1 / 11

ITALY, 1400-1500

ITALY, 1400-1500. GARDNER CHAPTER 21-1 PP. 541-548. ITALY, 1400-1500. The blossoming of humanism Emphasis on education and expanding knowledge Individual potential Desire to excel Commitment to civic responsibility and moral duty

lance
Download Presentation

ITALY, 1400-1500

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. ITALY, 1400-1500 GARDNER CHAPTER 21-1 PP. 541-548

  2. ITALY, 1400-1500 • The blossoming of humanism • Emphasis on education and expanding knowledge • Individual potential • Desire to excel • Commitment to civic responsibility and moral duty • Artistic genius + spread of humanism + economic prosperity = the Renaissance

  3. FLORENCE • Giovanni de Medici est. family fortune in early 15th century • Cosimo, his son, expands family dominance in finance and led to political power • Medici were avid humanists • Lorenzo the Magnificent (1449-1492) gathered about him a galaxy of artists and gifted men in all fields

  4. THE BRONZE DOORS OF THE BAPTISTERY • Filippo Brunelleschi, Sacrifice of Isaac, competition panel fro east doors of the baptistery, Florence, Italy, 1401-1402, gilded bronze, 1’9” x 1’5 ½ “ • Competition in 1401 to design the east doors of the Baptistery • Patronage as both civic imperative and a form of self-promotion • The esteem accorded to individual artists • Development of a new pictorial realism • Brunelleschi’s entry -> one dense group, great drama -> emotional, lunging Abraham -> frantic angel makes it just in time -> figures spill out over the borders of the quatrefoil

  5. BRUNELLESCHI AND GHIBERTI • The two finalists were Brunelleschi and Ghiberti -> used the same frames and same scene • Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for east doors of the baptistery, Florence, Italy, 1401-1402, gilded bronze, 1’9” x 1’5 ½” • Ghiberti emphasized grace and smoothness -> nude figure of Isaac -> acanthus scrolls on the altar he kneels on -> classical references • Spatial illusion • Technical superiority -> cast in only 2 pieces -> lighter and more cost effective

  6. OR SAN MICHELE, Florence

  7. OR SAN MICHELLE/NANI DI BANCO • NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, marble, figures 6’ high • Built for the guild of wood and stone carvers, of which Nanni was a member • Depicts four matyred patron saints of the guild • Wearing togas, heads influenced by portraits of Roman emperors • Saints seem to be discussing their fate; feet placed outside of arch, stepping into our space • Figures are independent of the niche in which they stand

  8. DONATELLO – SAINT MARK • DONATELLO, Saint Mark, Or San Michele, Florence, Italy, ca. 1411-1413, marble, 7’9” high • Commissioned for the guild of linen drapers • Contrapposto -> as the body moves, his garment moves with it -> the garment does not conceal, it accentuates movement • Stirring limbs, shifting, weight, mobile drapery -> suggests impending movement out of the niche

  9. DONATELLO – SAINT GEORGE • DONATELLO, Saint George, Or San Michele, Florence, Italy, ca. 1410-1415, marble, 6’10” high • Made for the Or San Michele niche of the armorers’ and swordmakers’ guild • The warrior saint stands defiantly, ready to spring from his niche to defend Florence -> face filled w/nervous energy

  10. DONATELLO – FEAST OF HEROD • DONATELLO, Feast of Herod, panel on the baptismal font of Sienna Cathedral, Sienna, Italy, 1423-1427, gilded bronze, 1’11 x 1’11” • New Testament scene -> kneeling executioner offers the head of John the Baptist to King Herod • The advent of rationalized perspective space -> two arched courtyards of diminishing size open the space of the action well into the distance

  11. RENAISSANCE PERSPECTIVE SYSTEMS • Renaissance fascination with perspective -> constructing a convincing illusion of space in two-dimensional imagery • Linear perspective allows artists to determine mathematically the relative size of rendered objects to correlate them with the visual recession into space • Linear perspective can be either one-point or two-point

More Related