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Italian Renaissance--Ch. 21

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Melinda Darrow
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Chapter 21 Humanism and the Allure of Antiquity: 15 th Century Italian Art Gardner’s Art Through the Ages,
Renaissance Florence
Spread of Humanism ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-1 FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. Florence – Competition of 1401 – East Doors of Baptistery ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-2 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. Ghiberti Wins! ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-3 DONATELLO, Feast of Herod, from the baptismal font of Siena Cathedral, Siena, Italy, ca. 1425. Gilded bronze relief, approx. 1’ 11” x 1’ 11”. Donatello – A Feast in Perspective ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Depicting Objects in Space Perspectival Systems in the Early Renaissance ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-5 LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-4), east doors, baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence. Figure 21-4 LORENZO GHIBERTI, east doors (“Gates of Paradise”), baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 17’ high. Modern copy, ca. 1980. Gates of Paradise – Baptistery, Florence Cathedral ,[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-6 NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, ca. 1408–1414. Marble, figures approx. life-size. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele . Statue-Filled Niches of Or San Michele, Florence ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-7 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, approx. 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele. Figure 21-8 DONATELLO, prophet figure, Habbakuk (Zuccone), from the campanile of Florence Cathedral, Florence, Italy, 1423–1425. Marble, approx. 6’ 5” high. Museo dell’Opera del Duomo, Florence. Donatello Saint Mark Zuccone (Pumpkin-Head) ,[object Object],[object Object]
Figure 21-9 GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Santa Trinità, Florence, Italy, 1423. Tempera on wood, approx. 9’ 11” x 9’ 3”. Galleria degli Uffizi, Florence. Inspired by Late Gothic – Adoration of the Magi by FABRIANO ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-10 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 1” x 19’ 7”. Leading Innovator in Early 15 th Century Painting - MASACCIO ,[object Object],[object Object]
Figure 21-12 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”. Masaccio’s Holy Trinity – Santa Maria Novella, Florence ,[object Object],[object Object],[object Object],[object Object]
Figure 21-13 FILIPPO BRUNELLESCHI, dome of Florence Cathedral (view from the south), Florence, Italy, 1420–1436. Early 15 th Century Architecture Brunelleschi - The First Acknowledged Renaissance Architect ,[object Object],[object Object],[object Object]
Figure 21-15 FILIPPO BRUNELLESCHI, interior of Santo Spirito (view facing northeast), Florence, Italy, begun ca. 1436. Brunelleschi’s Santo Spirito – Centralization Effect ,[object Object],[object Object],[object Object]
Figure 21-15 Alternate View Interior view of nave and choir. view E Figure 21-16 FILIPPO BRUNELLESCHI, early plan of Santo Spirito (left) and plan as constructed (right), Florence, Italy. ,[object Object],[object Object],[object Object],[object Object],Santo Spirito – Modular Design by Brunelleschi
Figure 21-17 FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440. Central-Plan: Pazzi Chapel by Brunelleschi ,[object Object],[object Object]
Figure 21-19 FILIPPO BRUNELLESCHI, interior of the Pazzi Chapel (view facing northeast), Santa Croce, Florence, Italy, begun ca. 1440. Interior Room (under central dome) – Pazzi Chapel ,[object Object],[object Object],[object Object]
Figure 21-21 MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445. Figure 21-20 MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445. Palazzo Medici-Riccardi by BARTOLOMMEO ,[object Object],[object Object]
Figure 21-22 PAOLO UCCELLO, Battle of San Romano, ca. 1455. Tempera on wood, approx. 6’ x 10’ 5”. National Gallery, London. Uccello – Battle of San Romano ,[object Object],[object Object]
Figure 21-23 DONATELLO, David, late 1420s – late 1450s. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence. Figure 21-24 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, approx. 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence. DAVID Donatello Verrocchio Left: first freestanding nude since ancient times/ Donatello reinvented the classical nude/ commissioned by Medici for the Palazzo Medici courtyard/ David is the symbol of the independent Florentine republic/ David possesses the relaxed classical contrapposto stance and proportions and beauty of Greek gods – this appealed to Medici who was a humanist Right: Verrocchio directed studio-shop in Florence and had many students (Leonardo da Vinci as one)/ this David displays a narrative realism – shows sturdy, wiry youth who stands with jaunty pride/ depicts muscles and veins
Figure 21-25 ANTONIO POLLAIUOLO, Hercules and Antaeus, ca. 1475. Bronze, approx. 1' 6” high with base. Museo Nazionale del Bargello, Florence . Figure 21-26 ANTONIO POLLAIUOLO, Battle of the Ten Nudes, ca. 1465. Engraving, approx. 1 3” x 1’ 11”. Metropolitan Museum of Art, New York (bequest of Joseph Pulitzer, 1917). Pollaiuolo – The Human Figure in Action ,[object Object],[object Object]
Figure 21-27 SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’ 8” x 9’ 1”. Galleria degli Uffizi, Florence. Botticelli’s Birth of Venus – Inspired by Poetry ,[object Object]
Figure 21-28 SANDRO BOTTICELLI, Portrait of a Youth, early 1480s. Tempera on panel, 1’ 4” x 1’. National Gallery of Art, Washington (Andrew W. Mellon Collection). The Rise of Portraiture – Revival in 15 th Century ,[object Object],[object Object],[object Object]
Figure 21-29 DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, approx. 11’ x 13’. Figure 21-30 ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca. 1483–1488. Bronze, approx. 13’ high. ,[object Object],Honor the Deceased Deceased Condottieres (Military Leaders) of Venice ,[object Object]
Figure 21-32 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490. Fresco. Ghirlandaio – Summarizes Florentine Art at End of 15 th Cen. ,[object Object],[object Object],[object Object]
Figure 21-33 LEON BATTISTA ALBERTI, Palazzo Rucellai, Florence, Italy, ca. 1452–1470. ALBERTI – First Renaissance Architect to Understand Roman Architecture in Depth ,[object Object],[object Object],[object Object],[object Object]
Figure 21-34 LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1458–1470. Rucellai Family Commissions Façade for Santa Maria Novella ,[object Object],[object Object],[object Object],[object Object],ALBERTI: Used Classically Derived Mathematics to Distinguish Work – Revived True Spirit of High Classical Age of Ancient Greece
Figure 21-36 FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1440–1445. Fresco, 7’ 1” x 10’ 6”. Images of Piety and Devotion ,[object Object],[object Object],[object Object]
Figure 21-37 ANDREA DEL CASTAGNO, Last Supper, the Refectory, monastery of Sant’Apollonia, Florence, Italy, 1447. Fresco, approx. 15’ x 32’. Images of Piety and Devotion ,[object Object],[object Object]
Figure 21-38 FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, approx. 3’ x 2’ 1”. Galleria degli Uffizi, Florence. Fra Filippo Lippi - Madonna and Child with Angels ,[object Object],[object Object],[object Object]
Figure 21-39 LUCA DELLA ROBBIA, Madonna and Child, Or San Michele, Florence, Italy, ca. 1455–1460. Terracotta with polychrome glaze, diameter approx. 6’. Relief Sculpture for the Masses – Della Robbia ,[object Object],[object Object],[object Object],[object Object]
Figure 21-40 PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”. Pope Sixtus IV summons artists to decorate walls of Sistine Chapel ,[object Object]
Figure 21-41 LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed ca. 1470. The Princely Courts - Marquis Ludovico Gonzaga - Mantua ,[object Object],[object Object],[object Object]
Figure 21-43 LEON BATTISTA ALBERTI, interior of Sant’Andrea, Mantua, Italy, designed ca. 1470. Interior of Sant’ Andrea - Mantua ,[object Object],[object Object]
Figure 21-45 Andrea Mantegna, interior of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale,Mantua, Italy, 1474. Fresco. Gonzaga’s Palazzo Ducale decorated by MANTEGNA ,[object Object],[object Object]
Figure 21-46 Andrea Mantegna, ceiling of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale,Mantua, Italy, 1474. Fresco, 8’ 9” in diameter. Ceiling of Room of the Newlyweds – “di sotto in su” Trompe l’oeil – Deceives the Eye ,[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-47 ANDREA MANTEGNA, Saint James Led to Martyrdom, Ovetari Chapel, Church of the Eremitani (largely destroyed, l944), Padua, Italy, ca. 1455. Fresco, 10’ 9” wide. Mantegna – Unusual Viewpoints ,[object Object],[object Object],[object Object],[object Object],[object Object]
Figure 21-48 ANDREA MANTEGNA, Dead Christ, ca. 1501. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera, Milan. Dead Christ – Realistic Study in FORESHORTENING? MANTEGNA – Overwhelming power/ he reduced the size of the figures feet (would have covered much of body) so the viewer could fully see the dead body of Christ/ serves the purpose of devotion
Figure 21-49 PIERO DELLA FRANCESCA, Finding of the True Cross and Proving of the True Cross, San Francesco, Arezzo, Italy, ca. 1455. Fresco, 11’ 8 3/8” x 6’ 4”. The Princely Court - Urbino ,[object Object],[object Object],[object Object]
Figure 21-50 PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472–1474. Oil on panel, 8’ 2” x 5’ 7”. Pinacoteca di Brera, Milan. Della Francesca’s Brera Altarpiece ,[object Object],[object Object]
Figure 21-51 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, approx. 23’ wide. 1490’s Florence – Political, Cultural and Religious Upheaval Dominican monk, Savonarola, denounced humanism and encouraged “bonfires of the vanities” for citizens to burn classical texts, scientific treatises and philosophical publications/ banished the Medici and other wealthy families from Florence ,[object Object],[object Object],[object Object],[object Object],[object Object]

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Italian Renaissance--Ch. 21

  • 1. Chapter 21 Humanism and the Allure of Antiquity: 15 th Century Italian Art Gardner’s Art Through the Ages,
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  • 21. Figure 21-23 DONATELLO, David, late 1420s – late 1450s. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence. Figure 21-24 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, approx. 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence. DAVID Donatello Verrocchio Left: first freestanding nude since ancient times/ Donatello reinvented the classical nude/ commissioned by Medici for the Palazzo Medici courtyard/ David is the symbol of the independent Florentine republic/ David possesses the relaxed classical contrapposto stance and proportions and beauty of Greek gods – this appealed to Medici who was a humanist Right: Verrocchio directed studio-shop in Florence and had many students (Leonardo da Vinci as one)/ this David displays a narrative realism – shows sturdy, wiry youth who stands with jaunty pride/ depicts muscles and veins
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  • 39. Figure 21-48 ANDREA MANTEGNA, Dead Christ, ca. 1501. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera, Milan. Dead Christ – Realistic Study in FORESHORTENING? MANTEGNA – Overwhelming power/ he reduced the size of the figures feet (would have covered much of body) so the viewer could fully see the dead body of Christ/ serves the purpose of devotion
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