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Florence and the Early Renaissance

Florence and the Early Renaissance . Chapter 17. 1. Florence. 1. Florence. Duomo (cathedral), baptistery. Ponte Vecchio over the Arno. 1. Florence. Piazza della Signoria. Loggia dei Lanzi Galleria degli Uffici David by Michelangelo. 1. Florence.

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Florence and the Early Renaissance

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  1. Florence and the Early Renaissance Chapter 17

  2. 1. Florence

  3. 1. Florence Duomo(cathedral), baptistery Ponte Vecchio over the Arno

  4. 1. Florence Piazza dellaSignoria • Loggia deiLanzi • Galleria degliUffici • David by Michelangelo

  5. 1. Florence Piazza dellaSignoria in the 18th century: -Palazzo Vecchio -Galleria degliUffici -Loggia deiLanzi

  6. 1. Florence in 1493

  7. 2. The Medici family (1418-1494) • Cosimo (1389-1464) • Piero (1416-1469) • Lorenzo (1449-1492)

  8. 2. The Medici family (1418-1494) Lorenzo the Magnificent • Bankers of the Papacy with offices in Rome, Venice, Avignon, Lyon, Geneva, Cologne, Bruges, London… • Patrons of the arts. • De facto rulers of the Republic of Florence through their influence.

  9. 2. The Medici family (1418-1494) Palazzo Medici-Riccardi by MichelozzodiBartolomeo. 1444.

  10. Chapel and patio of the Medici Palace (1944) 2. The Medici family (1418-1494)

  11. 2. The Medici family (1418-1494) Adoration of the Magi by SandroBoticelli , 1470. -Meaning for the donors?

  12. 2. The Medici family (1418-1494) • The Medici embody the wisdom of the Magi and their kingship. • They belong to the Confraternity of the Magi and participate in the procession every January 6th.

  13. 2.The Medici family (1418-1494) • Accomplishments: • Cosimo: enlisted Brunelleschi to: • Enlisted Brunelleschi to complete the dome of Florence cathedral. • Paid for the reconstruction of the church of San Lorenzo. Lorenzo collected manuscripts creating the Laurentian Library.

  14. 2. The Medici family (1418-1494)

  15. 3. Artistic developments • Classical models: • Doors of Florence Baptistery (1401-1402) • Brunelleschi’s dome of Florence Cathedral (1420-1436) • Scientific perspective • San Lorenzo (1421-1469) • Doors of Paradise (1425-37) • Masaccio’s Trinity with the virgin (1425) • Classical freestanding sculpture • Donatello’s David (1440) • Michelangelo’s David (1501-1504)

  16. 3. Artistic developments • Mythological themes • SandroBoticelli, Primavera, Birth of Venus (1480). • Illusionism: • Studiolo of FederigodaMontefeltro, Urbino (1476) • Mantegna’s Camera Picta, Mantua, 1465-74 • Leonardo da Vinci • Sfumato, psychological portrayal

  17. 4. Florence Baptistery (1401-1402)

  18. 4. Florence Baptistery (1401-1402) Brunelleschi • Sacrifice at the center • Gothic verticality: three rising planes. • Crowded, figures spill out • Dramatic tension Ghiberti • Introduction of classical models: torso, toga • Introduction of landscape: sense of real space. • Diagonal lines, cohesion

  19. 5. Dome of Florence cathedral Filippo Brunelleschi • Technical challenge: to cover and octagonal gap, 140 foot wide. • 1420-1436 • Brunelleschi travelled to Rome to study Roman domes. • Where can you study a dome in Rome?

  20. 5. Dome of Florence cathedral • Model: Rome, Pantheon, 2nd cent. CE

  21. 5. Dome of Florence cathedral • Internal structure of vertical and horizontal ribs. • Elongated dome, rather than semicircular.

  22. 6. Scientific Perspective: Church of San Lorenzo • Brunelleschi: Church of San Lorenzo, (1421-1469) • Sense of balance and proportion. • Use of scientific perspective and geometry. • Search for harmony as a reflection of the divinity. • Use of Classical models (Roman basilica)

  23. 7. Scientific Perspective: Gates of Paradise (1425-1437) • Lorenzo Ghiberti • East side of the Baptistery • Themes: Old testament

  24. 7. Scientific Perspective: Gates of Paradise (1425-1437)

  25. 7. Scientific Perspective: Gates of Paradise (1425-1437) • Use of classical models • Scientific perspective: convergence of lines at the vanishing point. • Landscape and architectural detail create a sense of real space and guide the viewer to the vanishing point. • Low and high relief.

  26. 7. Scientific Perspective: Masaccio • Masaccio • Trinity of Santa Maria Novella (1425) • Visual effects? • Vanishing point? • Donors? • Origin of architectural details?

  27. 7. Scientific Perspective: Masaccio • -Trompel’oeil: vault and architectural details • Donors in the foreground. • Vanishing point: Christ • Perspective from viewer’s viewpoint. • Architecture: Roman triumphal arch.

  28. 7. Scientific Perspective: Masaccio The Tribute Money, 1420.

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