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 , San Lorenzo,

1 Ambrogio Lorenzetti, Annunciation, 1334, Academia,

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 would certainly have been , 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, , London

Bayeux Tapestry, Cathedral, ca. 1077-1082, (50 cm x 70 m.)

5 6 Morgan M638, 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, , 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 . » Giorgio Vasari, Lives of the Artists, 1568 Zacchia Il Vecchio (copy of Fra Bartolomeo, 1514, Convent of San Francesco, ), 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 , Episodes from the Life and Miracles of St Francis, 1479-85, Fresco, , 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 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

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

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