HOA 320: Italian Renaissance Art Exam 2

Alfonso of Aragon

Adopted into the Angevin family, selected as ruler (later rescinded) who commissioned the triumphal arch of King Alfonso c. 1453

Camera Picta

Andrea Mantegna, Ducal Palace, Mantua c. 1465 Commissioned by condottiore, Gonzaga -Painted chamber by Andrea Mantegna, mixing contemporary and classical tastes, breaking away from gothicism, court residence artist, family scenes, playful and illusionistic, bed room/waiting chambers an important space for hosting guests

Last Supper, Entombment, and Resurrection

Andrea del Castagno, Refectory of Sant'Apollonia, Florence c. 1447 -Typical of Christ scenes, orthagonals meet at the table

Baptism of Christ

Andrea del Verrocchio and Leonardo da Vinci c. 1472-75 -Two different angels by two very different artists, shows Leonardo's expertise in painting -Angel: chiarascouro, ambitious pose, drapery, light source, softness, diffusion in Leonardo's treatment of figures, landscape, hair

The Sistine Chapel

Baccio Pontelli, c. 1477, Vatican, Rome Space for the election of new popes, contains important frescoes and the Pieta

Triumphal Arch of King Alfonso of Aragon,

Castel Nuovo, Naples, c. 1453 detail: Triumphal Entry of Alfonso of Aragon into Naples -Shows procession into Naples c. 1443, very classicizing, refers to Ancient Roman triumphal arches, the Arch of Trajan (a Good Emperor), model of leadership -Siege perilous, seat at the round table where only the pure of heart can sit without it lighting on fire, Alfonso seen displacing the fire

Pope Sixtus IV

Commissioned the Sistine Chapel and its frescoes

Scuola Grande di San Giovanni Evangelista

Commissions Miracle at the Rialto by Vittore Carpaccio, c. 1494

Felice Brancacci

Commissions the Brancacci Chapel

Doge Francesco Foscari

Commissions the Ca Foscari c. 1450

Pope Nicholas V

Commissions works in the Chapel of St Lawrence by Fra Angelico in the Vatican, setting a pattern for papal patronage and moving the papacy to the Vatican where Saint Peter is buried

Frederico da Montefeltro

Condittiore in Urbino who commissions the Brera Alatarpiece c. 1472

Sigismondo Malatesta

Condottiore in Rimini, commissioned San Francesco there, classicizing

Pietra Serena

Cool sandstone local to Florence, used by Brunelleschi in the Medici Sacristy in particular

The Last Supper

Cosimo Rosselli, Sistine Chapel, Vatican, Rome c. 1481-82 -Sistine Chapel is the Papal Conclave, where they elect new Popes, fresco cycle of scenes of Christ and Moses, very classical

Tomb of Beatrice d'Este and Ludovico Sforza

Cristoforo Solari

Leon Battista Alberti, "On Painting" 1435

DESCRIBES HOW painters created their works using viewing apparatuses -Codifies one-point perspective

Porta della Carta

Doge's Palace, Venice, c. 1438 -"Portal of Paper," done in Istrian stone and inlaid red marble. -Portals are important spaces for embellishment, mark the entrance to a new space, separating the holy from the mundane. -Stylistically gothic, pointed arches, quatrefoils, spires, and putti -Doge kneels before St. Mark (represented as a lion), St. Mark also seen in a roundel above -Four cardinal virtues also seen, civic and religious combined, like in the Allegory of Good Government // appropriate choice for doorway connecting civic and religious buildings

Adoration of the Shepherds

Domenico Ghirlandaio, Sassetti Chapel, Santa Trinita, Florence c. 1485 -Humble shepherds visit and pay tribute to Christ, continuous narrative. -Classicism through corinthian columns, triumphal arch in the back -Painted in an exacting fashion; the treatment of space and depth -Related to Flemish art, the Portinari Altarpiece of Hugo van der Goes (shows the influence of Northern European art, especially Flemmings)

Giovanna de' Tornabuoni

Domenico Ghirlandaio, c. 1488 Private portrait commissioned post-humously, presents the sitter as the ultimate wife, mother, with piety (prayer book, beads). Also has a classicizing inscription of Martial

St. Mark

Donatello, Orsanmichele, Florence c. 1411-13 Commissioned by the Linen Weaver's Guild

David

Donatello, for atrium of the Medici Palace c. late 1420s Old testament hero, slays Goliath, becomes a major Florentine icon -Contraposto, free-standing, the first nude since antiquity (very classicizing) -Effeminate boy, unlikely representation -Made for private setting, domestic purpose: freedom, exploration -Detached facial expression with hat and boots, which enhance his nakedness -Wing from Goliath's helmet extends up the inner thigh, suggestive

Santa Maria presso San Satiro

Donato Bramante, Milan

Doors of Old St Peters

Filarete, St. Peters, Vatican, Rome, c. 1445 -Commissioned by Pope Eugenius IV -Embellished in gold and silver, compare to Andrea Pisano's South Baptistry Doors from Florence in composition, the way that panels are organized; Filarete's panels are not uniform, but vary in size, making four large and two small panels at the bottom, a classicizing detail which recalls early christian doors, like Santa Sabina -Iconic, not narrative, with images of God and Mary on the left and Paul and Peter on the right (Pope, patron saints of the city) -Medieval representation of figures and space -Lower two panels show the death of Peter and the martyrdom of Paul, busy narrative scenes

San Lorenzo

Filippo Brunelleschi (?), Florence c. 1418-1466 Commissioned and Financed by Cosimo de' Medici -The Medici parish church, receives their patronage -Dedicated to Saint Lawrence, built in the 4th century but added to in the 15th. Adds a new choir/apse/burial chapel in the West end -Uses many families to patron chapels - -Burial rights given to Cosimo -Use of expensive materials, columns over piers, very classicizing, uniform, symmetrical, rounded arches -Looking at the Romanesque precedent, at the time mistaken as Ancient Roman, to impose harmony and proportion

Sacrifice of Isaac

Filippo Brunelleschi c. 1401-03

Dome (Cupola) Florence Cathedral

Filippo Brunelleschi, Florence c. 1420-36

St. Lawrence Recieving the Treasures of the Church from Pope Sixtus II and St. Lawrence Distributing Alms

Fra Angelico, Chapel of St. Lawrence, Vatican, Rome, c. 1448-50 -Commissioned by Nicholas V -Chapel of St Lawrence (Nicholas V), private chapel for the Pope, elaborate decorative qualities which refers to the Sancta Sanctorum (Nicholas III), images of Saints Steven and Lawrence, whom are both deacons, emphasis on engaging in charity, aligning with early Christians -Fire on garments related to his martyrdom -Perspective painting, architecture if emphasized, classicizing, symmetrical -The deserving poor, those who cannot work or support themselves, are shown (children, some women, the disabled)

San Marco Altarpiece

Fra Angelico, San Marco, Florence c. 1440 Commissioned by Cosimo de Medici Sacra Conversazione -Sacred conversation, Madonna and Child surrounded by saints -First altarpiece with the impact of one-point perspective -St. Cosmas, Damian (Cosimo's patron saints, doctor saints like the Medici family) -One is turned to us, one to the Madonna and Child, modelling viewer's behavior -Imported eastern rug, proof of Islamic finery, with red balls reminiscent of the Medici crest -Small painting where priest raises host for mass -Rich garden background, symbolically divided with a cloth barrier Motif of the "closed garden" hortus conclusus, closed since Adam and Eve, often accompanied with images of Mary, seen as the new Eve -Vanishing point is high, lot of the floor is shown, No gothic paneling used -Architecture of the throne uses Corinthian columns with entablature and a cornice (classicizing)

Francesco Sassetti

Francesco Sassetti is the Medici bank manager who commissioned the Sassetti Chapel in Santa Trinita, Florence c. 1485 and the altarpiece, the Adoration of the Shepherds. These two works are by Domenico Ghirlandaio.

Adoration of the Magi

Gentile de Fabriano c. 1423 Commissioned by Palla Strozzi, for the Sacristy of Saint Trinita, Florence International Gothic style

San Giobbe Altarpiece

Giovanni Bellini, c. 1478, San Giobbe, Venice -Important family of artists works in this hospital church -High throne, classicizing architectural frame, entablature, half-dome with mosaic -Contemporary with Ghirlandaio, sacra conversazione, classicism

Pope Eugenius IV

Interested in religious revival, commissions the Doors of Old St. Peters, Vatican, Rome, c. 1445 by Filarete

San Francesco

Leon Battista Alberti, Rimini -Commissioned by Sigismondo Malatesta, a military mercenary "condittiore" -First truly classicizing space, humanist who understands classical architecture, refers to the arch of Augustus, triangular pediment, roundels, triple arch -Use of porphyry and serpentine, classical materials -Side walls with Avelli exterior burials in a row of arches on PIERS (not columns, exactly classical)

Cecilia Gallerani

Leonardo da Vinci

Madonna of the Rocks

Leonardo da Vinci

Ginevra de' Benci

Leonardo da Vinci, c. 1474 and 1478/80 Private portrait commissioned post-humously, presents the sitter as the ultimate wife, mother, with piety (prayer book, beads). A classicizing inscription of Martial flatters the sitter "Beauty Adorns Virtue." Palm fronds and olive branches are the other classicizing details -Two-sided panels more common at the time -Innovative portrait, not done in profile but at 3/4 frontal, done outdoors (a Flemish tradition) -Visual pun created by the juniper bush, a play on the sitter's name -We assume the patron was Pietro Bembo, who was her platonic lover, close friend

Sacrifice of Isaac

Lorenzo Ghiberti c. 1401-03

East Doors (Gates of Paradise)

Lorenzo Ghiberti, Baptistery, Florence c. 1425-52 -Architectural scenes in the middle, symmetry Detail: Jacob and Esau Continuous narrative -Rebecca gives birth to two titular children, Jacob is the Rebecca's favorite and Esau is Isaac's favorite and destined for birthright. Rebecca wants it for Jacob, so when Esau goes hunting with dogs she tricks the blind Isaac into feeling fake hair on the wrong son's head. -Very complex story, lots of elements in the narrative sorted by clarity of architecture, depth created by the use of relief, and grouping of figures

Ludovico Gonzaga

Marquis of Mantua after the late 14th century, with close ties to the holy Roman empire, condottiore

Expulsion and the Tribute Money

Masaccio, Brancacci Chapel, Santa Maria del Carmine, Florence c. 1424-27 -Commissioned by Felice Brancacci -Fresco cycle of scenes of the life of Peter, the Old Testament, as well as the temptation/expulsion of Adam and Eve from Paradise -Scene of the Tribute Money comes from Matthew, presented in a continuous narrative in which different episodes are placed in a single composition, with Peter shown three different times -Expressiveness akin to that of Giotto, use of foreshortening, use of gesture -Strong central composition with Christ at the center -Division between the foreground, middleground and background, depth and atmospheric perspective used to show distance, as well as light and shadow -Architecture represents the city, works in one-point perspective

Trinity

Masaccio, Santa Maria Novella, Florence c. 1426-27 -Commissioned by Domenico Lenzi potentially -Illusionistic, fictive chapel with Jesus on the cross, two donor portraits (husband and wife), as well as God and the Holy Spirit -Crucifixion scenes normally have St. John the Evangelist and St Mary -Lower register has a skeleton with inscribed sarcophogus (in Italian, layman's language), a memento mori: reminder of death (very reminiscent of the International Gothic) -Architecture and depth, one point perspective with converging orthagonals at the second step where the patrons are, eye level -Symmetry, male and female, split at the cross, columns, Christ's muscles, use of color -Blue and red carries the eye through -Division into many triangles between faces complete the composition -Circles in arches, one of God and Christ, the trinity (duality)

Pieta

Michelangelo, St. Peters, Vatican, Rome, c. 1498-99 -Commissioned by French Cardinal Jean Bilheres de Lagravias, a scene not frequently depicted but beautifully rendered -By Michelangelo, apprentice to Ghirlandaio

Cappella Nova, Birth of the Virgin mosaic

Michele Giambono and others, Mascoli Chapel, St. Marks, Venice -given the character of the rest of San Marco, elaborate and gilded, excessive use of mosaics -Barrel vault with mosaic ceiling (not popular at the time), dedicated to the Virgin Mary -Artist works to perfect the image to be viewed from outside the chapel, experiments with perspective and space -Architecture turned on its axis, on a diagonal with figures, curtains, Venetian interior seen

Medici Palace

Michelozzo, Florence c. 1445-1460 Commissioned by Cosimo de' Medici -First truly Renaissance palace -Bifore window, rounded, three-tier architecture, three clear stories separated by stringcourse -bottom story has rusticated masonry, gets smoother and smaller as it moves up -Topped with a large, classicizing overhanging cornice -Corinthian order adapted w Brunelleschian style, code of arms on the side, roundels based on ancient coins, cameos detail: Courtyard, Michelozzo

Lorenzo de' Medici, the Magnificent

Not the ruler of Florence, but someone exercising their power within a Republican government of elected officials, nor an aristocratic family until the 16th century; but is merchant class. Neoplatonism: the revival of antiquity, reconciling Pagan and Christian

Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece)

Piero della Francesca, c. 1472 -Commissioned by Federico Montefeltro, condottiere, who's wife had passed, obvious space where she is missing, spacially perfect, sacred conversation is static, coral necklace on christ, real contemporary practice related to high infant mortality rates

Pietro Bembo

Pietro Bembo commissioned the portrait of his friend Ginevra de' Benci by Leonardo da Vinci c. 1474

Christ Giving the Keys to Peter

Pietro Perugino and Cosimo Rosselli, Sistine Chapel, Vatican, Rome, c. 1481-82 -Christ Giving the Keys to Peter (Pietro) -Last Supper (Cosimo) -Sistine Chapel is the Papal Conclave, where they elect new Popes, fresco cycle of scenes of Christ and Moses, very classical -You Sixtus IV... superior in Wisdom to Solomon

The Last Supper

Refectory, Santa Maria delle Grazie, Milan

Birth of Venus

Sandro Botticelli, c. 1480s -Panel painting, very classicizing, shows a mythological figure in a story, in a classical pose and composition -Work on canvas was otherwise for ephemeral works; Venus is born of the sea and her father Uranus' penis, on a shell, blown to shore by Zephyr, god of winds -

Palazzo (Ca') Foscari

Venice c. 1450 -Commissioned by Doge Francesco Foscari, to be lived in by his family and male heirs -Palazzo Medici is contemporaneous, both model the famed civic structure in their respective cities; elaborate and asymmetrical with Islamic and Gothic influences -Different from the Ca' d'Oro, very Renaissance, horizontal quoines, friezes from antiquity, loggia

Miracle at the Rialto

Vittore Carpaccio, c. 1494 -Commissioned by the Scuola Grande, contrafraternity, who are involved in the scene -Descriptive work like Ghirlandaio, very busy, shows life in Venice, with all details, anachronistic -Scene of a miracle, the relic owned by the commissioners being used to exorcise a demon, as well as a processional, odd arrangement of space and scene, not centrally focused but moves the eye through the space

Single (One)-Point Perspective

codified by Leon Battista Leon in his "On Painting"

Condottiere

military mercenary, hired out leaders of armies in Non-republics

Sacra Conversazione

sacred conversation, the composition of Madonna and child surrounded by saints and contemporary figures