Ch 21 paintings Part 1 Earlymid 1400 s

Ch 21 paintings Part 1 Early-mid 1400 s in Italy

A strong Example of The height of International Style… Figure 21 -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 . This is called a Predella 2

Masaccio: “Big Ugly Thomas”…tee-hee…. Notice symmetry created by the pyramidal composition. How many triangles can you count? Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base. The adult viewer is AT the level of the vanishing Point-intensifying the sense of illusion… Masaccio had studied Brunelleschi’s perspective Experiments… “I was once that which you are, and what I am You also will be. ” Figure 21 -20 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424– 1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”. 3

Figure 21 -18 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 7 1/8”. SINGLE LIGHT SOURCE!!!!!!/Continuous Perspective/a civic message here? 4

Importance of Masaccio to Early Renaissance • Tribute Money – brings together innovations in 15 th century painting --- trailblazer whose work influenced other artists – Linear perspective – Aerial perspective – Classical body types (blend of realism with idealizing the human form) – Chiaroscuro to create a more realistic picture, single light source from the right, modeling the human anatomy to give figures weight…they even cast shadows! – Balanced, symmetrical composition – Color saturation varies-dependent on how close to the light source the form is…. 5

• Notice that Adam’s and Eve’s body types and poses are derivative of ancient Roman statuary. • Compare Masaccio’s Adam to Jan van Eyck’s Adam from the Ghent Altarpiece. • Eve has the “modest Venus” pose. Figure 21 -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”. 6

This work uses The loggia Architecture Of the monastery Where it is located To further the sense That the vision of the Mystery is occurring Here in this place… The stark contrast Of white around Each of these Cell block visions Intensifies their Believability… Figure 21 -21 FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438– 1447. 7 Fresco, 7’ 1” x 10’ 6”.

Figure 21 -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. 8

Most lines converge at John Figure 21 -22 ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Fresco, 15’ 5” x 32’. 9

Figure 21 -26 PAOLO UCCELLO, Battle of San Romano, ca. 1455 (? ). Tempera on wood, approx. 6’ x 10’ 5”. National Gallery, London. Extreme perspective creates an inside joke between patron, artists, And viewers…. A mistress named “perspective”…. . 10

Figure 21 -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). 11

TIME TO TRAVEL THROUGH TIME! TO THE TIME OF THE POST-IMPRESSIONIST….

Cezanne: In search of the Geometry of Form … “Nature for us men is more depth than surface…” -Cezanne

“an architecture of color? ” He wanted to: “make of Impressionism something solid and Durable like the art of the museums…”

Cezanne: Study of Bathers: Connection through time: The art in the museums. Here- POLLAIUOLO, Battle of the Ten Nudes