Brancacci Chapel
Masaccio and Masolino
1425-1427
patron: Pietro Branacci
fresco
located: santa maria del carmine in Florence. The two painted solely from buon fresco in only a 2 year period. basically the life of saint peter. peter always wore blue and yellow. The patron
Temptation of Adam and Eve
masolino
1425-1427
pietro bracacci
fresco
branacci chapel
across from the explosion of adam and eve. Masolino refers to the moment right before the fall. masolino still shows faces very stoically and stylistically. he uses chiascurro but not quite as well
Explusion of Adam and Eve
1425-1427
pietro branacci
fresco
brancacci chapel
masaccio was better known during the renaissance. he has more detail work in the face the form and emotion. masaccio conveys a lot of volume and muscle. the muscles in adams stomach are contracting which s
Tribute money
masaccio and masolino
1425-1427
pietro brancacci
fresco
brancacci chapel
peter is approached by the tax collector. jesus tells him to look at the fish. we see 2 scene in one here. which is referred to as a continuous narrative. at the center there is a se
masaccio
along with the many "new" things he did, he also included himself into the scenery. he is the only figure looking out at you. he is placed behind alberti (who wrote the "how to" book on ten art. and behind him is brunschelli. this was a way of elevating o
Santa Maria Novella
Masaccio painted large fresco as an illusion of a family chapel room through linear perspective.
Trinity
masaccio 1426-1427
domenico lenzi
fresco
santa maria novella in florence
we see headless skeletal remains. christ was thought to have been crucified above adams grave. references to mortality and committing sin. what was sin he became sin. God is shown be
the basic uses of color in art
1. warmer colors advance-color recede
2.repition of color to guide the viewers eye.
3. colors contrast to reinforce the significance of specific forms. (FLESH surrounded by dark colors. draws us yet agin to jesus)
THIS (TRINITY and all it encompassed) was
Alberti
leon battista alberti created the first "how to" renaissance art manual. florence was the birth place.
San Marco Altarpiece
Fra Angelico
1440
cosimo de'medici
tempura on panel
san marco in florence italy
fra angelico is a monk who was part of the dominican order. the figures he painted always had a sort of angelican twist.
the angel madonna was surrounded by saints. in compari
Cosimo de'medici
they were the single most powerful family in florence. wealthy bankers for the popes. cosmos power worried the florentines.
Palazzo de'Medici
michelozzo
1445
cosimo de'medici
stone
piazza san lorenzo!! in florence itlay.
this reaffirms the elevated status of the medicis. palazzo located that close to the cathedral shows the power. also spiritual power. the structure itself appears very humble.
Gattamelata
Donatello
1445-1453
narni family
bronze
piazza del santo
donatello was very interested in the human interest and activity. the bronze equestrian statue was the first since antiquity that survived. the wife paid for it, but had to be granted permission by
The Ghent Altarpiece
Jan Van Eyck
1432
Jodius Vijd
oil on panel
St Baro Cathedral in Ghent Belgium
it is a polyptych
Fresco was a south thing (took longer drying time) oil in the north enabled them to work up the surface. he also used a varnish which protected the surface. th
Adam and Eve
Jan Van Eyck
1432
Jodius Vijd
Ghent Altarpiece (St Baro Cathedral) represented differently than masaccio. they are shown separated in confined spaces. they are compartmentalized. showingly somewhat ashamed, after expulsion. adam is attempting to take a st
Adoration of the Lamb
jan van eyck
1432
ghent altarpiece ( st bark cathedral )
oil on panel
the lambs chest is pierced which is reference to christ. christ blood as wine. the symbolic rebirth is shown. his position of the father son and hs are similar to that of the trinity. v
Albercht Durer
did many self portraits. part of the 1500s, but northern renaissance. Humanism well established while growing up so he wanted to make his own path
Self Portrait in Fur-lined coat
albrecht durer
1500
oil on panel
nuremberg germany
this was his very last portrait. it was very similar to mona lisa. both break the portraiture divisions. he has depicted himself differently than an artist not a working man, but one of status. he desires
The Printing Press
Germany 1445. this changed europe. the knowledge could be spread and vastly. people could acquire their own libraries artists learned what was going on elsewhere, no need to travel. there is much artistic freedom. the wood cuts, the german national art. c
Adam and Eve II
Durer
1504
engraving on copper plate.
nuremburg germany.
durer would have had to go through many test runs. he builds on top of previous proportional forms. the cannon of proportions (he created) can be compared to that of leonardos. Durer was known as th
the benefits of printing press/print making
1. can exchange information (new innovations, new techniques)
2. can learn new developments and discoveries elsewhere
3. can serve as a supplement income so that artist become less reliant on patrons.
4. a means of promoting or advertising their art
5. of
leonardo da vinci
apprenticed under verrichio. he was a sculptor more than anything else. he wanted to go to milan where ludovico sforza was ruler. leonardo saw himself as an inventor, but the duke wanted him to be a painter.
leonardo was very interested in the ideas. that
last supper
Leonardo
1495-1497
Ludovico Sforza
oil with tempura on fresco
refectory of santa maria della grazie in milan itlay.
it was in a refectory. we usually see christ depicted in between all his disciples, leonardo places them all on the same side of the table.
Mona Lisa
Leonardo
1500
francesco del gioconda
oil on panel
best displays him as an observer of the world, artist, and inventor. meant to be a portrait for francesco's wife. Leonardo never finished. he was a perfectionist. it is only 2 feet tall. the background we
Michelangelo Buonarroti
studied in florence
father did not approve of his profession, apprenticed under ghirlandaio, where he learned about fresco. he lived at the plazo de medici, where he became good friends with lorenzo de'medici. whom did most of the arts, very interested in
David
michelangelo
1504
city of florence
carrara marble
outside of the palazzo vecchio in florence italy.
weak triumphing over the strong. really favored over the florentines. david was typically seen as young with the head of goliath at his feet. with armor ma
Italian Renaissance
1500 moves from florence to rome.
because the wealthy pope in rome began to commission art. the ideal situation.
tempietto (small temple)
bramante
1502
king ferdinande and queen isabella of spain
san pietro in monitorio in rome
shrine of sorts, functions as just that. altar of saint peter, hole in the ground. where peter is thought to have been crucified upside down in that indention. it is
sistine chapel ceiling
michelangelo
1508-1512
pope Julius ii
fresco
sistine chapel in vatican city
michelangelo's david got the attention of pope juliuis II. so he went to rome to paint. pope julius had the family symbol of acorns and oak trees. he was a very fiery pope. he wan
libyan sibyl
michelangelo
1508-1512
pope julius ii
fresco
sistine chapel ceiling
it is a pagan figure. huge that this is seen in the church. pagan oracle of sorts. she foretold the coming of the savior. either picking up the book or putting it down. savior has come so
creation of adam
1508-1512
michelangelo
pope julius ii
sistine chapel ceiling
fresco
very bulky adam, but he is laid back, head falling to one side. that way because the moment before he has the spirit of God. "moment before" (yet again) you can't really see that space, b
temptation and explulison
combined in the same scene. it is continuous narrative. showing the cause/effect. how does it communicate that? through the figures and surroundings. the landscape is lush and green and there is foliage with natural landscape. while in the expulsion it is
The last judgement
michelangelo
1534-1541
pope paul III
fresco
sistine chape
called back to the chapel to complete the back wall of the altar, can't say no to the pope.
he leaves his mark of his disdain. in christ's figure we see a slight s curve. very wide christ. the figu
School of Athens
Rapheal
1508-1511
pope juluis II
fresco
stanza della segnatura
raphael worked on this as michelangelo worked on the sistine chapel ceiling. raphael is 25 when he gets this piece. he studied under leonardo and perginaro. (all in florence)
in the stanza del
Venus of Urbino
Titian
1538
duke of urbino
oil on canvas
venice italy
part of the venetian renaissance. they were more about the process of creation. venice was the getaway to the east.
this would've been intended for private use. one of the larger paintings in the renai
mannerism
the last 30 years overlaps with renaissance. bored with the renn so this was incorporated. they had too many limitations.
madonna of the long neck
parmigianino
1534
oil on canvas
parma italy
trained in the renaissance style. they celebrate the elegance of the form. not concerned with the accuracy of human proportions. no 3 dimensionally either. none of the window into another world. they do painting
venus, cupid, folly, and time
bronzino
1546
duke of tuscany
oil on canvas
florence italy
this was gift for the king of france. a subtle jab at the king.we see cupid and venus kissing (mother and son) incest relations. lust interrupted by resin why folly is celebrating. (ALL FLAWS OF H
northern renaissance vs Italian
the northerns were the first to use oil, showed paradise in a wooded area, while italians were all about fresco and paradise in watery coastal places. their images were rendered differently as well. they saw beauty differently. the ghent altarpiece shoed
humanism
the intellectual movement happens with renaissance. hangs on the belief of possibility of greatness of mankind. interest in the individual. no longer though to follow in footsteps. chose to see God's greatness in humanity.
the renaissance characteristics
Renaissance art is characterized by naturalism, the use of expressive gesture, linear perspective, atmospheric perspective, and chiaroscuro. In painting, figures are placed in a three-dimensional, believable space, and their posture and gesture is part of
the printing press..
the printing of words
printmaking
images, engravings
traditions to representations
equestrian (charlemagne and guatemalla) the idea of imperial greatness of the private citizen. that sculpture represented as it is without inscription becomes anonymous as if it were as humanist sculptor. the greatness of the individual.
madonna and child
more about david
michelangelo goes away from traditional forms of david. location was initially at florence cathedral, then placed outside a government building. which makes it become secular. about florence battling milan. the underdog. david faces north (toward milan) e
linear perspective
creating depth, painting is not flat. it recedes away from the picture plane. san marco altarpiece. orthagonals. the tile carpet. vanishing point, where the depth recedes. sfumato, the haziness, only in mona lisa. tribute money monument of origin is impor