Download The Renaissance - Linn-Benton Community College

-----T
D. Litzer
ART 205
ART HISTORY STUDY SHEET FOR FINAL
The Renaissance
Italy;14th Century: Proto Renaissance
Italian Sculptors:
Nicola & Giovanni Pisano- Marble
Pulpit
Nicola- classically inspired
Giovanni (son)- emotionally inspired
Painting:
Stained glass, illuminated manuscripts- Northern “Droleries” (worldly whimsey)
in
France & Germany.
In Italy, Altarpieces become important
International Style: Courly Style; lavish, rgal, rich in color, textures, jewel like appearance,
realism of perticularts.
Gentile de Fabriano, Adoration of the Magi
Giotto (Father of Western painting) (know his form /
content)
Cimabue (Maniera Greca) (the end of an era)
Observation, naturalism. expression
Pietro Cavallini “Last Judgment” c1290
Duccio- spatial complexity
P. Lorenzetti “Birth of a Virgin”
Ambrogio Lorenzetti ‘Good Government’/Bad Government -first site
Specific landscape-secular, Man in control. Social, secular responsibility
Francesco Traini- Triumph of DeathReaction to outside events
Bubonic Plague- 1350
The north has the tradition of manuscripts and stained glass which influences other and
later 2-D art. -Expressive, emotional and colorful.
Italy combines it’s classical history with Byzantine style.
•
Naturalism, volume, elegance with Northern expressionism
Italian Renaissance: Fifteenth Century.
•
•
•
•
•
•
Florence, under the wing of the Medici
the revival of classical form within the theory of Christian Humanism
looking to the beauty of natural things as works of the divine.
rise of independent city states, free thought, community pride.
the artist becomes part of the learned class, no longer just a craftsman.
the age of humanism-truth, virtue
Sculpture~-Nanni De Banco: Four Saints, 1410, has a unity of classical
form and content “Sacred Conversion”, psychological interaction.
• Donatello; Greatest of the early Renaissance sculptors. Achieved a new realism based on
the
study of man and nature. Powerful form, expressive. Tense individual, revolutionary
technique
of vision. An enemy of regularity.
Donatello’s work has ‘Mimesis’ as do other great artists of the Renaissance. ….the ‘spark’
of life, power that is both from the physical form and the ‘felt’ content.
St.
George
1415
David.
1430
Zuccone.
1420
Mary Magdalene. 1454
Jacopo delIa Ouercia “Creation of Adam” 1430
Elements of design augment content and form.
Renaissance Architecture: Brunelleschi and Alberti
• Mathematical & scientific concepts are applied to art.
• a desire to achieve harmony and proportion with classical
characteristics.
• the enveloping of space
• screen architecture (a false illusion of size largely due to
proportions)
Linear perspective (Brunelleschi)
*Dome of the Florence Cathedral & Pazzi Chapel
(Brunelleschi)
*San Andrea (Alberti)
Renaissance Painting; (15th cen.)
Study its characteristics in relation to painting of the Middle Ages. The Renaissance style:
Balanced,
symmetrical, classical, Christian humanism. A sense of stillness-timelessness.
•
Massaccio; innovative, comprehension of light, implied movement, and space.
Chiaroscuro—modeling of forms by light. Clothed nudes
(understanding of the form of the body)
The Tribute Money, 1427, The Holy Trinity. 1425
The Expulsion from Paradise. 1425
•
Fra Angelico; The Annunciation, 1440-50. The “Angelic Painter”-linear perspective, a
solid
spatial order. Painted to understand God.
•
Fra F. Lippi-Madonna Enthroned. Madonna and Child with Angels,Brings
personality to painted people: roguishness. A human/worldly element.
•
Domenico Veneziano; a colorist, the St. Lucy Altarpiece. 1445. (Venetian)
Venice = traditionally associated with color and glass making, which relies on light
(Lucy = light)
•
Piero Della Francesca; The “intellectual artist” - applied Albertian design principles to his work;
harmony, balance, perspective. “Discovery of the True Cross,” portraits.
•
Paolo Uccello; “Battle of San Romano”; study of perspective. (stereometric forms)
•
A Pollaiuolo, “Battle ofTen Naked Men”, 1465- motion study, new composition “Martyrdom
of St. Sebastian”
•
S. Bottichelli: 1444-1510, Neo Platonist, paintings are often of pagan mythology with
Christian
allegory. His paintings look like music, graceful. A master of linear design. Student of Lippi.
Poetic reality, poetic line : The Birth of Venus. 1482 - Primavera. 1482
•
Andrea Mantegna- “Dead Christ”
Identify artists and their work by style, form, and content
Early Renaissance: Northern
(15ttcentury)
observation of particulars
spiritual content in the environment of the physical world.
disguised symbolism
attempt at three dimensional illusion
richness of color with oil paint.
(the North has a rich tradition of color
enameling, manuscript painting, and the
painting of miniatures)
Limbourg Brothers : breviary (small
personal book of hours)
Roger Campin “Merode Altarpiece”, 1425. (Master ofFlemalle) Contemporary setting with much
disguised symbolism; objects are religious metaphors
Jan Van Eyck; Gent Altarpiece, 1432, Wedding Portrait, 1434, (credited with the
perfection/discovery of oil paint as an artist medium.) Man in a Red Turban, “Madonna with
Chancellor Rolin”
Roger Van Der Weyden; Descent From the Cross, 1435, (human expression)
Hieronymous Bosch; Garden of Earthly Delights, 1500 (fantasy)
Claus Sluter- EarlyN. Ren. Sculptor, “Well of Moses” c1403
(International Style)
Konrad Witz “Miraculous Draft ofFish” c.1444 observation
Jean Fouquet, Melun diptych, 1450, oil on wood (know form and content) ‘grissaille’
Tilman Riemenschneider (1460-1531) Master wood carver, Assumption of the Virgin, German
Printing Press invented c. 1450, graphic Arts were influenced by this and other fine art methods of
printing: wood cut, intaglio. See the work of M. Schoengauer and Abrecht Durer.
HIGH RENAISSANCE (1495-1520) Be able to describe the
style of the High Renaisance, and its major artists)
Leonardo da Vinci, Vitruvian Man (Canon of Human Proportions) This is a reference to the
‘Divine Proportion’. Ratio of 3/5 or 6/9 which was a classical discovery related to harmony.
Michelangelo Sistine Chapel, David, Pieta X2, Last Judgement, Dome of St. Peters
Raphael, School of Athens, Madonna in the Meadow, Pope Leo X, Galatea
Giorgione “The Tempest”….mood and weather
Titian, Pesaro Madonna, Venus of Urbino, Assumption of the Virgin
G. Bellini “Madonna & Child Enthroned” c 1505 (Venetian; light, space)
Palladio (architecture) San Georgio, Villa Rotunda
Bramante (‘’’ ‘’ ‘’ ) St. Peter’s
MANNERISM (define)
Jacopo Pontorno, “Entombment”
Rosso Fiorentino ‘Descent From the Cross’
Parmigianino
‘Madonna with the Long Neck’ (1525-1600
Bronzino
“Exposure of Luxury”
NORTHERN HIGH RENAISSANCE
Hieronymus Bosch, Garden of Earthly Delights , 1505-
1510
M. Gruenewald; Isenheim Altarpiece, 1510-15
“Crucifixion”
“Resurrection”
“Virgin and Child with Angels”
A. Altforfer
“The Battle of Issus”
A. Durer
“Four Apostles”
“Knight Death and Devil”
”Adam & Eve”
‘Self Portrait”,1500
P. Bruegel
“Hunting Scene”
“Netherlandish Proverbs”
E. Greco (Spain) Spiritual and emotional expression
“Burial”
“View of
Toledo” 1610
Describe characteristics of Northern Ren. Art and Italian Ren. Art (more
secular vs. more Church commissioned)
*Be able to define The High Renaissance.
Art is used as a tool for power in both Church and State, and to express ideas and peoples
relationship to the world and each other.
Terms:
Chiaroscuro,
Grissaille
Linear Perspective
Classical
Disguised Symbolism
Divine Proportion
Humanism
Mannerism
International Style
Mimesis
Neo Platonic
Medici
Artist as Genius
Protestant Reformation (Martin Luther 1517)