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AP Art History, Ms. Ferrell
Video Notes: Art of the Western World Vol 2: Renaissance & Baroque
Name: Daniel Gross
Period:
0:00, The Florentine Renaissance
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emergence of the new, self-aware class – the merchant class
Italian fresco painter Ambrogio Lorenzetti, like others, in the Black Death
Florence recovered quickly, and grew to dominate central Italy
painters of the 13th or 14th century, like those in San Croce, Florence, tried to bring Gospel to life
Giotto shifted painting to a more emotional and dramatic state
Italian merchants were so influential that florins were used throughout the West
Leonardo Bruni, as well as artists of the time, appreciated the classical tradition of the Pantheon,
sculpture, and old Greek/Roman texts
core tenets of the new movement were reason, harmony, and proportion
competition by guilds and the artists they commissioned drove art of this time
Ghiberti and Brunelleschi, both classically influenced, topped a sculpture competition in 1401
artists began to see themselves as the equals of their patrons
Rome became the source for the completion of the Basilica di Santa Maria del Fiore, using a selfsupporting, double-shelled design by Brunelleschi
a key element of the Florentine Renaissance was the mix of mathematical space/perspective,
architecture, and painting
San Marco’s frescoes and architecture were paid for by the Medici family
Angelico and Botticelli both painted the Adoration of the Magi, but a progression away from
religion towards the patron can be seen
shift away from guild competition to the private spaces of palazzos
Botticelli’s Primavera (red curtain!) and The Birth of Venus can be viewed as a fusion of classical
form and contemporary Christian themes
Donatello’s David epitomizes technicality, while his later work emphasizes emotion and later
influenced Titian and Rembrandt
Renaissance thinkers and artists are known for their modernity, but more importantly, their
adoption of the past
0:30: narrator speaking in front of view of Florence; The Early Northern Renaissance
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seeds of Northern Renaissance in France and the Netherlands
the Limbourg brothers’ detailed realism also characterized later art
Klaus Sluter sculpted in Burgundy; his best known work is Well of Moses, an intensely realistic
sculpture of religious prophecy
art, often portable, used to display grandeur, paid for by the Netherlands
Northern art included contemporary details in religious art, compared to the classically-based
settings of Italian art (early “genre” painting)
Van Eyck: Arlnolfini Portrait (red curtain!), Man in a Turban (red curtain!); the inclusion of a
signature and – possibly – a self-portrait
translucent layers of oil pigment produced uniquely realistic pictorialism
van der Weyden painted brightly-colored Last Judgment (red curtain!) to be a visual
representation of religious stories
Hieronymous Bosch (Mannerist) reacted to the turbulence of the time with disturbing paintings
like Garden of Earthly Delights
Albrecht Durer published work in book – woodblock to illustrate St. John’s story
first artist to make a detailed series of self-portraits throughout life
studied nature directly from observation, and traveled to Italy to develop skills
AP Art History, Ms. Ferrell
Video Notes: Art of the Western World Vol 2: Renaissance & Baroque
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Name: Daniel Gross
Period:
Bellini and contemporaries in Italy were influenced by Northern oil techniques
Durer’s level of detail and style of light recall Van Eyck’s work
German Grunewald contrasted disturbing with sacred in bright light and color, with both
Temptation of St. Anthony and Isenheim Altarpiece
0:57: credits roll; The High Renaissance, Florence
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status of artists grew through 15th century, but finally reached level of legend
Raphael’s Transfiguration demonstrates bright colors, dramatized individuality, and complex
perspective – all shifts that occurred in the Italian Renaissance
da Vinci’s Last Supper and The Virgin with St. Anne both utilize the muted colors, triangular
compositions, and idealized beauty that had a huge influence
also completed numerous drawings, mixing philosophy and science with art
Michelangelo’s David revived marble freestanding sculpture, and served as a fitting metaphor for
Florentine’s power despite its small size
technique of Michelangelo broke with tradition for freer approach
turned towards Sistine Chapel, a monumental dramatized painting of bible stories
Raphael’s School of Athens expresses philosophy in human form, and includes representations of
both classical and contemporary allusion
pope’s commissions were meant to convey unity, power, wisdom, and wealth
also painted private residences, but fell ill and died at only 37
1527, Rome invaded, affecting Michelangelo’s approach to painting
also boldly reworked classical architecture in the Piazza del Campidoglio
1:27: reading of primary source documents; The High Renaissance, Venice
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Venice was rich in trade, territory, commerce, and military strength
attracted talented artists and architects, like Jacopo Sansovino
virtues of Venitian Republic told in Roman classical tradition and mythology
Giorgione, Veronese, Tintoretto, and Titian dominated artistic era
Titian’s Venus of Urbino represents marital theme, fidelity, and inviting sensuality; recreated
several times with different approaches
20-ft. tall Assumption of the Virgin helped direct development of oil painting
Palladio created new kind of Christian church, even as Tintoretto created a new style of light in
painting in The Last Supper and other paintings
Villa Barbaro, designed by Palladio, was decorated by Veronese’s paintings
painting grew more theatrical, like Veronese’s Feast in the House of Levi