Quattrocento: Painting

Perspective & emotion Harmonizing classical humanism w/ Christian Church

Linear perspective – single point perspective Develops in Florence ~1420s Study of perspective Brunelleschi & Alberti

Rules of Perspective (published 1435) Rule 1: There is no distortion of straight lines Rule 2: There is no distortion of objects parallel to the picture plane Rule 3: Orthogonal lines converge in a single vanishing point depending on the position of the viewer’s eye Rule 4: Size diminishes relative to distance.

Size reflected importance in medieval times In Renaissance all figures must obey the rules Perspective = rationalization of vision Beauty in mathematics

Chiaroscuro – use of strong external light source to create volume

Transition over 15 th century Start: Expensive materials (oooh & aaah factor) Gold & Ultramarine Lapis Lazuli powder End: Skill & Reputation Names matter Skill at perspective

Madonna and Child (1426), Masaccio

Artist intentionally created problems to solve – demonstrating skill ☺ Agonistic

Masaccio Dramatic shift in painting in form & content Emotion, external lighting (chiaroscuro) Mathematically constructed space

Holy Trinity (ca. 1428) Santa Maria Novella, Florence Patron: Lorenzo Lenzi Single point perspective – vanishing point Figures within and outside the structure Status shown by arrangement Trinity literally and symbolically Vertical arrangement for equality

Tribute Money (ca. 1427) Brancacci Chapel in Santa Maria del Carmine, Florence Vanishing point at Christ’s head Three points in story Unusual biblical story Support for tax collection (Catasto)? Support for papacy? Chiaroscuro – strong light source from right Actual window in chapel – working with setting Use of atmospheric perspective Images in background diminish & blur

Expulsion of Adam & Eve from the Garden (ca. 1425) Brancacci Chapel in Santa Maria del Carmine, Florence Anguished emotions – shame Mental shame – male (reason) Physical shame – female (emotion) Classical view of men/women Accurate body movement – contacting ground Strong light source

Andre del Castagno Last Supper (1447) Refectory painting Relationship to viewers Standard 15 th century arrangement Moment of institution “This is my body” Figures meditate on the words of Christ Placement of Judas – on our side Incrustation panel reflects battle between good and evil Problems with perspective

Piero della Francesca Resurrection (ca. 1463) Stylistic debt to Masaccio Pyramidal composition – Triangular composition Symmetry, stability Posture of Christ Confident, victorious, confronting viewer Focusing devices Back of soldier, color, lines Concern for form and composition over meaning Soldiers are unnatural / one has no legs Painting has two vanishing points Compare to Resurrection by Dirk Bouts

Flagellation of Christ Mathematical construction of space Unusual composition / arrangement Differing interpretations

Perugino Christ Delivering the Keys to the Kingdom to St. Peter (1481-1483) Sistine Chapel in Rome Walls decorated by greatest artist of 15 th century Leonardo excluded Unification of ideas of math and reason to support Church Balance, symmetry Proportional reduction of figures in background (rule 4) Use of piazzas (town squares) – ready lines Connection to Constantine / Greatness of Rome Reference to Arch of Constantine 1st Christian emperor Pope as new emperor Tribute money in mid-ground Tithes Paulo Uccello Battle of San Romano (ca. 1455) Development of perspective Arrangement of lances / bodies Foreshortening of horses Celebrates Florence’s victory over Siena Oranges at right symbolic of d’Medici

Andrea Mantegna St. James led to Martyrdom (ca. 1455) “Worm’s eye view”

Dead Christ (ca. 1510) Problems of foreshortening

Camera degli Sposi ceiling (ca. 1465-1474) Foreshortening – new perspective Marriage – peacock (symbol of Juno) Knowledge of Roman mythology Trompe l’oeil – deceives the eye

Fra Angelico Annunciation (ca. 1440 – 1445) Simplicity & serenity in perspective setting

Fra Filippo Lippi Carmelite monk – marries Lucrezia Buti (nun) Madonna & Child (ca. 1455) Fashionably dressed Elegance of Quattrocento Delicate, refined Pearls as symbol of Christ Enthusiasm for light Soft glow, w/o strong shadows Even lighting Use of fluid lines Use of window to show background Rich landscape Influenced by Flemish backgrounds Brings Madonna to the foreground Humanizing features Foreground angel seems more boyish Filippino? Idealizing features Influenced Botticelli Neo-Platonism Plato: Truth from pure ideas Neo-Platonists: everything from God – God is perfect Less perfect by degree of separation from God Matter exists but has no being Given form by God Contemplation of earthly beauty leads to pure beauty

Beauty = Truth ∴ Since God is source of all things he is truth If God is pure truth God is also pure beauty By thinking of earthly beauty we can approach God

Sandro Botticelli Painting unifying Classicism with Medieval form Part of Medici – Neo-platonic Academy

The Birth of Venus (ca. 1482) Classical figures – solid bodies Venus floats (?) Beauty – Neo-Platonic Nude from classical model Nude women proscribed during Middle Ages Rejects path of perspective to reason No math

La Primavera (ca. 1477-1482) Allegory of Spring Realm of Venus Zephyr on right pursues Flora Flora turns into Spring Mercury of left parts the clouds Three graces dance