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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 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 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 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 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 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