Download AP Art History 16

Richard Ceballos
February 11, 2009
Unit 16-Early Renaissance
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Figure 21-14, ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca. 1470–
1475.
 Free standing, not life-size
 Classical, Pagan figures
 Florence identified themselves with Hercules
 The Medici paid for this piece, they become a part of Florence
 Symbol for the city
 Many free standings are meant to be seen in the round, no clear front
 Famous for showing the human body in action
 Figure 21-15, DONATELLO, Gattamelata (equestrian statue of Erasmo da
Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450.
 Proportions are correct, man is not bigger that horse
 Stationary
 Hand rested on the orb
 Figure 21-16, ANDREA DEL VERROCCHIO, Bartolommeo Colleoni
(equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca. 1481–
1496.
 Looks less stationary
 The guy who did the other David
 Tense veins in the horse
II. FLORENCE: Painting
 Masaccio
 Botticelli
 Pollaiulo
 Figure 21-17, GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from
Strozzi Chapel, Santa Trinità, Florence, Italy, 1423.
 An altarpiece, not commissioned by the Medici
 This looks more conservative
 Perspective at work, huge procession going off into the distance
 The Donor having the artist placed in the biblical scene, becomes a total
convention
 There is more perspective
 Figure 21-18, MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del
Carmine, Florence, Italy, ca. 1427.
 Fresco, for a chapel, frescos show scenes from the life of Saint Peter
 Continuous narration
 Balance, contropposto
 Giotto, one light source, (unique to Renaissance)
 Shocking, three-dimensional
 Linear perspective, by Jesus’ face
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Atmospheric perspective, play on shadow and light
Balanced symmetrical composition
Classical body types, realism plus idealism
Furthers, expands Giotto’s conventions
Figure 21-19, MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci
Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427.
Notice that Adam’s and Eve’s body types and poses are derivative of ancient
Roman statuary
Eve has the “modest Venus” pose
Angel telling to go
Powerful and emotional
Overwhelmed with guilt
Eve hides her nudity in shame, Adam hides his face
Figure 21-20, MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy,
ca. 1424–1427.
Notice symmetry created by the pyramidal composition.
Notice the significance of the donors (Renaissance interest in the individual),
classical architecture.
Painting of the Trinity
Extremely successful in achieving the illusionism of death
Horizon line on floor
Holy spirit, symbolized by the little white dove
Two figures inside the holy space, Virgin Mary and John the Evangelist
Outside holy space, donors, standing outside of the holy space
Skeleton on ledge, reminders of death, “you better get your ducks in a row”
Triangular composition or pyramidal composition, becomes a very popular
convention, compositional strategy
Becomes the hallmark of the Renaissance
He died at 27, thought he was poisoned by competitive artists
Figure 21-21, FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca.
1438–1447.
Fresco for the monastery
Enclosed garden, Virgin Mary’s chastity, virginity
One point perspective
Figure 21-22, ANDREA DEL CASTAGNO, Last Supper, the refectory, convent
of Sant’Apollonia, Florence, Italy, 1447.
Judas on our side
One point perspective
Dinning room with the covenant
Supposed to be marble panels
Figure 21-23, FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455.
Monk/artist, known for his linear qualities
Lines are very strong
Secularizing of religious figures
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Two angels holding baby Jesus up
Further than ever before with humanistic depictions
Figure 21-24, DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella
Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.
Placing a member of the family in the center
Donor’s family into the biblical scene
Also a fresco
Figure 21-25, DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488.
Oil paint invention from Northern Renaissance
Convention of the Renaissance
Return a gaze, convention of looking in profile, usually a woman
Figure 21-26, PAOLO UCCELLO, Battle of San Romano, ca. 1455 (?).
Bedchamber, for one of the Medici members
Looks like a set of toys
Orange symbolizes Medici, something with the name Medici sounding like
orange in Italian
How linear perspective is looked at
Figure 21-27, SANDRO BOTTICELLI, Primavera, ca. 1482.
Called to Rome because he was in big trouble, Medici family stood up for him
Lines are very strongly pronounced
Scary blue guy- west wind, stealing another mythological creature
Transformation of nymph into spring
Halo around head
Cupid (son of Venus)