Lorenzo Ghiberti (Medieval/Renaissance) B: Ca
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The Master of the Unruly Children and His Artistic and Creative Identities
The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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 This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works. -
Street Culture Italia
1 Students and Faculty in Pompeii inside cover 2 3 Rome PHOTO // Tanesha Hobson image image 4 5 Venice PHOTO // Marco Sarno CONTENTSPreface 8 Flight Map 12 Art 14 Architecture 32 Religion 50 Culture 68 Program Faculty 86 Tour Guides 88 Itinerary 92 Acknowledgements 94 6 The Fourm, Rome 7 PHOTO // Jessica Demaio The Arts of Italy’s greatest success was in introducing William PREFACE Paterson’s art students to not By Professor Claudia Goldstein only the art and culture of Italy, but to the possibility and joy of international travel. THE ARTS OF ITALY, A TWO WEEK WINTER SESSION COURSE encounters with the towering Palazzo Vecchio and the view — at the top of We then traveled to Rome, the Eternal City, where we immersed WHICH TOOK TWELVE STUDENTS TO SIX CITIES IN ITALY OVER many, many steps — from the medieval church of San Miniato al Monte. ourselves in more than two thousand years of history. We got a fascinating WINTER BREAK 2016-17, WAS CONCEIVED AS AN IDEA — AND TO After we caught our breath, we also caught a beautiful Florentine sunset tour of the Roman Forum from an American architectural historian and SOME EXTENT A PIPE DREAM — ALMOST A DECADE AGO. which illuminated the Cathedral complex, the Palazzo Vecchio, and the architect who has lived in Rome for 25 years, and an expert on Jesuit The dream was to take a group of students on a journey across Italy to show surrounding city and countryside. architecture led us through the Baroque churches of Sant’Ignazio and Il them some of that country’s vast amount of art and architectural history, We spent three beautiful days in Florence — arguably the students’ Gesu’. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52
Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52 Florence Baptistery, constructed between 1059 and 1128 -renowned for its three sets of bronze doors with relief sculptures (south doors created by Andrea Pisano; north and east doors by Lorenzo Ghiberti) Figure from the 1804 edition of De Pictura (1435) of Leon Battista Alberti, showing the vanishing point Alberti’s treatise was the first surviving European treatise on painting. Book I is a geometry of perspective. Book II describes the good painting. Book III discusses the education and life-style of the artist “Masaccio in painting “Masaccio was a very expressed the likeness of good imitator of everything in nature so well nature, with great and that with our eyes we seemed comprehensive to see not the images of rilievo, a good things but things componitore and puro, themselves.” without ornato, because he devoted himself only to the Alamanno Rinuccini, 1472 imitation of truth and to the rilievo of his figures.” Cristoforo Landino, 1481 Masaccio, The Holy Trinity, 1427. Santa Maria Novella Church, Florence Interior of the Brancacci Chapel, Church of Santa Maria del Carmine, Florence. Frescoes by Masaccio and Masolino (c. 1423–28) and Filippino Lippi (c. 1482–84) Masaccio. Tribute Money, fresco in the Brancacci Chapel, c. 1427. (2.3x 6 m) “And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening.” Vasari, Lives of Artists Raphael, Madonna of the Meadows, 1505–6, The Annunciation to the Shepherds, Cotton Kunsthistorisches Museum, Vienna MS Caligula A VII/1, fol. -
Competitive Spirit, Architecture, and Brunelleschi's Individual
Armstrong Undergraduate Journal of History Volume 8 Issue 1 Article 2 4-2018 A City of Feuds: Competitive Spirit, Architecture, and Brunelleschi’s Individual Renaissance in Florence Landen Kleisinger University of Regina Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/aujh Part of the History Commons Recommended Citation Kleisinger, Landen (2018) "A City of Feuds: Competitive Spirit, Architecture, and Brunelleschi’s Individual Renaissance in Florence," Armstrong Undergraduate Journal of History: Vol. 8 : Iss. 1 , Article 2. DOI: 10.20429/aujh.2018.080102 Available at: https://digitalcommons.georgiasouthern.edu/aujh/vol8/iss1/2 This article is brought to you for free and open access by the Journals at Digital Commons@Georgia Southern. It has been accepted for inclusion in Armstrong Undergraduate Journal of History by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Kleisinger: A City of Feuds A City of Feuds: Competitive Spirit, Architecture, and Brunelleschi’s Individual Renaissance in Florence Landen Kleisinger University of Regina (Saskatchewan, Canada) Daedalus, the unparalleled inventor and master craftsman of Greek mythology, fashioned wax wings for his son Icarus by which they attempted to escape Crete. Flying too close to the sun, Icarus’ wings soon melted, causing him to plummet into the sea. If “Icarus has come to symbolize hubris, in his failure to respect the limits of human flight imposed by nature, Daedalus’ ability to construct tools to transcend nature’s limits effectively symbolizes the triumph of technology over nature.”1 This transcendence of human nature came to be Filippo Brunelleschi’s (1377-1446) mythic achievement. -
AP Art History Unit Sheet #13 ‐ Chapter 14: Late Medieval Italy
AP Art History Unit Sheet #13 ‐ Chapter 14: Late Medieval Italy Works of Art ITALY (c.12001400) Artist Medium Date Page # 14‐1: Arena Chapel (Pauda) fresco cycle (and frescos at Assisi and Giotto Painting 1310 400 Florence) 14‐2: Pisano’s panels for baptistery pulpit of Pisa Cathedral Nicola Pisano’s Sculpture 1260 402 14‐6: Madonna Enthroned with Angels and Prophets Cimabue Painting 1280 406 14‐7: Madonna Enthroned, Florence Giotto Painting 1310 407 14‐8: Lamentation, Arena Chapel Giotto Painting 1305 408 14‐9: Virgin and Child Enthroned, (Maesta Altarpiece), Siena Duccio Painting 1310 411 14‐13: Annunciation, Florence Simone Martini Painting 1333 413 14‐14 Birth of Virgin Pietro Lorenzetti Painting 1342 415 14‐15: Palazzo Pubblico, Siena Cathedral Architecture 1330 415 14‐16, 14‐17: Allegory of Good and Bad Government, Siena Lorenzetti Painting 1339 416/417 14‐18: Florence Cathedral Arnolfo di Cambio Architecture 1334 417 14‐19: Baptistery of San Giovanni Doors Andrea Pisano Bronze Doors 1330 418 Preview: This chapter surveys art and architecture in Italy in the 13th and 14th centuries, a period that witnessed great changes in modes of representation in sculpture and painting. Artists in the 13th century such as Cimabue work in the Italo‐Byzantine style, characterized by a flattening of representational space and less naturalistic, more schematic renderings of figures. In the 14th century, Giotto is recognized for painting scenes and figures based on observations of the natural world. His naturalism is seen as a return to the classical manner, which had been nearly abandoned in the Middle Ages. -
Scuplture and the Third Dimension
SCUPLTURE AND THE THIRD DIMENSION METHODS AND MATERIALS OF SCULPTURE • MODELING----ADDITIVE- add materials • ASSEMBLING----ADDITIVE • CARVING—SUBRACTS—until desired form remains • CASTING—mold—liquid—poured – remains harden MODELING • MOST COMMON MATERIAL TO US IS CLAY • TERRACOTTA: FIRED CLAY • MOST ANCIENT OF ANY ART FORM Figurine of a Voluptuous Lady late Classic period, 700-900 C.E. Ceramic • Modeled of clay • By hand • Survived as part of a group of objects buried in a tomb • Modeling is the most direct of sculpture methods • Use to test ideas • Clay is kept water and can be used over and over again CASTING—INDIRECT METHOD • SOMETIMES THE ARTIST NEVER TOUCHS THE FINAL PIECE • METAL AND BRONZE USED FOR CASTING • NO FEAR OF BREAKING OFF • ACHIEVE SMOOTH ROUNDED SHAPES—GLOWERY-REFLECTIVE SURFACE INDIRECT & INVESTMENT CASTING • ALLOWS FOR MULTIPLES TO BE MADE • MOLD MAKES WAX CASTING REUSABLE • EACH CASTING IS AN ORIGINAL WORK OF ART “Vaquero” by Luis Jimenez. Modeled 1980, Cast 1990 • Uses contemporary materials for contemporary art • Paints his sculptures using acrylic urethane enamels • Industrial “wet look” paint • Cast in sections/assembled around a steel armature • Front of the Smithsonian American Art Museum in Washington D.C. CARVING • MORE AGGRESSIVE THAN MODELING • MORE DIRECT THAN CASTING • WOOD AND STONE PRINCIPAL MATERIALS • BEGIN WITH A SOLID BLOCK OF MATERIAL BOWL WITH FIGURES 20TH CENTURY-WOOD-25” • Song about sculptor/praises him for carving the hardest wood as though it were as soft as melon • Lid carved from single -
Florence City Guide
www.firenzeturismo.it www.firenzeturismo.it LIBERA Florence City Guide Guida alla città di Firenze 2 0 1 1 1 2 A CITY GUIDE TO FLORENCE of Renaissance art by the likes of Botticelli, One day in Florence Filippo Lippi, Paolo Uccello, Leonardo da One day in Florence: the city deserves a little longer than that, but a one-day visit will at least give you an Vinci and Michelangelo. A visit to the gal- idea. With just one day at your disposal, you will want to see the main sites and walk around the heart of the lery requires several hours. If you do not historic city centre. have time, continue on foot towards Ponte Start from Piazza del Duomo, where the Baptistery and the cathedral of Santa Maria del Fiore face each Vecchio, another symbol of the city, which other. The cathedral was begun by Arnolfo di Cambio in 1296, but it was not until 1436 that it was crow- has survived wars and flooding. Since the ned by the Cupola, Filippo Brunelleschi’s Guida alla città/City Guide 16th century, the buildings on the bridge masterpiece. The dome is the symbol of have been occupied by goldsmiths. Florence, a bold and majestic piece of ar- Crossing the bridge, you find yourself di là chitecture that affords fantastic views of d’Arno, that is, ‘beyond the Arno’, an impor- the city (and of the cathedral interior). On tant notion in Florence. Of the four historic the façade side of the cathedral is the bol- neighbourhoods, three (San Giovanni, San- dly coloured campanile of Giotto, which ta Maria Novella and Santa Croce) are north also has fine views of the city. -
ARTH206-Giorgio Vasari-Lives of the Most Emminent
Selections from Lives of the Most Eminent Painters Sculptors & Architects Giorgio Vasari, Translated by Gaston Du C. De Vere (1912-14) Source URL: http://www.gutenberg.org/files/25326/25326-h/25326-h.htm#Page_153 Saylor URL: http://www.saylor.org/courses/arth206/ Saylor.org This work is in the public domain. Page 1 of 199 LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS 1912 BY GIORGIO VASARI: NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED ILLUSTRATIONS: IN TEN VOLUMES LONDON: MACMILLAN AND CO. LD. & THE MEDICI SOCIETY, LD. 1912-14 CONTENTS Volume 1 3 Dedications to the Cosimo Medici 4 The Author’s Preface to the Whole Work 7 Giovanni Cimabue 19 Niccola and Giovanni of Pisa 31 Giotto 50 Ambrogio Lorenzetti 78 Volume 2 83 Duccio 84 Paolo Ucello 90 Lorenzo Ghiberti 100 Masolino Da Panicale 121 Masaccio 126 Filippo Brunelleschi 136 Donato [Donatello] 178 Volume 1 Footnotes 198 Volume 2 Footnotes 199 Source URL: http://www.gutenberg.org/files/25326/25326-h/25326-h.htm#Page_153 Saylor URL: http://www.saylor.org/courses/arth206/ Saylor.org This work is in the public domain. Page 2 of 199 VOLUME I Source URL: http://www.gutenberg.org/files/25326/25326-h/25326-h.htm#Page_153 Saylor URL: http://www.saylor.org/courses/arth206/ Saylor.org This work is in the public domain. Page 3 of 199 DEDICATIONS TO COSIMO DE' MEDICI TO THE MOST ILLUSTRIOUS AND MOST EXCELLENT SIGNOR COSIMO DE' MEDICI, DUKE OF FLORENCE AND SIENA MY MOST HONOURED LORD, Behold, seventeen years since I first presented to your most Illustrious Excellency the Lives, sketched so to speak, of the most famous painters, sculptors and architects, they come before you again, not indeed wholly finished, but so much changed from what they were and in such wise adorned and enriched with innumerable works, whereof up to that time I had been able to gain no further knowledge, that from my endeavour and in so far as in me lies nothing more can be looked for in them. -
Italian Art of the Trecento (14T H Century) Teachers
Universitat Permanent Universidad Permanente NAME OF THE SUBJECT: FROM ‘TENEBRAE’ TO MODERNITY: ITALIAN ART OF THE TH TRECENTO ( 14 CENTURY) TEACHERS: Rafael Navarro Mallebrera ............................................ ([email protected]) Xavier Carro Rosende...................................................... ([email protected]) ACADEMIC YEAR: 2013-14 OBJECTIVES: In Italy, the time comprised between the late years of the 13th century and the first half of the 14th century was a period of vigorous growth and incessant search for paths in art. Likewise, the development of Florence and Siena painting from 1350 to 1400 was crucial to art history: the aspects of reality and the problems related to shape were subjected to new values, attitudes and approaches that would determine the first Renaissance that the enlightened ones will know. METHODOLOGY: Despite trying to offer a reasonably wide overview, the course will especially focus on the most important artists and works of the period. And they will be simultaneously related to the social, moral and cultural context. SYSTEM OF ASSESSMENT: Continuous SUBJECT SYLLABUS: U. 1.-The expansion of Franciscan and Dominican architecture in the second half of the 13th century. The cathedrals of Siena. Orvieto, Florence and Arezzo. The civil architecture of Viterbo, Piacenza, Florence, Todi and Perugia. U. 2.-Nicola Pisano: the pulpits of Pisa and Siena, the fountain of Perugia and the descent of Luca. Arnolfo di Cambio: the Cardinal of Baye’s tomb, the sarcophagus of San Domenico, the front sculptures in the Cathedral of Florence and the baldachins of San Paolo Extramuro and Santa Cecilia. Giovanni Pisano: the façade of the Cathedral of Siena, the pulpit of Santa Andrea di Pistoia and the sculptures in the Cathedral of Pisa. -
Donatello Biography Study Guide
© HomeschoolMasteryAcademy.com 1 Biography Donato di Niccolò di Betto Bardi Born: C. 1386 — Florence, Italy Nationality: Italian Spouse: Unmarried Occupation: Artist, Sculptor Death: December 13, 1466 — Florence, Italy Early Life Donato di Niccolò di Betto Bardi better known as Donatello, was the son of Niccolò di Betto Bardi, a member of the Florentine Wool Combers Guild. He grew up and spent the majority of his life in Florence, Italy. He was given an education in the home of the powerful Martellis family of Florence, who had a strong banking background and were patrons of the arts. This family, the Martellis’ were closely tied to the famous and powerful Medici family. Later in life, Donatello would serve as a commissioned artisan for the Medici family and become close friends with Cosimo the Patron of the family. He was buried in the grave next to Cosimo in the family cemetery. About the Artist He is considered to be one of the greatest sculptors of the renaissance era, and his works served as the foundation for most sculptors who came after him. While Michelangelo became perhaps the most well- known sculptor, it was Donatello who is considered to be the father of the renaissance style of sculpting. Having begun his career as a goldsmith’s apprentice he soon became a student of Lorenzo Ghiberti, a bronze sculptor, whose most famous work is the Bronze Doors, The Gates of Paradise. Donatello preferred the classical method of sculpting honing back to the ancient times. He used this to develop a complete Renaissance sculpting style. His most notable works are his complete statues, known as in the round, which means the statue was developed on all sides of the material forming a complete statue. -
Patrons, Artists, and Scholars Reader Core Knowledge Language Arts® Knowledge Core
Unit 4 The Renaissance Patrons, Artists, and Scholars Reader Core Knowledge Language Arts® Knowledge Core GRADE 5 GRADE Unit 4 The Renaissance Patrons, Artists, and Scholars Reader GRADE 5 Core Knowledge Language Arts® Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work Under the following conditions: Attribution — You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation made available through licensing under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 Unported License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial — You may not use this work for commercial purposes. Share Alike — If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page: http://creativecommons.org/licenses/by- nc-sa/3.0/ ISBN: 978-1-942010-15-9 Copyright © 2014 Core Knowledge Foundation www.coreknowledge.org All Rights Reserved. Core Knowledge Language Arts is a trademark of the Core Knowledge Foundation. Trademarks and trade names are shown in this book strictly for illustrative and educational purposes and are the property of their respective owners. References herein should not be regarded as affecting the validity of said trademarks and trade names.