Italian Renaissance 1400 - 1500

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Italian Renaissance 1400 - 1500 Botticelli and Masaccio Botticelli, Adoration of the Magi, 1475, tempera on wood Figure 21-27 SANDRO BOTTICELLI, Birth of Venus, ca. 1484 1486. Tempera on degli Uffizi, Florence. 6 Capitoline Venus vs. Botticelli’s Venus Zephyrus & Nymph detail Flora detail Botticelli , La Primavera (Allegory of Spring), 1482, Tempera on wood Mercury detail Winged Shoes of Mercury detail Snake- entwined Rod of Mercury detail Three Graces Hellenistic & Botticelli’s Three Graces Flora, Choris, Zephyr detail Chloris detail Flora detail Flora detail Tuscan flora detail Importance of Masaccio to Early Renaissance • Tribute Money – brings together innovations in 15th 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 26 •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. Figure 21-19 MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424 27 MASACCIO: Expulsion of Adam and Eve from Eden MASACCIO: THE EXPULSION OF ADAM & EVE [BEFORE RESTORATION] Figure 21-18 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 7 1/8”. 31 Tax Collector detail Christ telling Saint Peter where the money is Saint Peter retrieving the money Saint Peter paying the money COMPARE: EVOLUTION OF CHIAROSCURO Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base. Figure 21-20 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424 38 Mary detail Saint John detail 43 .

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TS Botticelli FRE 4C.Qxp 3/10/2009 1:41 PM Page 2
BOTTICELLIBOTTICELLI Émile Gebhart & Victoria Charles TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 2 Text: Émile Gebhart and Victoria Charles Layout: BASELINE CO LTD 61A-63A Vo Van Tan Street 4th Floor District 3, Ho Chi Minh City Vietnam © Parkstone Press International, New York, USA © Confidential Concepts, Worldwide, USA All modification and reproduction rights reserved internationally. Unless otherwise stated, copyright for all artwork reproductions rests with the photographers who created them. Despite our research efforts, it was impossible to identify authorship rights in some cases. Please address any copyright claims to the publisher. ISBN: 978-1-78042-995-3 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 3 ÉMILE GEBHART Sandro Botticelli TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 4 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 5 Contents Botticelli’s Youth and Education 7 Botticelli’s First Works 37 The Medici and Botticelli’s Pagan Initiation 67 Pagan, Mystical, and Oriental Visions 113 Botticelli’s Waning Days 179 Bibliography 252 List of Illustrations 253 TS Botticelli 4C ok.qxp 11/13/2009 10:22 AM Page 6 TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 7 Botticelli’s Youth and Education TS Botticelli FRE 4C.qxp 3/10/2009 1:41 PM Page 8 TS Botticelli 4C.qxp 11/12/2009 5:17 PM Page 9 — Botticelli’s Youth and Education — lessandro di Mariano Filipepi, also known as “di Botticello” in homage to his first master, and A Sandro Botticelli to those who knew him, was born in Florence in 1445.
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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
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The Esotericism in Sandro Botticelli's La Primavera
THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. ABSTRACT: This article proposes an iconographic and especially iconological interpretation about the picture La Primavera (Allegory of Spring) by Sandro Botticelli. This fresh interpretation has a strong esoteric component, characteristic of the period when it was created, which has remained largely unnoticed. But the author of this research maintains that in order to fully understand this picture, it is needed to penetrate the Italian Renaissance Mentality. KEYWORDS: Marsilio Ficino – Lorenzo of Pierfrancesco of Medici – Lorenzo The Magnificent – Simonetta Vespucci – Semiramide Appiani. RESUMEN: Se propone aquí, en el presente artículo, una interpretación iconográfica y sobre todo iconológica totalmente nueva y definitiva sobre el cuadro La Primavera de Sandro Botticelli. Esta novedosa interpretación tiene un fuerte componente esotérico, propio de la época en la cual se realizó esta obra de arte, que, muchas veces, ha pasado totalmente desapercibido. Pero la autora de esta investigación, insiste, en que hay que penetrar en la mentalidad del Renacimiento Italiano y sus escritos para comprender la totalidad de dicho cuadro. THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. [email protected] Botticelli: La Primavera. Florence, ©Uffizi. (fig. 1) PREFACE: This essay begins with a short review of what has been written until now about Botticelli’s La Primavera. Later, the main part of the essay is presented. The purpose of this research is not to compile what has been said before, but to bring new information 2 that can help to envisage the iconographic, and above all, iconological interpretation of this artwork.
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The Best of Renaissance Florence April 28 – May 6, 2019
Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
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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.
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1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
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Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists.
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Presentazione Standard Di Powerpoint
THE SISTINE CHAPEL PCTO – Itt. Cristoforo Colombo Rome, 25 march 2021 Class IV°A 1 Lisa Julia Adamoli, Valentin Creciun, John Tan INDEX: Where is located? Pag.3 History Pag.4 Michelangelo Buonarroti Pag.5 Sandro Botticelli Pag.6 Domenico Ghirlandaio Pag.7 The North Wall The vocation of the first Apostles Pag.9 The delivery of Keys Pag.10 Trials of Christ Pag.11 The South Wall Jurney of Moses in Egypt Pag.14 Youth of Moses Pag.15 Punishment of thesons of Korah Pag.17 Sources Pag.18 2 WHERE IS LOCATED? The Vatican Museum contain an immense wealth of art. The museums offer a great variety of collections from ancient Greek to Etruscan art and of course Renaissance art. Vatican Museum is located within the Vatican City, in Rome. 3 HISTORY The Sistine Chapel stands on the foundation of an older chapel called the Capella Magna. In 1477, Pope Sixtus IV started a rebuilding of the chapel. The chapel’s exterior is simple and unassuming. In 1503, pope Julius II, decided to change some of the Sistine Chapel's decorations. He commissioned the artist Michelangelo to do it. Pope Clement VII commissioned Michelangelo to paint the giant fresco "The Last Judgment« in 1536. 4 MICHELANGELO BUONARROTI Michelangelo Buonarroti was born in the small village of Caprese in 1475 and died in Rome in 1564. In his life he painted and scolished a lot of important paintings and sculptures. The most important are: • The Pieta • David • The Creation of Adam • The Last Jugdement 5 SANDRO BOTTICELLI Sandro Botticelli was born around 1445 in Florence and died in Florence in 1510.
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"Things Not Seen" in the Frescoes of Giotto
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Masaccio (1401-1428) St Peter Distributing Alms to the Poor (Ca 1425)
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Passepartour 2019
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