THE RENAISSANCE THE EARLY RENAISSANCE EXTERIOR OF BAPTISTRY

THE RENAISSANCE

THE EARLY RENAISSANCE

EXTERIOR OF BAPTISTRY

D U O M O

THE BAPTISTRY DOORS n n n LORENZO GHIBERTI 1435 EACH PANEL – n 21 X 17 NATIONAL MUSEUM, FLORENCE

DETAIL OF BAPTISTRY DOOR

THE MADONNA IN MAJESTY n CIMABUE n 1285 – 1286 n UFFIZI GALLERY, FLORENCE

MADONNA & CHILD ENTHRONED n GIOTTO n 1305 – 1310 n UFFIZI GALLERY, FLORENCE

THE MADONNA AND CHILD n n n Masaccio 1426 Tempera on panel 24. 5 x 18 cm Uffizi, Florence

THE EXPULSION OF ADAM AND EVE n n n Masaccio 1426 -1428 Fresco 208 x 88 cm Brancacci Chapel, Florence

Brancacci Chapel Masaccio

DAVID n n DONATELLO 1430 -1432 62 1/4” NATIONAL MUSEUM, FLORENCE

DETAIL OF DAVID

MAGDALEN n n DONATELLO 1454 -1455 6’ 2” BAPTISTRY, FLORENCE

MAGDALEN-DETAIL

RESURRECTION n n n Piero della Francesca 1463 -1465 Mural in fresco 225 x 200 cm Pinacoteca Comunale, Sansepolcro

• Perspective and geometry figure both prominently and subtly in all Piero's works. • He liked to organize large, plain masses of color in patterns which suggest an underlying geometrical scheme. That gives his paintings the unfinished look which moderns like. • There always large areas of white or near-white in his works, the skies are big, light and sunny, and this pleasing radiance, combined with the absence of meticulous clutter, makes his paintings enormously attractive to our eyes. All this was carefully considered and deliberate • We see that Piero was fond of the square format. Here's another example, for this painting is essentially square, being about 10% higher than it is wide.

n n n Stillness: The square format, as we've seen before, gives a mood of overall stillness. This static quality is enhanced by locating Christ exactly on center. Arnheim says that Christ's frontal symmetry makes him look like a statue. Christ is static but the guards appear restless. Their tilted heads are a perfect foil for the riveting head of Christ. Vertical Zones: The central vertical divides the scene with Winter on left, summer on right. The rebirth of nature is here probably a symbol for rebirth of Christ. Horizontal Zones: Similarly, the painting is divided into three horizontal bands. Christ occupies the middle band, his head and shoulders reaching into the upper band of sky. His figure unites earth and the heaven. The guards are in the zone below the line marked by Christ's foot.

THE FLAGELLATION n n n Piero della Francesca 1455 Oil and tempera on panel 58. 4 x 81. 5 cm Galleria Nazionale delle Marche, Urbino

In his finest work, the wonderfully light and sparkling Flagellation in the Ducal Palace, Urbino, Christ and his tormentors have been pushed into the background, while three unrelated figures, who are not even watching the scourging, dominate the scene. "No picture could exude a more pronounced air of geometric control and no painting was ever more scrupulously planned. "

Geometry of The Flagellation The diagonal AE of that square passes through the V, vanishing point of perspective. Further, in square ATVK we see that arc KT from A cuts the diagonal at Christ's head, F, halfway up the painting. Thus Christ's head is at the center of the original square ASED.

THE LATE RENAISSANCE

Annunciation Da Vinci n 1472 -1475 n Uffizi Gallery 98 x 217 cm

Perspective n Da Vinci: Annunciation

THE LAST SUPPER n n n LEONARDO DA VINCI FLORENTINE 1495 -1498 181 X 346 1/2” MILAN

LAST SUPPER-RESTORED

First to depict acting as real people Greatest ex. Of one point perspective – all lines to Jesus head Looking across the picture from left to right: • Bartholomew, James Minor and Andrew form a group of three. All are aghast, Andrew to the point of holding his hands up in a "stop!" gesture. • Judas, Peter and John form the next group of three. Judas, you will note, has his face in shadow and is clutching a small bag (of silver? ). Peter is visibly angry and a feminine-looking John seems about to swoon. • Christ is the calm in the midst of the storm. • Thomas, James Major and Philip are next. Thomas is clearly agitated, James Major stunned and Philip seems to be seeking clarification. • Matthew, Thaddeus and Simon comprise the last group of three figures. It appears that, when a situation turns ugly, Simon is the "go to" guy for explanations.

Castagno 1445 -50 Architecture has a strangely oppressive effect on the figures B/c perspective was devised before diners painted

MONA LISA LEONARDO DA VINCI n FLORENTINE n 1503 -1505 n 30 1/4 X 21” n THE LOUVRE, PARIS http: //library. thinkquest. org/1 3681/data/link 2. htm n

THE VIRGIN OF THE ROCKS n n Leonardo Da Vinci 1503 -1506 6 x 4 ft National Gallery, London The sfumato (haze) creates a sense of peculiar warmth and intimacy-more of a poetic vision

THE VIRGIN OF THE ROCKS n n n Leonardo Da Vinci 1483 -1486 Oil on panel 199 x 122 cm Louvre, Paris

n The Da Vinci Code, written by the American novelist Dan Brown, it is claimed the earlier Louvre version contained hidden symbolism which contradicted orthodox Christian belief, – – notably the fact that Jesus is shown praying to John rather than the other way round (the novel implies that the baby at the left must be Jesus rather than John, because he is with the Madonna). It is also claimed that the Virgin appears to be holding an invisible head and that Gabriel appears to be "slicing the neck" with his finger. For this reason the painting was rejected by the Church, and a second, more orthodox, version was painted.

London Paris

Vitruvian Man (Man of Perfect Proportions) – – – Leonardo Da Vinci 1492 Pen and Ink Accademia, Venice 13 ½ x 9 ½

Other Example of Da Vinci’s Notebook Flying Machine Walk on Water

THE ASSUMPTION OF THE VIRGIN n n Correggio 1525 Fresco Parma Cathedral, Parma, Italy

SISTINE CHAPEL

CEILING OF THE SISTINE CHAPEL n n MICHELANGELO FLORENTINE 1508 -1512 THE VATICAN, ROME

Ancestors Prophets Death of Haman Jeremiah Solomon Genesis Scenes Prophets Ancestors Moses & Brass Serpeant Separation of light from darkness Libica Creation of Sun, Moon, and Planets Jesse Persica Separation of Land from Water Daniel Roboam Creation of Adam Asa Ezekiel Creation of Eve Cumaea Ozias Temptation and Expulsion Ezekias Erythraea Sacrifice of Noah Isaih Zorobabel The Flood Josiah Joel Drunkeness of Noah Delphic Sibyl David & Goliath Zachariah Juidith & Holo. Phernes Jonah and the Whale

THE CREATION OF ADAM

FALL OF MAN

EXPULSION

DELPHIC SIBYL

THE LAST JUDGMENT n n n MICHELANGELO 1535 -1544 ALTAR WALL, SISTINE CHAPEL, VATICAN CITY

THE LAST JUDGMENT DETAILCHRIST

THE LAST JUDGMENTDETAILS

THE LAST JUDGMENTFLAYED SKIN DETAIL

DAVID n n MICHELANGELO 1501 -1504 161” ACCADEMIA, FLORENCE

DIVAD

PIETA n n n MICHELANGELO 1498 -1499 68 X 76” ST PETER’S, Vatican City

PIETA-DETAIL

Moses • Michelangelo • 1508 -16 and 1542 -45, marble • height 7 ft 8 ½ • San Pietro in Vincoli, Rome. • This sculpture is at the base of Pope Julius II's mausoleum. [Detail of the head of Moses's horns derive from a long tradition in which horns were symbolic of divinity in Near Eastern and Nordic cultures. ]

THE DYING SLAVE n n Michelangelo 1513 -1515 7’ 6 Louvre

THE REBELLIOUS SLAVE n n Michelangelo 1513 -1515 7 5/8 ft Louvre

THE ASSUMPTION OF THE VIRGIN n n n TITIAN VENETIAN 1516 -1518 269 X 140” VENICE

RAPE OF EUROPA n n n Titian 1559 -1562 Oil on canvas 185 x 205 cm Isabella Stewart Gardner Museum, Boston

SCHOOL OF ATHENS n n RAPHAEL URBINO 1509 -1511 THE VATICAN PALACE, ROME

ZENO EPICURUS SOCRATES n PLATO & ARISTOTLE

PYTHOGARUS ZOROASTER & PTOLEMY RAPHAEL EUCLID

SISTINE MADONNA n n Raphael 1513 – 1514 Oil on panel Dresden Gallery, Dresden, Germany

In the Mother's arms is the Divine Child, with those strange, faraway-looking eyes that casual visitors so little understand— eyes that even in babyhood seem reading the future, and beginning to see the greatness of the world's sorrow. Kneeling on one side, below them, is St. Sixtus, the nearest perfect of all pictures of strong and venerable age that was ever painted; on the other side Santa Barbara, only less beautiful than the Virgin, is kneeling, with eyes turned from the glory too bright for mortals to look upon. At the bottom of the canvas are the two cherub faces which for centuries have been ideals of innocence and loveliness. The background is of fleecy clouds, and peering out of the clouds are angel faces. It has been said that Raphael never painted anything exactly as it was, but always idealized whatever he touched.