Chapter 16: The Renaissance In Quattrocento Italy
Gentile de Fabriano, 1423, tempera on wood, Strozzi Chapel. Done by popular master of International Gothic. Striking foreshortening and poses in the animals.
Adoration of the Magi
Fra Angelico, San Marco, Florence, fresco, ca. 1438-1447. Fra=Friar. Simple and direct. Use linear perspective but is removed from reality via no light source.
Annunciation
Andrea del Verrocchio, bronze, c. 1481-1495. Made to rival Gattamelata.
Bartolommeo Colleoni (Equestrian Statue)
Paolo Uccello, 1435 or 1455, tempera on wood, Medici Palace in Cosimo's bedchamber. History painting of a battle involving a friend of the Medicis.
Battle of San Romano
Pollailuolo, engraving, 1465. Lacks narrative. Uses parallel hatching to show anatomy and underlayers of the body.
Battle of Ten Nudes
Ghirlandaio, Santa Maria Novella, Florence, c. 1485-1490. Commissioned by Giovanni Tornabuoni- part of a series of frescos about Mary's life. Shows Ludovica, Giovanni's daughter, as head of procession.
Birth of the Virgin
Brunelleschi, 1418. Financed by group of citizens led by Giovanni d'Medici.
Church of San Lorenzo
Andrea del Verocchio, bronze, Palazzo della Signoria, Florence, ca. 1465-1470. Lithe and youthful. Also commissioned by the Medicis but taken by the city after they were expelled.
David
Donatello, bronze, 1440-1460. First male nude of the Ren. David is symbol of Florence. Commissioned by Medici family
David
Massacio, fresco, 1424-1427, Brancacci chapel, Florence. outside light source.
Expulsion Of Adam And Eve From Eden
Donatello, Sienna Cathedral, 1423-1427, gilded bronze. Shows linear perspective . First example of rationalized perspective in western Renaissance art.
Feast of Herod
Nanni di Banco, Or San Michele, c. 1410-1414, marble. Commissioned by stone- and woodworkers' guild. Early Renaissance attempt to liberate sculpture from architecture.
Four Crowned Saints
Lorenzo Ghiberti, East Doors of the Baptistery of St. John, 1425-1452, gilded bronze. Early use of linear perspective. As the eye moves up, the image gets flatter. Incorporates references of classical statues
Gates of Paradise
Donatello, Padua, Italy, bronze, c. 1445-1453. Statue of recently deceased condottiere. First mounted portrait since antiquity to rival Roman ones. Horse's leg planted on globe to represent world domination.
Gattamelata (Equestrian Statue of Erasmo da Narni)
Antonio del Pollaiuolo, Florence, Medici Palace, ca. 1470-1475. Reflects Medici desire for humanist imagery.
Hercules and Antaeus
Massaccio, Santa Maria Novella, Florence, 1424-1427. Shows humanism and religion as not mutually exclusive.
Holy Trinity
Andrea del Castagno, Refectory of the Monastery of Sant'Apollonia, Florence, 1447, fresco.
Last Supper
1369-1444, wrote essay in 1403, calling Florence the successor of Rome. Published history of Florentine Republic in 1429. Honored funeral according to Roman customs.
Leonardi Bruni
Fra Filippo Lippi, ca. 1460-65, tempera on wood. Humanization of religious subjects-- Lippi used live models. Mary as a beautiful young mother in a rich Florentine home.
Madonna and Child With Angels
major project of the early 1400s was to place the sculptures guilds had agreed to place a hundred years earlier. In 1406 the city of Florence was blockaded and as a sign of morale and civic pride the guilds established their statues.
Or San Michele Sculptures
Brunalleschi, begun 1419. Foundlings and orphan home attached to a church. Commissioned by silk manufacture and goldsmithing guilds. First true Renaissance style building.
Ospedele Degli Innocenti
Michelozzo di Bartolommeo, Florence, begun 1445.
Palazzo Medici-Riccardi
Brunelleschi. Not finished until well after his death. Loggia and front facade were probably added by Giuliano de Maiano rather than Brunellschi.
Pazzi Chapel
Ghirlandaio, oil and tempera on wood, 1488. Sitter is wife of Giovanni Tornabuoni. Died at age 20 in childbirth. Shows class and courtly manners of Quattrocento Florence.
Portrait of Giovanna Tornabuoni
Sandro Botticelli, ca. 1482, tempera on wood. Commissioned by Lorenzo di Pierfrancesco de' Medici. Oranges are a symbol of Medicis. Probably a wedding portrait due to themes of love and springtime.
Primavera
Piero della Francesca, fresco, Borgo San Sepulcro, ca. 1463-1465. In town hall area.
Resurrection
Filippo Brunelleschi, bronze cast, 1401-1402. More dynamic composition
Sacrifice of Isaac
Lorenzo Ghiberti, bronze cast, 1401-1402, won contest
Sacrifice of Isaac
Donatello, ca. 1413-1418, marble, north side of Or San Michele. Commissioned by swords and armorers guild. Relief beneath statue shows use of accurate fore- and background
Saint George
Donatello, ca. 1411-1413, south side of Or San Michele, marble. Commissioned by linen makers' and tailors' guild. Contrapasto clothes reflect contrapasto pose
Saint Mark
Bernardo Rossellino, marble, 1444-1450. Artist from a family of stonecutters. Classically inspired tomb w/ some Christian elements.
Tomb of Leonardo Bruni
Masaccio, Brancacci chapel, Fresco, 1424-1427, specific light source. Aerial perspective.
Tribute Money
Renaissance Humanism
an intellectual movement centered in Italy that valued scholarship, language study, the arts, and particularly the ancient Greek and Latin classics in order to begin developing a worldview that could celebrate the individual human being as the unique pinnacle of God's creation.
rediscovered in 1420 by Filippo Brunelleschi. Rationalization of sight. this innovation made accurate maps and to-scale maps possible
linear perspective
quattrocento
the 1400s, or fifteenth century, in Italian art