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Chapter Twelve The Early Renaissance

Toward the Renaissance. Renewed interest in Classical textsNew growth in economics/tradeFlorentine banking and commerce. The First Phase: Masaccio, Ghiberti, and Brunelleschi. Wool tradeBanking, banking familiesStable monetary systemRevolutionary Florentine artRenaissance . The First Phase: Masaccio, Ghiberti, and Brunelleschi.

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Chapter Twelve The Early Renaissance

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    1. Chapter Twelve The Early Renaissance

    2. Toward the Renaissance Renewed interest in Classical texts New growth in economics/trade Florentine banking and commerce

    3. The First Phase: Masaccio, Ghiberti, and Brunelleschi Wool trade Banking, banking families Stable monetary system Revolutionary Florentine art Renaissance

    4. The First Phase: Masaccio, Ghiberti, and Brunelleschi Tommaso Guidi, aka Masaccio (1401-1428) The Holy Trinity (c. 1428) Clarity of line, perspective, realism, psychology

    5. 12.2 Gentile da Fabriano, Adoration of the Magi, 1423. Altarpiece from Santa Trinita, Florence. Tempera on wood, approx. 9´11? x 9´3? (3.02 x 2.81 m). Galleria degli Uffi zi, Florence, Italy//© Erich Lessing/Art Resource, NY12.2 Gentile da Fabriano, Adoration of the Magi, 1423. Altarpiece from Santa Trinita, Florence. Tempera on wood, approx. 9´11? x 9´3? (3.02 x 2.81 m). Galleria degli Uffi zi, Florence, Italy//© Erich Lessing/Art Resource, NY

    6. 12.3 Masaccio, The Holy Trinity, c. 1428. Fresco, 21´101/2? x 10´5? (6.66 x 3.19 m). Santa Maria Novella, Florence, Italy//© Erich Lessing/Art Resource, NY12.3 Masaccio, The Holy Trinity, c. 1428. Fresco, 21´101/2? x 10´5? (6.66 x 3.19 m). Santa Maria Novella, Florence, Italy//© Erich Lessing/Art Resource, NY

    7. The First Phase: Masaccio, Ghiberti, and Brunelleschi Masaccio Realistic depiction of human beings The Tribute Money (c. 1427) Profound sense of emotion Expulsion of Adam and Eve from Eden (c. 1425) “…brought into existence the modern style”

    8. 12.5 Masaccio, Expulsion of Adam and Eve from Eden, c. 1425. Fresco, 7´1/4? x 2´11? (2.14 x .90 m). Brancacci Chapel, Santa Maria del Carmine, Florence, Italy//© Erich Lessing Art Resource, NY12.5 Masaccio, Expulsion of Adam and Eve from Eden, c. 1425. Fresco, 7´1/4? x 2´11? (2.14 x .90 m). Brancacci Chapel, Santa Maria del Carmine, Florence, Italy//© Erich Lessing Art Resource, NY

    9. The First Phase: Masaccio, Ghiberti, and Brunelleschi Lorenzo Ghiberti (1378-1455) Florence Baptistery, North Door competition Sentiment, mathematical perspective East Doors = “Gates of Paradise” Filippo Brunelleschi (1377-1466) Renaissance architecture Dome of Santa Maria del Fiore Gothic + Classical Roman influences

    10. 12.8 Lorenzo Ghiberti, East Doors (“Gates of Paradise”) of the Baptistery of the Cathedral of Florence, 1425–1452. Gilt bronze relief, 17´ (5.18 m) high. Modern copy, c. 1980. Original panels in Museo del Opera del Duomo, Florence, Italy//© Alinari/Art Resource, NY12.8 Lorenzo Ghiberti, East Doors (“Gates of Paradise”) of the Baptistery of the Cathedral of Florence, 1425–1452. Gilt bronze relief, 17´ (5.18 m) high. Modern copy, c. 1980. Original panels in Museo del Opera del Duomo, Florence, Italy//© Alinari/Art Resource, NY

    11. The Medici Era Medici rule of Florence: 1434-1492 Immense banking fortune Branch banks throughout Western Europe Extensive geographic, sociological influence Giovanni Arnolfini and His Bride (1434)

    12. 12.13 Jan van Eyck, Giovanni Arnolfi ni and His Bride, 1434. Tempera and oil on wood, approx. 32? x 23? (81.3 x 59.7 cm). National Gallery, London, UK// © Erich Lessing/Art Resource, NY12.13 Jan van Eyck, Giovanni Arnolfi ni and His Bride, 1434. Tempera and oil on wood, approx. 32? x 23? (81.3 x 59.7 cm). National Gallery, London, UK// © Erich Lessing/Art Resource, NY

    13. The Medici Era: Cosimo de’ Medici (1434-1464) Donatello (1386-1466) Saint George, David, Mary Magdalene

    14. 12.15 Donatello, David, c. 1428–1432. Bronze, 5´21/2? (1.58 m) high. Museo Nazionale del Bargello, Florence, Italy//© Erich Lessing/Art Resource, NY12.15 Donatello, David, c. 1428–1432. Bronze, 5´21/2? (1.58 m) high. Museo Nazionale del Bargello, Florence, Italy//© Erich Lessing/Art Resource, NY

    15. The Medici Era: Piero de’ Medici Ruled Florence from 1464-1469 Continued Cosimo’s patronages Religious and civil art and architecture Medici and the theme of the Magi Sandro Botticelli (1444-1510)

    16. The Medici Era: Lorenzo il Magnifico Accomplished vernacular poet Botticelli, Michelangelo

    17. The Medici Era: Lorenzo il Magnifico Botticelli (1444-1510) La Primavera (Springtime), The Birth of Venus Platonic idealism, Christian mysticism Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of the Rocks Notebooks Mathematics, natural world and humanity, love for beauty

    18. 12.21 Sandro Botticelli, La Primavera (Springtime), c. 1478. Tempera on canvas, 6´8? x 10´4? (2.03 x 3.14 m). Galleria degli Uffi zi, Florence, Italy//© Scala/Art Resource, NY12.21 Sandro Botticelli, La Primavera (Springtime), c. 1478. Tempera on canvas, 6´8? x 10´4? (2.03 x 3.14 m). Galleria degli Uffi zi, Florence, Italy//© Scala/Art Resource, NY

    19. 12.22 Sandro Botticelli, The Birth of Venus, c. 1482. Tempera on canvas, approx. 5´8? x 9´1? (1.72 x 2.77 m). Galleria degli Uffi zi, Florence, Italy//© Scala/Art Resource, NY 12.22 Sandro Botticelli, The Birth of Venus, c. 1482. Tempera on canvas, approx. 5´8? x 9´1? (1.72 x 2.77 m). Galleria degli Uffi zi, Florence, Italy//© Scala/Art Resource, NY

    20. 12.23 Leonardo da Vinci, Mona Lisa, c. 1503–1505. Oil on wood, approx. 30? x 21? (76.2 x 53.3 cm). Musée du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY12.23 Leonardo da Vinci, Mona Lisa, c. 1503–1505. Oil on wood, approx. 30? x 21? (76.2 x 53.3 cm). Musée du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY

    21. 12.25 Leonardo da Vinci, The Last Supper, 1495–1498. Fresco, post-restoration, 14´5? x 28´1/4?. Refectory, Santa Maria delle Grazie, Milan, Italy. Image © The Gallery Collection/CORBIS12.25 Leonardo da Vinci, The Last Supper, 1495–1498. Fresco, post-restoration, 14´5? x 28´1/4?. Refectory, Santa Maria delle Grazie, Milan, Italy. Image © The Gallery Collection/CORBIS

    22. 12.26 Leonardo da Vinci, Madonna of the Rocks, begun 1483. Panel painting transferred to canvas, 78? x 48? (198.1 x 121.9 cm). Musée du Louvre, Paris, France//© Scala/Art Resource, NY12.26 Leonardo da Vinci, Madonna of the Rocks, begun 1483. Panel painting transferred to canvas, 78? x 48? (198.1 x 121.9 cm). Musée du Louvre, Paris, France//© Scala/Art Resource, NY

    23. The Medici Era: Lorenzo il Magnifico Michelangelo Buonarroti (1476-1564) Cameo carving: Madonna of the Stairs Pietá Michelangelo’s David Statement of idealized beauty Palazzo Vecchio: symbol of civic power

    24. 12.29 Michelangelo, David, 1501–1504. Marble, 18´ (5.49 m) high. Accademia di Belle Arti, Florence, Italy//© Erich Lessing/Art Resource, NY12.29 Michelangelo, David, 1501–1504. Marble, 18´ (5.49 m) high. Accademia di Belle Arti, Florence, Italy//© Erich Lessing/Art Resource, NY

    25. The Medici Era: Lorenzo il Magnifico Fra Savonarola (1452-1498) Dominican preacher, reformer Laurentian Florence vs. Medieval Piety Inspired many converts Defied papal excommunication, died publicly

    26. Pico della Mirandola (1463-1494) Synthesis of all learning yields truth Student of languages and cultures Oration on the Dignity of Man Man bridges gap between heaven and creation Humanity is a great miracle

    27. Printing Technology and the Spread of Humanism Aldus Manutius (1449-1525) Humanists collated and corrected manuscripts Vast scope of Greek, Latin, vernacular texts Johann Gutenberg (c. 1395-1468) William Caxton Print technology and the diffusion of ideas 6-9 million books, 13,000 editions before 1500

    28. Two Styles of Humanism: Niccolň Machiavelli (1469-1527) The Prince Secular study of political theory Inspired by Republican Rome Realistic pragmatism Success in governing is key to power Wisdom and ruthlessness Christianity’s role in politics is disastrous “The end justifies the means”

    29. Two Styles of Humanism: Desiderius Erasmus (1466-1536) Wandering scholar, author Christian Humanism Classical learning + Christian living The Praise of Folly (1509) Attacked religious corruption Sweeping social criticism Outsold only by the Bible in the 16th century

    30. Music in the 15th Century Guillaume Dufay (c. 1400-1474) Secularization of the motet, Chanson masses Synthesis of secular and religious Johannes Ockeghem (c. 1430-1495) Classical balance of intellect and emotion Music in Medici Florence No Classical models Platonic and Aristotelian significance Frittola, canto carnascialesco

    31. Chapter Twelve: Discussion Questions Consider the role of art in Florentine politics. In what ways does artistic patronage serve as a vehicle for state propaganda? Explain, including principal discussions of the socio-religious works of Gozzoli and Michelangelo. Contrast the medieval worldview with that of the Renaissance. What was the role of the individual during the Middle Ages? During the Renaissance? What was the role of the artist in each period? To what may we attribute the shift in perspective? Explain. Citing specific artwork from Chapter Twelve, explore the artistic balance between Classical and Christian prerogatives. Which of the artists in the chapter had the most success balancing and/or synthesizing the two ideologies? Compare the two styles of Humanism exemplified by Erasmus and Machiavelli. What variation on the theme does each provide? Consider the roles of Classicism and Christianity in their respective approaches.

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