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Introduction to Art Historical Research: Western Painting NTNU Graduate Institute of Art History September 30Th 2009

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Introduction to Art Historical Research: Western Painting NTNU Graduate Institute of Art History September 30Th 2009 Introduction to Art Historical Research: Western Painting NTNU Graduate Institute of Art History September 30th 2009 ©2009 Dr Valentin Nussbaum, Associate Professor Filippo Lippi, Annunciation, around 1440, Martelli Chapel, San Lorenzo, Florence 1 Ambrogio Lorenzetti, Annunciation, 1334, Academia, Siena 2 Filippo Brunelleschi, San Lorenzo, around 1421-1426 / 1442-1461, Florence San Lorenzo, Florence Santa Croce, Florence 3 “The most captivating and imaginative painter to have lived since Giotto would certainly have been Paolo Uccello, if only he had spent as much time on human figures and animals, as he spent, and wasted, on the finer points of perspective. (…) Artists who devote more attention to perspective than to figures develop a dry and angular style because of their anxiety to examine things too minutely; and, moreover, they usually end up solitary, eccentric, melancholy, and poor, as indeed did Paolo Uccello himself.” (…) “His wife told people that Paolo used to stay up all night in his study, trying to work out the vanishing points of his perspective, and that when she called him to come to bed he would say: “Oh what a lovely thing this perspective is!” And indeed, if perspective was dear to Uccello it also proved, thanks to his works, attractive and rewarding to those who have used it since.” Giorgio Vasari, The Lives of Artists, 1568 Paolo Uccello, Funerary Monument of Sir John Hawkwood, ca.1450, Fresco, 820 x 515 cm, Duomo, Florence 4 Paolo Uccello, Battle of San Romano Niccolo da Tolentiuno leads the Florentine troops, ca.1450, Tempera on wood, 182 x 320 cm, National Gallery, London Bayeux Tapestry, Cathedral, ca. 1077-1082, (50 cm x 70 m.) 5 6 Morgan Bible M638, David instructing Joab, David Fights the Ammonites and Syrians / Battle against Shobach, fol. 41r, Morgan Pierpoint Library, New York Paolo Uccello, Battle of San Romano Niccolo da Tolentiuno leads the Florentine troops, ca. 1450, Tempera on wood, 182 x 320 cm, National Gallery, London 7 Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence 8 Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence Paolo Uccello, Battle of San Romano Bernardino della Ciarda Thrown off his Horse, ca.1450, Tempera on wood, 182 x 220 cm, Uffizi, Florence 9 Paolo Uccello, Battle of San Romano Micheletto da Cotignola Engages in Battle, ca.1450, Tempera on wood, 180 x 316 cm, Louvre, Paris Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford 10 Perspectival econstitutions of Uccello’s Hunt in the Forest Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford (detail) 11 Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford (detail) Paolo Uccello, The Hunt in the Forest, ca.1465-70, Ashmolean Museum, Oxford (detail) 12 « And Fra Bartolomeo thus returned to Florence where it had often in the past alleged that he did not know how to paint nudes. For this reason, he wanted to prve himself and to show through his efforts that he was utterly competent as anyone else in all excellent work of painting. So for proof of this, he did a picture of St Sebastian, naked, very realistic in the colouring of his flesh, who has an air of great charm, and whose body was likewise executed with corresponding beauty. This won him endless praise among craftsmen. It is said that when this painting was put on show in the church, after the friars had found women in confession who on looking at it had sinned through the captivating and sensuous resemblance of a living figure given to it by Fra Bartolommeo’s talent, they removed it from the church and sent it to the chapter-house, where it did not remain long before it was bought by Giovan Battista della Pala and sent to the King of France. » Giorgio Vasari, Lives of the Artists, 1568 Zacchia Il Vecchio (copy of Fra Bartolomeo, 1514, Convent of San Francesco, Fiesole), Saint Sebastian, 1526 Andrea Mantegna, Saint Sebastian, 1457-58, Tempera on Andrea Mantegna, Saint Sebastian, 1457-58, Tempera wood, 68 x 30 cm, Kunsthistorisches Museum, Vienna on canvas, 255 x 140 cm, Louvre, Paris 13 Andrea Mantegna, Saint Sebastian, 1457-58, Temopera on wood, 68 x 30 cm Kunsthistorisches Museum, Vienna Andrea Mantegna, Saint Sebastian, 1457-58, Louvre, Paris 14 Andrea Mantegna, Saint Sebastian, 1457-58, Kunsthistorisches Museum, Vienna Andrea Mantegna, Saint Sebastian, 1457-58, Louvre, Paris 15 Andrea Mantegna, Dead Christ, ca.1490, Tempera on canvas, 68 x 81 cm, Pinacoteca Brera, Milan Andrea Mantegna, Dead Christ, around 1490, Pinacoteca Brera, Milan Jacopo Bellini, Dormition of the Virgin, ca. 1450, Louvre, Paris 16 Aby Warburg, The Warburg Library, Hamburg, 1924-29 17 Aby Warburg, Atlas Mnemosyne, 1924-29, Plates A, B, C Aby Warburg, Atlas Mnemosyne, 1924-29, Plates 32 and 79 18 Aby Warburg, Atlas Mnemosyne, 1924-29 Plate 42 Aby Warburg, Atlas Mnemosyne, 1924-29, Plate 43 19 Domenico Ghirlandaio, Episodes from the Life and Miracles of St Francis, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence 20 Domenico Ghirlandaio, Episodes from the Life and Miracles of St Francis: Renunciation of the Worldly Goods, St Francis Receiving the Stigmata, Test of Fire Before the Sultan, Obsequies of St Francis, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence Domenico Ghirlandaio, Episodes from the Life and Miracles of St Francis, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence 21 Domenico Ghirlandaio, The Nativity (Adoration of the Shepherds, 1479-85, Panel, 167 x 167 cm, Sassetti Chapel, Santa Trinità, Florence Domenico Ghirlandaio, Portrait of the Donor Francesco Sassetti and his wife Nera Corsi, 1479-85, Fresco, 167 x 167 cm, Sassetti Chapel, Santa Trinità, Florence 22 Domenico Ghirlandaio, Portrait of the Donor Francesco Sassetti and his wife Nera Corsi, 1479-85, Fresco, 167 x 167 cm, Sassetti Chapel, Santa Trinità, Florence Domenico Ghirlandaio, Confirmation of the Rule of St Francis, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence 23 Giotto, Confirmation of the Rule of St Francis, ca 1317, Fresco, Bardi Chapel, Santa Croce, Florence Domenico Ghirlandaio and Giotto, Confirmation of the Rule of St Francis 24 Domenico Ghirlandaio, Confirmation of the Rule of St Francis, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence Domenico Ghirlandaio, Confirmation of the Rule of St Francis, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence 25 Florence Piazza della Signoria Florence Piazza della Signoria 26 Domenico Ghirlandaio, The Miracle of the Resurrection of the Boy, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence Domenico Ghirlandaio, The Miracle of the Resurrection of the Boy, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence 27 Domenico Ghirlandaio, The Miracle of the Resurrection of the Boy, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence Domenico Ghirlandaio, Meeting of Augustus and the Sibyl, 1479-85, Fresco, Sassetti Chapel, Santa Trinità, Florence 28 .
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