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? .