Brewer Winter 2003 Donatello Donato di Niccol di

Brewer -Winter 2003

Donatello (Donato di Niccolò di Betto Bardi) master of sculpture in both marble and bronze (b. ca. 1386, Firenze, d. 1466, Firenze)

St John the Baptist 1438 Wood, height: 141 cm Santa Maria Gloriosa dei Frari, Venice Mortified by penance, clothed in shaggy hide with a mantel thrown over his shoulders, the Baptist maintains all his admonishing power in the force of his expression and his raised arm.

Crucifix 1449 Bronze 180 x 166 cm Basilica di Sant'Antonio, Padua

Agony in the Garden 1465 Bronze Church of San Lorenzo, Florence

Sandro Botticelli (Alessandro di Mariano Filipepi) Italian, Florentine 1444/45 -1510

The Adoration of the Magi 1470 -75, tempera on panel 111 x 134 cm Uffizi, Florence.

The Birth of Venus c. 1485 -86, painted for the villa of Lorenzo di Pierfrancesco de' Medici at Castello, tempera on canvas, 67 7/8 x 109 5/8 inches now in the Uffizi, Florence.

Leonardo da Vinci Italian 1452 -1519

Study of proportions, from Vitruvius's De Architectura red crayon with pen and ink on paper 13 1/2 x 9 5/8 inches Accademia, Venice.

The Last Supper 1498 modified fresco 15 x 29 feet Convent of Santa Maria delle Grazie (Refectory), Milan

perspective The technique artists use to project an illusion of the three-dimensional world onto a twodimensional surface. Perspective helps to create a sense of depth-- of receding space. Fundamental techniques used to achieve perspective are: controlling variation between sizes of depicted subjects, overlapping some of them, and placing those that are on the depicted ground as lower when nearer and higher when deeper. In addition, there are three major types of perspective: aerial perspective, herringbone perspective, and linear perspective.

Chiaroscuro (kee-ahr'oh-scyoo"roh) A word borrowed from Italian ("light and shade" or "dark") referring to the modeling of volume by depicting light and shade by contrasting them boldly. This is one means of strengthening an illusion of depth on a two-dimensional surface, and was an important topic among artists of the Renaissance.

This is particularly used to illuminate the figure of Christ.

For example: The Descent from the Cross Dark Light Rembrandt van Rijn C. 1651 Dark

cenacle or cenacolo A cenacle is a painting of the last supper -- Christ dining with His disciples the night before He was crucified. Cenacolo is the Italian equivalent often used by English speakers.

Mona Lisa c. 1503 -1506 oil on wood panel height: 77 cm Louvre

sfumato In painting, the technique of blurring or softening sharp outlines by subtle and gradual blending (feathering) of one tone into another. The smokelike haziness of this effect slightly lessens the perception that a still image is entirely still, instead lending a vague sense of movement.

Albrecht Dürer German 1471 -1528

Self-Portrait at 26 1498 Oil on panel Museo Nacional del Prado, Madrid

Oil paint Slow drying paint made when pigments are mixed with an oil, linseed oil being most traditional. The oil dries with a hard film, and the brightness of the colors is protected. Oil paints are usually opaque and traditionally used on canvas. They can have a matte, semi-gloss, or glossy finish.

Buonarroti 1475 - 1564 Born in Florence, Italy Began training in Medici household

The Rome Pieta 1498 – 1500

*Christ in the arms of his mother after being taken down from the cross. *Immediate fame = the divine Michelangelo *Mary appears young and beautiful = Physical perfection = pure, noble spirit *Mary would be over 7” Jesus would be 5’ 8” *Mary and her sorrow the main focus. *Death of Michelangelo’s mother *Only statue signed by Michelangelo.

The Rome Pieta 1498 – 1500 Marble Height 68 ½ inches Maximum width at base 76 ¾ inches St. Peter’s Basilica, Vatican, Rome Carved in Rome for the French King Charles VIII’s ambassador to Pope Alexander VI.

Pieta (pee-ay-tah') An Italian word meaning pity, compassion, and sorrow, it is strongly associated with works of art portraying the Virgin Mary holding and mourning over the dead body of Jesus. Although the term derives from the Latin word pio, which means pious, pietà does not itself mean pious or piety.

David 1501 -04 Marble 17 ft high Galleria dell’Accademia, Florence Michelangelo began work on the colossal figure of David in 1501 and by 1504 the sculpture was in place outside the Palazzo Vecchio. The choice of David was supposed to reflect the power and determination of Republican Florence and was under constant attack from supporters of the usurped Medicis. In the 19 th century the statue was moved the Accademia.

David

Sistine Chapel Vatican, Rome. Fresco 1508 - 15 12

Fresco A method of painting on plaster, either dry (dry fresco or fresco secco) or wet (wet or true fresco). In the latter method, pigments are applied to thin layers of wet plaster so that they will be absorbed and the painting becomes part of the wall.

The Creation of Adam

(Raffaello Sanzio or Santi) Italian, Marchigian 1483 -1520

Madonna and Child (Madonna Conestabile) 1502 -03 Tempera on canvas (transferred from panel) 7 x 7 inches State Hermitage Museum, St. Petersburg, Russia

Madonna and Child (Madonna Conestabile) In this early work, the Madonna Conestabile, named after a previous owner, Raphael represents the harmony and unity of Man and Nature with profound lyricism. Peace and contemplation - and hint of sadness - are reflected in the face of the young woman, and are perfectly in tune with the mood engendered by the transparent spring landscape. The flowing lines of the figures, echoing the round format of the painting, and the gentle painting style intensify the tender and delicate image of the young woman and the beauty of the world around.

tempera A paint and process involving an emulsion of oil and water. It was in use before the invention of oil paints. Traditionally it involves an egg emulsion; thus the term egg tempera. The pigments or colors are mixed with an emulsion of egg yolks or oil and water.

St. George Fighting the Dragon 1504 -06 Oil on wood panel 11 1/8 x 8 3/8 in. National Gallery of Art, Washington, D. C.

The School of Athens 1510 -11, fresco, height 25 feet, Stanza della Segnatura, Vatican, Rome. Many art historians believe that Raphael painted Plato-- the man with the white beard in the center of the picture-- in a likeness to Leonardo da Vinci. The man who is seated, in the near left of center appears to be a likeness of Michelangelo. Euclid looks like the architect Bramante; another man resembles Raphael's painting master, Perugino; and there's even a self-portrait at the far right.

…and now for a little math

The Golden Rectangle Supposedly, Pythagoras discovered this ratio. And the ancient Greeks incorporated it into their art and architecture. The Parthenon is the most famous example of the use of the golden rectangle. People find the golden rectangle in the Mona Lisa, and other Renaissance art works. Special Thanks to Mr. Gallt for Pointing This Out