mirror are two figures in the door way possibly to represent witnesses for the marriage to make it legal. Note we also have Van Eycks signature here which could act of that notarys. Around the mirror samll scenes of Jesus passion are shown. On the wifes side of mirror onlt pictures of his death and husband only those of christs life. Analysis-Probably van Eycks most discussed work, Arnolfini portrait is rich in iconography and gives the viewer an insight in Flemish culture. Composition- Under recent technological development, it has been found that Jan Van Eyck used under drawings to plan out the painting. We can see variations and chages he made to this piece while drawing and painting. The position of Giovannis feet was changed. Van Eyck seems to have preferred a more close stance for him than the original drawing. Colour palette-Here the use of bright colours works to highlight the wealth of the two figures.Their drapery is brightly coloured and their guest room is displayed in rich tones. The colur green in Italy was reserved for those involved in banking. Depicting the women in green had to represent that she was from the high business or merchant class. Use of Light- In this painting Van Eyck uses both direct and indirect light. The light from the window provides the direct light into the scene which can be seen on the shading obtained by layering the paint. Technical innovations- the artist credited with achieving innovations in minimalism and his attention to detail is uncanny. The mirror in the back of the painting is unique in that the whole scene is replicated in the small mirror. It is thought that Van Eyck used a magnifying glass. Use of technique- As seen in the shading of the images, Van Eyck took advantage of the drying time, much longer than Tempra Fresco and blended the colours with appropriate shading, a technique called wet in wet. Layering the paint allowed the artist to blend the colours and eliminate their borders. Perspective- It has been suggested that Van Eyck used atmospheric pressure and pagan astonomy to develop oval shaped vanishing point taking place in the center of the painting. Mood and emotion- The light coming from the window on the left sweeps a pleasing glow over the bedroom. The scene is crowded by different images and symbols which all seem to be standing still. The portrait of Giovanni is one of the confidence and with his left hand almost in the position of a saints. The bride or women has a clamness to her and the overall scene suggests a wedding or a contract Brush stroke- Van Eyck's brush strokes are almost impossible to see in his small and medium sized work. It has been argued that perhaps his paint brushes consisted only of one hair. Textures- Van Eyck used multiple layers of thin glaze to obtain his deep, rich colours. Working with oils. Eyck added layers of paint on top of itself many times until he reached the tone he preferred, hence the painting is thicker where dark colours are present and thinner in lighter areas. This technique was also crucial in his development of the textures like the design of the womens role and the lace around the dress. Male shows authority- shoes mean something holy is taking place-single candle = symbol for presence of God. Above the mirror shows writing saying Jan Van Eyck was here. Mirror shows visual reality- Also sees scenes for the passion of christ on the roundles which are very small. Hair of the dog is naturalistic- dog is a symbol of ferdelity and loyalty. Shows oranges-to show off wealth-symbol of taste. Carpet symobolises wealth. Shows crispness of her dress as it just shows the fashion- women looks pregnent due to the bulge of her belly in that time-oil paint is very translucent. Light comes into the room. figuresarevery elongated- so much attention to detail- we dont actually know which arnolfini this is.

Brunelleschi: Dome of Florence Cathedral-Il duomo

1436-Actual architect of the building is Arolfo Di canbio.-Style Italian renaissance -Gothic revival. Materials- brick and marble. Began in 1296 and finished in 1436 with the dome completed by Brunelleschi. Exterior- Built as bassilica having a wide central nave of force square bays with an aisle on either side. The channel and transept are of identical polygonal plan, separated bytwo smaller polygam chapels. The whole plan forms a latin cross- the nave and aisles are separated by wide pointed Gothic arches resting on composite piers. Begining of the 15th century- after 100 year of construction- the stucture was still missing its dome. Engineers were inspired by pantheon, though thepointed section of the double shell solution is more like a gothic than a hemispherical dome. Eight major ribs a little like an umbrella each pair of ribs. The idea very probably came from the florence Baptistry- although Romanesque, then colonises to be an ancient temple of mars. Herringbone brick work of the dome. Horizontal courses borrowed from antique buildings. Tribunes to bustress work of the dome horizontal courses borrowed from antique buildings. Tribunes to butress the domes thrust are like circular Roman temples with shell niches and corinthian order. By the beginning of the 15th century, after 100 years of construction, the structure was still missing its dome. Called for an octagonal dome higher and wider than any that ever been built, with no external butresses to keep it from spreading and fall under its own height. Brunelleschi looked to the great dome of the pantheon in rome for solutions. Brunelleschi chose to follow such design and employed a double sgell, made of sandstone and marble- Brunelleschi woukd have to build dome out of brick- due to its light weight compared to stone and being easier to form, and with nothing under it during construction. To illustrate his proposal, he constructed a wooden and brick model with help of Donatello and Nani i Banco. Width was wide as the pantheon almost. Built in ancient wortld and that technology largely has been lost. Engineering achievement with oyt wooden centring. A dome exerts pressure not t- only down, but down and out- biggest challenges was how to raise the dome and deal with that downward pressure- not cracking walls underneath. Pantheon dealt with that by creating sheer bulk/walls got to be 10ft thick. 20ft thick concrete- Brunelleschi couldnt do that here. He made the dome as light as possible= Double shell ( staircase- snails around allowing one to get to the top- taking view of city. Major ribs visbile/ between this two ribs hidden- locked in place by sense of horizontals- skeletal structure holding piece together. System where- as dome was being raised up, as each course of stone and brick was added, it was locking itslef in place= self substaining. Another was brunelleschi dealt with downward/ outward thrust= create chains inside dome out of stone and wood, locked together with iron like a girdle to hold dome in and counter downward and outer thrust. Brunelleschi created cantilevered scaffolding= could rise as building went up so workmen had a place to work. Brunelleschi built new kinds of PULLEYS and HOISTS- bring up heavy stone ( nomachines-clever man)-Utter invention- we think he may have gone to rome and may have studied anceint architecture as well sculpture (but no precedent in anceint world that brunelleschi accomplished). Not hemispherical ( like pantheon) its tall/ pointed= Gothic shape than a classical shape= Matches Gothic church itself. Church is gothic and referring back to the tuscan romanesque tradition in terms of polychromy/ coloured marbles. Engineering genious= solving the problem- no other tradition could solve before.

Donattello David-

1440-Commissioned by Cosmo de Medici. Compostion- Davids pose is graceful and even effeminate; his right hip is thrust slightly outward, his left hand on left hip, in a stance of undeniable feminity. Some scholars claim that if not for the presence of male genetalia, David could be taken for women. Adding to feminine overtones is the absurdly oversized sword David is gripping in his left hand , his helmet ( which more closely resembles a french lady's hat) and the delicate curves that make up his thighs and his expression suggests purity, youthfulness and innocence with just a hint of enigma and mischief. Perspective -Davids free standing construction allows the viewer to see from every possible angle and take note of all the details so paintstakingly applied. Davids left foot is positioned rather languidly almost carelessly. His left Knee is bent to the right in a youthful gesture of diffidence(shy). Many scholars have noted two of Davids scandel clad toes. This is slightly disturbing facet of the sculpture has various indentations. One is that as Donatello was openly homosexual, the beard and foot interaction was meant to convey his sexuality. David is described in the Bible as a perfect, beautiful youth. Donatellos rendering of the heroic shepherd boy captured this youthful beauty perfectly if soemwhateffeminantly. The sculpture has provided critics and scholars through out the centuries with further for analysis conjecture. This is the first free standing sculpture since classical times- Greek. Shows florence as victorious (David) and Milan (Goliath) The scale is 4,6ft. David is standing over Goliaths head with sling shot in the other hand. David is nude with hat on top-looks young, clean shaven- explaining his youth contrasting his small size. Donatellos version copying from the classical. Medici family placed this piece in their courtyard of the palazzo. Shows David as a young boy in the bible desrcibed in the bible emphasising the role of God in his great feet. The piece emphasises the conflict of Milan and Florenece seing themselves as David and Goliath- Milan showing that Florence is the chosen city for God. This sculpture shows the end of the battle. Its in the round free standing. Doesnt defy gravity. Its vertical,top heavy, sense of movement as he is standing on Goliaths head, no emphatic gestures, highly structured, fairly naturalistic- shows david as being very young. Approach- shows us an early moment in the Renaissance as its the beginning of humanism. Young figure of David symbolises the republic of Florence which saw itself like David as blessed by God.

Michelozzo: Palazzo Medici

1444-1459-Architect Michelozzo Michelozzi. The building embodies the new principles of symmetry and mathematical arrangement. There are three storeys topped by an enormous classical cornice, the purpose of which was to cast a shadow down the walls when the sun was at its highest. The stone cornice is classical in form, being based on a classical entablature. It is 10 feet high and the palace wall is 83 feet. The cornice is an architectual solecism (it breaks the rules) since the cornice has no architrave or frieze below it and no columns to go with it. Additionally the height and projection of the cornice is related to the overall height of the building and not to the individual storeys so that the top floor appears to be crushed. The ground floor is heavily rusticated, giving it a rugged, fortress like appearence. Separating the ground floor and the piano nobile. These windows, like the openings on the ground floor are arranged symmetrically, but do not coresspond with the opening below them. The windows have voussoir patterns very similar to those belows them, but the opening is divided into two lights by means of a single colonette with round headed arches over it. The storey as a whole is smaller than the ground floor, but without exaggerated rustication. The ground floor was normally the largest, often rusticated (artificially roughened). There normally was a warehouse, business premises or shops for the family. The first floor , the piano nobile was considered the best floor. The top floor, hot in summer and cold in winter- was given to the servents. The top storey is identical with the piano nobile except that it is now entirely smooth so that there is a marked gradation in the stonework through all three storeys and the optical effect is to make the palace seem even higher than it actually is. Analysis-Inside- The arrangement of the inside of the palace is similar to the outside in that it consists of reworking of the tarditional type with great attention to proportion and symmetry. The basic shape of the building is a hollow square with a large, open, central court which, at ground level, forms an open arcade. The planning was very naerly symmetrical, with the main entrance doorway in the centre of the original front leading a long tunnel like entrance into the centre of the court. Second floor was usually occupied by children and less important memebers of the familu. Piano nobile was considered the best floor because it was above the noise and dust of the street, but not as hot as the rooms near the roof. The main public rooms and the apartments of the head of the family were always put. The levels of each floor is symmetrical but the building is not symmetrical horizontally there.

Donatello- Gattamelata (Erasmo da Narni)

1453 May have been inspired by the equestrian statue of Marcus Aurelius. Mssive horse- rests on four slender legs . Left foot balancing in canon ball. It Commemorates a great man - Gatamelata- hired by venice-Commissioned by Gatamelata family. In the town of Padua- commemorates Gattamelatta. Both are independent figures. Man stands fully in control- has a baton in the hand- looks outward- the horse also looks enormously powerful- looks down at the viewer. Body is vertical- balanced by the horizontal horse. Horse is turning to its left almost posing as if the horse is showing off its valor. Donatello has clearly studied the anatomy of the horse- same way we knew donatello was studying human anatomy- depicting naturalism- a culmination of ideas of the early Renaissance-e.g. the broad face of the horse e.g.some veins and the nostrils are flared- A sculpture that epitimizes Renaissance humanism in its commemoration of achievments.- Gattamelatta- Real name Erasmo de Narni, the subject of Donnattellos Gattamelata, was a powerful and illustrious venetian noblemman and mercenary. His military victories were well known through out the Italian City states of the pre-renaissance perioid andhis family was well respected. The statue sits on a pedestal and is itself nearly four metres high, life size and majestic. Da Narni died in his seventies but donatello sculpted him as he was in his prime- powerful and dignified astride his horses. Method- Conceived of the typical lost wax method, from there donatello's methods deviate from the norm.Donatellos traditionally meticulous attention to detailis so obvious in all aspects of Gattamelata from the reliefs at the base of the pedestal to Erasmo da Narnis face. Often compared to the oversized classic equestrian statue, Marcus Aurelious, the Gattamelta is none the less unique and many scholars argue, far superior because of its reliance an emotion, composition and symbolism- rather than the sheer size to communicate its subject power and authority. Composition-Sits a top a pedestal 25 feet high, the statue itself is over 12 feet high. At the base of the pedestal are carved two reliefs, one featuring the da Narni coad of arms with two putti on either size, the other an angels clad in battle dress. Moving upward, da Narnis horse is powerfully builtandits youthful musculature well defined, indicitive of close study of equine anotomy. It appears to be trotting and is further evidence of Donatellos close adherence to the tents of natturailsm. The horses left hoof rests on tope of a sphere that represents the world, indicating that in his prime du Narni held italy and indeed the world in the palm of his hand. Da Narni himslef is proud and stern looking, staring unblinkingly ahead toward his goal. He is dressed for battle and carrying a sword. Da Narni was a seriousmilitary leader, followed and trusted by the 15th century.Italians qualties which Donatello has made obvious in his redering of the famous candottiere.

Equestrian statue of Bartolomeo of Colleoni by Verrochio 1480-1488. Medium= Bronze-Renaissance- sculpture in campo santi epoola, Venice Italy. Lorenzo de Credi did the sculpturein 1489

1475 colleoni died and left his will a substantial part of his estate to the republic under the condition that a statue of himself to be commissioned and set up in the Plazzo son Marco. 1479 the republic announced it would accept the gift, but thatthe statue would be placed in open space infront of the scuolaa of San Marco. Portraying the condottiere= Bartolomeo colleoni- A former captain- genereal of the republic of Florence. First renaissance equestrian statue supproted on 3 legs. Verrochio wouldnot have ever seen the man , and so his statue is not a physical portrait of the man but of the idea of a strong and ruthless commander. His depiction of military power is very different from donatellos. A compettion was arranged to enable a sculpter to enable a sculpture to be selected (3 sculpters) Verrochio made a wooden model- other made models out of wax or terracotta. He then opened a workshop in venice and made the final wax model which was ready to be cast in bronze bit died in 1488 before it was due. He asked his pupil Lorenzo de Credi who was then in charge of his workshop in Florence. Verrochio based his sculpture on Donattellos statue of Gattamelatta as well as the ancient statue of MarcusAurelious in Rome etc. The problems he faced was the way in which he had to represent the horse while moving/ raised leg that could cause stability problems due to excessive weightof bronze. Verrochio was the first to solve the problem in having the horse supproted by 3 legs . Shows strong ruthless military commander bursting with power and energy. Contrast to Donattellos air in comman.

Van der Goes-Portinari Altarpiece-

1475 oil on wood.-Tryptich- Composition- Portinari family are the patrons- both left and right on the side panels. Shows adoration of the shepherds. Behind the patrons who appear to be small are the patron saints which shows hierarchical proportion- a gothic style. Foreground shows still life - Iris represents sorrowness and colombine plants which means dove which illustrates holy spirit. Shows baby jesus lying down on the hay- shows rays of holy light. Bundled cut wheat signifys mortality by a scythe- Image of curring things down. Background shows northern Gothic building. Shows angels praying around. Middle panel shows three shepherds- same characters are repeated to show progression. Right panel shows small figures who are Magi. Shows elements of continuous narrative/sequential narrative. Shoe removed shows something holy is taking place . This altarpiece, also known as the Portinari Triptych, shows us the story of the 'Adoration of the Shepherds and the Holy Family' from the Biblical story of Luke. It was painted in Bruges and then shipped to Florence. These panel paintings had a significant impact on Renaissance art in the city and beyond, including the Umbrian School of painting. Sadly, within a short time of completing this masterpiece, Hugo Van Der Goes suffered a complete mental breakdown. In 1482, a year before the painting was even installed, he died. The work is now seen as one of the most influential works of Christian art of the 15th century is kept in the Uffizi Gallery in Florence. The Portinari Altarpiece was commissioned by the Italian financier Tommaso Portinari, a long-term resident of the important Flemish trading centre of Bruges, where he was the manager of the Bruges branch of the Medici Family Bank. Intended to commemorate his success in Flanders, the triptych was to be installed on the high altar of St Egidio, the church of the hospital of Santa Maria Nuova in Florence, the Portinari family chapel, which had been founded in 1288 by Folco Portinari, one of Tommaso's ancestors. Exactly why he chose the Ghent painter Hugo van der Goes to paint the work remains unclear: very little is known of his life before 1467 when he became a master craftsman in the local Guild of Painters at the age of 27. After this, he was awarded some minor commissions by the town of Ghent, and in 1475 he became Dean of the Guild. Whatever his previous accomplishments, Van der Goes produced a masterpiece of Flemish painting which was not only an appropriately grandiose tribute to Portinari, but also a highly personal vision of the Nativity. Analysis-It consists of three hinged panels. The centre and largest panel depicts the Adoration of the Shepherds. You see the shepherds on their knees with their hands in prayer. You really get a sense of how well the artist portrayed the facial expressions of the three men. They are mesmerised by what lies before them. Kneeling around the Virgin Mary and the baby we can see a number of angels. The artist for some unknown reason does not present us with the baby Jesus in a crib but instead has him lying on the ground and for this reason many have said that this is not a Nativity scene but rather an Adoration of the Child setting. In the background, on the right hand side of this central panel, we have the shepherds being visited by the angel telling them of the birth of Jesus. In the very background we have a still-life of two vases, one earthenware with a grape motif and one made of glass containing flowers behind which is a sheaf of wheat. Art historians would have us believe that the glass vase symbolizes the "entry of the Christ Child into the Virgin's womb without destroying her virginity the way light passes through the glass without breaking it".

Botticelli- Primavera (Also known as the Allegroy of spring)

1482-Tempera on panel-Largest Mythological painting of early Renaissance is belived to have been comissioned by the Medici family and hung in the bedroom of a bride of one of its members. Most analysts agree that the central theme Primavera is one of love and marriage and a message that when these two occur in correct order they bring forth sensuality and fertility. On the far left shows Mercuary which also may be interpreted as one of the Medici memebers. Above you have cupid with a blind fold on his head which states that love is blind. 3 women in the left centre = 3 graces. Composition- The painting is set in ameadow complete with flowers and tress. It shows nine figures all based on mythological text. Far left man= Mercuary and separates the clouds so that spring may come. Cupid is above Venus and is known for his lack of mortality and his attempts to take apart marriages. Venus, the Goddess of Love and beauty is inthe center of the picture surrounded by the three Graces. Venus is eligantly dressed and obviously reigns over the land. She is no longer the young girl featured in the painting in the Birth of Venus . Venus is the Goddess who protects and cares for the institution of marriage. The myritle plant surrounding her is traditionally thought as the plant that represents sexual desire, marriage and child bearing. Venus supports the fact that marriage is where sexuality is experinaced, not before and the 3 graces also represent this. They portray the female virtues chastity beauty, love and their long flowery is Flora, the godess of flowers and blossome. The story of Flora came into existence begins with her former self chloris. Chloris was in the woods when zephr, the wind god on the afr right of the painting, found and raped her. To prove chloris that he was sorry for his violence he married her and declared her Flora the godess of flowers. Botticelli depicted chloris turning into flora by literally painting flowers coming out of chlorises mouth. In this small detail, Botticelli was seen to have followed the mythology stories very losely. The story of chloris alone shows that this painting was meant to celebrate a marriage. The fact that Chloris was not the one to chose her male reflects 15th century culture where women had very little control over who they wed. The celebration of marraige is also demonstrated by the garden bursting with fruit and flowers which symbolise the fertility expected in marriages. Also symbol of love and fertility are the oranges growing in the tree above and the number of oranges Botticelli drew clearly represented the hope that this marriage would result in many off spring. Notice on the far right above zephr there are no oranges until the scene moves on and flora is shown to be married and respected by zephr there are no oranges until the scene moves on and Flora is shown to be married and respected by zephr, only then will 'fruit' be produced. The trees and fruit are mature showing that venus has reached her own mortality. The land is being made fertile after winter. Use of technique= Botticelli preferred painting in fresco or distemper buthe was influenced by pollailio. A talented man as well as artists botticelli saw nature through the eyes of a goldsmith and he paid close attention to primavera.

Botticelli:- The Birth of Venus

1484-1486. Tempra on panel- Classical myth/ one time of the renassance when Italians tried to recapture former glory of rome that classical myths become popular among educated laymen. Shows Nymph on the right. Theme- Launched by Lorenzo the great- a man who assembled a group of humanists philosophers and artists from a literacy society who interpreted works and found ideas. It was he who had seta verse by one of his favourite poets- Angelo Polliziano. Compostion- Goddess Venus out of shell in the myth- explains her brith. Shell is passed to shore from winds by wind God in amongst a shower of roses. As venus is about to step onto the shore- nymph reaches out to cover her with a cloak. Venus= Beautiful and chaste-(pure virgin)- symbol of coming spring- depiction of a nude significant in itself during time of renaissance history amongst all at work was all christian themed and nude women were offensive. Many aspects were in motion e.g. leaves on orange trees- ringlest of hair being blown by sephyrs- roses flowering- waves breaking and drapery of figures blown and lifted by breeze. Pose of venus is reminiscent of Venus de medici marble sculpture. First large Canvas created in Renaissance Florence. He prepared his own tempra pigments, and covered them with a layer of egg white- unusual at the time. Technique- his painting resembles a fresco in its freshness and brightness. Colour- Venus- Long golden hair sweeps gracefully about her. Use of Gold may have been inspired by Donatellos pediment magdalen. Mood tone and emotion- Venus is dependent on the delicassy of Botticellis line. Proportion shows greatest exaggeration yet long neck and torrent of hair help to create a mystifying figure. Venus= Goddess of Love - first non biblical female nude in Italian art and is depicted in accordence with classical venuspudica. Botticelli- first to crack large scale mythology schemes. His work centered on what the medici family requested. In the era of the painting minds were open to new ideas and religion and realism was no longer needed to be main subject of art.

Last Supper- Leonardo Da Vinci in Santa Maria Del Grazie

1495-1498- Subject is appropriate for setting- e.g. refectory- dining hall- shows aerail perspective behind jesus. Shows and equalateral triangle.Its high up above the ground- aspiring to Jesus. Where the monks would eat silently and be able to look up at Jesus. Many figures in the painting. Christ says one of you will betray me- to 12 disciples- shows reaction of that moment. All are very shocked. JESUS reaches for a glass of wine and towards bread 'take this bread for this is my body- take this wine for this is my blood and remember the person who shares and dips with christ will betray christ. Judus third to the right of jesus reaches towards and bowl. Scholars arguing about what moment this is. However there could other interpretations. Figures are too crowded for the table creating a kind of of energy, a kind of chaos that surrounded the perfection, the soleminity- christ forms an equalateral triangle- the window behind frames his head ready as halo. Most last supper paintings- there is usually enough room at the table and decoration. Da Vinci uses a more simplistic way. It's separating out world from the world of christ and the apostles- no way for us to enter that space-visa verse. Christ looks concerned . Judus recedes back turning his neck- this is a reminder that at the night he will hang himself. Behind Judus is peter- christs protecter carries a knife- as if he wants to find out who it is . Shows 4 groups of three- that idea knitting the figures together- overlapping them with one another creating drama. Thomas points up on the farright to say is this Gods plan- Also represents the forshadowing of christ ressurection by touching christs wound. All perspective lines bring christ to the middle. People need to be at Christs level for it to be in a correct perspective manner. 10-15ft off the floor to see proper perpspective. Painting is in terrible condition- used oil paint and Tempra in an environment where Fresco would be used- Painting then detiriorated. Da Vinci painted on dry plaster- the painting is now in a bad state.

Gothic architecture- Ca'dOro palace 1422-1440 By Bartolomeo and Giovani Bon. Also known as the house of Gold because its facade originally shimmered with Gold leaf which has since faded away.

Architects- Bartolomeo and Giovanni Bon are crdited with the decoration for the CaDoro built for Marin Contarini of the prominent contarini family. The building borrows its style from the Palazzo Ducale. -Even with Gold leaf no longer in place, it is still possible to get a good sense of the richness of this gem of a building. The result is a delicate, ornate building that seems almost like a work of sculpture- each level of the facade is increasingly ornate and intricate towards the top. The increased ornamentation of each storey creates a vertical emphasis however that vertically is matched by equally strong horizontal emphasis provided by two baulstrades on the upper balconies and the large cornice at the roofline. Wide space- harmony to the division of space. The lower loggia has a wide arch at its center , which is symmetrically flaked by narrow arches. The arrangement of columns an arches in the upper two balconies perfectly corresponds with one another; coulmn over column, arch over arch. The Facades harmonies arrangement suggests the architects in venice had similar interests to those of the classicizing architects working in Florence. -Elements- It is a distinctively venetian building in its incorporation of Byzantine, Islamic and Gothic elements. The five gothic quatrefoils of the scend storey balcony stand a top slender collumns. They stand out as distinct sculptural elements carved on all sides. In the upper balcony, pointed arches borrow from Islamic architecture in their distinct horshoe shape and from Gothic architecture in their elongated, pointed form. Tracey connects every other column, creating an elegent interwoven effect. With in that interweaving, smaller pointed arches connect neighbouring coulmns to one another, and these arches multilobed, also in tradition of Islamic architecture. Above each column there is a delicate cut out that mimics the quatrefoils in the level below. The open carving of the upper balconies in fact resembles the ornate screens common in Islamic architecture. This is repeated in the ornamentation of the windows to either side of the balcony on the second story

Brunelleschi and Ghibertis Doors for the Florence Baptistery

Brunelleschi-1401-1402 1401-The cloth guild of Florence decided to commission a second set of doors for the Baptistry of Florence.-Big Bronze doors- this was a hige civiv undertaking and extremely expensive. In an effort to find the best sculptor the cloth Guild held a compettition. The cloth Guild when held this compettition, were very specific about what they wanted. They allowed a certain amount of bronze , they told the sculptors , they had imprated features from the Old testement subject- Sacrifice of Isaac. Cloth Guild- dictated that all the panels had to be contained with a quatrefoil, that is a gothic shape. Context- In this story God commands Abrham to kill his only son isaac which meant everything to him. This is a moment of crisis, a moment of faith.Abraham takes his son up a mountain- puts a knife to Isaac's throat- about to kill him but an ange appears and stops him. God provides a ram instead for abraham to sacrifice. So both Isaac and Abraham are spread. Angel flies in both panels. Comparison-(G) -Far less dramatic as we have an angel foreshortened. (B)- version the angel is grasping Abrahams hand and literally stops him in the very moment when the knife meets Isaac's throat. Its also a kind of intensity with Isaacs head pushed back by Abraham and there is also a kind of violence that seems to be in process. (G)- The Angel is separated, there isnt the same continuity of form and there is more complexity in Ghibertis, emtionally; Abraham looks reluctant this isnt something he wants to do. Shows full nude to viewers in the most direct way. Whereas the Brunelleschi panel is upon one knee has a cloth twisted (loin cloth) and sturded that we see in the ghiberti- distorted in the classicising beauty that we see in the Ghiberti. The direct perform into the Greek and Roamn sculpture and it is really very beuatifully done. This is also an interesting quarrel in both panels, teh physical relationship of the father and son.(G) you have the gentle arching, where as in Brunelleschi you have a diagonal which ismore energized and more violent as well. Brunelleschis is scarier. We dont know eactly why the guilds agred to have Ghibertis so he recived the entire commsission. (G) you have that rocky mountain that unifies the scene- it seems t flow down almost like water from the upper left to the lower right. Theres a sense in Brunelleschis there is more seprate parts being assembled and infact Brunelleschi cast many of the parts separately and then put them together and Ghibertis is casted only from two pieces of bronze. (G) used less bronze than Brunelleschi- remember bronze is incredibly expensive and when you multiply this to all of the panels of the door that would have been significant in any case in the end-G gets the commison. B leaves and never does sculpture again. He then goes to Rome to studyancient Roamn architecture.He of course cam back trumphing with major commisions like Il Duomo. This was for one set of doors in a quatrfoil (Gothic shape) Baptistry was one of the most important buildings in Florenc. G abraham looks older and angle is more seprate. Abraham looks mor reluctant-shows nude shows part of the mountain. B= More dramtic, more realistic, naturalistic, scary and shows more narrative in it.

Michelangelo's Pieta 1498-1499

Composition- Mary is sat swathed in robes and cradling a lifeless Jesus. His head is flopped back against her shoulder and his legs are supported by his mothers arms. Set after the time when jesus had been crucified, the two figures are disproportionally sized. Mary is extremely large in comparison to muscular small figure of jesus. Mary has the features of a beautiful young lady rather than the mother of a fully grown man. Use of space- Michelangelos sculpture is in a pyramid shape. The top of Mary's head is a veil and her head is small before the sculpture expands out to Marys wide legs which are covered in a large amount of material. Her head is out of proportion to the rest of her body. She has a small delicate face with pretty features. The reason that Mary and Jesus are out of proportion of grown man. This disproportionate use of sizing was common in Renaissance and thus michelangelos pieta was not considered bizarre. Mood, tone and emotion- The religious theme of michelangelos Pieta is in keeping with the rest of the body- Further more the sorrowful tone of the pieta evokes pitty on the viewer. Highly polished marble. Shows mary being very idealised . Shows deposition of jesus - An intense dramatic scene. Mary's body is of a large scale because of support for jesus- for stability. Marys left hand is up for God. Right hand is for support. Incredible drapery which looks like a throne- created by her body. Same medium- made out of a single block of marble. Jesus creates an arc shape to mary- represents intimatly. Division of mary- not touching his skin- he is holy-hands mirror eachother- Mary is large- for support for the sculpture as well being a mother. Michlangelos mother died when he was very young- this represents Pietta- shows stigmata in his hands. Incredibly life like shows veins -Carves his name to a ribbon on her chest.

Ghent Altar Piece- Closed-Broad term of opened and closed

Consists of three rows. On the top two sybls- angels flanked by the old testement prophets are watching the heralding annunciation, from above. Middle archangel Gabriel delivers message which is the news of the birth of baby jesus on the right. The panels in the middle row depict both the sanctuary for the Holy Eucharist and a royal hall. Christ could be represented by the open space in the middle. Bottom row depicts John the Baptist (center left) holding a lamb and John the Evangelist (center right) holding a chalice. The two figures surrounding them are donors Jools Vijid and Esilabeth Bolwat who are painted in red to depict them as living. When opened- Consists of two roles depicting the redemption of man. Upper panels- moving from the top central panel outwards, God is shown inthe central panel in a Byzantine fashion. A crown lies at his feet with an inscription on the base of his throne.Placing the crown before his feet is probably used to depict him as the King of kings. Behind God we see small designs in the shape of pelicans. In Gothic tradition, the pelican was thought to pick its flesh to feel its young in a time of hunger. This is symbolic because God sent down his own flesh and son Jesus to save us. On either side of God is John the Baptist and the virgin marybwho has a crown which most likely represents the church and the marraige between God and the church. Outside shows Adam and eve showing original sin- Above them are depictions of Cain and Able. As the top row is dominated by a central portrayal of God, the lower half is dominated by probably the most famous painting in the altar piece.The adoration of the lamb by all saints. The central panel shows the sacrifice of the lamb of God a symbol of christ. Lower panels- some flowers from all seasons- background shows tall mystical buildings representing jerusalemwhere all wil be redeemed through jesus.

Alberti; Façade of Santa Maria Novella 1422

Copying ideas via architect vitruvious- problem was that it was a gothic church and gothic is nothing bit orderly. So he took this Gothic church and on it he put this classical facade, The facade may have a number of tombs in place. The Patron was Giovani Rucellai- The rucellai inherited the patronage rights to this church. The church istelf was complete apart from the facade. Alberti was a classicist- he wanted his architecture to conform to what he believd to be the ideas of classical beauty which were based on perfect geometry and rational order and proportion. Whole facde fits onto a square- pilasters supporting. Pediment= parthenon. Alternating marble and this green stand. shows scrolls on frieze it shows patrons name. Doorway molded on the Pantheon. He defines the center with pilasters with corinthian capitals- a coffered vault. Over the entrance 4 pilatsers are not aligned with pilatsers than as would be appropriate in a classical building. He creates this attic zone and he fills it with decorative pattern of squares. With pattern circles with in them- Creates a zone of isolation between the top and bottom. There is a sense of rigor and geometry order here. Interior very tall nave inside the curch and shorter aisles on either side. Uses s shaped scrolls to unify the top and bottom stories. He borrrows this from the features of Brunelleschis dome. He puts a rosettle inside the scroll on either side and it echos the round building and that roundal is repeated above- see a childs face in the middle of the sunburst- communicating the idea of ressurection of the after life. Just below that sun we can see Giovannis rucellais name as the patron. We also see his family insignia in the wind blown sails that decorate the frieze. Those sails are meant to reference the idea that he hoped that through his faith he mightsail to slavation. The rucellai family were very wealthy but nit as wealthy as the medici family. We see the medici crest, the diamond with free feathers emerging from it right overthe central doorway of the church. So we can se expression of the Rucellai's loyalty to the medici here.

Italian Renaissance

End of the 13th century- to the 1600's. Word renaisance means rebirth and the era is best known for the renewed interest in the culture of classical antiquity after the period that Renaissance hiumanists labled the dark ages. The Italian Renaissance is best known for its cultural achievements . Itlaian painting exercised a dominant influence on western painting for centuries afterwoods e.g. Renassance men-Michelangelo, Donatello, Botticelli and Da Vinci. Subject matter = classicla mythology; religious scenes, style= symmetrical balanced; good sense of mass; linear perspective ; figures with mass and volume - knowledge of underlying anatomy medium= Fresco, tempra on canvas or panel, oil on canvas or- sculpture= marble bronze.

Leon Alberti- Palazzo Rucellai 1446-1451 -Location= Florence. Alberti's famous book on architecture inspired by 10 books of architecture by vitruvious (Ancient Roman). Patrons were the Rucellai family. Function=Palazzo which means domestic. Note- Rucellai pay repsect to the Medici family. Renaissance refers to rebirth of classical knowledge. Alberti sought to revive the vocabulary of ancient Roman architecture. Top part of the building shows dentals as well as the middle floor of the piano nobile.

He studied ancient roman architecture. The facade has three primary stories. Shows heavy dark rusticated masonary. Its Geometry, its lightness, its sense of cerebral- we saw elements of pilasters- rounded arches. Shows classical entabliture between the stories which gives as a sense of horizontality and which is filled with decorative patterns between the ground floor and the first floor- we see a medici device with a diamond ring with three feathers coming out of it. Between the second floor and thrid flor- we see a device of the Rucellai family of a sail that appears to to be blwong in the wind. If you start at the bottom there are benches on thebground floor which is an inevation for the citizens of the city to come and rest. Ground floor has a sense of weightness that comes from that diamond pattern. As you move up the building- it has 3 sets of pilasters from the bottom, Tuscan, Ionic and Corinthian- like the colosseum- clearly looking at ancient roman architecture. Building is not vertical even though youve got the pilasters moving from top to bottom because those pilasters are interupted by these very elaborate entablitures that really emophasize the horizontality, the grounded quality of the building. Building was not finished as you can see its unfinished on the right side and so thatwould have been designed by Alberti that is caddy concerned to the palazzo, the palace. This is an open space, with round arches, beautiful columns with corinthian capitals and pilasters on the interior wall- very classicizing. The Loggia may have been created to commemorate a wedding between a memeber of the medici family and Rucellai family- so a joining of these two powerful florentine families. Shows forms of humanism to domestic architecture. Contectual analysis- Three story building made of stone- each story features pilasters of a different order- Tuscan, Ionic and Corinthian- taken directly from the model of the colosseum which Alberti visited and studied directly- each story is divided by an entabliture with a decorated frieze- classical vocabulary decorated frieze are seen in the classical orders- e.g. Parthenon decorate frieze features- sail wind, diamond, ring with feathers- symbol of the families- sail with wind is the symbol of the Rucellai family and the diamond ring feathers with a symbol of the medici family. 2nd and 3rd storey- evenly spaced windows with round arches, each pair of windows is divided by a small column. Influenced by the writings of vetruvious. Above each pair of windows in the space beneath the arch, is two semi circular windows arranged symetrically around a roundel. Ground store features- Large dors, small, square casement windows with iron bars, bench that spans the perimetre. Over hanging cornice decorated with dentils. Overall appearence of the building is very similar to the Medici palace but more purley clasical. This is the Eucellai family paying respect to the medici and showing publicly that they are allied. The families become directly connected when their children marry- an event marked by the loggia which is located diagonally across from the palazzo. This is the development and use of the clasical vocabulary for domestic settings.

Diffferences between the Italian and Northern

In some areas the Northern Renaissance was distinct from the Italian in its centralisation of political power. The northern Renaissance was closely linked to the protestant reformation and long series of internal and external cong=flicts between various protestant groups and the Roman catholic churcg had lasting effects e.g. division of Netherlands- there was an emphasis on daily life and especially the lives of peasents. A greater emphasis were put on living pious, simple life. The Italian Renaissance on the other hand focused more on wealthy class (aristocracy)- paintings were more elabroate , deatailed and showed how wealthy and powerful people were. This was because a lot of trade was going on during this time of the Italian Renaissance. Therefore individuals were becoming very wealthy and thus gaining political influence. Italian Renaissance focused on Religion mainly Roman Catholic. Roman revival was very important. Often painting reflecetd themes of the classical times and some artists nearly copied the forms of ancient greek statues and artwork. Paintings often showed many of the Italian Renaissance themes. Humanism (the focus on the individual emphasis on anatomy) greek and roman revival and religion.

Andre Mantegna-Parnssus- Tempra and Gold on Canvas-1497

Italian Renaissance-High renaissance- The two Gods are shown on a natural arch of rocks infront a symbolic bed in the background- the vegetation has many fruits in the right part ( the male one)and only one in the left (female) part symbolizing the fecundation. The posture of venus derives from anceint sculpture. They are accomponied by Anteros ( the heavenly love) opposed to the carnel one. The latter is still holding the arch, and has a blow pipe which aims at the genitals of Vulcan, Venus husband, potrayed in his workshop in a grotto. Behind him is the grape perhaps a symobol of the drunks intemprance. Note the traditional interpretation of the work is based on the late 15th century poem by Batista which identified it as a representation of mount Parnassus culminating in the allegory of Venus and Farncesco il Gonzaga as mars. Inclearing under the arch is Apollo playing a lyre. Nine Muses in allegory of universal harmony. According to anceint mythology, her chant could generate an earthquake and other catastrophes, symbolized bythe crumbling mountains in the upper left. Such disasters could be cared by Pegasus' hoof- the horse indeed appears in the right foreground. The touch of his hoof could also generate the spring which fed the falls of mountain Helicon, which can be seen in the background. The muses danced tradiotionally in wood of this mount and thus the traditional naming of mount Parnassus is wrong. Near pegassus is mercuary, with his traditional winged hat, caduceus( winged staff with entwined snakes) and messenger shows. He is present to protect the two adulterers.

Ghent Altar Piece-by Hurburt Van Eyke and finished by Van Jan-1432

Like most Renaissance patrons, Vijd was a wealthy merchant who sought to the stereotype of being too fond of money by spending some of it on creating a monument. He commissioned it for the church dedicated to St. John the Baptist. It is uncertain on the amount of influence that he had on the work, but it was obvious that he spared no expense. The work is generally associated with Jan van Eyck although some suggest that his brother, Herbert, was the one to initially start it and Jan van Eyck had finished it after he passes away. The frame of the altarpiece is believed to have been lost during Iconoclasm. When religious images were being destroyed and attacked during the Reformation. The Ghent Altarpiece was also much coveted, wanted by the Nazis and was actually stored in a salt mine at one point. It was removed from it's original place in the Cathedral of Ghent by Napoleon, and then was occupied by the Germans for some time. It was then reassembled and rescued by art experts in 1945. The centre of the lower tier, underneath the upper trio of Jesus, Mary and John the Baptist, features a single large painting, from which the altarpiece takes its name. It shows the Eucharistic sacrifice of the Mystic Lamb (the symbol of Christ). The incorporation of the Lamb in the Ghent Altarpiece can be tied to the characteristics of 15th century Flemish painting, where symbolism was favoured in order to convey complex theological concepts. In Van Eyck's painting, the presence of the Lamb on the altar carries more significance than the image of a simple ostensorium, a vessel made generally out of silver bronze or glass , because in itself the Lamb summarises the many dimensions of the Eucharist, the Christian ceremony.the ghent altarpiece consists of 24 panels. 12 visible when open and 12 when closed. It portrays the story of Christian faith owing largely to a passage from the book of revelations of St. John. A polyptych with panels connected through hinges, closed for a majority of days and opened on feast or religious days. Jan van Eyck, The Adoration of the Lamb. Closed-John the Baptist (centre left) holding a lamb.In the middle row, Angel Gabriel delivers the news of Jesus' birth to MAry on the right. Her answer is written upside down as God would be looking from the heavens.John the Evangelist (centre right) holding a chalice.The two figures surrounding them are the donors Joos Vijid and Elisabeth Borluut who are painted in red to depict them as living Opened-When open, the altarpiece consists of two rows depicting the Redemption of Man.On either side of god is John the Baptist and the Virgin. The Virgin Mary has a crown which most likely represents the Church and marriage between God and the Church.On the outside of the top row are Adam and Eve representing proto human beings and original sin. Above them are depictions of Cain and Abel. (Cain and Abel were two sons of Adam and Eve).God is shown in the central panel in Byzantine fashion. A crown lies at his feet with an inscription on the base of his throne.To the sides of the figures are angels playing music, including Saint Cecilia playing the organ Lower panels-The background is the same landscape in all of the lower panels and shows flowers from all seasons and different countries. Far into the background, tall mystical buildings can be seen probably representing a heavenly Jerusalem where all will be redeemed through Jesus .In the centre before the lamb, angels kneel with symbols from Christ's Passion, his suffering, but the lamb feels no pain because it is no longer bound to this earth. The lamb's blood flows from his chest into a chalice.The centerpiece is flanked by the Warriors of Christ (on the left) and the Holy Pilgrim and Hermits (on the right).Dove portraying grace and a fountain representing eternal life.Right consists the new testament deacons, bishops and other persons representing the Church.Left consists of patriarchs and prophets from the Old testament

What does ecclesiastic mean?

Non-churchy

Man in a turbin-1433 by Jan Van Eyck secular portraiture

Oil on canvas- Inscription- 'als ich con= As/Eyck can punning allsusion. Use of light and dark creates subtle and dramatic way . Sitter emerge from darkness- light falls from left. Comes from the international Gothic style-emphasis on naturalism and realism. Sharp and detailed analysis of the physical lines. Portrayal lacks emotion expression except a slight reflection. Eyes are fixed on the viewer. Interpreatations= red is the colour clergy(religiuos figure)- he is placing himself on the same as the royal figure. Use of colour- Middle ages and Byzantine style art- artists often used 1 colour for the face.Van Eyck uses at least nine colours (subtle)- Variations of colour and shading are his trade marks of technique. Use of light- coming from leftside- dominates painting with the amount of detail. Use of technique- uses a 3 quatre profile- advantage of this is that its left the artist use a source of light from one side of the painting to show more detail. Self protrait- it is now genereally accepted that Van Eyck is the subject of his own painting but still debated. It is argued to be his father in law- resemblence to the person in the painting but this seems to be unlikely because the father in law would have been alot older. The figure looks as though there is stuble- this evidence for a self portrait. 14th century Europe- found itself throwing out byzantine or international style and moved towards realism. In the work- Artists like Jan Van Eyck used a relatively new style of painting/ oil painting to produce a new sense of reality through microscopic detail and light.

Hugo Van der Goes, The adoration of the three kings-1470 Oilon Oak

Shows many figures- Joseph on the left has his hands out looking questioning. Mary holds up christ's left hand. First Magi hands are in prayer as he worships Christ. SecondMagi has his hands close to his chest- shows light- transparency- seems very like skin- light on his palm- between his fingers- seems so three dimensional. Servent on his knees- you can feel his grip on the goblet there he's about to offer to the christ child. Third gift to be given by the thrid kings-fingers are facing up- the light is very subtle because the entire hand is in shadow. Star of bethlehem leads three kings from the east- shows power of kings are humbled before the power of God. The wealth of the Kings crown sits neglected against that roc- he is more interested in Christ. Christ stares out directly at us- In a church Christ gaze would be blessing as wonderful sense of intimacy. Intensity of deatail-makeseverything actually concrete as if its more than just having volume- actual in the world.Irises on the left- colombines on the right, the fur of the crown or any of the brocade. Not crowded elegent- his figures have a sense of stage presence- figures all have a sense of individuality- all the faces are different- expressing we are wondering what theya re thinking-a sense of theatricality- drwas people in and makes people want to be part of this scene of intense worship.

Lady with an Ermine 1489 by Leonardo Da Vinci oil on wood.

Subject= Cecilia Gallerani. Oil paintwas relatively newto Italy. The subject was a mistress of Leonardo's employers ( Duke of Milan). The painting shows a half length figure, the body turned at a three quatre angle toward her right but her face turned toward her left. Her gaze is not directed neither straight a head nor towards the viewer but toward a thrid party beyond the pictures frame. Cecelia Gallerani was a member of a large family that served for a time for at the dukes court. At the time her portraitwas painted she was only 16 years old and is renowned for her beauty. He coiffure (hair style) confines her hair smoothly to her head with two bands of hair bound on either side of her face and a long plait at the back. Her hair is held in place by a fine gauze (transparent fabric of silk, linen or cotten), Veil with a woven border of gold wound threads, a black band and a sheath over the plait. There are several interpretations of the significance of the ermine in her portrait. The ermine as stout in its winter coat, was a traditional symbol of purity because it was belived an ermine would face death rather than soil its white coat. Leonardo was in service of the duke and the painting is one only four portraits of women. Very detailed wrinkles around her knuckles and flexing off her finger. Her skin painted white, her coiffure brown, her hands olive burgendy her shoulder is blue.

Venus and Mars- Botticelli-1483 Tempra on panel

Tempra and oil on panel. Mars (God of wars) was one of the lovers of venus (goddess of love). Here Mars is asleepand unarmed while venus is awake and alert. The meaning of this picture means that love conqours war or love conqours all. Completly above love. The wasps (vesps in italian) at thetop right= a link with the vespucki family though they may be no more than a symbol of love. Completly above love. Botticelli- the most famous artist of italian renaissance because of subject he depicts and the people he presents. Botticelli was spoiled by his religious belief and centrement. He specialised in mythological subject ( birth of Venus/primavera). Venus- is set in a wooded landscape with mars- their love was illicit (forbidden) venus had been married to the smith of the Gods (ill matched pair) Sandro shows illusion from Venus to Mars- more matched couple beautiful. Here botticelli doesnt show the moment the couple are caught together. Engaged/ lying in different ways- Venus wears white/ gold drapery-matching hair and jewelry- impossible to take off- impossibly- she looks uninterested in mars. Mars crosses one leg over the other- A world of sleep- we believe he is conveying sense. Shows cherubs (boys) playing with his armor/ repellent added humor. Venus is totally unmoved= perfect. Tree trunk= wasps nect episode of this painting. Little cupids have a shell in his other ear- Moment of suspended molten (doesnt show what happens) -God's behaving in human fashion. This painting combinds contempry poetry and classical antiquity/ classicism in a way that difestbal- read on all sorts of levels- everyone will understand falling in love. Rectangular proportions- belong to botticelli of painting ( level of shoulders) high up= windows to another work. Is a type of secular painting to exist (vespearr) Painting made of bed chamber- husband slept with wife- who conceived/male a child. Chaste Venus9 Clothing protects her) made at time of patrons marriage. Looking at beautiful things/men/babies at time of marriage. It was thought that would increase once conceivinga make child- was the point of marriage at late 15th century florence. (Girls were only valued that they could be part of marriage alliance)Hummerous and timeless representation of the subject- cross boundries of time and mean something during 15th century. Mars = God of war- shows cherubs playing with his armor- may show gender roles.

Giuliano de Medici- By Verrochio 1475

Terracotta ( carving)- type of earthenware, clay-based unglazed or glazed. ceronic. Verrochio, a favourite artist of the Medici family-may have created this lively and commanding portrait on the occasion of a joust that took place in 1475 for Giuliano de Medici coming age. Bust was originally painted and possibly adorned with a metal helmet and other decoration, projecting an exuberance especially evident in the winged face modeled on Giuliano fanciful armor. The beloved younger brother of the de facto ruler florence, Lorenzo the Magnificent, Giuliano was destured for on important future, i hope cut off his dramatic munder during mass in florences cathedral in April 1478- unsuccessful attempt to overthrow Medici rule. Portraiture gave the medici visability in the competitive. Florentine political and social scene. This handsome portrait bust of Giuliano- probably from time of his entry into Florentine public life (1975) and attributed to Verrochio, presents him as confident and arrogant, head, held, high and turned slightly to the side. Fierce, grimacing mask, emblamatic of inner ferocity is positioned on his breast as part of decoration of his armour/ exemplifying inner strength+ resolve of this Medici prince.

Christ and St Thomas by Verrocchio

The sculpture was created in 1467-1483 It is a bronze sculpture It is 230cm in height Made and sculpted by Verrocchio. It was made for one of the 14 niches on the exterior walls of Orsanmichele in Florence. Verrocchio created Christ and Saint Thomas for the central niche on the most important east façade of Orsanmichele. It was the only niche that did not belong to a guild .Commissioned by the Tribunale di Mercanzia (merchants)The tabernacle is made from Donatello's original sculpture of St. Louis of Toulouse now in Santa Croce. It is the only tabernacle designed to hold a single figure that now has two and is a fine example of Verrocchio's skills. St Thomas doubted that Jesus was resurrected from the dead and we see here that St Thomas is going to touch Jesus' wounds, and only after he does this he believes. Overall, highly naturalistic. Highly realistic drapery. Hair is quite heavily worked and stylised, the curls are unnaturalistic. There is a slight patin on the sculpture, and the sculpture has dulled since it was cast. It would've originally been shiny, and the dulled bronze makes it slightly more naturalistic, however it is unclear if this was Verrocchio's intentions. Niche of the Merchant's Guild (Tribunale di Mercanzia). They picked this subject matter because they liked the idea of unarguable evidence. The sculpture is cast without backs, so even though it could be walked around, the sculpture is not in the round, viewed from only the front. Dynamic sense of movement to sculpture for the first time since antiquity. Pointing and facing into the niche, Thomas broke the mold. The figures drapery creates lines which shows dynamism and movement of the characters. Gilding on the halo, heightens importance. Jesus is raised on a platform, again importance. The foot of St Thomas which is outside the niche pulls us into the piece, involving us, and also because there was an issue of space, originally belonged to the Guelph political party Double meaning of the hand - hand raised is both bringing Thomas into but also blessing him, backhanded blessing They felt the story of Christ and St. Thomas was appropriate for the central niche. Patrons were the Mercanzia- part of the remit of merchants guild has to be a judical, overseeing body. As such the theme of christ and saint Thomas would have been attractive to them as itconcerened proof and the presentation of indefatigable evidence.

Ghent Altar Piece Northern Tryptich- 1432

This altarpiece is a gigantic work that explores mimimalism and perspective while introducing new progresses with oil that spured the beginning of the renaissance. Composition- It is assumed that the altarpiece was completed by Jan and his brother Herbert. It is thought that Herbert is responsable for the overall concept of the altar piece and probably the nethroned figures in the central top panels in the interior. Symmetry can be seen in relation to the figures in the panel- each panels themeis mirrored opposite. Also the use of oils allows the artist to add much greater detail, such as jewels in the musical angels. Oil paint is very flexible and allows subtle gradients of light and shade. Coloure palette- used oil paints to heighten the rich and often brilliant colours such as the crown that lies on Gods feet. This technique added to overall perecption 'new realism' which distinguished the Northern European Renaissance from the southern. Use of light- Similar to Van Eycks use of colours- he pays special attention to the lighting and shading of figures by adding precise detail. On the exterior panel, the light seems to be cast from the windows and gives the scene a soft, tangible aspect that christianity gives to our world. Perspective- The artist transforms his figures through careful attention to detail and three dimensional images. The figures of Adam and Eve are remarkable as well as the spaitial uses of the foreground and background in the bottom interior panels. Imagery- Detail painted figures are painted life like and real, however the characteristics and themes themselves are not from reality or rather from this physical world. Although painted in strict detail to realistic proportions, palm trees and pomegrants and ornage trees are included in the painting making it seem like a garden ofEden. Also there are tall towers in the background in the lower panels in the interior. This was probably madeto represent a heavenly jerusalem, the panel where man can live after repetance. Technique- different to Italian Renaissance- He painted the figures spaitially correct to detail, not the mathematical exactness. He painted the figures spatially correct but did not idealize them as the anceint greeks and romans would have done. His attention to detail goes down to the depiction of metals, reflections in mirrors, suits of armor and inscriptions. Miscellaneous- It is interesting to look at the two figures of John the Baptist and John the evangelsit on the exterior. The two panels were done in grisaille with pegs to hold them.

Massacio Mary and Christ enthroned-1426- It was a made as a Polyptic Alter piece-Now a single altar piece.

This painting was made within 1426 by Masaccio, it is tempera on wood, and it brings a much more naturalistic form of Jesus and Mary, that had not yet been seen. Mary and Jesus have been framed by the Angel, at the bottom and either side of the throne There is a sense of naturalism, you can see the three dimensionality of Mary, due to the drapery that clings to her body There is lighting coming from the left hand side which highlights her robe and emphasizes the creases of her drapery It can be said that is was made as a polyptic, and this can be seen through the chiaroscuro used on the left hand side of the left angel Masaccio used the concept of linear perspective, the use of orthogonals draws us into the baby Jesus, the lines recede into the throne itself, giving Mary a real sense of sitting within the structure The halos that are placed upon the heads of Mary and Jesus are very different, you can see the detail in Mary's halo, and it is flat and does not give any sense of depth, and Christ halo is rounded and gives us the illusion of three dimensions, elliptical. Very important painting in western art. Uses naturalism-it's got a gothic/classical symbolism such as Corinthian column Mary herself is covered in blue which was a very expensive colour (lapis lazuli) during this period to symbolise her beauty as she is enclosed in it. Their is a form of intimacy for the viewer which features through the renaissance. Her halo is flattened, but is decorated so nicely with leaf gold Her drapery gives her a more lifelike presentation, as it is as if the drapery is tugging at her body and ruffling around her skin The Madonna is a bulky figure, deriving from classical models, and her drapery has larger and more naturalistic folds that shape her body. Christ is an ordinary baby that feeds on grapes which represents wine of his blood. Gothic frame with a pointed arch. Very 3 dimensional and light shining onto the drapery. Represents illusion of space on a flat surface. We can see the orthogonal or diagonal lines which seem to recede into the space of the throne itself. Masaccio uses the whole interest in space and naturalism of the body which is the revolution of the early renaissance. Christ looks more like an actual baby than in the past. The grapes foreshadow the Eucharist of the last supper when he states that the wine is his blood. So in the joyful moment of him as a baby it symbolises Christ life. Baby Christ is also sucking his fingers, which gives a much more life like representation of a baby. His head is in proportional size with his body There is another reference to Christ's death which is in the step just below the throne and this was a decorative form by the Roman sarcophagi with a squiggly line in the middle referencing that Christ will be entombed and another way to foreshadow Christ's death. On the left there's an angel playing the flute and by its left wing there is shadow and it shows that this may have once been a polyptych altarpiece. So there might have been more figures. Shadows haven't been painted since the romans to create volume and mass to make Mary and Christ feel as though they are solid forms in space that are 3 dimensional. The two angels at the front are holding foreshortened giving the painting an even greater sense of depth, and really inviting the viewer into this religious painting. This makes them seem more realistic. Angels are around which is a sense of hierarchical proportion as angels are on their knees. Mary looks very generalised as her face isn't incredibly naturalistic however her drapery shows a sense of form in the body. This altarpiece shows an early use of single-point linear perspective. Elements of the painting meet at a central vanishing-point and are foreshortened to accommodate the viewpoint of the spectator looking up. The figure of the Child is three-dimensional, emphasised by his elliptical halo.

Flowers stil life by Hans Memling 1490

This works many symbolisms such as momento mori. Its an early flower composition such as religious significance. The jug represents christ's monogram oin the front. The monogram is a combination of letters that forms and abreviation for the name of jesus (christogram). This is oak on panel. Its a panel on the back of another panel. This panel behind another painting which represents a portrait. The small italian bars stands on an oriented carpet in a niche . It holds a bouquet of flowers representing Mary. It consists of lillys= represents marys virginity, purity and presents in annuciation scenes. Irises- mean role as queen of heaven= Mary's sorrow of jesus' passion. Colombine's represent holy spirit.In contrast flowers do create life and also representthe purity and innocence of Mary.

A Goldsmith in his shop By Petru christus- 1449

Transitional still life. Still life in the foreground and background , but the main subject are the figures. Figures and still lif e are both shown as both naturalistic. Gold smith is St Eligias- the patron of Goldsmiths and the objects are heavenly symbolic, reating to piety, marriageand st Eligias. Objects behind him are a mix of items that would be sold to homes and churches are likely served as the advertisement for the Goldsmith guild of bruges who may have commissioned the paintings. Willem Van Vluten- a regular goldsmith- shows a band of wedding vows- very symbolic. Reflection of the mirror- of the real world- pictoral world to our world. Morally good to the morally bad reflection of a street withthem holding a falcon resembling greed. At first one sees a griup of three insdie a room filled with trinkets. The two standing figures - a male and a female in rich dressed expensive looking clothing appear to be a couple, as the man has his arm wrapped around the back of the women. In his left hand , he holds a small balance which supports a gold ring. In fact figures are inside a gold shop, and the man is a goldsmith. The Baubles on display objects made from precious metal, stones, glass. Couple look as though they may make a purchase. However there is much to be said . This smith appears to be seated at a work desk, but in fact the ront desk is visibleand a length of fabric hangs over it. But in our space. Most importantly, a convex mirror resting on the smiths desk ( in the lower right hand corner of the painting) reveals a city scape. What we see is not a mere desk. However in fact it is the front of the smiths workshop, which opens on a street in bruges- Belgium. The two young men captured in the mirror hold a falcon and approach the smiths shop. The mirror situates us, the viewer on the street in bruges with that couple, looking into the smiths shop at the artisen and rcih patrons behind him. Interpretation- Complex meaning- This is the year that King Jmes 2nd of scotland married mary of guilders. The duke of burgundy, phillip the good who was also a renowned patron of the arts in bruges commissioned the Goldsmith willem Van Bleauton to make the couple a gift for their wedding. Thus the painting is believed to depict van bleauton as he is about to give the royal couple a gift of golden rings made for their marriage. The Falcon held by the man is a symbol of greed and pride. Since the scale in the hand of the goldsmith, along with illusions to marriage and purity, represents perfection and balance, the presence of the two figures with their ill associated bird creates a contrast between the perfect world of the royals and the imperfect wolrd of the viewer. The Royal couple is morally superior to the common man. Oil paint - deatail trinklests in the shop as well as the luminisity of the painting are only possible because of the use of oil paint- not common in Italy. The use of convex mirrors was a device exploited by northern renaissance painters. In christus' the round surface of the jewels and goblets echo the convex mirror andthe white highlightings thatare used to create both light and volume which invests in still life painting which would dominate northern painting hundreds of years later. Sitter is the dukes favourite goldsmith allegory of st Eligious- Patron saintof Goldmsiths. fine works in stilll life . Band used for marriage. Artists signature on table.

Rogiers Van der Weyden -Deposition- descent from the cross-1435-1438

Typically Northern- crisp sculptural folds. Slightly elongated figures. Shows stigmata. Microscopic attention to deatail! tiny creases, pins tears, different texture of fabrics. Composition- Figures curled inwards, directing the views attention. Simpler fabrics on group help balance extra figure on that side. Otherwise it would appear of balance. Pictoral space- Very shallow, crowded box/stage- like space. Gold not a real space or landscape. Increases drama immediatly of scene. Emotion- Red noses, crystal clear tears. These are real expression of grief. Increases drama makes it easier for the viewer to connect. Common subject matter (often painted) comes in before lamentation. Skull and bones-memento mori, sure but also literal- cross said to be at site of Adams grave. Mary and Christs connections- Mary fainting- she will wake. Christ has died- but he will be ressurected. Scale - huge figures are life size/ very nearly life size- 7ft tall- 8ft wide. Christ is removed from the cross= deposition. Virgin mary fainted through grief. One of Mary's who is crying- nose is red tears coming down her cheek- effects of light as it refracts through tears- one tear looks as though its about to go into her mouth. Huge detail- tiny pin holding her headress- shows creases ironed into the fabric. Jesus is headeddown towards his mothers lap. Both Christ and Mary are are in a similar position- linked in posture- mother and son. Mary looks incredibly pale because she is pure and virginal and she fainted. Important link how she fainted = she will get up- link to jesus how he is dead but will be ressurected. Northen Renaissance= angular folds of drapery thatwe see on Mary- Elongated figures- life size- Gold embroidery- interest in light shining on that metalic embrolders- Texture= fur collar, the faces, the hair, the fabric everythings has this meticulous detail. Skull by Marys body-shows momento mori as a reminder of death, Also represents where Adam was buried where Christhas died- Jesus is the new Adam= birth of the presence of the new man- contrasts with Adam and Eve creating sin where christ and Mary are redeeming mankind from original sin. Composition- Four people on the left- only 3 people on the right. Figures on the right have much more elaborate clothing with fancy brocade or Mary Magdeline on far - with 3 or 4 different colours. Figures on the left are in plain solid, clothing with no patterns, very few colours used- that helps simplify that side. Figures on either end are kind of curved inward to sort of focus our attention to the center of christ almost like brackets enclose the image. 10 figures