1 / 62

Renaissance Art

Renaissance Art. 15th Century Europe. Objectives. Understand the development of linear perspective in two-dimensional art forms. Follow the influences of antiquity and classical ideas and forms in all the arts.

takoda
Download Presentation

Renaissance Art

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Renaissance Art 15th Century Europe

  2. Objectives • Understand the development of linear perspective in two-dimensional art forms. • Follow the influences of antiquity and classical ideas and forms in all the arts. • Be able to distinguish the new advances in rendering the human form in sculpture and painting. • Become familiar with the impact that Greek philosophy and mythology had on the arts. • Recognize the influences still felt from Christianity on the arts

  3. Renaissance Art in Fifteenth-Century Italy

  4. Humanism and the Italian Renaissance • Cities grew in wealth and independence • Country to City • Noble lineage did NOT guarantee political/economic success • Mercenary armies led by entrepreneurial military commanders • Condottieri

  5. Continued • Humanists sought the physical and literary records of the ancient world – assembling libraries, collecting sculpture and fragments of architecture, and beginning archaeological investigations of ancient Rome. • They received their inspiration from classical antiquity. • Christian religion remained the predominate subject of art.

  6. Humanism and the Italian Renaissance (cont.) • Allegorical and Mythological Scene Prevlant • Art for Arts Sake • Collectors • Male nude is an acceptable subject in renaissance art. • In the end of the 15th century female nudes became acceptable.

  7. Florence Cathedral • Dome created by Filippo Brunelleschi • Winner of Contest • Octagonal drum = Base of Dome • 138 across • 8 Large and 16 Small Ribs • Brick

  8. The Four Crowned Martyrs • Strongly influenced by the classic tradition. • Commissioned about 1409 by Stone carvers’ and woodworkers’ guild • Refers to 9 separate martyrs, divided into two groups. • 3rd century sculptors who were executed for refusing to make an image of a pagan roman god. • Small scale gothic chapel.

  9. Four Crowned Martyr Saints (Quattro Santi Coronati) Nanni Di Banco 1409- 1417 Marble with traces of gilding

  10. Saint George • Commissioned Florences lesser guild (Armorer & sword maker) • Saint George • -Originally as conceived as standing advertisement for the guild • -body positioning very alert, but face very tense and worried

  11. Saint George Donatello c. 1415-17 original marble is 6' 5"

  12. The Gates of Paradise (East Door) • 10 Panels • Depict events from the Creation to the reign of Solomon. • Uses Medieval method of narrative in combining several scenes in one panel • Has figures nearly in the round with parts of their bodies extended from the background as well as details in very shallow relief.

  13. from Florence Baptistery Lorenzo Ghiberti1425-52Bronze With GildingFlorence

  14. Genesis Cain & Abel Abraham Noah Joseph Isaac Joshua Moses Solomon David

  15. Jacob and Esau • Lorenzo Ghiberti • Middle panel on the left door of “The Gates of Paradise” • Pictorial relief on bronze • Rebecca gives birth to Isaac • Isaac sends his oldest son, Esau, to hunt for food • Isaac mistakenly gives his blessing to Jacob • Rebecca watches Isaac bless the wrong son • Often referred to as the “Isaac Panel”

  16. The Story of Jacob and Esau c. 1435 Lorenzo Ghberti

  17. Donatello's David David created by Donatello Donatello was a master of both marble and bronze statues. Brought back the antic free standing figures. Significance = elaborate helmet and wings of Zephyr - Roman wind god - evil & destruction David nudity refers to the ancient Greek sculptures

  18. David • Donatello • 1430-1460 • Bronze

  19. Mary Magdalen • Completely made of Wood • Contrast piece to Donatello's David • Very Embodiment of regret for ones wrong doing • Features • Wasted body caused by age and years of self- denial • Portrayed so that we fully share her anguish and longing for redemption

  20. Mary Magdalen Donatello c.1455 Height 6”2 Front Back

  21. Hercules and Antaeus MADE BY ANTONIO DEL POLLAIUOLO IMPRESSED BY THE LATE STYLES OFDonatello and Castagno Freeze standing Small scale, Perfect balance Pollaiuolo in grafted the upper part of Antaeus onto the lower part of his adversary to stress the central axis All’antica “ in the antique way”

  22. Antonio del Pollaiuolo 1475

  23. Represents his most elaborate pictorial design Purpose of engraving was to display the nude body in action Coupled with slender proportions and an emphasis on outline rather than on modeling Poses drew from upon the Greek vases Chose to instead portray both the statuette and the print as if their skin had been stripped off to reveal the play of the muscle underneath due to knowledge of anatomy Battle of the Naked Men

  24. Battle of the Nudes Antonio del Pollaiuolo c.1465-70

  25. The Holy Trinity with the Virgin, St. John the Evangelist, and Two Donors • Holy spirit represented by a white dove above Jesus’ head • Illusion of aedicula and stone sarcophagus • Linear perspective (everything measured to scale) = realism • Classical Architecture instead of Gothic • Light from front= shadows and depth • Mary is presenting Christ

  26. … continued • On bottom half is painted sarcophagus with skeleton resting on top -Reminder that death awaits us, only belief in Christ is redemption • Skeleton is Adam, alleged tomb of Adam under chapel • “I was what you are, and what I am you shall be.” • Perfect linear logic = divine reason of God

  27. The Holy Trinity with the Virgin, St. John, and Donors • Masaccio • 1427 CE • Fresco • Sta. Maria Novella, Florence Eye level 5’ Image Vocab!!!

  28. Brancacci Chapel • Masaccio and Masolino • Both died before completion in 1427, finished by Filippino Lippi in 1480s • Dedicated to St. Peter • illustrates his life with a series of frescoes • Masaccio’s knowledge of human figure from study of Roman sculpture

  29. Brancacci Chapel, InteriorMasaccio and Masolino1427 CE Santa Maria del Carmine, Florence

  30. The Tribute Money • 3 narrative scenes 1) center= tax collector with Christ and disciples asking for tax of Peter 2) left= Peter fishing for first fish with coin 3) right= Peter paying the tax • Linear perspective= Peter,house, and trees diminishing in size • Atmospheric perspective= landscape changing to “farther away” colors

  31. The Tribute Money • Masaccio • 1427 CE • Fresco • Brancacci Chapel, Santa Maria del Carmine, Florence Image Vocab!!!

  32. The Expulsion from Paradise • Adam and Eve as monumental nudes • New realism • More focus on body mass: bone and muscle, then minute detail • Generalized light • Shadows= tangibility of figures (rational space) • Focus on figures’ psychology or their reaction to the expulsion rather than the wrath of God

  33. The Expulsion from Paradise • Masaccio • Fresco • 1427 CE • Brancacci Chapel Image Vocab!!!

  34. Annunciation • By Fra Angelico • Fresco in a corridor of the San Marco convent in Florence • Mary and the angel greet each other devoutly. • Tuscan cypresses in the background.

  35. Annunciation c. 1450 Fresco Fra Angelico

  36. Last Supper • Fresco by Andrea del Castagno • Located in refectory of Sant'Apollonia in Florence • arrangement of balanced figures in an architectural setting • Saint John's posture of innocent slumber neatly contrasts Jude the Betrayer's tense, upright pose • the hand positions of the final pair of apostles on either end of the fresco mirror each other with accomplished realism • pillars and statues recall Classical sculpture

  37. Last Supper 1447 Fresco Andrea del Castgno

  38. Basilica di Sant’Andrea di Mantova • Replaced columned arcade with Barrel vaulted nave • Absence of statues and other Gothic features • Corinthian pilaster= slender columns of the Corinthian order from ancient Greece

  39. Church of Sant’Andrea Leon Battista Alberti 1470 Mantua

  40. Camera Picta “Painted Chamber” • Andrea Mantenga • Painted in tower chamber in Ludovico Gonzaga’s palace • Walls • Frescoed • Family receives its returning cardinal In scenes set to landscapes. (“court scene”) • Ceiling • Di dotto in sú (from below upwards) technique • Room opened to be a cloud-filled sky with large oculus

  41. Camera Picta Andrea Mantegna (1467-1474) Ludovico Gonzaga’s palace

More Related