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Trinity College Art History 102
1. Trinity College Art History 102
Chapter 16Italy, 1400 to 1500
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2. Renaissance Florence
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Florence, Baptistery of San Giovanni, 1059-1150
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Baptistery North Doors 1400-24
5. Figure 16-2 FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402.
Figure 16-2 FILIPPOBRUNELLESCHI, 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.
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7. Figure 16-3 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402.
Figure 16-3 LORENZOGHIBERTI, 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.
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910.
1011.
Orsanmichele, Florence 1336-1404
12. Figure 16-5 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.
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Donatello St. Mark, Orsanmichele, 141113
14. Polykleitos, Doryphoros (Spear-bearer), c. 450-440 BC
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1516.
Nike Fastening her Sandal, Temple of
Athena Nike, c. 410 BC
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1718.
Donatello St. Mark, detail
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Doryphoros, detail
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2021.
Nanni di Banco, Quattro Santi Coronati,
Orsanmichele, 1408-14
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23. Figure 16-10 LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 17’ high.
Modern copy, ca. 1980. Original panels inMuseo dell’Opera del Duomo, Florence.
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Ghiberti, East Doors,
Story of Isaac and his
Sons, 1425-52
25. Figure 16-8 DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427. Gilded bronze ,
1’ 11 1/2 ” x 1’ 11 1/2”.25
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Masaccio, Brancacci chapel, left wall
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Masaccio, Brancacci chapel, right wall
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Masolino, Temptation of Adam and
Eve
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30. Figure 16-19 MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca.
1424–1427. Fresco, 7’ x 2’11”.
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3233.
3334. Figure 16-18 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x
19’ 7 1/8”.34
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37.
38. Figure 16-18 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x
19’ 7 1/8”.38
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Masolino, St. Peter Healing a Lame Man, Brancacci chapel
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4041.
42. Figure 16-20 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.
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Nardo di Cione, Trinity with
Saints, 1365
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Florence, panorama with the Duomo
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Pantheon, Rome, c. 118-29
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Pantheon, interior, by
Giovanni Paolo Pannini, 1747
48. Figure 16-30 FILIPPO BRUNELLLESCHI, cutaway view of the dome of Florence Cathedral, Florence, Italy, 1420-1436 ( after Piero
Sanpaolesi).48
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Santo Spirito, Florence, facade
50. Figure 16-32 FILIPPO BRUNELLESCHI, early plan (left) and plan as constructed (right) of Santo Spirito, Florence, Italy,
designed 1434–1436; begun 1446.50
51. Figure 16-31 FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–1436; begun
Figure 16-31 FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–1436; begun ca. 1436.
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52. Figure 16-33 FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440.
5253. Figure 16-34 FILIPPO BRUNELLESCHI, plan of the Pazzi Chapel, Santa Croce, Florence, Italy designed ca. 1423, begun 1442.
5354. Figure 16-35 FILIPPO BRUNELLESCHI, interior of the Pazzi Chapel (looking northeast), Santa Croce, Florence, Italy, designed
ca.1423,begun 1442, with glazed terracotta roundels by
Luca della Robbia.
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55. Figure 16-39 LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1456–1470.
5556.
57. Figure 16-44 LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.
5758. Figure 5-14 Elevations of the Doric and Ionic orders.
Compare Doric and Ionic OrdersFigure 5-14 Elevations of the Doric and Ionic orders.
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59. Figure 7-6 Roman concrete construction. (a) barrel vault, (b) groin vault, (c) fenestrated sequence of groin vaults, (d)
hemispherical dome with oculus (John Burge).59
60. Colosseum, Rome, c. 70-80
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Pantheon, Rome, c. 118-29
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Rome, Arch of Constantine, c. 315
63. Figure 16-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.
6364. Figure 16-46 LEON BATTISTA ALBERTI, interior of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470, begun 1472.
6465.
Masolino, St. Peter Healing a Lame Man, Brancacci chapel
66. Figure 16-36 MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.
Figure 16-36 MICHELOZZO DIBARTOLOMMEO, facade of the Palazzo MediciRiccardi, Florence, Italy, begun 1445.
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67. Figure 16-37 MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.
6768. Figure 16-38 LEON BATTISTA ALBERTI BERNARDO ROSSELLINO, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.
6869. Colosseum, Rome, c. 70-80
70. Figure 16-17 GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Strozzi Chapel, Santa Trinità, Florence, Italy, 1423.
Tempera on wood, approx. 9’11” x 9’ 3”. Galleria degli
Uffizi, Florence.
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74. Figure 16-21 FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco, 7’ 1” x 10’ 6”.
7475. Figure 16-28 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi,
Florence.75
76. Figure 16-25 DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza
Collection, Madrid.76
77. Figure 16-24 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.
Fresco, 24’ 4” x 14’ 9”.77
78. Figure 16-14 ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca. 1470–1475. Bronze, 1' 6” high with base. Museo Nazionale del
Bargello, Florence.78
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8081. Figure 16-12 DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.
First free-standing nude statue sinceantiquity. Notice the contrapposto
Nudity used to portray a Biblical hero
rather than as an allegory for
sinfulness (Medieval mentality).
Figure 16-12 DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high.
Museo Nazionale del Bargello, Florence.
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82. Figure 16-13 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.
Figure 16-13 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello,
Florence.
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83. Pollaiullo – Interest in Human Anatomy
• Hercules and Antaeus – study of the musculature of strugglinghuman form
• Battle of the Ten Nudes – one of earliest known engravings, ecorche –
muscles look so defined that it looks as if they lack skin
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84. Figure 16-29 ANTONIO DEL POLLAIUOLO, Battle of the Ten Nudes, ca. 1465. Engraving. 1 3 1/8” x 1’ 11 1/4”. Metropolitan Museum
of Art, New York (bequest of Joseph Pulitzer, 1917).84
85. Rise of Portraiture
• Understand the social, religious, and political influences of15th-century Italian art
• Discuss the various roles of commemorative portraits
• Identify various artists of the period and their stylistic
accomplishments
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86. Figure 16-15 DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450.
Bronze, 12’ 2” high.86
87. Figure 16-16 ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy,
ca. 1481–1496. Bronze, 13’ high.
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88. Figure 16-25 DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza
Collection, Madrid.88
89. Figure 16-24 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.
Fresco, 24’ 4” x 14’ 9”.89
90. Figure 16-38 LEON BATTISTA ALBERTI BERNARDO ROSSELLINO, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.
9091. Figure 16-39 LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1456–1470.
9192. Figure 16-21 FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco, 7’ 1” x 10’ 6”.
9293. Figure 16-22 ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Fresco, 15’ 5”
x 32’.93
94. Figure 16-23 FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, 2’ 11 1/2”. x 2’ 1”. Galleria degli
Uffizi, Florence.94
95. Figure 16-40 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”.
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96. Figure 16-44 LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.
9697. Figure 16-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.
9798. Figure 16-47 ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.
9899. Figure 16-48 ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in
diameter.99
100. Figure 16-49 ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera,
Milan.100
101. Figure 16-42 PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca.
1472–1474. Oil onwood, 8’ 2” x 5’ 7”. Pinacoteca di Brera, Milan.
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102. Figure 16-43 PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455-1465. Oil and tempera on wood, 1’ 11 1/8” X 2’ 8 ¼”.
Galleria Nazionale delle Marche, Urbino.102
103. Figure 16-41 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco,
Figure 16-41 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide.
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