• Read “Introduction to Late Gothic Art.” • Read “Florence in the Late

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• Read “Introduction to Late Gothic Art.” • Read “Florence in the Late

Summer Assignment for Rising AP European History Students UMS-Wright Preparatory School, Summer, 2018 We will begin our study of European history with the Renaissance, around 1450. Historians debate the idea of a Renaissance. Some see it as a distinct period in European history, separate from the Middle Ages. Others see it as a continuation of the Middle Ages. When we compare the visual art of the Late Middle Ages to the visual art of the Renaissance, we see some similarities and differences. One thing to keep an eye on is the human figure and how it is represented in both periods. Historians who argue that the Renaissance was a distinct period, unique and separate from the Middle Ages, emphasize the Renaissance’s interest in and naturalistic portrayal of the individual. Toward the end of our first unit, you will write your first Long Essay Question (LEQ) on this topic: how Renaissance visual art reflected new conceptions of the individual. This summer assignment will get you thinking about ways in which this could be argued. Directions: 1. Click here for the site, Late Gothic Art in Italy. Read “Introduction to Late Gothic Art.” Read “Florence in the Late Gothic Period, An Introduction.” Watch the following videos: Cimabue, Santa Trinita Madonna Giotto, The Entombment of Mary 2. Click here for the site, Renaissance in Italy: 1400s. Read “Florence in the Early Renaissance.” Watch the following videos: How to Recognize Italian Renaissance Art Masaccio, Holy Trinity Botticelli, The Birth of Venus Leonardo, Mona Lisa 3. Use the note-taking guide on your Haiku>Summer Assignment page to take notes. I recommend you work on this closer to the start of school on Tuesday, August 14 so it will be fresh on your mind. I will collect your note-taking guides sometime after the start of school. .

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TS Botticelli FRE 4C.Qxp 3/10/2009 1:41 PM Page 2
BOTTICELLIBOTTICELLI Émile Gebhart & Victoria Charles TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 2 Text: Émile Gebhart and Victoria Charles Layout: BASELINE CO LTD 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Parkstone Press International, New York, USA © Confidential Concepts, Worldwide, USA All modification and reproduction rights reserved internationally. Unless otherwise stated, copyright for all artwork reproductions rests with the photographers who created them. Despite our research efforts, it was impossible to identify authorship rights in some cases. Please address any copyright claims to the publisher. ISBN: 978-1-78042-995-3 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 3 ÉMILE GEBHART Sandro Botticelli TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 4 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 5 Contents Botticelli’s Youth and Education 7 Botticelli’s First Works 37 The Medici and Botticelli’s Pagan Initiation 67 Pagan, Mystical, and Oriental Visions 113 Botticelli’s Waning Days 179 Bibliography 252 List of Illustrations 253 TS Botticelli 4C ok.qxp 11/13/2009 10:22 AM Page 6 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 7 Botticelli’s Youth and Education TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 8 TS Botticelli 4C.qxp 11/12/2009 5:17 PM Page 9 — Botticelli’s Youth and Education — lessandro di Mariano Filipepi, also known as “di Botticello” in homage to his first master, and A Sandro Botticelli to those who knew him, was born in Florence in 1445.
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Catalonia 1400 the International Gothic Style
Lluís Borrassà: the Vocation of Saint Peter, a panel from the Retable of Saint Peter in Terrassa Catalonia 1400 The International Gothic Style Organised by: Museu Nacional d'Art de Catalunya. From 29 March to 15 July 2012 (Temporary Exhibitions Room 1) Curator: Rafael Cornudella (head of the MNAC's Department of Gothic Art), with the collaboration of Guadaira Macías and Cèsar Favà Catalonia 1400. The International Gothic Style looks at one of the most creative cycles in the history of Catalan art, which coincided with the period in western art known as the 'International Gothic Style'. This period, which began at the end of the 14th century and went on until the mid-15th century, gave us artists who played a central role in the history of European art, as in the case of Lluís Borrassà, Rafael Destorrents, Pere Joan and Bernat Martorell. During the course of the 14th century a process of dialogue and synthesis took place between the two great poles of modernity in art: on one hand Paris, the north of France and the old Netherlands, and on the other central Italy, mainly Tuscany. Around 1400 this process crystallised in a new aesthetic code which, despite having been formulated first and foremost in a French and 'Franco- Flemish' ambit, was also fed by other international contributions and immediately spread across Europe. The artistic dynamism of the Franco- Flemish area, along with the policies of patronage and prestige of the French ruling House of Valois, explain the success of a cultural model that was to captivate many other European princes and lords.
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Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists.
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The Romantic Movement on European Arts: a Brief Tutorial Review
SCIENTIFIC CULTURE, Vol. 1, No 2, (2015), pp. 39-46 Copyright © 2015 SC Open Access. Printed in Greece. All Rights Reserved. The Romantic Movement on European arts: a brief tutorial review Anna Lazarou Academy of Athens, 84 Solonos Str., Athens 10680, Greece ([email protected]; [email protected]) Received: 10/01/2015 Accepted: 25/02/2015 ABSTRACT The movement of romanticism in art (18th-19th c) is briefly reviewed. This artistic movement institutionalized freedom of personal expression of the artist and presented various art styles, which were rooted mainly in topics of the past. One of the manifestations of the romantic spirit was Neoclassicism which was based on copies of works of Greek and Roman antiquities. Romantic painters, musicians and architects have left as heritage an amazing wealth of art works. KEYWORDS: art, architecture, music, romance, artistic movement, neoclassicism. 40 Anna Lazarou 1. INTRODUCTION his vision was a European empire with its capital The period from the second half of the 18th century Paris. The economic downturn that led to wars and until the first half of the 19th century in western social changes created by the Industrial Revolution, Europe was of a multidimensional character both in made Europeans to feel trapped by events that ex- art and in other fields of intellectual life, expressed ceeded the control, which could not be explained by by the romance, the first great movement of ideas of rational perception. Even Napoleon's career was for that era e.g. architecture, music, literature (Blayney many a supernatural power and his defeat, a divine judgment (Fig.1).
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THE SISTINE CHAPEL PCTO – Itt. Cristoforo Colombo Rome, 25 march 2021 Class IV°A 1 Lisa Julia Adamoli, Valentin Creciun, John Tan INDEX: Where is located? Pag.3 History Pag.4 Michelangelo Buonarroti Pag.5 Sandro Botticelli Pag.6 Domenico Ghirlandaio Pag.7 The North Wall The vocation of the first Apostles Pag.9 The delivery of Keys Pag.10 Trials of Christ Pag.11 The South Wall Jurney of Moses in Egypt Pag.14 Youth of Moses Pag.15 Punishment of thesons of Korah Pag.17 Sources Pag.18 2 WHERE IS LOCATED? The Vatican Museum contain an immense wealth of art. The museums offer a great variety of collections from ancient Greek to Etruscan art and of course Renaissance art. Vatican Museum is located within the Vatican City, in Rome. 3 HISTORY The Sistine Chapel stands on the foundation of an older chapel called the Capella Magna. In 1477, Pope Sixtus IV started a rebuilding of the chapel. The chapel’s exterior is simple and unassuming. In 1503, pope Julius II, decided to change some of the Sistine Chapel's decorations. He commissioned the artist Michelangelo to do it. Pope Clement VII commissioned Michelangelo to paint the giant fresco "The Last Judgment« in 1536. 4 MICHELANGELO BUONARROTI Michelangelo Buonarroti was born in the small village of Caprese in 1475 and died in Rome in 1564. In his life he painted and scolished a lot of important paintings and sculptures. The most important are: • The Pieta • David • The Creation of Adam • The Last Jugdement 5 SANDRO BOTTICELLI Sandro Botticelli was born around 1445 in Florence and died in Florence in 1510.
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Venus Anadyomene: the Mythological Symbolism from Antiquity to the 19Th Century
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Download the Birth of Venus Free Ebook
THE BIRTH OF VENUS DOWNLOAD FREE BOOK Sarah Dunant | 448 pages | 30 Nov 2004 | Random House USA Inc | 9780812968972 | English | New York, United States Botticelli The Birth of Venus – What is the meaning of this painting? Renaissance Art in Europe. The Birth of Venus different analyzes found in ancient and modern texts, the exact reading of the imagery of the cannot be provided. Although the two are not a pair, The Birth of Venus painting is inevitably discussed with Botticelli's other very large mythological painting, the Primaveraalso in the Uffizi. After centuries of oblivionthe painting was rediscovered only in the 19th century. More recently, questions have arisen about Neoplatonism as the dominant intellectual system of late 15th-century Florence, [31] and scholars have indicated that there might be other ways to interpret Botticelli's mythological paintings. Horne believed that the painting was commissioned soon after the purchase in of the Villa di Castelloa country house outside Florence, by Lorenzo and Giovanni, to decorate their new house, which they were The Birth of Venus. The painting is on two pieces of canvas, sewn together before starting, with a gesso ground tinted blue. Look for example, the way that the artist has highlighted her golden hair with actual lines of gold. This life-sized work depicts a similar figure and pose, partially clad in a light blouse, and contrasted against a plain dark background. He was overshadowed by revered characters such as Michelangelo and Leonardo. Pliny went on to note that Apelles' painting The Birth of Venus Pankaspe as Venus was later "dedicated by Augustus in the shrine of his father Caesar.
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The Birth of Venus
The birth of Venus Venus (literally: “love” or “sexual desire”) was a major Roman goddess associated with love, beauty, and fertility and commonly identified with the Greek goddess Aphrodite. Technically, she was the wife of Vulcan (the god of fire) but her son Eros was apparently the son of the god Mars (the god of war). Legend says that she was created from the foam of the waves, fully grown, emerging from a giant seashell, near the island of Cyprus in the mediterranean. Julius Caesar adopted her as his protectress and Augustus Caesar gave her an upgrade and officially designated Venus as the ancestor of the Roman people, hence a major goddess of Rome. Since antiquity, Venus/Aphrodite was a subject of art inspiration. She was usually created as a magnificent statue of a strikingly beautiful, naked or half-naked woman. From the 15th century to the present she was commonly painted in legendary situations from her life or as an imaginative ceiling decoration in European palaces. Almost every well known or lesser known artist has his/her “Venus”. The most famous works of Venus are the ancient Greek statue “Venus de Milo” that was discovered on the island of Milo (in the Muse de Louvre, Paris) and the painting “The birth of Venus” by Italian painter Sandro Botticelli (c. 1485–1586) in the Offici Gallery in Florence, Italy. What you see is a contemporary homage to the famous painting of Botticelli “The birth of Venus” as a young woman surfing a huge wave. Hidden clues: The surfing board is a large seashell, as in the legend.
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EARLY NETHERLANDISH PAINTING Part One
EARLY NETHERLANDISH PAINTING part one Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tounai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy; although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic. Robert Campin (c. 1375 – 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych), was the first great master of Flemish and Early Netherlandish painting. Campin's identity and the attribution of the paintings in both the "Campin" and "Master of Flémalle" groupings have been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are relatively well documented, but he did not sign or date his works, and none can be confidently connected with him.
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In the Art of Sandro Botticelli And
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ANTIQUITY AND THE SISTINE SOJOURN (1481-1482) IN THE ART OF SANDRO BOTTICELLI AND DOMENICO GHIRLANDAIO Volume 1 A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Max Calvin Marmor May, 1982 ~ • I The Thesis of Max Calvin Marmor is approved: anne L. Trabold, Ph.D. California State University, Northridge i i This thesis is dedicated to the immortal words of Ibn Abad Sina "Seek not gold in shallow vessels!" (Contra Alchemia, Praefatio) iii ACKNOWLEDGEMENTS Thanks are due my thesis committee for allowing a maverick to go his own way. Without their contributions, this experience would not have been what it has been. More could be said on this score but, to quote the Devil (whose advice I should have followed from the outset): "Mach es kurz! Am Juengsten Tag ist's nur ein F--z!" So I'll "make it short." I owe special thanks to Dr. Birgitta Wohl, who initially persuaded me that higher education is worthwhile; who expressed unfailing interest in my ideas and progress; and who, throughout, has provided a unique living example of wide learning and humanistic scholarship. Finally, this thesis could not have been written without the ever prompt, ever courteous services of the CSUN Library Inter-Library Loan Department. Thanks to Charlotte (in her many roles}, to Misha and their myriad elves, who, for an unconscionably long time, made every day Christmas! iv CONTENTS Page LIST 01'' FIGURES . vii ABSTRACT . ix Chapter INTRODUCTION: CONTEXT AND CRISIS IN THE REVIVAL OF ANTIQUITY.
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THE ASTRONOMICAL MEANING of BOTTICELLI's PAINTINGS Frank
THE ASTRONOMICAL MEANING OF BOTTICELLI’S PAINTINGS Frank Keim ABSTRACT: In Botticelli’s fresco Study of Saint Augustine (c. 1480) we find first measurements of elongation angles of inner planets. The painting Birth of Venus (c. 1483-85) depicts the phases of the inner planets: inferior conjunction, superior conjunction (only Venus) and greatest elongation (Mercury and Venus). At the superior conjunction the Planet is fully illuminated by the Sun, the phase angle is 0°. The Venere nuda shows the angle 23.5° for the obliquity of the ecliptic. Venus is in line with the Sun and the Earth, located behind the Sun. At the greatest elongation, the phase angle is exactly 90°, the elongation angle about 46°. Finally, at inferior conjunction, Venus is fully dressed: there is only a small sickle. The phase angle is 180°. But this figure still shows the phase of maximum brightness that will be achieved at about 39°. So, this painting is one of the first allegories of the heliocentric system in the Quattrocento. 1. The Adoration of the Kings In a period of 30 years Sandro Botticelli (1445-May 1510) created five adorations of the kings. The first adoration was painted before 1470 and probably begun by his teacher Filippo Lippi (1406-1469). However, the focus is beginning to shift. The adoration of the child is only the center as a matter of form. The observation of exceptional phenomena of the sky, specifically of the comets is established as the real theme. In the second Adoration (Figure 1) can be recognized a riot: in the group below we come across a man, who explains to his friend the phenomenon with a raised arm.
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Sandro Botticelli |Sample Answer
Sandro Botticelli | Sample answer Botticelli – 2014 Higher Level Question 10 Mythology and symbolism were the main concerns of the painter Sandro Botticelli (c. 1445- 1510). Discuss this statement with reference to the “Birth of Venus” illustrated on the accompanying sheet. Refer in your answer to composition, subject matter, treatment of the human figure and the period in which the work was produced. Name and briefly discuss one other work by this artist. Illustrate. [Image of the “Birth of Venus”] Sandro Botticelli is a renowned painter of the early Renaissance period. He was born in 1444 in Florence. At a young age, he became the apprentice of Fra Filippo Lippi, who had the Medici family (the rulers of Florence) as his patrons. Botticelli picked up certain aspects of Lippi’s style, particularly in the idealisation of the female figure. When Botticelli set up his own workshop, the Medici family commissioned some of his first pieces. He became very popular and was known for his mythological paintings. Through Botticelli’s connections with upper-class intellects he was introduced to Neo-Platonism. Neo-Platonists were an influential group of humanists who believed that there were strong links between Christianity and Pagan mythology. From spending time with such people, Botticelli found classical poetry and was inspired to paint mythological themes with hidden symbols related to it. One such painting is the “Birth of Venus” in which mythology and symbolism are both featured. Composition Venus – the Goddess of beauty and love in Greek mythology – stands in the centre of this painting. She is on a scallop shell and is being blown across the sea to shore by two zephyrs to her right.
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