Florence, Ravenna & Venice

Total Page:16

File Type:pdf, Size:1020Kb

Florence, Ravenna & Venice FLORENCE, RAVENNA & VENICE ART, ARCHITECTURE & HISTORY APRIL 3-15, 2018 TOUR LEADER: DR NICK GORDON FLORENCE, RAVENNA Overview & VENICE ART, ARCHITECTURE & HISTORY Florence, Ravenna and Venice have extraordinary and distinct histories but are united by the sheer density of masterpieces they have Tour dates: April 3-15, 2018 accumulated. This new 13-day tour takes in the best of these cities, from the UNESCO World Heritage Byzantine and Ostrogothic mosaics of Tour leader: Dr Nick Gordon Ravenna, to Renaissance masterpieces by Botticelli, Donatello and Leonardo in Florence, and the splendour of Venice, from its glittering Tour Price: $6,575 per person, twin share mosaics to its quiet islands and excellent modern and Renaissance art collections. Single Supplement: $1,575 for sole use of The tour also takes you to less well-visited sites, such as villas and double room gardens of Fiesole, the Renaissance country houses of Palladio, and Prato, a once thriving medieval city with abundant treasures of its own. Booking deposit: $500 per person The itinerary is rounded out by a private after hours tour of St Mark’s Basilica in Venice and fine dining in Florence and Venice. Recommended airline: Emirates Maximum places: 20 Your tour leader Itinerary: Florence (5 nights), Ravenna (2 Dr Nick Gordon holds a University Medal nights), Venice (5 nights) and a PhD in History from the University of Sydney. He lectures regularly on art Date published: May 9, 2018 and history for Sydney University’s Nicholson Museum and Centre for Continuing Education, and has taught European history at universities in Sydney for 10 years. His knowledge of and passion for art and history have developed from both academic research and his practice as an artist. He has led tours for Academy Travel since 2007. “Loved the itinerary – good mix of cultural sites and activities. Nick was an excellent tour leader who took care of our group. He shared his expertise and enthusiasm with us in a friendly and unassuming way, answering our questions and providing further information when asked.” Tour participant on Venice: City, Republic and Empire, 2015. “Nick was an extremely knowledgeable guide; he organised us very well; he was calm and unflappable; and his lectures were excellent… The information he provided, the places he selected for us, and the art he revealed to us gave us a wonderful insight into Renaissance times.” Tour participant on Florence and the Italian Renaissance, 2016. Enquiries and Connect this tour bookings with Naples, Capri and Rome, March 2018 For further information and to Consider combining both of these tours Naples, Capri & Rome and secure a place on this tour Florence, Ravenna & Venice to create a 26-day program touring the major please contact Jemma York at cities and cultural highlights of Italy. Travel from Naples to Venice with 5 Academy Travel on 9235 0023 days in between each tour to celebrate Easter in Italy. For more or 1800 639 699 (outside information please contact Jemma York (details left). Sydney) or email [email protected] Tour Highlights PRIVATE VIEWING OF ST MARK’S BASILICA IN VENICE Enjoy St Mark’s Basilica without the crowds on a private evening visit. As one of Italy’s most visited sites, during the day it is filled by hordes of people filing through a narrowly prescribed path. The private, after-hours experience is incomparable: the mosaics are illuminated specially for us allowing you to admire them in peace. DONATELLO, MICHELANGELO, BOTTICELLI The artists of Renaissance Florence left an indelible mark on history and in the city of Florence, which has the greatest concentration of Renaissance art in the world. Enjoy expert guidance in the Uffizi and beyond, as we explore the art and culture of one of history’s most dynamic periods. THE WORLD HERITAGE MOSAICS OF RAVENNA From the 4th and 6th centuries CE, Ravenna was the capital of successive empires in Italy – first Roman, then Ostrogothic and Byzantine. Each empire left its mark on the city and today it is one of the best places to explore the tumultuous history of Late Antiquity, through the beautifully preserved buildings and mosaics from each period. ITALIAN VILLAS OF FLORENCE AND VENICE Renaissance Italians sought to emulate the great writers and citizens of the Roman world, and began to build villas to pursue the good life according to classical rules. This new villa culture produced some of the most significant architects of the West, such as Andrea Palladio whose World Heritage listed villas in the Veneto have inspired generations of architects. FROM MEDIEVAL TO MODERN ITALY Hundreds (and sometimes thousands) of years of constant inhabitation have produced wondrous cities, with medieval cobblestoned laneways and Renaissance palaces forming the backdrop for that uniquely Italian modern style. Find out what’s behind the doors too, whether it’s an altarpiece by Bellini or one of Italy’s many fine collections of modern art. Detailed itinerary Included meals are shown with the letters B, L and D. Tuesday April 3 Arrive The tour starts this afternoon, when we meet in the hotel for a walking tour of the historic centre of Florence, from the Ponte Above: the Ponte Vecchio Vecchio, through the medieval streets of the Oltrarno with their artisan workshops, and the palaces of some of Florence’s great Below: Benozzo Gozzoli’s Procession of the Magi, in the private Renaissance families, which now house galleries, designer chapel of the Palazzo Medici-Riccardi, and Michelangelo’s Pieta, in the recently renovated Museo del Opera del Duomo in Florence flagships and boutiques. In the early evening, we enjoy a welcome dinner. Overnight Florence (D) Wednesday April 4 The Renaissance in Florence From the 1200-1500s Florence was one of the economic and cultural powerhouses of Europe and its citizens - from Dante, to Donatello, Leonardo, Michelangelo, Machiavelli and the Medici - revolutionised banking, literature, politics and art. After a background talk in the hotel, we explore the genesis of the Italian Renaissance. Our morning walking tour includes a visit to Orsanmichele and Santa Maria Novella, which has extensive frescoes by Masaccio, Uccello, Ghirlandaio and Lippi. Seeing these works in their original context gives us a better understanding of the social and political relationships behind Renaissance art, and the particularly complex demands placed on artists. In the afternoon, we have a guided visit of the 15th century palace of the Medici, with its jewel like chapel painted by Benozzo Gozzoli, and their local church, San Lorenzo – a beautiful church designed by Brunelleschi, with works by Donatello and Verrocchio inside, and the Medici Chapels nearby, with tombs by Michelangelo. Evening at leisure. Overnight Florence (B) Thursday April 5 Sculpture and the Dome The cupola of Florence’s cathedral is symbolic of the confidence, energy and audacity of Renaissance Florentines. When work started on the new cathedral in 1290s, the architects knew they did not yet have the technology to span the space, but proceeded nonetheless. Brunelleschi’s dome was an awe inspiring achievement both in terms of engineering and aesthetics. But the dome was just one part of a much larger project to represent the greatness of Florence and its citizens. After a morning talk, we explore the sculpture and architecture of Renaissance Florence. We visit the Bargello for its excellent collection of sculpture and the recently renovated Museo del Opera del Duomo, which has Ghiberti’s extraordinary ‘Gates of Paradise’ and a beautiful Pieta by Michelangelo. In the late afternoon, we ascend to the terraces of cathedral. Evening at leisure. Overnight Florence (B) Friday April 6 Villas and Fiesole According to classical authorities, one must have a place to go to relax just outside the city and high enough to provide respite from the summer heat. The hills to the north of Florence provided exactly this, and the villas have been built here since the 1400s. This morning we visit Villa Gamberaia, whose 18th- century formal gardens take perfect advantage of the views across the Tuscan countryside, and Villa Le Balze, whose gardens were designed by Cecil Pincent. After lunch at Villa San Michele, an excellent and exclusive restaurant, we visit the town of Fiesole, with its Etrsucan and Roman ruins, and picturesque views over Florence and the countryside. Evening at leisure. Overnight Florence (B, L) Saturday April 7 Palazzo Vecchio and the Uffizi When the Medici took control of the city in the 1500s, they set about radically transforming it in their image. The Palazzo Vecchio was transformed from a republican city hall to a ducal private residence, and it is lavishly decorated with scenes from history and mythology. The administration of their duchy was moved into the custom-built Uffizi next door. The Uffizi has undergone a lot of changes over the years; most recently it has been renovated and enlarged, so that there is more than double the amount of space to display their treasures. After a talk in the morning, we have a guided visit of the Palazzo Vecchio, including its secret passages, usually unavailable to the public. Above: a view of the parterre at Villa Gamberaia. Above: the In the early afternoon, we have a guided visit of the Uffizi, Romanesque cathedral of Prato followed by time explore the galleries independently. Evening at leisure. Overnight Florence. (B) Below: Theodora, the accomplished Empress of the Byzantine Sunday April 8 Empire, from the 6th-century World Heritage listed mosaics of Ravenna Prato We depart by coach this morning for Ravenna. Our first stop on route the Medici villa at Poggio ai Caiano. This villa was designed for Lorenzo the Magnificent in the late 1400s and completed by his son, Pope Leo X.
Recommended publications
  • Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
    1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up.
    [Show full text]
  • Stepping out of Brunelleschi's Shadow
    STEPPING OUT OF BRUNELLESCHI’S SHADOW. THE CONSECRATION OF SANTA MARIA DEL FIORE AS INTERNATIONAL STATECRAFT IN MEDICEAN FLORENCE Roger J. Crum In his De pictura of 1435 (translated by the author into Italian as Della pittura in 1436) Leon Battista Alberti praised Brunelleschi’s dome of Florence cathedral, Santa Maria del Fiore [Fig. 1], as ‘such a large struc- ture’ that it rose ‘above the skies, ample to cover with its shadow all the Tuscan people’.1 Alberti was writing metaphorically, but he might as easily have written literally in prediction of the shadowing effect that Brunelleschi’s dome, dedicated on 30 August 1436, would eventually cast over the Florentine cultural and historical landscape of the next several centuries.2 So ever-present has Brunelleschi’s structure been in the historical perspective of scholars – not to mention in the more popular conception of Florence – that its stately coming into being in the Quattrocento has almost fully overshadowed in memory and sense of importance another significant moment in the history of the cathedral and city of Florence that immediately preceded the dome’s dedication in 1436: the consecration of Santa Maria del Fiore itself on 25 March of that same year.3 The cathedral was consecrated by Pope Eugenius IV (r. 1431–1447), and the ceremony witnessed the unification in purpose of high eccle- siastical, foreign, and Florentine dignitaries. The event brought to a close a history that had begun 140 years earlier when the first stones of the church were laid in 1296; in 1436, the actual date of the con- secration was particularly auspicious, for not only is 25 March the feast of the Annunciation, but in the Renaissance that day was also the start of the Florentine calendar year.
    [Show full text]
  • Prato and Montemurlo Tuscany That Points to the Future
    Prato Area Prato and Montemurlo Tuscany that points to the future www.pratoturismo.it ENG Prato and Montemurlo Prato and Montemurlo one after discover treasures of the Etruscan the other, lying on a teeming and era, passing through the Middle busy plain, surrounded by moun- Ages and reaching the contempo- tains and hills in the heart of Tu- rary age. Their geographical posi- scany, united by a common destiny tion is strategic for visiting a large that has made them famous wor- part of Tuscany; a few kilometers ldwide for the production of pre- away you can find Unesco heritage cious and innovative fabrics, offer sites (the two Medici Villas of Pog- historical, artistic and landscape gio a Caiano and Artimino), pro- attractions of great importance. tected areas and cities of art among Going to these territories means the most famous in the world, such making a real journey through as Florence, Lucca, Pisa and Siena. time, through artistic itineraries to 2 3 Prato contemporary city between tradition and innovation PRATO CONTEMPORARY CITY BETWEEN TRADITION AND INNOVATION t is the second city in combination is in two highly repre- Tuscany and the third in sentative museums of the city: the central Italy for number Textile Museum and the Luigi Pec- of inhabitants, it is a ci Center for Contemporary Art. The contemporary city ca- city has written its history on the art pable of combining tradition and in- of reuse, wool regenerated from rags novation in a synthesis that is always has produced wealth, style, fashion; at the forefront, it is a real open-air the art of reuse has entered its DNA laboratory.
    [Show full text]
  • "Nuper Rosarum Flores" and the Cathedral of Florence Author(S): Marvin Trachtenberg Source: Renaissance Quarterly, Vol
    Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence Author(s): Marvin Trachtenberg Source: Renaissance Quarterly, Vol. 54, No. 3 (Autumn, 2001), pp. 740-775 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/1261923 . Accessed: 03/11/2014 00:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 192.147.172.89 on Mon, 3 Nov 2014 00:42:52 AM All use subject to JSTOR Terms and Conditions Architectureand Alusic Reunited: .V A lVewReadi 0 u S uperRosarum Floresand theCathedral ofFlorence. byMARVIN TRACHTENBERG Theproportions of the voices are harmoniesforthe ears; those of the measure- mentsare harmoniesforthe eyes. Such harmoniesusuallyplease very much, withoutanyone knowing why, excepting the student of the causality of things. -Palladio O 567) Thechiasmatic themes ofarchitecture asfrozen mu-sic and mu-sicas singingthe architecture ofthe worldrun as leitmotifithrough the histories ofphilosophy, music, and architecture.Rarely, however,can historical intersections ofthese practices be identified.
    [Show full text]
  • 1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
    Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
    [Show full text]
  • Insider's Florence
    Insider’s Florence Explore the birthplace of the Renaissance November 8 - 15, 2014 Book Today! SmithsonianJourneys.org • 1.877.338.8687 Insider’s Florence Overview Florence is a wealth of Renaissance treasures, yet many of its riches elude all but the most experienced travelers. During this exclusive tour, Smithsonian Journey’s Resident Expert and popular art historian Elaine Ruffolo takes you behind the scenes to discover the city’s hidden gems. You’ll enjoy special access at some of Florence’s most celebrated sites during private after-hours visits and gain insight from local experts, curators, and museum directors. Learn about restoration issues with a conservator in the Uffizi’s lab, take tea with a principessa after a private viewing of her art collection, and meet with artisans practicing their ages-old art forms. During a special day in the countryside, you’ll also go behind the scenes to explore lovely villas and gardens once owned by members of the Medici family. Plus, enjoy time on your own to explore the city’s remarkable piazzas, restaurants, and other museums. This distinctive journey offers first time and returning visitors a chance to delve deeper into the arts and treasures of Florence. Smithsonian Expert Elaine Ruffolo November 8 - 15, 2014 For popular leader Elaine Ruffolo, Florence offers boundless opportunities to study and share the finest artistic achievements of the Renaissance. Having made her home in this splendid city, she serves as Resident Director for the Smithsonian’s popular Florence programs. She holds a Master’s degree in art history from Syracuse University and serves as a lecturer and field trip coordinator for the Syracuse University’s program in Italy.
    [Show full text]
  • Scale Model of Florence Cathedral Dome
    Peregrinations: Journal of Medieval Art and Architecture Volume 4 Issue 1 2013 Discovered: Scale Model of Florence Cathedral Dome Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation . "Discovered: Scale Model of Florence Cathedral Dome." Peregrinations: Journal of Medieval Art and Architecture 4, 1 (2013). https://digital.kenyon.edu/perejournal/vol4/iss1/21 This Discoveries is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. et al. ______________________________________________________________________________ DISCOVERIES Discovered: Scale Model of Florence Cathedral Dome Italian archaeologists have unearthed the remains of a mini dome near Florence’s cathedral — evidence, they say, that the structure served as a scale model for the majestic structure designed by Filippo Brunelleschi (1377- 1446). Found during excavations to expand the Cathedral museum, the model measures 9 feet in circumference and is made of bricks arranged in a herringbone pattern. “This building technique had been previously used in Persian domes, but Brunelleschi was the first to introduce it into Europe when he worked at the dome,” said Francesco Gurrieri, professor of Restoration of Monuments at the University of Florence. “Although at the moment we cannot confirm the small dome was the demonstration model for Brunelleschi’s plans, it did belong to the yard he created between 1420 and 1436, when he worked at one of the most incredible feats of engineering.” One of the most instantly recognizable churches in the world, the dome of Santa Maria del Fiore is the highest and widest (143 feet in diameter) masonry dome in the world.
    [Show full text]
  • THE FLORENTINE HOUSE of MEDICI (1389-1743): POLITICS, PATRONAGE, and the USE of CULTURAL HERITAGE in SHAPING the RENAISSANCE by NICHOLAS J
    THE FLORENTINE HOUSE OF MEDICI (1389-1743): POLITICS, PATRONAGE, AND THE USE OF CULTURAL HERITAGE IN SHAPING THE RENAISSANCE By NICHOLAS J. CUOZZO, MPP A thesis submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Art History written under the direction of Archer St. Clair Harvey, Ph.D. and approved by _________________________ _________________________ _________________________ New Brunswick, New Jersey May, 2015 ABSTRACT OF THE THESIS The Florentine House of Medici (1389-1743): Politics, Patronage, and the Use of Cultural Heritage in Shaping the Renaissance By NICHOLAS J. CUOZZO, MPP Thesis Director: Archer St. Clair Harvey, Ph.D. A great many individuals and families of historical prominence contributed to the development of the Italian and larger European Renaissance through acts of patronage. Among them was the Florentine House of Medici. The Medici were an Italian noble house that served first as the de facto rulers of Florence, and then as Grand Dukes of Tuscany, from the mid-15th century to the mid-18th century. This thesis evaluates the contributions of eight consequential members of the Florentine Medici family, Cosimo di Giovanni, Lorenzo di Giovanni, Giovanni di Lorenzo, Cosimo I, Cosimo II, Cosimo III, Gian Gastone, and Anna Maria Luisa, and their acts of artistic, literary, scientific, and architectural patronage that contributed to the cultural heritage of Florence, Italy. This thesis also explores relevant social, political, economic, and geopolitical conditions over the course of the Medici dynasty, and incorporates primary research derived from a conversation and an interview with specialists in Florence in order to present a more contextual analysis.
    [Show full text]
  • Santa Maria Del Fiore: a Philosophical Context for Understanding Dome Construction During the Italian Renaissance
    The Dome of Santa Maria del Fiore by Brunelleschi, c. 1420-1436, Florence Photos courtesy Adrielle Kent (web sources) Santa Maria del Fiore: A Philosophical Context for Understanding Dome Construction During the Italian Renaissance Adrielle Kent In the early 1420‘s, Filippo Brunelleschi Brunelleschi (1377-1446) began one of the most ambitious Brunelleschi‘s father, a notary and architectural feats ever attempted. His task counselor for the city of Florence, was on the was to construct a dome to crown Santa Maria committee of 1367 charged with planning the del Fiore, the primary cathedral in Florence. dome, so Brunelleschi grew up with the Brunelleschi was able to provide a unfinished cathedral, which may have comprehensive solution to the complex inspired him. Little is known about his early engineering problems involved in building a life, but it is documented that he became a round dome of that magnitude. His goldsmith after his father‘s unsuccessful ingenuous design made it possible for him to attempt to make him a notary (Jackson, p.27). build the highest dome up to that time and the He became a member of the Goldsmith‘s largest since Hadrian‘s Pantheon in Rome. Guild in 1401 (Hughes and Lynton, p. 16). A Giorgio Vasari (1511-1574) stated about the crucial moment in his career came when he architect, ―[Brunelleschi is] like Giotto, participated in a contest to create a set of meager in person but of a genius so lofty that metal doors in relief sculpture for the many say he was given to us by Heaven to baptistery of Santa Maria del Fiore.
    [Show full text]
  • Chapter 21 HUMANISM and the ALLURE of ANTIQUITY 15Th Century Italian Art
    Chapter 21 HUMANISM AND THE ALLURE OF ANTIQUITY 15th Century Italian Art Summary: This chapter acquaints the student with the scope of the renaissance or rebirth as this period is labeled. This chapter also develops the argument that the renaissance was born in the 14th century. Much of the artistic formulations had been developed in the fourteenth century, the focus on humanism and its expansion into education and rediscovering the works of ancient Greece and Rome. Humanism also emphasized commitment, responsibility and moral duty. This in turn became the foundation for civic leadership, which also promoted commissions to extol the virtues of the city and the individual. It was during this century that the German, Johann Guttenberg developed movable type that streamlined the printing press and made books more readily available. There was a concerted effort to acquire information in a very diversified range of topics from geology and optics to engineering and medicine. The economic fluctuations in Italy also forwarded the development of artists and schools, the condottieri became power brokers and set individual cities as centers of humanism and learning which was reflected in the art commissions. I. Lecture Model The social and iconographic methodologies can be useful in gaining an understanding of the work commissioned. These approaches can help to establish the importance of the religious commissions and the alignment of the secular patron with the religious interpretation as a tool to fix political authority. Patronage would be a very useful approach, as well, to explain the diversity of the representational work. 1) While religion had been the focus of much of medieval thought, the Italians of the fifteenth century were very much interested in humanity.
    [Show full text]
  • IMAGES of POWER: EARLY ITALIAN RENAISSANCE (The Medici of Florence) ITALIAN RENAISSANCE
    IMAGES OF POWER: EARLY ITALIAN RENAISSANCE (The Medici of Florence) ITALIAN RENAISSANCE Online Links: Renaissance - Wikipedia, the free encyclopedia Cosimo de' Medici - Wikipedia, the free encyclopedia Benozzo Gozzoli - Wikipedia, the free encyclopedia Donatello - Wikipedia, the free encyclopedia Donatello's David - Smarthistory Italian Renaissance painting - Wikipedia, the free encyclopedia Uccello's Battle of San Romano - Smarthistory View of Florence, copy of the Carta della Catena, c.1480 Michelozzo. Palazzo Medici-Riccardi (Florence) begun 1444 Jacopo Pontormo. Cosimo de Medici, c. 1528 Còsimo di Giovanni degli Mèdici (1389 –1464) was the first of the Medici political dynasty, de facto rulers of Florence during much of the Italian Renaissance; also known as "Cosimo 'the Elder'" ("il Vecchio") and "Cosimo Pater Patriae" (Latin: 'father of the nation'). Born in Florence, Cosimo inherited both his wealth and his expertise in business from his father, Giovanni de Bicci de Medici . In 1415 he accompanied theAntipope John XXIII at the Council of Constance, and in the same year he was named Priore of the Republic. Later he acted frequently as ambassador, showing a prudence for which he became renowned. His power over Florence stemmed from his wealth, which he used to control votes. As Florence was proud of its “democracy”, he pretended to have little political ambition, and did not often hold public office. Michelozzo. Palazzo Medici-Riccardi (Florence) begun 1444 According to Vasari and other sources, Brunelleschi submitted a model for a new house to Cosimo de’Medici. It has been suggested that this house would have been situated on the Piazza San Lorenzo, its portal opposite that of the church, and that they would have faced each other across a large piazza This location was within the third circle of walls, but outside the area of Florence where the older families lived.
    [Show full text]
  • Filippo Brunelleschi Linear Perspective
    Filippo Brunelleschi Linear Perspective Who is Brunelleschi? • Was born 1377 in Florence, Italy and died on April 15, 1446 • An amazing and skilled architect during the Italian Renaissance • Best known for Cathedral of Santa Maria del Fiore (The Duomo) in Florence. • The first modern engineer and an innovative problem solver • He specialized in gothic and medieval architecture How is he connected to Math? Brunelleschi used math and rediscovered the principles of linear perspective, known to the ancient Greeks and Romans. What is the math that is used? • Geometry • Brunelleschi uses planes, points, angles, and shapes to perfect architecture and balanced paintings. • This same math is used in Computer graphics which helps build shapes by plotting points on a grid and connecting them. The importance of Linear Perspective What is linear perspective? A system for creating a three dimensional space on a two dimensional surface. How did Brunelleschi use linear perspective? • Brunelleschi painted an exact replica of the building he wanted to make and then drilled a hole on a small mirror and blocked it with another mirror. This reflected his painted version on the original mirror and you could see were the building will be. Example of Brunelleschi’s linear Perspective. Santo Spirito Dawing vs Real building Different forms of Linear Perspective • One-Point Perspective • Two-Point Perspective Terms to know • Horizon Line – Where the land and the sky meet • Vanishing Point- Where everything on the ground seems to disappear • Orthogonal Line - Lines that connect to the vanishing point • Transversal lines – Lines that cross orthogonal lines and help create depth.
    [Show full text]