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ITALY, 1400-1500

ITALY, 1400-1500. GARDNER CHAPTER 21-5 PP. 573-576. SANT’ANDREA. LEON BATTISTA ALBERTI, west façade of Sant’Andrea , Mantua, 1470 Another great Renaissance prince and art patron was Ludovico Gonzaga, the ruler of Mantua

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ITALY, 1400-1500

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  1. ITALY,1400-1500 GARDNER CHAPTER 21-5 PP. 573-576

  2. SANT’ANDREA • LEON BATTISTA ALBERTI, west façade of Sant’Andrea, Mantua, 1470 • Another great Renaissance prince and art patron was Ludovico Gonzaga, the ruler of Mantua • Alberti is commissioned to redesign the church of Sant’Andrea -> reflects his study of ancient Roman architecture -> combines a Roman triumphal arch and an ancient temple façade • Giant pilasters flank arch and support pediment • Size of the façade dictated by the small scale of the piazza in front -> height and width are identical

  3. Interior of Sant’Andrea • Great coffered barrel vault -> reminiscent of the Pantheon and Constantine’s Basilica Nova • Alberti abandoned the medieval columnar arcade for the nave -> instead it is a single huge hall w/independent chapels branching off at right angles • Large barrel vault canopy hangs above the west façade and shields the west window of the nave from sunlight

  4. ANDRE MANTEGNA – ROOM OF THE NEWLYWEDS • ANDREA MANTEGNA, Room of the Newlyweds, 1465-1474, Ducal Palace, Mantua • Painted in a room that was used as the Duke’s bedroom and reception room • Room is a cube in shape, “domed” with an illusionistically painted ceiling • Calls to mind the Second Style of Roman painting

  5. MANTEGNA – CEILING OF THE CAMERA PICTA • Inside the Camera Picta/Room of the Newlyweds, the viewer becomes the viewed -> figures look down into the room from a painted oculus opening onto a blue sky • This is the first perspectival view of a ceiling from below = DI SOTTO IN SU = “from below upward” • Dramatic used of TROMPE L’OEIL = “deceives the eye” • Two groups of spectators, several putti, bird, flower pot

  6. FORESHORTENED CHRIST • ANDREA MANTEGNA, Dead Christ, ca. 1500, tempera on canvas • Another example of the artist’s mastery of perspective • Seems to be a strikingly realistic study of foreshortening -> but the size of the feet are reduced to avoid blocking the body • A work of overwhelming emotional power and intensely poignant depiction of biblical tragedy

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