The Renaissance 9 1 Renaissance means rebirth A

The Renaissance 9. 1 Renaissance means “rebirth. ” A long period of intense artistic activity began in Europe during the early 1400 s. It was fueled by a renewed interest (or rebirth) in the ancient Roman and Greek art styles, as well as explorations in science and math. The artistic revival began in the Italian city of Florence. The rich and powerful Medici family supported the arts, and provided much of the funding for art activities.

Filippo Brunelleschi (1377 -1446) Brunelleschi was a sculptor and architect. His most famous work is the design for the enormous dome of the Cathedral of Florence, 1420. It was built as two shells, one inside the other. The shells were linked with ribs and supports. This huge structure can be seen from all over the city of Florence.

The Sacrifice of Isaac 1401 Brunelleschi Ghiberti In 1401, both Brunelleschi and Lorenzo Ghiberti created these sample sculptural reliefs. They were entries in a competition to win the commission to design the doors of the Florence baptistry. Ghiberti won the contest; the two doors took more than twenty years to complete, seen on the following slide. . .

Lorenzo Ghiberti The Gates of Paradise c. 1435

Lorenzo Ghiberti: The Story of Jacob and Esau Within these images the artist has created the illusion of depth; figures are smaller as they go back in space, and parallel lines lead to a single vanishing point. Several of the figures seem to project out in space in front of the panel.

Lorenzo Ghiberti c. 1435

Ghiberti Joseph in Egypt c. 1425 -47, Gates of Paradise

Donatello David Life-size bronze 1430 -1432 Donatello’s style combines Classic style and Renaissance expression. He combined the contrapposto of the Greeks — suggesting movement — with facial expressions suggesting pride, dignity and self-reliance, which are Renaissance ideals. This is the first life-size, freestanding nude sculpture since ancient times. Freestanding means it was meant to be viewed from all sides.

Donatello Gattamelata Bronze, 11’ tall 1445 -1450 Donatello was commissioned to sculpt a huge equestrian statue of the Venetian general, Gattamelata. Text Equestrian means related to horseback riding. This is the first large equestrian sculpture of the Renaissance, and the first larger-than-life horse and rider since ancient Rome. Donatella was influenced by the famous Classic statue of Marcus Aurelius in Rome, as we see in the next slide. . .

Equestrian Statue of Marcus Aurelius 161 -180 AD Donatello 1445 -50

Donatello St. Mark 1411 -13 St. George 1415 -17

Donatello Mary Magdalene 1454 -55 Wood 6’ 2”

Donatello Feast of Herod c. 1425

PAINTING IN THE RENAISSANCE Renaissance painting began in Florence, Italy, when a young artist named Masaccio painted frescoes on a chapel wall. Masaccio revolutionized painting. He combined visual perspective, a sense of natural light, and the monumental human forms of the earlier Italian Gothic artist, Giotto.

Masaccio, Tribute Money, Fresco, c. 1427 Notice the strong light source coming from the right — shadows fall to the left of the figures. The illusion of spatial depth is created by overlapping planes, atmospheric perspective, and the receding size of objects as they go back into the distance. Three different parts of a story are being told here, from left to right across the picture.

Masaccio The Expulsion from Eden Fresco, 1427 Notice the strong light source coming from the right — shadows fall to the left of the figures. The play of light and shadows modeling the forms make the rounded human bodies and expressive faces seem to occupy real space, suggesting a sense of three-dimensional volume.

Masaccio The Holy Trinity with the Virgin, St. John, and Two Donors 1425 Notice how the figures are located in an illusory space, created by the painted overhead archway which establishes a view of the figures as if seen from below.

Brancacci Chapel, 1427 Frescoes by Masaccio

Fra Angelico, The Annunciation, Fresco, 1440 -50 Fra Angelico often painted figures located within architectural structures which establish a strong sense of linear perspective. The people are delicately rendered and colored. His use of light is more theatrical, rather than consistently realistic and natural.

Paolo Ucello, Battle of San Romano, Tempera on panel, 6’x 10’, 1445 Ucello was concerned with perspective and pictorial spatial depth. Here we see soldiers located right up close to the viewer in the foreground; as the action in the picture recedes back into space, objects diminish in size. This is part of a 3 -panel painting.

Ucello, The Hunt, 1470 Ucello was concerned with perspective and pictorial spatial depth. Here we see hunters located right up close to the viewer in the foreground; as the action in the picture recedes back into the distance, people, animals and trees diminish in size, reinforcing the illusion of deep space.

Paolo Ucello (1397 -1475)

Piero della Francesca, The Discovery and Proving of the True Cross Fresco, 1453 -1454 Piero was very concerned with perspective, spatial depth, and the use of decorative, flat geometric design. His painting has a cool and severe character; the people appear to be without emotion.

Piero della Francesca, The Flagellation of Christ, Fresco, 1400 s Piero’s figures are cool and calm. With a very deliberate use of linear perspective — and dramatic change in scale — the artist creates a feeling of great depth in space. Notice how the main action of the narrative story (Christ and his tormentors) is unexpectedly placed farther away from the viewer instead of a more typical foreground placement.

Piero della Francesca The Baptism of Jesus Fresco, 1400 s

Piero della Francesca Resurrection Fresco, 1463

Piero della Francesca Portraits, 1472

Sandro Boticelli, The Birth of Venus, Tempera on canvas, 6’x 9’ 1482 Boticelli’s huge painting shows a scene based on traditional mythology. The imagery also carries a Christian symbolic meaning: Venus, the water and Spring could represent Christ, baptism and John the Baptist. Boticelli was a master of delicate lines, gracefully drawn figures and carefully balanced colors. Despite many carefully rendered details, it is not a realistic scene — the water is highly stylized, proportions are distorted, and the light is not natural.

Sandro Boticelli “Primavera” 1400 s Boticelli’s figures are elegantly rendered in a pleasing manner, but they are nonetheless elongated, stylized, and the entire scene disregards a natural circumstance of daylight. Light is manipulated for theatrical purposes.

Sandro Boticelli “Primavera” 1400 s Detail of the larger painting.

Sandro Boticelli, Mars and Venus, Oil and tempera, 1485

The Renaissance in Venice and Northern Italy Venice became a dominant economic and political power during the early 15 th century. Both Ucello and Donatello had temporary art studios there, influencing the local artists with their Florentine styles. Andrea Mantegna (1431 -1506) learned a lot from the visiting artists of Florence. He mastered form, anatomy, and excelled in the use of perspective and foreshortening, seen in the following slide. . .

Andrea Mantegna, The Dead Christ, 27”x 32” Tempera on canvas, 1501 Notice extreme foreshortening in the dead body of Christ, stretched out on a marble slab. The viewer can see the crucifixion nail holes in Christ’s hands and feet. The feet appear to jump off the picture plane, entering directly into the viewer’s space.

Andrea Mantegna Notice extreme visual angle; the scene is depicted from a worm’s eye point of view.

Andrea Mantegna, The Crucifixion, oil on panel, 1460

Andrea Mantegna Ceiling of the Camera degli sposi, Fresco, 1474

Andrea Mantegna, The Court at Mantua, Fresco, 1471

Andrea Mantegna

Giovanni Bellini (1431 -1516) St. Francis of Assisi, oil on canvas The arrival of oil painting techniques in Italy enabled Bellini to develop a new richness of color, using a full range of value.

Giovanni Bellini (1431 -1516) Oil on canvas With the arrival of oil painting techniques in Italy, Bellini developed a new richness of color and range of value.

Giovanni Bellini (1431 -1516) The Doge Leonardo Loredan 24 x 18” Oil on Panel, 1502 Bellini concentrated on the specific facial features of the Doge, who was elected as the leader of the Venetian Republic. Careful attention was paid to the natural play of light and shadow throughout the picture, and to the delicate textures of the luxurious fabrics in which the sitter was clothed.