AT 10001 Lectures 3_4 Quattrocento Italy.pptx
- 1. The Quattrocento (15th century) in Florence • Expansion of Humanism: Of all things the measure is Man, of the things that are, that they are, and of the things that are not, that they are not (Protagoras of Abdera, 485-415 BCE) Humanism in practice: emphasis on education and on expanding knowledge (especially of classical antiquity), exploration of individual potential and a desire to excel, commitment to civic responsibility and moral duty.
- 2. Baptistery of San Giovanni, Florence, Italy 1401: The cathedral’s art directors initiated a competition for the baptistery doors. Baptistery of San Giovanni, Florence, Italy
- 3. Filippo Brunelleschi, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of San Giovanni, Florence, Italy, 1401–1402. Gilded bronze. Museo Nazionale del Bargello, Florence. Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of San Giovanni, Florence, Italy, 1401–1402. Gilded bronze. Museo Nazionale del Bargello, Florence. Competition theme: a relief panel depicting the sacrifice of Isaac. Participants were required to frame their relief with a Gothic-styled quatrefoil. Finalists: Filippo Brunelleschi (1377 –1446) and Lorenzo Ghiberti (1378 –1455).
- 4. Filippo Brunelleschi, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of San Giovanni, Florence, Italy, 1401–1402. Gilded bronze. Museo Nazionale del Bargello, Florence. Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of San Giovanni, Florence, Italy, 1401–1402. Gilded bronze. Museo Nazionale del Bargello, Florence. Confrontation of styles
- 5. Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of San Giovanni, Florence, Italy, 1401–1402. Gilded bronze. Museo Nazionale del Bargello, Florence. Confrontation of styles Nicola Pisano, Fortitude, Pisa Baptistery Pulpit, c.1260
- 6. Filippo Brunelleschi, Sacrifice of Isaac, competition panel for the east doors of the Baptistery of San Giovanni, Florence, Italy, 1401–1402. Gilded bronze. Museo Nazionale del Bargello, Florence. Confrontation of two styles Giovanni Pisano, Massacre of the Innocents, Pulpit for S. Andrea, Pistoia, 1301
- 7. L. Donatello, Saint Mark, Or San Michele, Florence, Italy, ca. 1411–1413. R. Lorenzo Ghiberti, Saint John the Baptist, Or San Michele, Florence, Italy, ca. 1412-1416. Confrontation of styles
- 8. Linear Perspective • Developed by Filippo Brunelleschi (ca. 1415 - 1420) and popularized by Leon Battista Alberti in Della Pittura (1435). • Aims to convincingly and accurately represent depth on a two-dimensional surface (painting or relief). • Consequently, linear perspective allows the artist to adjust the relative size of objects and figures on the basis of their relative distance from the viewer.
- 10. Leonardo da Vinci, The Last Supper , 1495-1498. Oil, tempera, fresco (Santa Maria delle Grazie, Milan)
- 11. • Horizon line. • Determination of a vanishing point where the orthogonals meet the horizon line. • The artist then arranges narration accordingly by placing the work’s focus on the vanishing point.
- 12. Donatello, Feast of Herod, panel on the baptismal font of the baptistery, Siena Cathedral, Siena, Italy, 1423–1427. Gilded bronze.
- 13. Donatello, David, from the Palazzo Medici, Florence, Italy, ca. 1440–1460. Bronze, 5’ 2 ¼’’ high. Museo Nazionale del Bargello, Florence. • The revival of the freestanding nude statue: the first since ancient times.
- 14. Donatello, David, from the Palazzo Medici, Florence, Italy, ca. 1440–1460. Bronze, 5’ 2 ¼’’ high. Museo Nazionale del Bargello, Florence. Adam and Eve, Escorial Beatus, ca. 950
- 15. Donatello, David, from the Palazzo Medici, Florence, Italy, ca. 1440–1460. Bronze, 5’ 2 ¼’’ high. Museo Nazionale del Bargello, Florence. The victor is whoever defends the fatherland. God crushes the wrath of an enormous foe. Behold! A boy overcame a great tyrant. Conquer, O citizens! (Inscription added by the Medici family)
- 16. Andrea del Verrocchio, David, from the Palazzo della Signoria, Florence, Italy, ca. 1465–1470. Bronze, 4’ 1 ½’’ high. Museo Nazionale del Bargello, Florence. Donatello, David, from the Palazzo Medici, Florence, Italy, ca. 1440–1460. Bronze, 5’ 2 ¼’’ high. Museo Nazionale del Bargello, Florence. Re-inscription of religious values in a civic context?
- 17. Andrea del Verrocchio, David, from the Palazzo della Signoria, Florence, Italy, ca. 1465–1470. Bronze, 4’ 1 ½’’ high. Museo Nazionale del Bargello, Florence. Donatello, David, from the Palazzo Medici, Florence, Italy, ca. 1440–1460. Bronze, 5’ 2 ¼’’ high. Museo Nazionale del Bargello, Florence. Nicola Pisano, Fortitude, Pisa Baptistery Pulpit, ca.1260
- 18. Donatello, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1453. Bronze, 12’ 2’’ high. Gattamelata: Erasmo da Narni (1370–1443), Venetian military commander. Equestrian statuary: Roman Imperial monumental custom.
- 19. Donatello, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1453. Bronze, 12’ 2’’ high. Equestrian Statue of Marcus Aurelius, gilded bronze, c. 173-76 C.E. Capitoline Museums, Rome.
- 20. Painting Gentile da Fabriano, Adoration of the Magi, altarpiece from the Strozzi chapel, Santa Trinità, Florence, Italy, 1423. Tempera on wood, 9’ 11’’ × 9’ 3’’. Galleria degli Uffizi, Florence. International Gothic Style elements: • Elaborate gilded Gothic frame. • Slender, elongated figures. • Atmosphere of splendor and stylization.
- 21. Painting Gentile da Fabriano, Adoration of the Magi, altarpiece from the Strozzi chapel, Santa Trinità, Florence, Italy, 1423. Tempera on wood, 9’ 11’’ × 9’ 3’’. Galleria degli Uffizi, Florence. The Quattrocento spirit: • Incorporations of multiple angles which serve as testament to the artist’s ability to organize figures in space. • Left panel of the predella: night-time Nativity scene which is lit by the radiance of newborn Christ.
- 22. Sandro Botticelli, Primavera (Spring), ca. 1482. Tempera on wood, 6’ 8’’ × 10’ 4’’. Galleria degli Uffizi, Florence.
- 23. Masaccio, Expulsion of Adam and Eve from Eden, mural in the Brancacci chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ × 2’ 11’’. Masaccio, Tribute Money, mural in the Brancacci chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 8’ 4 1/8’’ × 19’ 7 1/8’’.
- 24. Masaccio, Expulsion of Adam and Eve from Eden, mural in the Brancacci chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ × 2’ 11’’.
- 25. Capitoline Venus, Roman copy of 3rd century BCE Greek original. Masaccio, Expulsion of Adam and Eve from Eden, mural in the Brancacci chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ × 2’ 11’’. Aphrodite of Menophantos, 1st century BCE. Venus Pudica
- 26. Masaccio, Holy Trinity, mural inside Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10 5/8’’ x 10 4 ¾’’.
- 27. Masaccio, Holy Trinity, mural inside Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10 5/8’’ x 10 4 ¾’’. Scheme of linear perspective in Masaccio’s The Holy Trinity • Vanishing point at the level of the viewer's eye – drawing attention to the crucifixion as well as the implied division of space the work depicts. • This illusionistic quality is further enhanced by the outward projection of the tomb at the bottom.
- 28. Masaccio, Holy Trinity, mural inside Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10 5/8’’ x 10 4 ¾’’. I was once what you are, and what I am you will become. (Tomb inscription)
- 29. Memento mori (Remember that you have to die) Nicholas Poussin, Et in Arcadia Ego, 1637-8. Oil on canvas Rogier van der Weyden, Braque Triptych (outer panels), ca. 1452. Oil on wood.
- 30. Paolo Uccello, Battle of San Romano, from the Palazzo Medici, Florence, Italy, ca. 1435– 1440. Tempera on wood, 6’ × 10’ 5’’. National Gallery, London. • Meticulous, borderline obsessive, employment of linear perspective. • Use of foreshortening (the distorted perceived dimensions of an object relative to the angle it is looked at from). • Example of history painting.
- 31. Andrea Mantegna, Foreshortened Christ (Lamentation over the Dead Christ), ca. 1500. Tempera on canvas, 2’ 2 ¾’’ × 2’ 7 7/8’’. Pinacoteca di Brera, Milan. What do you think about the size of the feet?
- 32. Antonio del Pollaiuolo, Battle of Ten Nudes, ca. 1465. Engraving, 1’ 3 1/8’’ × 1’ 11 ¼ ‘’. Metropolitan Museum of Art, New York