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THE RENAISSANCE

Explore the iconic artworks of the Renaissance period, including works by Ghiberti, Cimabue, Giotto, Masaccio, Donatello, and Piero della Francesca. Delve into the use of perspective, geometric composition, and expert use of light and color. Discover the timeless beauty and innovation of Renaissance art.

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THE RENAISSANCE

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  1. THE RENAISSANCE

  2. THE EARLY RENAISSANCE

  3. EXTERIOR OF BAPTISTRY

  4. D U O M O

  5. THE BAPTISTRY DOORS • LORENZO GHIBERTI • 1435 • EACH PANEL • 21 X 17 • NATIONAL MUSEUM, FLORENCE

  6. DETAIL OF BAPTISTRY DOOR

  7. THE MADONNA IN MAJESTY • CIMABUE • 1285 – 1286 • UFFIZI GALLERY, FLORENCE

  8. MADONNA & CHILD ENTHRONED • GIOTTO • 1305 – 1310 • UFFIZI GALLERY, FLORENCE

  9. THE MADONNA AND CHILD • Masaccio • 1426 • Tempera on panel • 24.5 x 18 cm • Uffizi, Florence

  10. THE EXPULSION OF ADAM AND EVE • Masaccio • 1426-1428 • Fresco • 208 x 88 cm • Brancacci Chapel, Florence

  11. Brancacci Chapel Masaccio

  12. DAVID • DONATELLO • 1430-1432 • 62 1/4” • NATIONAL MUSEUM, FLORENCE

  13. DETAIL OF DAVID

  14. MAGDALEN • DONATELLO • 1454-1455 • 6’2” • BAPTISTRY, FLORENCE

  15. MAGDALEN-DETAIL

  16. RESURRECTION • Piero della Francesca • 1463-1465 • Mural in fresco • 225 x 200 cm • Pinacoteca Comunale, Sansepolcro

  17. Perspective and geometry figure both prominently and subtly in all Piero's works. • He liked to organize large, plain masses of color in patterns which suggest an underlying geometrical scheme. That gives his paintings the unfinished look which moderns like. • There are always large areas of white or near-white in his works, the skies are big, light and sunny, and this pleasing radiance, combined with the absence of meticulous clutter, makes his paintings enormously attractive to our eyes. All this was carefully considered and deliberate • We see that Piero was fond of the square format. Here's another example, for this painting is essentially square, being about 10% higher than it is wide.

  18. Stillness: The square format, as we've seen before, gives a mood of overall stillness. This static quality is enhanced by locating Christ exactly on center. Arnheim says that Christ's frontal symmetry makes him look like a statue. Christ is static but the guards appear restless. Their tilted heads are a perfect foil for the riveting head of Christ. • Vertical Zones: The central vertical divides the scene with Winter on left, summer on right. The rebirth of nature is here probably a symbol for rebirth of Christ. • Horizontal Zones: Similarly, the painting is divided into three horizontal bands. Christ occupies the middle band, his head and shoulders reaching into the upper band of sky. His figure unites earth and the heaven. The guards are in the zone below the line marked by Christ's foot.

  19. THE FLAGELLATION • Piero della Francesca • 1455 • Oil and tempera on panel • 58.4 x 81.5 cm • Galleria Nazionale delle Marche, Urbino

  20. In his finest work, the wonderfully light and sparkling Flagellation in the Ducal Palace, Urbino, Christ and his tormentors have been pushed into the background, while three unrelated figures, who are not even watching the scourging, dominate the scene. "No picture could exude a more pronounced air of geometric control and no painting was ever more scrupulously planned."

  21. Geometry of The Flagellation The diagonal AE of that square passes through the V, vanishing point of perspective.Further, in square ATVK we see that arc KT from A cuts the diagonal at Christ's head, F, halfway up the painting. Thus Christ's head is at the center of the original square ASED.

  22. THE LATE RENAISSANCE

  23. Annunciation • Da Vinci Uffizi Gallery • 1472-1475 98 x 217 cm

  24. Perspective • Da Vinci: Annunciation

  25. THE LAST SUPPER • LEONARDO DA VINCI • FLORENTINE • 1495-1498 • 181 X 346 1/2” • MILAN

  26. LAST SUPPER-RESTORED

  27. First to depict acting as real people Greatest ex. Of one point perspective – all lines to Jesus head Looking across the picture from left to right: • Bartholomew, James Minor and Andrew form a group of three. All are aghast, Andrew to the point of holding his hands up in a "stop!" gesture. • Judas, Peter and John form the next group of three. Judas, you will note, has his face in shadow and is clutching a small bag (of silver?). Peter is visibly angry and a feminine-looking John seems about to swoon. • Christ is the calm in the midst of the storm. • Thomas, James Major and Philip are next. Thomas is clearly agitated, James Major stunned and Philip seems to be seeking clarification. • Matthew, Thaddeus and Simon comprise the last group of three figures. It appears that, when a situation turns ugly, Simon is the "go to" guy for explanations.

  28. Castagno 1445-50 Architecture has a strangely oppressive effect on the figures B/c perspective was devised before diners painted

  29. MONA LISA • LEONARDO DA VINCI • FLORENTINE • 1503-1505 • 30 1/4 X 21” • THE LOUVRE, PARIS http://library.thinkquest.org/13681/data/link2.htm

  30. THE VIRGIN OF THE ROCKS • Leonardo Da Vinci • 1503-1506 • 6 x 4 ft • National Gallery, London The sfumato (haze) creates a sense of peculiar warmth and intimacy-more of a poetic vision

  31. THE VIRGIN OF THE ROCKS • Leonardo Da Vinci • 1483-1486 • Oil on panel • 199 x 122 cm • Louvre, Paris

  32. The Da Vinci Code, written by the American novelist Dan Brown, it is claimed the earlier Louvre version contained hidden symbolism which contradicted orthodox Christian belief, • notably the fact that Jesus is shown praying to John rather than the other way round • (the novel implies that the baby at the left must be Jesus rather than John, because he is with the Madonna). • It is also claimed that the Virgin appears to be holding an invisible head and that • Gabriel appears to be "slicing the neck" with his finger. For this reason the painting was rejected by the Church, and a second, more orthodox, version was painted.

  33. London Paris

  34. Vitruvian Man(Man of Perfect Proportions) • Leonardo Da Vinci • 1492 • Pen and Ink • Accademia, Venice • 13 ½ x 9 ½

  35. Other Example of Da Vinci’s Notebook Flying Machine Walk on Water

  36. THE ASSUMPTION OF THE VIRGIN • Correggio • 1525 • Fresco • Parma Cathedral, Parma, Italy

  37. SISTINE CHAPEL

  38. CEILING OF THE SISTINE CHAPEL • MICHELANGELO • FLORENTINE • 1508-1512 • THE VATICAN, ROME

  39. Ancestors Prophets Genesis Scenes Prophets Ancestors Death of Haman Jonah and the Whale Moses & Brass Serpeant Jeremiah Separation of light from darkness Libica Solomon Creation of Sun, Moon, and Planets Jesse Persica Separation of Land from Water Daniel Roboam Creation of Adam Asa Ezekiel Creation of Eve Cumaea Ozias Temptation and Expulsion Ezekias Erythraea Sacrifice of Noah Isaih Zorobabel The Flood Josiah Joel Drunkeness of Noah Delphic Sibyl David & Goliath Zachariah Juidith & HoloPhernes

  40. THE CREATION OF ADAM

  41. FALL OF MAN

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