DOCSLIB.ORG

Early Renaissance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Early Renaissance Early Renaissance Italy, 1400 to 1500 Renaissance Florence 2 Goals • Understand the social, religious, and political influences of 15th-century Italian art • Discuss the increased popularity of Humanism • Observe the influence of classical art and architecture in the painting and architecture of Renaissance Italy. • Discuss the role of wealthy and powerful families • Cite and understand art and architectural terms in relation to this historical period • Analyze visual aspects of art and architecture • Identify various artists of the period and their stylistic accomplishments • Discuss the various roles of commemorative portraits Rebirth of Italian Culture • Understand the social, religious, and political influences of 15th-century Italian art • Discuss the increased popularity of Humanism • Discuss the role of wealthy and powerful families 4 Important Artistic Elements to Observe • Attention to the human form including the return of classical nudity and contrapposto --- influence of classical Roman statues • Discovery of linear perspective to create the illusion of three- dimensional space, usage of aerial perspective --- these values were important to classical painting • Use of chiaroscuro to model forms, use of single light source --- greater realism • Paintings that have balanced, symmetrical compositions, often using pyramidal composition • Classical forms are incorporated more into architecture (triumphal arches, domes, coffers, harmonious geometric relationships) ARNOLFO DI CAMBIO and others, Florence Cathedral (aerial view looking northeast), Florence, Italy, begun 1296. FILIPPO BRUNELLLESCHI, cutaway view of the dome of Florence Cathedral, Florence, Italy, 1420-1436. FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. 8 FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition LORENZO GHIBERTI, Sacrifice of Isaac, panel for east doors, baptistery, Florence, Italy, 1401– competition panel for east doors, baptistery, 1402. Gilded bronze, 1’ 9” x 1’ 5”. Museo Nazionale del Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x Bargello, Florence. 1’ 5”. Museo Nazionale del Bargello, Florence. 9 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. 10 LORENZO GHIBERTI, Gates of Paradise (east doors), baptistery, Florence, Italy, 1425– 1452. Gilded bronze, 17’ high. Modern copy, ca. 1980. Original panels in Museo dell’Opera del Duomo, Florence. LORENZO GHIBERTI, Isaac and His Sons (detail), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence. 12 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence. DONATELLO, Saint George, Or San Michele, Florence, Italy, 1415-17. Marble, 6’ 10” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence. DONATELLO, Prophet (Zuccone), Or San Michele, Florence, Italy, 1423-25. Marble, 6’ 5” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence. First free-standing nude statue since antiquity. Notice the contrapposto Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality). DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence. ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence. DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high. 18 DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high. 19 ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca. 1481–1496. Bronze, 13’ high. MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 7 1/8”. Importance of Masaccio to Early Renaissance • Tribute Money – brings together innovations in 14th century painting --- trailblazer whose work influenced other artists – Linear perspective – Aerial perspective – Classical body types (blend of realism with idealizing the human form) – Chiaroscuro to create a more realistic picture, single light source from the right, modeling the human anatomy to give figures weight – Balanced, symmetrical composition 22 •Notice that Adam’s and Eve’s body types and poses are derivative of ancient Roman statuary. •Compare Masaccio’s Adam to Jan van Eyck’s Adam from the Ghent Altarpiece. •Eve has the “modest Venus” pose. MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ x 2’ 11”. 23 • Notice the symmetry created by the pyramidal composition. • Notice the one-point linear perspective and classical architecture. • Notice the significance of the donors (Renaissance interest in the individual) and the memento mori at the base. MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”. SANDRO BOTTICELLI, Portrait of a Young Man, ca. 1483. National Gallery, London SANDRO BOTTICELLI, Portrait of a Young Woman, ca. 1475. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence. SANDRO BOTTICELLI, Adoration of the Magi, ca. 1476. tempera on wood, approx. 3’ 7” x 4’ 5”. Galleria degli Uffizi, Florence. SANDRO BOTTICELLI, Primavera, ca. 1476. tempera on wood, approx. 3’ 7” x 4’ 5”. Galleria degli Uffizi, Florence. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence. 29 SANDRO BOTTICELLI, Birth of Venus (detail),ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence. FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1440–1445. fresco, 7’ 1” x 10’ 6”. PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”. foreshortening ANDREA MANTEGNA, The Dead Christ, ca. 1500. Tempera on canvas, 26 3/4” x 31 7/8”. Pinacoteca di Brera, Milan. ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco. 34 Camera degli Sposi (Room of the Newly Weds) Oculus, “Eye of the ceiling” trompe l’oeil “deceives the eye” ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465– 1474. Fresco, 8’ 9” in diameter. PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455-1465. Oil and tempera on wood, 23” X 34”. Galleria Nazionale delle Marche, Urbino. PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472–1474. Oil on wood, 8’ 2” x 5’ 7”. Pinacoteca di Brera, Milan. LEON BATTISTA ALBERTI, west facade of Sant’Andrea, (St. Andrew) Mantua, Italy, designed 1470, begun 1472. LEON BATTISTA ALBERTI, interior of the Basilica of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470, begun 1472. LEON BATTISTA ALBERTI, plan for the Basilica of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472. 40 Early Renaissance Discussion Questions What are the primary stylistic achievements of 15th century Italian artists? How do these traits reflect a change in man's view of spirituality and the emergence of Humanism? Cite examples. Do important political families today patronize the arts as during the Renaissance? Why or why not? Can you cite examples? .
Load more

Recommended publications
  • Western Painting Renaissance I Eastern Europe / Western Europe
    Introduction to Art Historical Research: Western Painting Renaissance I NTNU Graduate Institute of Art History September 23th 2009 ©2009 Dr Valentin Nussbaum, Associate Professor Eastern Europe / Western Europe •! Cult of images (icons) •! Culte of relics •! During the Middle Ages, images in Western Europe have a didactical purpose. They are pedagogical tools Conques, Abbatiale Sainte-Foy, Portail occidental, deuxième quart du 12ème s. 1 San Gimignano, view of the towers erected during the struggles between Ghelphs and Ghibellines factions (supporting respectively the Pope and the Holy Roman Emperor, ca. 1300 Bologne, The Asinelli and Garisenda Towers (height 98 metres) , 13th C. 2 Escorial. Codex T.I.1, fol. 50, Cantigas of Alfonso I, 13th C. Siena, Piazza del Campo with the Public Palace 3 Siena, (the Duomo (Cathedral and the Piazza del Campo with the Public Palace) Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionale, Siena 4 Ambrogio Lorenzetti, Altarpiece of St Proculus, 1332, 167 x 56 cm central panel and 145 x 43 cm each side panels, Galleria degli Uffizi, Florence Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels), Pinacoteca Nazionae, Siena 5 Duccio di Buoninsegna, Polyptich No. 28, c. 1300-05, Tempera on wood 128 x 234 cm, Pinacoteca Nazionae, Siena Ambrogio Lorenzetti, Madonna and Child with Mary Magdalene and St Dorothea, c. 1325, (90 x 53 cm central panel 88 x 39 cm each side panels),
    [Show full text]
  • Moral Stance in Italian Renaissance Art: Image, Text, and Meaning Author(S): Joseph Manca Source: Artibus Et Historiae , 2001, Vol
    Moral Stance in Italian Renaissance Art: Image, Text, and Meaning Author(s): Joseph Manca Source: Artibus et Historiae , 2001, Vol. 22, No. 44 (2001), pp. 51-76 Published by: IRSA s.c. Stable URL: https://www.jstor.org/stable/1483713 REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/1483713?seq=1&cid=pdf- reference#references_tab_contents You may need to log in to JSTOR to access the linked references. 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae This content downloaded from 130.56.64.101 on Mon, 15 Feb 2021 10:47:03 UTC All use subject to https://about.jstor.org/terms JOSEPH MANCA Moral Stance in Italian Renaissance Art: Image, Text, and Meaning "Thus the actions, manners, and poses of everything ness. In Renaissance art, gravity affects all figures to some match [the figures'] natures, ages, and types. Much extent,differ- but certain artists took pains to indicate that the solidity ence and watchfulness is called for when you have and a fig- gravitas of stance echoed the firm character or grave per- ure of a saint to do, or one of another habit, either sonhood as to of the figure represented, and lack of gravitas revealed costume or as to essence.
    [Show full text]
  • Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B. Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE ALBERTO ARINGHIERI AND THE CHAPEL OF SAINT JOHN THE BAPTIST: PATRONAGE, POLITICS, AND THE CULT OF RELICS IN RENAISSANCE SIENA By TIMOTHY BRYAN SMITH A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 Copyright © 2002 Timothy Bryan Smith All Rights Reserved The members of the Committee approve the dissertation of Timothy Bryan Smith defended on November 1 2002. Jack Freiberg Professor Directing Dissertation Mark Pietralunga Outside Committee Member Nancy de Grummond Committee Member Robert Neuman Committee Member Approved: Paula Gerson, Chair, Department of Art History Sally McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the abovenamed committee members. ACKNOWLEDGEMENTS First I must thank the faculty and staff of the Department of Art History, Florida State University, for unfailing support from my first day in the doctoral program. In particular, two departmental chairs, Patricia Rose and Paula Gerson, always came to my aid when needed and helped facilitate the completion of the degree. I am especially indebted to those who have served on the dissertation committee: Nancy de Grummond, Robert Neuman, and Mark Pietralunga.
    [Show full text]
  • THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
    THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no.
    [Show full text]
  • AP Art History Chapter 21Questions: the Renaissance in Quattrocento Italy
    AP Art History Chapter 21Questions: The Renaissance in Quattrocento Italy 1. _______ became a great patron of art and spent the equivalent of _____ dollars to establish the first public library since the ancient world. His grandson, _____ called the _______ spent lavishly on _______, ______, and sculptures. (559) 2. Of all the Florentine masters the Medici family employed, the most famous today is ______ ________. (559) 3. Botticelli painted _______ for Lorenzo di Pierfrancesco de’ Medici. What is the narrative of this painting?(559) 4. What was humanism? What is meant by the “Renaissance man”? List at least three qualities of the Italian humanists.(560) 5. In 1401, there was a competition to make bronze doors for the Baptistery of San Giovanni. What was the subject matter for the panel and why was this chosen? Who were the two finalists? Who won and why? (560‐ 562) 6. In the Four Crowned Saints, how did the artist liberate the statuary from its architectural setting? (563) 7. Who is the artist of Saint Mark (figure 21‐5)? List at least three ways that he gives movement and frees it from its architectural setting. (564) 8. In Donatello’s, Saint George and the Dragon, how did he create atmospheric effect? 9. In Donatello’s, Feast of Herod, how does he create rationalized perspective space? 10. Read the grey insert on page 567. What is the definition of linear and atmospheric perspective? (565) 11. Why the east doors of the Baptistery of San Giovanni were called the “Gates of Paradise?” (566) 12. On the panels, the figures stand according to a ________‐_________ perspective and the figures almost appear fully in the _______.
    [Show full text]
  • Education 608 Spring 2001
    Art History I ART 305-01 CRN Mon/Wed 3-4:15 P.M. Armstrong Slater 205A Anne Pierce, Ph.D., Associate Professor Office Hours: MWF 12-2pm in Armstrong 320, Tuesday 1-4pm in Armstrong Slater 203H or by Appointment: [email protected] Textbook - Adams, Laurie. Art Across Time. Boston: McGraw-Hill, 2007. 3rd ed. Compiled Bibliography – Before each class meeting, each student will upload to our Blackboard site a recent article (last 5 years) from A PROFESSIONAL RESOURCE (journal, website, etc.) which can be used to stimulate discussion on the topic under consideration with appropriate attribution (Chicago - also called Turabian style). Course Description – The purpose of the course is to introduce students to the links between art and history; and art as history. Through collaborative projects, short papers, visits to museums and reading assignments, students will begin to explore primarily Western art (prehistory – 16th century). Students will sharpen their observation skills and develop as critics. Analysis of art objects will emphasize a visual vocabulary including technique, style or period, content, as well as artist’s influences. Course Objectives – Successful completion of this course requires students to: 1) Demonstrate instructional technology in classroom presentations. 2) Identify works of art and artifacts from specific artists and periods from Prehistory to the Renaissance. 3) Increase their awareness of the achievements and contributions of culture and historical events to the production of the artists’ work. 4) Analyze the use of art elements, composition and techniques to make qualitative assessments. 5) Compare characteristic techniques, styles or periods, purposes and iconography. Course Competencies 1) Compare text and subtext of art, artists, and society.
    [Show full text]
  • METADATA and PHOTOGRAPHIC DOCUMENTATION Santa Maria Dell'assunzione – Ariccia, ITALY – by Bernini
    TM ARCHIVISION www.archivision.com an image source for visual resource professionals Renseignements généraux en français disponibles sur demande. No part of this publication may be reproduced or printed, in whole or in part, without the written consent of Archivision. All terms and fees subject to change without notice. Archivision Inc. © 2009 Archivision Inc. All rights reserved. version April 2009 THE ARCHIVISION DIGITAL RESEARCH LIBRARY This catalogue is a partially illustrated content list of architectural sites, gardens, parks and works of art which comprise the Archivision Digital Research Library. The Archivision Library is currently 46,000 18 MB files and is composed of: 1) Base Collection (16,000 images) 2) Addition Module One (6,000 images) 3) Addition Module Two (6,000 images) 4) Addition Module Three (6,000 images) 4) Addition Module Four (6,000 images) 4) Addition Module Five (6,000 images) The content coverage within each Library module is: .: 60% architecture (most periods) .: 20% gardens & landscapes .: 15% public art .: 5% other design related topics The Archivision Library makes an ideal complement to any core art digital collection, such as the Saskia Archive or ARTstor. Only the Archivision Digital Research Library meets the needs of students and faculty – for both research and teaching – in the disciplines of architecture, landscape architecture, and urban planning. We do not offer a subscription service – you must sign a site license agreement and pay a one-time license fee for the Library – then you may keep the images and related metadata in perpetuity with no additional annual fees. The exception is where you choose one of our hosted server options – the annual fee you pay is only for the access service.
    [Show full text]
  • 58B. Early Italian Renaissance Donatello
    HUMANISM and the CLASSICAL TRADITION: EARLY ITALIAN RENAISSANCE (Donatello and Early Renaissance Sculpture) In the early fifteenth century, the two most important sculptural commissions in Florence were the new bronze doors for the Florence Cathedral Baptistery and the exterior decoration of the Church of Orsanmichele. Orsanmichele, once an open- arcaded market, was both the municipal granary and a shrine for the local guilds. After its ground floor was walled up near the end of the fourteenth century, each of the twelve niches on the outside of the building was assigned to a guild, which was to commission a large figure of its patron saint or saints for the niche. Nanni di Banco. Quattro Santi Coronati, (Or San Michele, Florence), c. 1408-1414, marble Nanni di Banco (c. 1385-1421), son of a sculptor in the Florence Cathedral workshop, produced statues for three of Oransmichele’s niches in his short but brilliant career. The Four Crowned Martyrs was commissioned about 1410- 1413 by the stone carvers and woodworkers’ guild, to which Nanni himself belonged. These martyrs, according to legend, were third-century Christian sculptors executed for refusing to make an image of a Roman god. Although the architectural setting resembles a small-scale Gothic chapel, Nanni’s figures- with their solid bodies, heavy, form-revealing togas, and stylized hair and beards- nevertheless have the appearance of ancient Roman sculpture. Their varying physiognomies and ages identify them as distinct individuals, and their unity of purpose is reinforced by their formal unity; their semicircular arrangement repeats the curve of the niche. Their gestures, serious expressions, and heavy draperies reflect the gravity of the decision they are about to make.
    [Show full text]
  • © 2016 Catherine Kupiec ALL RIGHTS RESERVED
    © 2016 Catherine Kupiec ALL RIGHTS RESERVED THE MATERIALITY OF LUCA DELLA ROBBIA’S GLAZED TERRACOTTA SCULPTURES By CATHERINE LEE KUPIEC A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Dr. Sarah Blake McHam And approved by ____________________________________ ____________________________________ ____________________________________ ____________________________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE DISSERTATION The Materiality of Luca della Robbia’s Glazed Terracotta Sculptures by CATHERINE LEE KUPIEC Dissertation Director: Dr. Sarah Blake McHam This dissertation examines the role of color, light, surface, and relief in relation to the novel medium of glazed terracotta sculpture developed by the Florentine artist Luca della Robbia (1399/1400-1482) during the 1430s and produced by his heirs until the mid- sixteenth century. Luca devised a tin glaze more brilliant, uniform, and opaque than any existing recipe which, applied to terracotta figures and decoration, produced an inimitable medium celebrated by his peers as an “invention”. In the last forty-five years, scholars have identified the resonances glazed terracotta sculpture held with valued media like marble, mosaic, and semiprecious stones. Yet new technical analysis of Della Robbia sculptures during the past three decades makes it possible to more precisely specify the possibilities – and thus the formal choices – available to Luca in relation to color, reflectivity, and relief in his distinctive new medium. Rooted in the physical qualities of glazed terracotta, this dissertation examines the artist’s choices in thematically organized chapters focused on invention, whiteness and light, color, and space.
    [Show full text]
  • Journal 08 March 2021 Editorial Committee
    JOURNAL 08 MARCH 2021 EDITORIAL COMMITTEE Stijn Alsteens International Head of Old Master Drawings, Patrick Lenaghan Curator of Prints and Photographs, The Hispanic Society of America, Christie’s. New York. Jaynie Anderson Professor Emeritus in Art History, The Patrice Marandel Former Chief Curator/Department Head of European Painting and JOURNAL 08 University of Melbourne. Sculpture, Los Angeles County Museum of Art. Charles Avery Art Historian specializing in European Jennifer Montagu Art Historian specializing in Italian Baroque. Sculpture, particularly Italian, French and English. Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London. Andrea Bacchi Director, Federico Zeri Foundation, Bologna. Larry Nichols William Hutton Senior Curator, European and American Painting and Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant Colin Bailey Director, Morgan Library and Museum, New York. Sculpture before 1900, Toledo Museum of Art, Ohio. pre-twentieth-century artworks in the European tradition that have recently come to light or about which new research is Piers Baker-Bates Visiting Honorary Associate in Art History, Tom Nickson Senior Lecturer in Medieval Art and Architecture, Courtauld Institute of Art, underway, as well as on the history of their collection. Texts about artworks should place them within the broader context The Open University. London. of the artist’s oeuvre, provide visual analysis and comparative images. Francesca Baldassari Professor, Università degli Studi di Padova. Gianni Papi Art Historian specializing in Caravaggio. Bonaventura Bassegoda Catedràtic, Universitat Autònoma de Edward Payne Assistant Professor in Art History, Aarhus University. Manuscripts may be sent at any time and will be reviewed by members of the journal’s Editorial Committee, composed of Barcelona.
    [Show full text]
  • Dynamic Doorways: Overdoor Sculpture in Renaissance Genoa
    DYNAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA By ©2012 MADELINE ANN RISLOW Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Sally J. Cornelison, Ph.D. ________________________________ George L. Gorse, Ph.D. ________________________________ Steven A. Epstein, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Anthony Corbeill, Ph.D. Date Defended: 4/6/2012 The Dissertation Committee for Madeline Ann Rislow certifies that this is the approved version of the following dissertation: DYANAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA ________________________________ Chairperson Sally J. Cornelison, Ph.D. Date approved: 4/6/2012 ii Abstract Soprapporte—rectangular, overdoor lintels sculpted from marble or slate—were a prominent feature of both private residential and ecclesiastic portals in the Ligurian region in northwest Italy, and in particular its capital city Genoa, during the second half of the fifteenth and early sixteenth centuries. Sculpted site- or city-specific religious narratives occupy the centers of most soprapporte, and are typically framed with the coats of arms or the initials of their patrons. As this study demonstrates, soprapporte were not merely ornamental, for they acted as devotional objects and protective devices while connecting the citizens who commissioned them to
    [Show full text]
  • Course Packet Will Get You Through the First Few Weeks of Class
    art 166 history of art II survey of western art this temporary course packet will get you through the first few weeks of class. buy the regular course packet in the bookstore as soon as possible! temporary course packet third edition use with: adams fourth edition professor hudelson palomar college f11 art 166 temporary course packet, third edition introduction This temporary course packet was researched and produced by professor Hudelson, ©2011. It is intended as a supplement for his Art 166/History of Art II students. Please purchase the COMPLETE course packet in the bookstore as soon as you can. This temporary version will only be useful for the first week or two of class. If you have any questions about its use or content, please contact professor Hudelson at: (760) 744-1150, ext. 2979 or [email protected] In this temporary course packet, there are four types of materials: chapter guides, study guides, video guides and test guides. Chapter guides parallel the material in your textbook, Adams’ Art Across Time, fourth edition. In class, when you see a work of art listed in a chapter guide, or when we discuss a term, put a check mark by it. That way, you’ll know what we’ve gone over, its correct spelling, and you’ll have more time in class to take notes on information about the work or term. Study guides summarize major points that we will study in class. Other study guides compare and contrast various art styles, artists, etc. We will fill these out together in class or occasionally I’ll assign them as homework to be filled out from my website (http://daphne.palomar.edu/mhudelson).
    [Show full text]