Transcript Renaissance Art PowerPoint

Examples of Medieval Art
What do you notice about these pieces of art? Pay careful attention
to details, content, perspective and color.
Weingarten
Missal, 1210
Illumination on
parchment, 29,2 x 20,3
cm
Pierpont Morgan
Library, New York
Italian Renaissance Art
Giotto: Scenes from the Life of the Virgin:
Marriage of the Virgin
1304-06
Outstanding as a painter,
sculptor, and architect,
Giotto was recognized as
the first genius of art in the
Italian Renaissance. Giotto
lived and worked at a time
when people's minds and
talents were first being
freed from the shackles of
medieval restraint. He
dealt largely in the
traditional religious
subjects, but he gave these
subjects an earthly, fullblooded life and force.
Giotto: Scenes from the Life of St John the
Baptist: Feast of Herod
1320
Contest to Design the
Baptistery Doors. (1401)
• Florence wool manufacturers
guild holds a contest for the
leading artists. Spends
20,000 Florins.
Winner Lorenzo Ghiberti.
• 23 year old, highly skilled
goldsmith.
• Completes two sets of doors
50 years.
East Doors
of the
Baptistery
of the
Cathedral
of Florence.
Crafted by
Lorenzo
Ghiberti.
Cost: 20,000
Brunelleschi: Dome of the Cathedral
1420-36 Commissioned by the Medici,
the Church of San Lorenzo
(1418-28)
Brunelleschi
devised an austere, geometric
style inspired by the art of
ancient Rome. Completely
different from the emotional,
elaborate Gothic mode that
still prevailed in his time,
Brunelleschi's
style
emphasized
mathematical
rigor in its use of straight
lines, flat planes, and cubic
spaces.
This
“wall
architecture,” with its flat
facades, set the tone for many
of the later buildings of the
Florentine Renaissance.
Trinity, 1425-28
Fresco
Masaccio
(1401-1427?),
the first great
painter of the
Italian
Renaissance,
whose
innovations in
the use of
scientific
perspective
inaugurated
the modern
era in
painting.
Masaccio: The
Expulsion from the
Garden of Eden
1426-27
In Masaccio's painting man, although a
sinner, has not lost his dignity: he
appears neither debased nor degraded,
and the beauty of his body is a blend of
classical archetypes and innovative
forms of expression.
Donatello: David, 1430
Donatello uses the
classical ideas of
representing a nude and a
balanced composition.
His Renaissance
innovations include the
vitality which animates
the statue, the thoughtful
young face shaded by the
winged helmet and the
severed head of Goliath.
Sandro Botticelli
1445-1510
Epitomizing the Humanist movement, Botticelli’s early paintings moved away
from the ecclesiastical subject matter depicted earlier during the High Middle
Ages. Under the patronage of the Medici family, Botticelli freely portrayed Pagan
subject matter in his masterworks. In (La) Primavera (1482) Botticelli’s Venus,
centered, announces spring’s arrival.
Botticelli: The Birth of Venus
c. 1485
Tempera on canvas
Galleria degli Uffizi, Florence
Botticelli’s goddess of love is one of the first non-biblical female nudes in Italian art. Venus’ sensuality
garnered the attention of Girolamo Savonarola, a Dominican Friar whose apocalyptic sermons eventually
led to the expulsion of Botticelli’s patron, the Medicis, from Florence.
Fra Savonarola (1452-1498)
• Preaches against the
vanities of Florence.
• Influences people like
Michelangelo, and Botticelli.
Leonardo da Vinci: The Last Supper, 1498
Mixed technique, approx. 15 x 29 feet
Convent of Santa Maria delle Grazie, Milan
Leonardo's painting of the Last Supper was constructed symmetrically according to the laws of central
perspective, with a main figure, Jesus, in the center. He is physically and psychologically isolated from
the other figures and with his hands, is pointing to the bread and wine, making the introduction of the
Eucharist the central event. In Leonardo's conception, the other figures are reacting directly to Jesus, and
at the same time, some of them are coming into contact with each other.
Leonardo da Vinci: Mona Lisa (La
Gioconda) 1503-5
Oil on panel, 2 1/2 x 1 ¾ ft
Musée du Louvre, Paris
From the beginning it was greatly admired
and much copied, and it came to be
considered
the
prototype
of
the
Renaissance portrait. This figure of a
woman, dressed in the Florentine fashion
of her day and seated in a visionary,
mountainous landscape, is a remarkable
instance of Leonardo's sfumato technique
of soft, heavily shaded modeling. The Mona
Lisa's enigmatic expression, which seems
both alluring and aloof, has given the
portrait universal fame.
Leonardo da Vinci was a Florentine artist, one of the great masters of the High
Renaissance, who was also celebrated as a painter, sculptor, architect, engineer, and
scientist. His profound love of knowledge and research was the keynote of both his artistic
and scientific endeavors. His innovations in the field of painting influenced the course of
Italian art for more than a century after his death, and his scientific studies—particularly in
the fields of anatomy, optics, and hydraulics—anticipated many of the developments of
modern science. He is considered a true “Renaissance Man”.
Multi-barrelled Gun
Vitruvian Man
Studies of Embryos
Michelangelo, Pietà, 1499
Marble, height 5 1/2 feet, width at the base approx. 6ft.
Basilica di San Pietro, Vatican
“Pity”;
Mary’s
proportions
are about
twice Jesus’
to make her
appear to be
holding a
child.
Michelangelo: David, 1504
Just over 14 feet tall; example of contrapposto
Popes were Patrons of the
Arts.
• Popes rebuilt Rome after Great
Schism. They funded numerous
projects.
• Extravagant spending by the
Church led to the Reformation.
Pope Julius II - Projects
(1503-1513)
• Tore down the basilica of St.
Peter and rebuilt it.
• Sistine Chapel Ceiling Michelangelo.
• “School of Athens” in a Vatican
Palace office - Raphael.
Michelangelo: Sistine Chapel Ceiling, 15081512
Dissatisfied with the normal working methods and with the abilities of the assistants
he had engaged, Michelangelo determined to execute the whole of this vast work
virtually alone. Working under appalling difficulties, most of the time leaning
backwards and never able to get far enough away from the ceiling to be able to see
what he was doing, he completed the first half (the part nearer to the door) in 1510.
The whole enormous undertaking was completed in 1512, Michelangelo being by
then so practiced that he was able to execute the second half more rapidly and
freely. It was at once recognized as a supreme work of art.
Michelangelo: Creation of Adam, 1510
(detail from Sistine Chapel)
Michelangelo: Tomb of Giuliano de' Medici,
1526-33
Raphael: The Annunciation 1502-03
Oil on canvas, approx. 1 x 1 ½ feet
Pinacoteca, Vatican
Raphael: Spozalizio (The
Engagement of Virgin Mary)
1504
Oil on roundheaded panel, approx. 5 1/2 x 4ft
Pinacoteca di Brera, Milan
Raphael (his full name Raffaello Sanzi or
Santi), Italian painter and architect of the
Italian High Renaissance. Raphael is best
known for his Madonnas and for his large
figure compositions in the Vatican in
Rome. His work is admired for its clarity
of form and ease of composition and for
its visual achievement of the classical
ideal of human grandeur.
Raphael: The
Sistine Madonna
1513-14
Oil on canvas, 8 ½ x 6 ½ ft
Gemäldegalerie, Dresden
Generations of visitors to the
Gemäldegalerie in Dresden have been
deeply impressed by the way in which
Raphael portrayed the Madonna in this
painting. It has been reproduced over
and over again, and almost everyone is
familiar with the cherubs leaning on the
balustrade. The Madonna appears from
behind a curtain, confident and yet
hesitant. The curtain gives the illusion
of hiding her figure from the eyes of the
onlooker and at the same time of being
able to protect Raphael's painting.
Raphael: The School of Athens, 1509
Fresco, width at the base approx. 25 ft.
Stanza della Segnatura, Palazzi Pontifici, Vatican
Raphael used
the faces of his
friends,
including
Leonardo and
Michelangelo in
this painting.
Sofonisba Anguissola: Self-Portrait, 1554
Oil on canvas
Kunsthistorisches Museum, Vienna
Italian portrait painter, one of six painter
sisters from Cremona. She was the first
woman artist to achieve international
renown, being called to Spain by Philip
II and visited by Van Eyck in Genoa in
1623, when she was in her nineties. Her
self-portraits and portraits of her family
are considered her finest works; they are
somewhat stiff, but can have great
charm.
Artemesia Gentileschi:
Judith and her
Maidservant
1612-1613
Oil on canvas, approx. 3 ¾ x 3ft
Galleria Palatina (Palazzo Pitti),
Florence
Artemesia Gentileschi, the daughter of
Orazio Gentileschi (1563-1639). She
was precociously gifted, built up a
European reputation, and lived a life of
independence rare for a woman of the
time. Born in Rome, she worked
mainly there and in Florence until she
settled in Naples in 1630.
Caravaggio's Judith
Beheading Holofernes
Gentileschi’s Judith Slaying Holofernes