DOCSLIB.ORG

Linear Perspective

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Italian Early Renaissance (15th cent.) Architecture: Brunelleschi and the Rational Church The origins of photography: scientific perspective Painting: Masaccio and perspective (the vision here and now) Mantegna and foreshortening (in the eyes of the beholder) Piero della Francesca: the poetry of mathematics Sculpture: Donatello’s realisms Brunelleschi, Santo Spirito, Florence, Italy, begun 1436 3 main features of the 3. Mathematical Renaissance church: proportions, measurable space 1. Sober clarity (modular Robert de Luzarches, Thomas de scheme, not In Renaissance religiosity, Cormont, and Renaud de decorated) divinity is revealed by Cormont, Amien’s Cathedral, equilibrium and harmony, 2. Classical inspiration Maiens, France, begun 1220 rather than by the Gothic (columns, arches) emotional spirituality 2) The photograph acknowledges 2 main characteristics of the fact that each picture is a photography: fragment of an uninterrupted 1) the machine fixes universe automatically the complex world Scholars have identified around us in a quadrangular, two- Renaissance Scientific dimensional picture Perspective as the origins of the process that would bring to the invention of photography Scientific or One-point Linear Perspective “Scientific” as SCIENTIFIC PERSPECTIVE (or opposed to One-point Linear Perspective) was Giotto’s invented by Brunelleschi in the intuitive early 1400s: perspective diagonal lines from the edges of the picture to the vanishing point, create a structural grid that organizes the pictorial space and determines mathematically the relative size of objects Scientific or One-point Linear Perspective “Scientific” as 3 main features: opposed to -love for unity and order Roman and (Plato’s idea that measure Giotto’s is the basis of beauty) intuitive perspective -faith in rationality and knowledge based on observation (emergence of science) -Importance of the point of view (perspective = standpoint) Masaccio, The Holy Trinity, Santa Maria Novella, Florence, ca. 1428 The first painter to apply Brunelleschi’s theory was the young MASACCIO (1401- 1428) Subject matter: Holy Trinity: Father, Crucified Christ, and Holy Spirit (dove) Virgin and St. John Donors Talking skeleton Masaccio, The Holy Trinity, Santa Maria Novella, Florence, ca. 1428 Similarly to van Eyck: pitiless realism (detail of the loincloth falling down) Even halos are painted in perspective! Portraiture / individuality Differently from van Eyck: unity prevails over the multiplicity of details (synthetic vs. analytic) Masaccio breaks the wall of the church Santa Maria Novella with a fake niche The vanishing point is placed at the height of an average viewer Standing in front of the fresco, the visitor has the illusion of a vision happening in an extension of his/her space Masaccio, The Holy Trinity, Santa Maria Novella, Florence, ca. 1428 The donors are visual mediators I was once between the actual space of the viewer and the fictional what you are, space of the vision, kneeling on a painted altar The ascending pyramid of figures leads viewers from the image of death to the hope of resurrection end eternal life and what I am you will become Andrea Mantegna, ceiling of the Camera degli Sposi, Palazzo Ducale, Mantua, Italy, 1474, Fresco A long tradition of illusionistic frescoes Trompe l’oeil: French for ‘deceives the eye’ objects, still-lives, fake architectures painted so that they appear to be three-dimensional and touchable The viewer is not able to determine where the real world ends and where the fictional realm of painting starts Andrea Mantegna, ceiling of the Camera degli Sposi, Palazzo Ducale, Mantua, Italy, 1474, Fresco Mantegna breaks the ceiling of a bedroom as in a courtyard from which we can see the sky This was the room of the newlyweds Symbols: Putti (symbols of love), the peacock (attribute of Juno, goddess of lawful marriages), they look down to the room and to the intimate life of the couple: the viewer becomes the viewed: Things can be seen (and understood) differently from different perspectives There is something even more radical here What? The relativity of the point of view Piero Manzoni, Base of the World. Homage to Galileo, 1961 In 1961 Piero Manzoni made a work entitled “Base of the world”: it is an upside down sculpture base By subtitling his work an homage to Galileo, Manzoni was making the absurd proclamation that the base held on its bearing surface the entire world And therefore that entire earth is a sculpture (you included) He was inspired by a painting by Mantegna on display at Brera, Milan: Mantegna, Dead Christ, ca. 1501, Tempera on canvas A religious scene that had been represented for centuries The changing of perspective makes the viewer able to see this same scene with fresh eyes While Giotto had brought the Mantegna brings the viewer sacred image as on a stage, on the stage: the viewer is at and his viewer was involved Christ ‘s beside as a spectator He/she is directly involved in the sacred scene not as a spectator but as a character Mantegna, Dead Christ, ca. 1501, most radical Tempera on application of canvas foreshortening: The application of the rules of perspective to an object or figure that extends back in space: Not only are diagonal lines converging toward the vanishing point, But also, curved lines, body proportions, and shadowing are altered in order to give the illusion of tri- dimensionality A human being had never been represented like this! Piero della Francesca, Brera Altarpiece, ca. 1472-1474, oil on panel Piero della Francesca: the poetry of mathematics Perspective corresponded to a new mathematical approach to knowledge and a new concept of beauty In this period Plato was the most studied and influential philosopher of the past According to Plato, MEASURE was the basis of beauty Piero della Francesca, Brera Altarpiece, ca. 1472-1474, oil on panel Perspective was a way to make the image of the world measurable and therefore beautiful This aspect was most effectively developed by the work of Piero della Francesca Piero, a skilled geometrician, wrote the first theoretical treatise on perspective Which coherently combined aesthetics, geometry, and philosophy in the realm of painting Piero della Francesca, Brera Altarpiece, ca. 1472-1474, oil on panel In this altarpiece, painted for the duke Federico da Montefeltro, Piero organizes the composition according to a geometrical and symmetrical scheme where each part is rationally related to the others The coffered barrel vault is an acknowledgement of Masaccio’s precedent Differently from Masaccio’s dramatic realism, here other qualities prevail: -Pure and total light (rationality) -Silent vision, out of time However, in this perfectly symmetrical geometry something is missing As in Masaccio’s work, the kneeling patron is portrayed in the foreground The female patron is the absent keystone of the composition’s perfect symmetry (the Virgin’s gaze) The duke commissioned the altarpiece just a few months after his wife’s, Battista, death This painting is a tribute to her demise: The altarpiece is a modern, clear, rational meditation over the concept of death, represented through a perfectly mathematical composition There is no drama, no screaming or representation of despair: only a missing part in an otherwise perfect system makes the rational realm questioning itself Donatello, Feast of Herod, baptismal font of Siena Cathedral, Siena, ca. 1425 Donatello’s realisms Donatello was the very first artist to apply Brunelleschi theory of perspective in an artwork: He used linear perspective on his relief works as an effective setting, where he placed his figures: Donatello mixed in the same work basso, mezzo and alto- relief! The effect is that of an ambiguous spatial representation, where it is almost impossible to determine what is actually tri-dimensional (sculpted) and what is illusion (“drawn” perspective) This bronze relief was realized for the baptismal font of Siena It illustrates a scene from the life of St John the Baptist when the princess Salome asked King Herod for the head of St John as a reward for her dancing, and got it Donatello chose to represent not the violent moment of the murder, but rather focused on the human reactions to it: The executioner knelt down before the king carrying the head of the saint The king shrinks back and raises his hands in horror Kids run away crying Salome’s mother, who instigated the crime, tries to explain Guests recoil creating the void in the center, one covers his Salome seems just to have eyes stopped in her sensual dance Donatello’s realism manifests itself on 3 different levels: -Human approach to the sacred text (how did different people react to this dramatic fact?) -Historical accuracy (the setting is Herod’s classical palace; the executioner is dressed as a Roman soldier) -New conception of space: not only illusion of space through perspective, but also the scene is represented as a fragment of reality The image is cut by edges of this relief giving the illusion of a “snapshot” from a real situation, Where space would continue outside the pictured frame.
Recommended publications
  • Painting Perspective & Emotion Harmonizing Classical Humanism W

    Painting Perspective & Emotion Harmonizing Classical Humanism W

    Quattrocento: Painting Perspective & emotion Harmonizing classical humanism w/ Christian Church Linear perspective – single point perspective Develops in Florence ~1420s Study of perspective Brunelleschi & Alberti Rules of Perspective (published 1435) Rule 1: There is no distortion of straight lines Rule 2: There is no distortion of objects parallel to the picture plane Rule 3: Orthogonal lines converge in a single vanishing point depending on the position of the viewer’s eye Rule 4: Size diminishes relative to distance. Size reflected importance in medieval times In Renaissance all figures must obey the rules Perspective = rationalization of vision Beauty in mathematics Chiaroscuro – use of strong external light source to create volume Transition over 15 th century Start: Expensive materials (oooh & aaah factor) Gold & Ultramarine Lapis Lazuli powder End: Skill & Reputation Names matter Skill at perspective Madonna and Child (1426), Masaccio Artist intentionally created problems to solve – demonstrating skill ☺ Agonistic Masaccio Dramatic shift in painting in form & content Emotion, external lighting (chiaroscuro) Mathematically constructed space Holy Trinity (ca. 1428) Santa Maria Novella, Florence Patron: Lorenzo Lenzi Single point perspective – vanishing point Figures within and outside the structure Status shown by arrangement Trinity literally and symbolically Vertical arrangement for equality Tribute Money (ca. 1427) Brancacci Chapel in Santa Maria del Carmine, Florence Vanishing point at Christ’s head Three points in story Unusual
  • Masaccio's Holy Trinity

    Masaccio's Holy Trinity

    Masaccio's Holy Trinity Masaccio, Holy Trinity, c. 1427, Fresco, 667 x 317 cm, Santa Maria Novella, Florence Masaccio was the first painter in the Renaissance to incorporate Brunelleschi's discovery in his art. He did this in his fresco called The Holy Trinity, in Santa Maria Novella, in Florence. Have a close look at the painting and at this perspective diagram. Can you see the orthogonals (look for diagonal lines that appear to recede into the distance)? Because Masaccio painted from a low viewpoint -- as though we were looking up at Christ, we see the orthogonals in the ceiling, and if we traced all of the orthogonals the vanishing point would be below the base of the cross. My favorite part of this fresco is God's feet. Actually, you can only really see one of them. Why, you may ask, do I have a thing for God's feet (or foot)? Well, think about it for a minute. God is standing in this painting. Doesn't that strike you as odd just a little bit? This may not strike you all that much when you first think about it because our idea of God, our picture of him in our minds eye -- as an old man with a beard, is very much based on Renaissance images of God. So, here Masaccio imagines God as a man. Not a force or a power, or something abstract like that, but as a man. A man who stands -- his feet are foreshortened, and he weighs something and walks, and, I suppose, even has toenails! In medieval art, God was often represented by a hand, just a hand, as though God was an abstract force or power in our lives, but here he seems so much like a flesh and blood man! This is a good indication of Humanism in the Renaissance.
  • The Cambridge Companion to Piero Della Francesca

    The Cambridge Companion to Piero Della Francesca

    Cambridge University Press 978-0-521-65254-4 - The Cambridge Companion to: Piero Della Francesca Edited by Jeryldene M. Wood Excerpt More information Introduction Jeryldene M. Wood Piero della Francesca (ca. 1415/20–92) painted for ecclesiastics, confrater- nities, and the municipal government in his native Sansepolcro, for monks and nuns in the nearby towns of Arezzo and Perugia, and for illustrious nobles throughout the Italian peninsula. Justly esteemed as one of the great painters of the early Renaissance, Piero seems to balance abstraction and naturalism effortlessly, achieving unparalleled effects of quiet power and lyrical calm in such masterpieces as the Resurrection for the town hall of Sansepolcro and the Legend of the True Cross in the church of San Francesco at Arezzo (Plate 1 and Fig. 9). In these paintings, as throughout his oeuvre, clear, rationally conceived spaces populated by simplified fig- ures and grand architecture coexist with exquisite naturalistic observations: reflections on the polished surfaces of gems and armor, luminous skies, and sparkling rivers and streams. The sixteenth-century biographer Giorgio Vasari praised Piero’s close attention to nature, the knowledge of geometry seen in his pictures, and the artist’s composition of learned treatises based on the study of Euclid.1 His perceptions about the intellectual structure of the painter’s work remain relevant to this day, for Piero’s art, like Leonardo da Vinci’s, has attracted a wide audience, appealing not only to enthusiasts of painting but also to devotees of science and mathematics. In fact, Vasari’s belief that the scholar Luca Pacioli stole Piero’s math- ematical ideas, which is expressed vehemently throughout the biography, doubtless contributed to the recognition and recovery of the painter’s writ- ings by later historians.
  • The Mazzocchio in Perspective

    The Mazzocchio in Perspective

    Bridges 2011: Mathematics, Music, Art, Architecture, Culture The Mazzocchio in Perspective Kenneth Brecher Departments of Astronomy and Physics Boston University Boston, MA 02215, U.S.A. E-mail: [email protected] Abstract The mazzocchio was a part of 15th century Italian headgear. It was also a kind of final exam problem for students of perspective. Painted by Uccello, drawn by Leonardo, incorporated into intarsia and prints through the 16th century, it still appears occasionally in 21st century art. Here we review its history; show 3D models made by hand in wood and using stereolithography in plastic; and report two novel visual effects seen when viewing the 3D models. Brief History of the Mazzocchio in Paintings and in Graphics The origins of the kind of geometrical mazzocchios discussed in this paper are obscure. They are said to derive from supports for headgear worn in Renaissance Italy during the 15th century. No actual three- dimensional examples survive from that period. Mazzocchios are featured in three major paintings by Paolo Uccello made between 1456 and 1460 and in his fresco of “The Flood” (Figure 1a). Leonardo Da Vinci also illustrated them and may have built models of the skeletal version in the late 15th century (cf. Figure 2a). Whether the wooden “checkerboard” version was actually worn on the head or around the neck is unclear. It seems more likely that a fabric version could have actually functioned as a headpiece. Figures 1 a (l.) & b (r.): (a) Detail from the fresco in Florence “The Flood and Waters Subsiding” by Paolo Uccello (ca. 1448) and (b) a pen and ink perspective study of a mazzocchio by Paolo Uccello (in the Louvre, Paris).
  • 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

    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.
  • Piero Della Francesca

    Piero Della Francesca

    the cambridge companion to Piero della Francesca Edited by Jeryldene M. Wood University ofIllinois, Urbana-Champaign published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Fairfield Medium 10.5/13 pt. System QuarkXPress® [GH] A catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data The Cambridge companion to Piero della Francesca / edited by Jeryldene M. Wood. p. cm. – (Cambridge companions to the history of art) Includes bibliographical references and index. isbn 0-521-65254-5 – ISBN 0-521-65472-6 (pbk.) 1. Piero, della Francesca, 1416?–1492 – Criticism and interpretation. 2.Art, Renaissance – Italy. 3. Art, Italian – 15th century. I. Wood, Jeryldene. II. Series. ND623.F78 C26 2002 759.5 – dc21 2001043485 isbn 0 521 65254 5 hardback isbn 0 521 65472 6 paperback I. Encyclopedias and dictionaries ag5.c26 1990 031-dc20 isbn 0 521 39538 3 hardback isbn 0 521 39539 3 paperback Contents List of Illustrations page vii Acknowledgments xiii Contributors xv Introduction 1 Jeryldene M.
  • Church Or Museum? Tourists, Tickets and Transformations

    Church Or Museum? Tourists, Tickets and Transformations

    CHURCH OR MUSEUM? TOURISTS, TICKETS AND TRANSFORMATIONS Jennifer Ann Ryde A thesis submitted to the University of Western Sydney for the degree of Doctor of Philosophy June, 2013 Early Image of San Lorenzo - Codex Rustici. Dedication This thesis is dedicated to my parents Jack and Sheila Ryde who were always unwavering in their support and encouragement in my life choices. This project would not have been possible without their love and care. Acknowledgements My profound thanks go to my supervisors Dr Pamela James and Dr Russell Staiff for their outstanding mentorship throughout this endeavour. They have provided me with insight, guidance, valuable discussions, enthusiasm for my research and the determination to complete. I also thank Dr Carol Liston whose encouragement was crucial to commencing this thesis. Thanks also go to my family, friends and colleagues who have been a constant source of support and encouragement especially during difficult moments of self- doubt. Particular thanks go to my Italian colleague Dr Bruno Di Biase who has been a mentor since my early days in academia and without whose ongoing support I would not have embarked on this journey. My research would have been more difficult if not for the support of the University of Western Sydney librarians, especially Ms Narelle Oliver, always most generous with her time and energy, and also Ms Jenny Davis who sought out obscure Italian texts for me. Finally, special mention goes to my wonderful daughter Alessandra for her unwavering encouragement and unconditional support as well as her technical advice and expertise. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text.
  • Piero Della Francesca E Il L'umanesimo Matematico

    Piero Della Francesca E Il L'umanesimo Matematico

    Piero della Francesca e il l’Umanesimo matematico La vita e le opere La vita di Piero della Francesca ci appare dai contorni sfumati e comunque del tutto priva di eventi memorabili, quasi interamente consacrata al mestiere della pittura. Sappiamo che Piero è nato nella cittadina di Borgo San Sepolcro da una famiglia di artigiani e commercianti probabilmente tra il 1415 e il 1420. La tappa fondamentale della sua giovinezza è la sua presenza a Firenze, ad un’età forse ancora inferiore ai vent’anni. Già nei primi anni ’40 Piero dovette tornare a Borgo San Sepolcro dove nel 1442 è documentato come consigliere comunale. Risale a questo periodo la sua prima e importante commissione,quella per il “battesimo di Cristo”. Sempre di questo periodo sono gli affreschi del “polittico della Misericordia” commissionati dalla compagnia della Misericordia di Borgo San Sepolcro. Posteri sono invece gli affreschi della “Flagellazione” e della “Sacra conversazione” dove maggiormente si riversano i caratteri della visione geometrica di Piero della Francesca. Il pittore morì il 12 ottobre 1492 , il giorno della scoperta dell'America e della fine del Medioevo, una data che segna una svolta nella storia. Nei secoli seguenti l'armoniosa coesistenza e simbiosi tra arte, cultura umanistica e scienza, gloria e vanto del Rinascimento, è venuta gradualmente a meno ed è logico chiedersi il perchè. Tra le varie cause la caduta del sistema geocentrico seguita dal successo spettacolare della nuova astronomia e della legge di Newton, un susseguirsi di rivoluzioni scientifiche che hanno generato sospetti non solo nella gerarchia ecclesiastica ma anche in chi si sentiva escluso dagli eletti; purtroppo per certi scienziati la modestia non era una virtù.
  • The Egg Without a Shadow of Piero Della Francesca

    The Egg Without a Shadow of Piero Della Francesca

    Click here for Full Issue of Fidelio Volume 9, Number 1, Spring 2000 The Egg Without a Shadow Of Piero della Francesca What we are attempting to do here is not to write one more academic commentary on this or that glorious period of the past. Rather, if today’s world is to be able to extract itself from the most serious crisis of modern times, it will be because each of us has plunged into “docta ignorantia,” that state of personal humility in front of knowledge and the Absolute, which predisposes us to increase our capacity to love and to act. To do this, as Helga Zepp LaRouche has stressed for a long time, the philosophical ideas and political action of Nicolaus of Cusa (1401-1464) are central, for his method is the key to creating the geniuses of tomorrow. Any revolutionary who takes himself seriously, owes it to himself to study Cusa’s ideas and how they revolutionized the world. This approach has been extremely fruitful, as evidenced by the geniuses that history has provided us. Luca Pacioli, Leonardo da Vinci, Johannes Kepler, Wilhelm Leibniz, and Georg Cantor, almost all have explicitly recognized their intellectual debt to Cusa, and it is my hope that tomorrow each one of you and your children should be able to do the same. If we have chosen Piero della Francesca for our study, it is first because he took part in the political conspiracy of Cusa and his friends. But it is especially, because he translated Cusa’s approach into a pictoral method of composition.
  • Il Secondo Rinascimento Leon Battista Alberti Piero Della Francesca Botticelli Antonello Da Messina

    Il Secondo Rinascimento Leon Battista Alberti Piero Della Francesca Botticelli Antonello Da Messina

    01_Il secondo Rinascimento Classe IV Il secondo Rinascimento Leon Battista Alberti Piero della Francesca Botticelli Antonello da Messina Disegno e storia dell’arte Prof.ssa Rossaro 01_Il secondo Rinascimento Classe IV Leon Battista Alberti 1404-1472 Una seconda fase del Rinascimento A Leon Battista Alberti va il merito di aver sistematizzato le scoperte e le innovazioni portate avanti dalla ‘triade’ del primo Rinascimento: Brunelleschi, Donatello e Masaccio. Architetto, pittore e letterato, si occupò anche di trattatistica scrivendo di geometria, topografia e meccanica. Scrisse i primi tre trattati dell’età moderna sulla pittura il De pictura del 1435 sull’architettura il De re aedificatoria del 1447-1452 e sulla scultura il De statua del 1450. Disegno e storia dell’arte Prof.ssa Rossaro 01_Il secondo Rinascimento Classe IV Leon Battista Alberti 1404-1472 Una seconda fase del Rinascimento A Leon Battista Alberti va il merito di aver sistematizzato le scoperte e le innovazioni portate avanti dalla ‘triade’ del primo Rinascimento: Brunelleschi, Donatello e Masaccio. Architetto, pittore e letterato, si occupò anche di trattatistica scrivendo di geometria, topografia e meccanica. Scrisse i primi tre trattati dell’età moderna sulla pittura il De pictura del 1435 sull’architettura il De re aedificatoria del 1447-1452 e sulla scultura il De statua del 1450. Disegno e storia dell’arte Prof.ssa Rossaro 01_Il secondo Rinascimento Classe IV Leon Battista Alberti 1404-1472 Una seconda fase del Rinascimento La prospettiva nel De pictura Disegno e storia
  • Education 608 Spring 2001

    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.
  • Early Renaissance

    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.