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Artistic Rebirth Durante degli Alighieri, “Dante” 1265-1321 AD ▌Italian Renaissance (Below) Photo of some Italian calligraphy from Dante’s Inferno, the first part of the Devine Comedy where as the narrator, Dante experiences the nine circles of Hell before Purgatory and eventually Paradise. Considered one of the most important world literary works, it allegorically represents the soul’s journey to God. (Above) Statue of Dante in Verona, where he spent much time. (Right)Illustration of the Hell, scene from Dante’s Inferno. © Professor Mark Comeau | Architect ▌Italian Renaissance Artistic Rebirth Donato di Niccolò di Betto Bardi, “Donatello” 1386-1466 AD (Left) Statue of Donatello (Right) Statue in Florence of Judith and Holofernes by Donatello, symbolizing the Republic’s freedom. (Left) Pulpit in San Lorenzo. Bertoldo, a pupil of Donatello’s, completed the Work. Bertoldo, of whom Michelangelo was a pupil, connects the lineage of Florentine sculpture from Donatello, to Bertoldo, to Michelangelo. Artistic Rebirth Bertoldo di Giovanni 1435-1491 AD © Professor Mark Comeau | Architect ▌Italian Renaissance Shown left, “An Old Man and his Grandson” and right, “Portrait of Giovanna”. Shown below is a wall mural from the bottega of Ghirlandaio. Having been one of the individuals who spanned the early and later parts of the Florentine Renaissance, Ghirlandaio was an accomplished painter whose work includes wall scenes of the Sistine Chapel. Later, impressed by the drawing ability of the young Michelangelo, Ghirlandaio would accept him into his studio and provide him with his earliest training in the art of fresco. Artistic Rebirth Domenico Ghirlandaio 1449-1494 AD © Professor Mark Comeau | Architect ▌Italian Renaissance (Left) Located in the left arch of the Loggia dei Lanzi, Perseus with the Head of Medusa depicts the Greek account of her decapitation. Her hair, said to be snakes, provided distraction but those whom looked her in the eye turned to stone. A small portrait blended into Perseus’ hair is said to be Cellini himself. Artistic Rebirth Benvenuto Cellini 1500-1571 AD (Right) Representing a chapter in Rome’s founding, the statue depicts the story that early Roman men so outnumbered women that they acquired wives from the nearby Sabine families. The use of the word “rape” in this context (Latin from raptio), refers to an abduction and not a sexual violation. Artistic Rebirth Giambologna (Born Jean Boulogne) 1529-1608 AD © Professor Mark Comeau | Architect ▌Italian Renaissance (Right) Self portraits of Rafael. (Below) The School of Athens in the Rafael room at the Vatican. Considered his masterpiece, it represents philosophy and depicts his contemporaries as Greek philosophers. In the center (left), da Vinci’s face is shown on Plato, Sangallo’s on Aristotle, Rafael’s on Fornarini (left in white), and Michelangelo’s on Heraclitus (by himself front-left). Artistic Rebirth Raffaello Sanzio da Urbino, “Rafael” 1483-1520 AD © Professor Mark Comeau | Architect Artistic Rebirth Leonardo da Vinci 1452-1519 AD ▌Italian Renaissance (Left) The original to this self portrait executed as red chalk on paper, is believed to be da Vinci. It has widely become known as the “Renaissance Man”. (Below left) da Vinci’s studies of mechanics, anatomy, and other scientific areas are unprecedented and likely not repeated until the likes of Thomas Jefferson. (Above) Perhaps the most iconic painting of all time, the Mona Lisa remains enigmatic. This photo of the painting taken in the Louvre, is still able to convey the sublime features of the Work, specifically the emotive expression, delicate insinuations, and masterful composition and arrangement. © Professor Mark Comeau | Architect Artistic Rebirth Michelangelo di Lodovico Buonarroti Simoni 1475-1564 AD ▌Italian Renaissance (Right) Called the “Belvedere Torso” (Vatican Museums) and credited to Apollonios, it is believed to have inspired Michelangelo. (Far right) “Dying Slave” (1513-1516) was to be paired with another sculpture “Rebellious Slave” on the tomb of Pope Julius II. Its unfinished quality is typical of Michelangelo’s work as he sought only to free the object bound within the stone. (Left) Pieta, “Pity” (14981499), completed when Michelangelo was only 24, cemented his genius and the investment the Medici made in the prodigy. Forming a pyramidal shape, the life-size form of Jesus appears naturally across the lap of Mary whose flowing drapery conceal her monumental scale. Being divine, Mary is depicted youthful, both faces resolved and accepted their fate. © Professor Mark Comeau | Architect ▌Italian Renaissance Artistic Rebirth Michelangelo 1465-1564 AD David, referred to in its day as the “giant” and Michelangelo’s masterpiece sculpted from the “Duccio” stone, symbolized the attitude of the Florentines just as David is represented at the moment he decides to engage Goliath but before the battle has started. Sling in his left hand, stone in his right, David’s face expresses both fear and the confidence while the scene is played out in a form called contrapposto, suggesting motion. Having been marked by previous sculptors, geologists question how Michelangelo executed the work without a failure. © Professor Mark Comeau | Architect ▌Italian Renaissance Artistic Rebirth Michelangelo di Lodovico Buonarroti Simoni 1475-1564 AD The frescoes on the ceiling of the Sistine Chapel are the monumental painting task accomplished by Michelangelo for Pope Julius II between 1508-1512. Having devised a scaffolding with lifts and stairs and allowing for the roll of the vault, Michelangelo worked fervently until completed, upon which his neck was difficult to bend for months and his corneas were burned from paint drippings. Though Michelangelo was assigned the task of painting the Apostles in the twelve pendentives, he demanded artistic control of the program. In the center, nine scenes show God’s creation of the World, God’s relationship with Man, and Man’s fall from God’s grace. The surrounding pendentives and lunettes illustrate Prophets and Sibyls and the Ancestors of Christ. © Professor Mark Comeau | Architect Artistic Rebirth Michelangelo 1465-1564 AD ▌Italian Renaissance Though previously featured, the dome of St. Peter’s Basilica was an effort that Michelangelo had a special affinity for. Having studied Brunelleschi’s dome and the Pantheon, his input and the drawings he left were crucial to ensuring the realization of this masterpiece. Sacrestia Vecchia © Professor Mark Comeau | Architect ▌Italian Renaissance Artistic Rebirth Santa Maria della Vittoria/Cornaro Chapel 1620 by Carlo Maderno/Bernini Standing as the only completed work by Moderno, this church is most noted for Bernini’s masterpiece in the Cornaro Chapel, The Ecstasy of St. Teresa. Owing to an entry in St. Theresa of Avila’s journal, the statue marks her vision of an angel piercing her heart with a golden line (of light or an arrow), causing her ecstasy. © Professor Mark Comeau | Architect ▌Italian Renaissance Artistic Rebirth At the Louvre Various Works (Right) Roman version of The Three Graces (beauty, charm, and joy). (Below) Dating to the 2nd Century BC is Antioch’s Venus de Milo. This Work has always received great admiration because even in her antiqued state with scratches and gauges, she’s an example of simple and understated beauty. Likely, her left hand held an apple (of gold). © Professor Mark Comeau | Architect