ARTID121 - Cinquecento Renaissance

8/2/2019 ARTID121 - Cinquecento Renaissance

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Humanism and the Allure of AntiCinquecento* Italian

ART ID 121 | Study of Western A

Slide concept by William V. Ganis, PhD

NYIT Center for Teaching and Learning with Technology

With modifications by Arch. Edeliza V. Macalandag, UAP

*15th Century


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FLORENCE

A new artistic culture emerged and expanded in Italyin the 15th century - the Renaissance.

The spread of humanism and the growing interest inclassical antiquity contributed significantly to theremarkable growth and expansion of artistic culture in15th-century Italy.

Also important were political and economic changesthat contributed to the rise of a new class of wealthypatrons who fostered art and learning on a lavishscale.


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The spread of humanism:

Humanism flourished in the 15th century. Emphasis was placed

on education and every form of knowledge, the exploration ofindividual potential and a desire to excel, and a commitment tocivic responsibility and moral duty.

Recognizing achievement:

Humanism also fostered a belief in individual potential andencouraged individual achievement along with civicresponsibility. Achieving and excelling through hard workbecame moral imperatives. Humanism also encouraged citizensto participate in the social, political, and economic life of their

communities.


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Of wealth and power:

Shifting power relations among the numerous Italian city-statesfostered the rise of princely courts and control of cities bydespots.

Princely courts emerged as cultural and artistic centers. Theirpatronage contributed to the formation and character ofRenaissance art. Among the best known high-level patrons of

this time was the Medici family, which acquired its vast fortunefrom banking.

Renaissance Italy experienced major shifts in artistic models,such as increased interest in perspective and illusionism.


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Sculpture and Civic Pride in the Early Renaissance

The republic of Florentine cultivated civic pride and responsibility in itscitizens, which resulted in projects to embellish the city's buildings.

The competitive and public nature of these projects, which were usuallysponsored by civic or lay-religious organizations, promoted innovation andserved to signal official approval of the new, classically inspired style.

The emulation of antique models, however, was also supplemented by a

growing interest in the anatomical structure of the human body (though ofteclassically idealized) and the desire to show a naturalistic illusion of space(which resulted in the development of linear perspective).

Human life and experience was acutely observed by artists such as thesculptor Donatello, who sought to convey through gesture, pose, and faciaexpression the personality and inner psychological condition of his figures.


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Influences:

The establishment of the Medici Bankand the subsequent trade it generatedbrought unprecedented wealth to asingle Italian city, Florence.

Cosimo de' Medici set a newstandard for patronage of the arts, notassociated with the church ormonarchy.

Humanist philosophy meant thatman's relationship with humanity, theuniverse and with God was no longerthe exclusive province of the Church.


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Influences:

A revived interest in the Classics brought about the firsarchaeological study of Roman remains by the architect

Brunelleschi and sculptor Donatello. The revival of astyle of architecture based on classical precedentsinspired a corresponding classicism in painting andsculpture, which manifested itself as early as the 1420s inthe paintings of Masaccio and Uccello.

The improvement of oil paint and developments in oil-painting technique by Netherlandish artists such as Jan vEyck, Rogier van der Weyden and Hugo van der Goes leto its adoption in Italy from about 1475 and had ultimatelylasting effects on painting practices, worldwide.


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Influences:

The serendipitous presence within the region of Florencethe early 15th century of certain individuals of artistic

genius, most notably Masaccio, Brunelleschi, Ghiberti,Piero della Francesca, Donatello and Michelozzo forman ethos out of which sprang the great masters of the HigRenaissance, as well as supporting and encouraging malesser artists to achieve work of extraordinary quality.

A similar heritage of artistic achievement occurred in Venthrough the talented Bellini family, their influential in-lawMantegna, Giorgione, Titian and Tintoretto.

The publication of two treatises by Leone Battista AlbertDe Pitura (On Painting), 1435, and De re aedificatoria(Ten Books on Architecture), 1452.


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Influences:

An artistic transition

The transition from the Medieval to the Renaissanceperiod occurred in the 14th century.

The medieval preoccupation with otherworldly valueswas gradually modified to include a new interest in thenatural world.

This was coupled with a revival of interest in the art of

classical antiquity (ancient Roman sculpture andarchitecture), examples of which were available forartists to study. The result was a new more naturalisticart in which both figures and their surroundings aremade to appear more as they might in the real world.


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THEMOVEMENTAWAY FROM MEDIEVALISMIN ART


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Filippo Brunelleschi

Sacrifice of Isaac

1401-1402gilded bronze relief1 ft. 9 in. x 1 ft. 5 in.

FilippoBrunelleschi's

competition panelshows a sturdy and

vigorousinterpretation of the

Sacrifice of Isaac.


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Sacrifice of Isaac

1401-1402gilded bronze relief1 ft. 9 in. x 1 ft. 5 in.


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Lorenzo Ghiberti

Gates of Paradise

Baptistery, Florence Cathedral

1425-1452gilded bronze relief

approximately 17 ft. high

Ghiberti's "Gates of Paradise" arecomprised of ten gilded bronze relief

panels depicting scenes from the OldTestament. In Isaac and His Sons,

Ghiberti creates the illusion of spaceusing perspective and sculptural

means. Ghiberti also persists in usingthe medieval narrative method of

presenting several episodes within asingle frame.


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Lorenzo Ghiberti

Gates of Paradise

Isaac and His Sons

Baptistery, FlorenceCathedral


panel approximately 2 ft. 71/2 in. x 2 ft. 7 1/2 in.


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Lorenzo Ghiberti

Isaac and His Sons

Baptistery, FlorenceCathedral



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Donatello

Feast of Herod

Baptistery,Siena Cathedral

ca. 1425gilded bronze relief

1 ft. 11 in. x 1 ft. 11 in.


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Donatello

Saint George

ca. 1415-1417marble

6 ft. 10 in. high


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Donatello

Saint George

ca. 1415-1417marble

6 ft. 10 in. high


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Donatello

Saint Mark

Or San Michele, Florence, Italy

1411-1413marble

figure 7 ft. 9 in. high


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Donatello

Saint Mark


1411-1413marble



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Donatello

prophet figure (Zuccone)

Florence Cathedral, Florence, Italy

1423-1425marble



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Pietro Cavallini

Seated Apostlesfrom the Last Judgment

Santa Cecelia in Trastevere, Rome Italy | ca. 1291

In his fresco of theLast Judgment in the

church of SantaCecilia in Trastevere

in Rome, Pietro

Cavallini abandonsByzantine

conventions andpaints more

sculpturally solidfigures.


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Masaccio

Tribute Money

Brancacci Chapel, Santa Maria del Carmine, Florence, Italy

ca. 1427 | fresco | 8 ft. 1 in. x 19 ft. 7 in.


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Masaccio

Expulsion of Adam and Eve from Eden

Brancacci Chapel, Santa Maria del Carmine, Florence, Italy

ca. 1425fresco

7 ft. x 2 ft. 11 in.


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Masaccio


Brancacci Chapel, Santa Maria del Carmine,Florence, Italy

ca. 1425fresco

7 ft. x 2 ft. 11 in.


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Masaccio


Brancacci Chapel, Santa Maria del Carmine,Florence, Italy

ca. 1425fresco

7 ft. x 2 ft. 11 in.


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Masaccio

Holy Trinity

Santa Maria Novella, Florence,Italy

ca. 1428fresco

21 ft. x 10 ft. 5 in.


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Masaccio

Holy Trinity

Santa Maria Novella, Florence,Italy

ca. 1428fresco

21 ft. x 10 ft. 5 in.


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"IO FUI GIA QUEL CHE VOI SIETE E QUEL CH'IO SONO VOI ANCO

(I once was what now you are and what I am, you shall y


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dome of Florence Cathedral

Florence, Italy

1420-1436


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interior of Santo Spirito

Florence, Italy

begun ca. 1436


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plan of Santo Spirito

Florence, Italy

begun ca. 1436

planned constructed


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interior of Santo Spirito

Florence, Italy

begun ca. 1436


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Pazzi, Chapel, Santa Croce

Florence, Italy

begun ca. 1440


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Filippo Brunelleschi(loggia by Giuliano da Maiano)


Florence, Italy

begun ca. 1440


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Florence, Italy

begun ca. 1440


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Michelozzo di Bartolommeo

Palazzo Medici-Riccardi

Florence, Italy

begun 1444


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Michelozzo di Bartolommeo

Palazzo Medici-Riccardi

Florence, Italy

begun 1444


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Paolo Uccello

Battle of San Romano

ca. 1455 | tempera on wood | approximately 6 ft. x 10 ft. 5 in.


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Donatello

David

ca. 1428-1432bronze

5 ft. 2 1/4 in. high

Donatello's bronzestatue of David(circa 1440s) is

famous as the firstunsupported

standing work ofbronze cast duringthe Renaissance,

and the firstfreestanding nude

male sculpture madesince antiquity.


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Donatello

David

ca. 1428-1432bronze

5 ft. 2 1/4 in. high

"Victor est quisquispatriam tuetur/Frangitimmanis Deus hostis

iras/En puer grandemdomuit tiramnum/Vincite

cives" (The victor iswhoever defends the

fatherland. God crushesthe wrath of an enormous

foe. Behold! A boyovercame a great tyrant.

Conquer, o citizens.)


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Andrea del Verrocchio

David

ca. 1465-1470bronze

approximately 4 ft. 1 1/2 in. high


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Antonio Pollaiuolo

Hercules and Anteus

ca. 1475bronze

approximately 18 in. high


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Antonio Pollaiuolo

Battle of the Ten Nudes

ca. 1465engraving

approximately 15 x 23 in.


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Sandro Botticelli

The Birth of Venus

ca. 1482tempera on canvas5 ft. 8 in. x 9 ft. 1 in.

Depicts thegoddess Venus,having emerged

from the sea as afully grown

woman, arriving atthe sea-shore

(which is relatedto the Venus

Anadyomenemotif)


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Sandro Botticelli

Adoration of the Magi

ca. 1470panel

43 3/4 in. x 52 3/4 in.


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Sandro Botticelli

Primavera

c. 1482Uffizi, Florence

Tempera on panel203 cm 314 cm (80 in

124 in)

Also known asAllegory of

Spting


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Sandro Botticelli

Portrait of a Youth

early 1480stempera on panel

16 x 12 in.


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Bernardo Rossellino

Tomb of Leonardo Bruni

Santa Croce, Florence, Italy

ca. 1445-1450marble

20 ft. high


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Domenico Ghirlandaio

Giovanna Tornabuoni

1448oil and tempera on wood

approximately 2 ft. 6 in. x 1 ft. 8 in.


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Birth of the Virgin

Santa Maria Novella, Florence, Italy

1485-1490fresco


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Nativity of Mary

Tornabuoni Chapel,Santa Maria Novella

Florence Italy

The painting depicts a moment ofintimacy between an old man and a


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A Man with His Grandchild

ca. 1480-90oil and tempera on wood

24 3/8 in. x 18 1/8 in.

intimacy between an old man and achild, underscored by the placement of

the child's hand on the man's chest,and the man's gentle expression. This

show of affection endows the picturewith emotional qualities beyond those

expected from a traditional dynasticportrait. In the words of art historian

Bernard Berenson, "There is no morehuman picture in the entire range ofQuattrocento painting, whether in or

out of Italy."


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Head of an Old Man.Metalpoint drawing on pink

paper, heightened with white.28.1 cm x 21.5 cm


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Donatello

Gattamelata (Erasmo da Narni)

Piazza del Santo, Padua, Italy

ca. 1445-1450bronze

approximately 11 x 13 ft.


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Andrea del VerrocchioBartolommeo Colleoni

Campo dei Santi, Venice Italy

ca. 1483-1488bronze

approximately 13 ft. high


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Melozzo da Forli

Pope Sixtus IV, His Nephewsand the Librarian Platina

1480-1481fresco (transferred to canvas)

13 ft. 1 in. x 10 ft. 4 in.


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Leon Battista Alberti

Palazzo Rucellai

Florence, Italy

ca. 1452-1470


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West faade of SantaMaria Novella

Florence, Italy

ca. 1458-1470


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Fra Angelico

Annunciation

San Marco, Florence,Italy

ca. 1440-1445fresco

7 ft. 1 in. x 10 ft. 6 in.


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Andrea del Castagno

Last SupperRefectory monastery of SantApollonia,

Florence, Italy

1447fresco

approximately 15 x 32 ft.


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The group of Madonna and Child is,unusually for the period, placed in front


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Fra Filippo Lippi

Madonna and Child with Angels

ca. 1455tempera on wood

approximately 3 ft. x 2 ft. 1 in.

of an open window beyond which is alandscape inspired to Flemish painting.

The Madonna sits on a chair, and hasan elaborate hairdo with a soft veil and

pearls: this element was re-used innumerous late 15th century works in

Florence. Unlike previous similarworks, the Child is held not by the

Madonna, but by two angels, one ofwhich, in the foreground, smiles

towards the observer.


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Luca della Robbia

Madonna and Child


ca. 1455-1460terracotta with polychrome glaze

diameter approximately 6 ft.


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Perugino

Christ Delivering the Keys of the Kingdom to Saint Peter

Sistine Chapel, Vatican, Rome, Italy

1481-1483fresco11 ft. 5 1/2 in. x 18 ft. 8 1/2 in.


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faade of SantAndrea

Mantua, Italy

designed ca. 1470


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Andrea MantegnaCamera degli Sposi

Palazzo Ducale, Mantua, Italy

1474fresco


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Andrea Mantegna

Camera degli Sposi ceiling


1474fresco

8 ft. 9 in. diameter


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Andrea Mantegna

Camera degli Sposi ceiling


1474fresco

8 ft. 9 in. diameter


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Andrea Mantegna

Saint James Lead to Martyrdom

Ovetari Chapel,Church of the Eremitani, Padua, Italy

ca. 1455fresco

10 ft. 9 in. wide

Mantegna presented both aharrowing study of a strongly

foreshortened cadaver and anintensely poignant depiction of abiblical tragedy. This painting is


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Andrea MantegnaDead Christ

ca. 1501tempera on canvas

2 ft. 2 3/4 in. x 2 ft. 7 7/8 in.

g y p gone of many examples of the

artist's mastery of perspective. Atfirst glance, the painting seems to

be a strikingly realistic study inforeshortening . However, carefulscrutiny reveals that Mantegnareduced the size of the figure's

feet, which, as he must haveknown, would cover much of the

body if properly represented.


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Piero della Francesca

Finding of the True Cross, Proving of the True Cross

San Francesco, Arezzo, Italy

ca. 1455fresco11 ft. 8 3/8 in. x 6 ft. 4 in.


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Resurrection

Palazzo Comunale,Borgo San Sepolcro, Italy

ca. 1463fresco

7 ft. 5 in. x 6 ft. 6 1/2 in.

Brera Madonna


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Enthroned Madonna and Saints Adored by Federico deMontefeltro

ca. 1472-1474oil on panel

8 ft. 2 in. x 5 ft. 7 in.


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Luca Signorelli

Damned Cast into Hell

San Brizio Chapel, Orvietto Cathedral, Orvietto, Italy

1499-1504frescoapproximately 23 ft. wide


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Cinquecento Artists


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Donatello

Donato di Niccol di Betto Bardi (circa 1386 December 13,1466), also known as Donatello, was an early RenaissanceItalian artist and sculptor from Florence. He is, in part, known

his work in bas-relief, a form of shallow relief sculpture that, inDonatello's case, incorporated significant 15th centurydevelopments in perspectival illusionism.


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Domenico Ghirlandaio (Italianpronunciation: [domenikoirlandajo];1449 11 January 1494) was an Italian

Renaissance painter from Florence.Among his many apprentices wasMichelangelo.


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Masaccio

Masaccio (December 21, 1401 autumn1428), born Tommaso di Ser Giovanni diSimone, was the first great painter of theQuattrocento period of the ItalianRenaissance. According to Vasari, Masacciowas the best painter of his generationbecause of his skill at recreating lifelike figuresand movements as well as a convincing senseof three-dimensionality. Masaccio died attwenty-six and little is known about the exactcircumstances of his death


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Sandro Botticelli

Alessandro di Mariano di Vanni Filipepi, better known asSandro Botticelli (c. 1445 May 17, 1510) was an Italianpainter of the Early Renaissance. He belonged to theFlorentine school under the patronage of Lorenzo de'Medici, a movement that Giorgio Vasari wouldcharacterize less than a hundred years later as a "goldenage", a thought, suitably enough, he expressed at thehead of his Vita of Botticelli. Botticelli's posthumous

reputation suffered until the late 19th century; since thenhis work has been seen to represent the linear grace ofEarly Renaissance painting. Among his best known worksare The Birth of Venus and Primavera.


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Fra Filippo Lippi

Fra' Filippo Lippi (c. 1406 8 October 1469), also calledLippo Lippi, was an Italian painter of the ItalianQuattrocento (15th century).

Sources

http://websites.swlearning.com/cgi-wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn050907&discipline number=436


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050907&discipline_number 436

http://en.wikipedia.org/wiki/Renaissance_art

Art Through the Ages, 12th/11th ed., Gardner

ARTID121 - Cinquecento Renaissance

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