Drawings, Water-Color Paintings, Photographs and Etchings

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Drawings, Water-Color Paintings, Photographs and Etchings

CATALOGUE OF DRAWINGS. 11 r 110. ANDREA DEL SARTO. [See No. 104.]—Monk and Soldier. 111. ANDREA DEE SARTO.—Bishop and Saint. 112. LORENZO GHD3ERTI (?) (painter, sculptor; b. Florence. 1378, d. about 1455; taught drawing, modeling, and metal-casting by step-father Bar- toluccio, goldsmith; 1398, driven from Florence by the plague to Rimini where he made some frescoes; competed for commission to make bronze doors of Florentine Baptistery; Ghibertl, Brunelleschi [see No 620], and Donatello [Florentine sculptor, 1383-1466] were adjudged the work, but the two latter withdrew; labored about forty years upon the doors, which have excited universal admiration;—style still somewhat stiff, but growing towards vigor and grace.—Groups. 113. LORENZO GHIBERTI (?). [See No. 112.]—Groups. 114. 115. ANTONIO POLLAJUOLO (sculptor, painter, engraver; b. Florence, 1433, d. 1498; with his brother Pietro educated by his father as gold smith; studied modeling and casting under Ghiberti [see No. 112]; assisted upon famous Ghiberti Gates in Church of S. Giovanni; studied painting under his brother Pietro [1428-1498]; the Pollajuoli said to have been the first Italians to practice human dissection for art study;— strongly influenced by training in plastic work and by study of the antique; the first to use oil instead of tempera as a vehicle).—Nude Youths Leaning on Staves. 116. ANDREA DEL SARTO.—Old Man with Staff. 117. ANDREA DEL SARTO. [See No. 104.] —Man Seated, Writing on his Knee. 118. ANDREA DEL SARTO.—Youthful Head. 119. SCHOOL OF MICHAEL ANGELO. [See No. 92.]—Statue in Niche. 120. SCHOOL OF MICHAEL ANGELO. —Prophet with Book. 121. TOMMASO DA S. GIOVANNI, called II MASACCIO, "the dirty fellow" (b. Val dArno, near Florence, 1402, d. about 1^40; name taken from his slovenly habits; studied under Masolino da Panicale [Florentine, 1378-1415] and Brunelleschi [see No. 620], from works of Ghiberti [see No. 112] and Donatello [Florentine, 1383-1466]. and from antiques at Rome;—began a revolt against rigidity and conventionality, seeking greater naturalness, more skillfully chosen attitudes, and better reasoned draperies; called one of the Fathers of Painting, both for his distinct advance upon previous styles ard because many of his successors, par ticularly Raphael, formed their styles by studying his).—Ecce Homo [ —the Dead Christ Supported by two Cherubs. .

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Vol 3 Issue 2 Artistic Impression
Vol. 3, Issue 2 February, 2021 Burlington Artists League A Word from the President Dear BAL members, Welcome to the February edition of our newsletter. Our previous editor has resigned and until we can find another one, Angela Bostek is serving as our interim editor, taking on yet another responsibility. Our profound thanks, Angela. The month of February conjures up associations with the bleak mid-winter season. On the other hand, it anticipates the arrival of spring, especially if the ground-hog’s prognostications are correct. For us, it means the Small Art Contest. I am pleased that the contest this year has been a success. The entries were as fine as ever and my thanks to all participants and congratulations to the winners! Unfortunately, due to Covid restrictions, we could not have our usual reception to honor the winners. However, as usual, all entries will be on display for the month of February. Please take an hour or so during the month to drop by the gallery to admire all the art submitted for the contest. It’s quite impressive. Now we look forward to the next competition in April. Further information will be forthcoming, watch your email. We hope you will join us for our monthly business meeting by way of Zoom on Thursday, February 18, at 3 p.m. One of the main agenda items will be a discussion of possibly adding a competition at the end of the summer and your input is valuable. In the meantime, stay warm and safe. Jane ********* FEBRUARY CALENDAR OF EVENTS 1st – 28th 14th 18th Jan 22 – Feb 18 Feb.
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Renaissance Art in Rome Giorgio Vasari: Rinascita
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L'arte Del Primo Rinascimento
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Madonna and Child with God the Father Blessing and Angels C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Jacopo di Cione Florentine, c. 1340 - c. 1400? Madonna and Child with God the Father Blessing and Angels c. 1370/1375 tempera on panel painted surface: 139.8 × 67.5 cm (55 1/16 × 26 9/16 in.) overall: 141.2 × 69 × 1.5 cm (55 9/16 × 27 3/16 × 9/16 in.) framed: 156.8 x 84.1 x 6.7 cm (61 3/4 x 33 1/8 x 2 5/8 in.) Samuel H. Kress Collection 1952.5.18 ENTRY The image of Mary seated on the ground (humus) accentuates the humility of the mother of Jesus, obedient ancilla Domini (Lk 1:38). The child’s gesture, both arms raised to his mother’s breast, alludes, in turn, to another theme: the suckling of her child, a very ancient aspect of Marian iconography. In the medieval interpretation, at a time when the Virgin was often considered the symbol of the Church, the motif also alluded to the spiritual nourishment offered by the Church to the faithful. [1] As is common in paintings of the period, the stars painted on Mary’s shoulders allude to the popular etymology of her name. [2] The composition—as it is developed here—presumably was based on a famous model that perhaps had originated in the shop of Bernardo Daddi (active by 1320, died probably 1348). [3] It enjoyed considerable success in Florentine painting of the second half of the fourteenth century and even later: numerous versions of the composition are known, many of which apparently derive directly from this image in the Gallery.
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Circolo Culturale Masolino Da Panicale
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ARTH206-Giorgio Vasari-Lives of the Most Emminent
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Early Renaissance
Caroline Mc Corriston Early Renaissance Masaccio (1401- 1428) Italian He was born as Tommaso Cassai but later became known as Masaccio, which is a pet name for Tommaso. It is not known where he trained as an artist. When he joined the artists guild of Florence in 1422 he was already an independant artist with his own workshop. He is most famous for his expert use of central perspective in his paintings, which was a technique developed to create the illusion of depth and space by Giotto, Ghiberti and Donatello. From Giotto he also learned to create three dimensional space, sculptural, realistic and naturalistic expressions and gestures. He preferred Greek and Roman sculpture rather than Gothic. ● The artist began by drawing a grid and sketching the objects and figures into it. ● He then chose a standpoint of the viewer in the centre of the painting. This is also called the vanishing point or centre of perspective. ● Using thread, he then measured lines outwards from the vanishing point to the objects and figures. This informed him of the depth of the objects within the painting. From this, he could figure out the sizes and dimensions of objects giving the impression they are receding into the distance or appearing close up. Important Works The Brancacci Chapel Frescoes, 1424-28 ● The frescoes that adorn the walls of the Brancacci Chapel in Florence are among the most famous of the entire Renaissance period. They are the result of contributions from a number of artists, including Masaccio. ● Masolino da Panicale began the paintings in 1424, assisted by a young Masaccio ● Masaccio took over the project in 1425 until his death in 1428 ● Filippino Lippi then completed the paintings.
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Beato Angelico
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Tuscany Travels Through Art
TUSCANY TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists tuscany TRAVELS THROUGH ART Searching for beauty in the footsteps of great artists For the first time, a guide presents itineraries that let you discover the lives and works of the great artists who have made Tuscany unique. Architects, sculptors, painters, draughtsmen, inventors and unrivalled genius– es have claimed Tuscany as their native land, working at the service of famous patrons of the arts and leaving a heritage of unrivalled beauty throughout the territory. This guide is essential not only for readers approaching these famous names, ranging from Cimabue to Modigliani, for the first time, but also for those intent on enriching their knowledge of art through new discoveries. An innovative approach, a different way of exploring the art of Tuscany through places of inspiration and itineraries that offer a new look at the illustrious mas– ters who have left their mark on our history. IN THE ITINERARIES, SOME IMPORTANT PLACES IS PRESENTED ** DON’T MISS * INTERESTING EACH ARTIST’S MAIN FIELD OF ACTIVITY IS DISCUSSED ARCHITECT CERAMIST ENGINEER MATHEMATICIAN PAINTER SCIENTIST WRITER SCULPTOR Buon Voyage on your reading trip! Index of artists 4 Leona Battista Alberti 56 Caravaggio 116 Leonardo da Vinci 168 The Pollaiolo Brothers 6 Bartolomeo Ammannati 58 Galileo Chini 118 Filippo Lippi 170 Pontormo 8 Andrea del Castagno 62 Cimabue 120 Filippino Lippi 172 Raffaello Sanzio 10 Andrea del Sarto 64 Matteo Civitali 124 Ambrogio Lorenzetti 174 Antonio Rossellino
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Picturing the Poor in Renaissance Italy Megan Cheng Director
ABSTRACT Portraits of Compassion: Picturing the Poor in Renaissance Italy Megan Cheng Director: Alden Smith, Ph.D. At the beginning of the Renaissance, social policy towards the poor was geared only to help Christ’s poor: the orphaned, widowed, and disabled. The working poor received little, if any, assistance, and “false beggars,” or those who were able-bodied but thought to be too lazy to work, faced stiff penalties such as imprisonment and flogging. By the end of the Renaissance, however, there was recognition that poverty affected more than just those whom the New Testament describes as the most needy (James 1:27 “Pure religion and undefiled before God the Father is this, To visit the fatherless and widows in their affliction…”). In this thesis, I note the growing presence of the poor in Renaissance art and observe how artists influenced and recorded these changing attitudes towards the poor in fifteenth century Florentine art. The thesis closes with an afterword where I also note modern parallels in social attitudes towards the poor and examine how art continues to play an important role in shaping opinions about poverty today. APPROVED BY DIRECTOR OF HONORS THESIS: __________________________________________ Dr. Alden Smith, Department of Classics APPROVED BY THE HONORS PROGRAM ________________________________________________ Dr. Elizabeth Corey, Director DATE: _______________________ PORTRAITS OF COMPASSION: PICTURING THE POOR IN RENAISSANCE ITALY A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Megan Cheng Waco, Texas May 2017 TABLE OF CONTENTS List of Figures iii Acknowledgments iv Chapter One: The First Stokes of Change in Fifteenth-Century Florence 1 Frequencies of the Poor in Art 1 Art in the Renaissance 5 Chapter Two: Analysis of Selected Frescoes from 1400-1449 17 The Cycle of St.
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The Rock of Salvation
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1 Renaissance Artists
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