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A. Architecture:
In most Italy, architecture was still basically Romanesque, Goth'
northem-most part of the country.
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B. Painting:
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During this period vigorous schools of art grew up in Florence, Sienna, Pise, and elsewhere i
1. Media and Techniques
a, Buon Fresco
b. Fresco Secco
c. Tempera panel paintings
central Italy.
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Generalizations
.ItIIY.
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Florence led e other commercIal centers of northern and southern Italy In the
supporting the arts. While several wealthy families and guilds patronized the arts, it was rargely
he ban ng fOrtunes of
edlcl family, which made Florence one of the two great cultural
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,.WI,_-..c,enters of Euro , the other b ng Flanders.
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in Italy, the new commercial towns of northern Europe was the
centers of a new Renaissance style in the arts. The cities of Flanders (Bruges, Ghent, Antwerp,
Bruesset ) led the way in supporting the new style, but patrons in Paris, London,
{ ugsburg, Nuremberg and Prague Iso played important parts
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1. INDIVIDtJALlSM--a new self-awareness and self-assurance. Belief in Individual
\worth, dignity, and status were important to the artist of this era. It was a change from
mvstlcal spiritualism to enlightened spiritualism. For the first time, most artists sign
their work. (indicative of the pride and recognition of individual contribution)
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HUMANISM--Petrarch, an Italian scholar, developed the idea of humanism, c.
1360, which in a sense is a philosophy of liVing. Further, he is often referred to as the
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Father of the Renaissance. Man, again, became the
"measure of all things," human beings were capable of
anything they could imagine. A hunger for knowledge.
An interest in everything. The pursuit of learning in
languages, literature, history, philosophy, art and music
for its own end, in a secular rather than religious
framework, i.e., the study of the humanities.
<
Francesco Petrarch, 1304-1374
This heightened awareness and knowledge led to a fascination
with the perceived and noted, translating them Into
physical manifestations such as:
1. Invention and skillful use of innovative new techniques
such as oil painting.
2. The development of a wide variety of perspective and other
illusionary devices. (proportion, dramatic application of dark
and light, and other types of atmospheric effectsWhat we would call special-effects, Le., rain, fog, night, etc.)
3. The rediscovery and application of formal design and
organization In art. A return to classical ideas.
4. Heightened emotional. as well as spiritual. content.
Painting:
Masaccio, Holy Trinity, 1425
Regional differences were very significant.
Italy: Subjects were primarily religious although portraits and illustrations
of pagan myths were also produced. One-point linear perspective and
aerial perspective were scientifically developed. The figure-triangle
composition was introduced. Direct lighting, careful shading, and proportional scaling of figures developed earlier in Italy than in the North.
Fresco wall paintings were the most important form, but tempera was also
used for paintings on wood panels or on canvas. *See the Review of
Important Artists handout for early Renaissance artists.
< Andrea Mantegna, Dead Christ,
1500
Northern Europe: Religious and secular SUbjects were important. Three-quarter view
portraits developed first in Flanders. linear perspective was used, along with aerial
perspective, but imperfectly. Disguised symbolism was introduced, haloes were eliminated,
and light sources were definite. Oil painting was invented In Flanders. Two techniques
utilized, i. e., the indirect method (underpainting with transparent glazes built up in layers) and
alia prima (direct mixing and painting on the sUrface.) Fresco painting was unimportant and
manuscript illuminations were only occasionally produced.
Graphics:
Expanded manufacture of paper and the invention of the printing press, c. 1450.
nurtured the development of printmaking. Woodcut developed early in the century and
engraving developed later. *The printing press also facilitated the movement of Ideas
throughout the continent that was incredibly Important to a/I of us, even today.
ScUlpture:
Both relief and free-standing made great advances in the fifteenth century in Italy.
Portraits were extremely realistic with attention to correct representation of the underlying
skeletal structure. Equestrian figures were popular. Contrapposto reappeared for the first time
since the fall of Rome. Ancient Roman sculpture was an important source of style and SUbject.
Relief SCUlpture was extremely convincing through the use of linear perspective and SCUlptors'
aerial perspective. Northern sculpture remained Gothic.
The Sixteenth Century--1500's The High Renaissance
High Renaissance ideals in art included order, unity,
harmony proportion, clarity, simplicity, balance and
symmetry.
Architecture:
Italy and France produced the most innovative work.
Italy: High Renaissance buildings became somewhat
lighter and more graceful than fifteenth century works, while
continuing the same basic principles. Central plan churches
were considered ideal, but long Rlans were also built. Three
architects had significant Influence on later styles:
Barmante, Michelangelo, and Palladio.
France: Continued in the Gothic manner. Other
buildings were a conbination of the northern heritage with
Italian elements.
Painting:
Italian developments inspired artists in other regions.
Italy: High Renaissance artist such as Leonardo,
Raphael, and Michelangelo perfected the use of pyramidal
compositions, massive monumental figures, harmonious
color scheames, simplified grouRs of calm figures. Portraits
projected psychological insight. Venice developed a unique
style that placed more emphasis on color rather than on
sculptural forms.
Germany, the Netherlands, and England: Italian High
Renaissance art significantly affected the styles of these
countries. Durer and Holbein were the most successful at
combining the Italian and northern traditions. Engravings
and woodcuts continued to be produced throughout Europe
making original art available at modest prices. Durer is the
best known printmaker.
Epilog
It is a fundamental parodox that the desire to return to the
Classics, which was a rejection of the Middle Ages, brought
to the new era of the Renaissance not the rebirth of antiquity
but rather the birth of Modern Man. Think about it...
< Michaelangelo's David
v Woodcut, Holbein
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< II woodcuts _Albrecht Durer
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REVIEW OF IMPORTANT ARTISTS
1.
Robert Campin-{Ma~er
of Flemallel 1406-44 Flemish Creating aspatial world utilizing everyday reality to transfer asupernatural event.
Curious approximate perspective utilized.
"Merode Altarpiece" 1425 - 30 >
Use of disguised symbolism
1. Lilies denote chastity.
2. Water basin and towel-Mary's attributes
as vessel most clean.
3. extinguished smoking candle-divine presence.
Jan Van Eyck
2.
1390-1441 Flemish
Work durina mid 1440's when he mastered the oil techniQue--sometimes
called the "Father" of oil painting. Utilized atmospheric perspective.
"Man in a Red Turban"--self -portrait?
"The Ghent Altarpiece" (aided by Brother Hubert)
Wedding Portrait --a visual contract sometimes called
"Arno/fini Marriage" >
3.
Albrecht Durer
1471-1528 German
Artist as a gentleman and humanistic scholar. First artist to do extensive
travels--Italy and the Netherlands, first to do a series of self portraits
(dUring lifetime) and first to publish graphic work (engravings--original work for
very minimal cost) in book form. (Gutenberg)
"The Four Horsemen of the Apocalypse"
"Self Portrait" 1498 >
4.
Hieronymus BOSCh-Late 1400'S-Into Mid 1500'S
Dutch
Seems somehow almost modern because of our interest in the psychological,
Le. the world of dreams--weird and seeminalv irrational imagery in
The Garden of Earthly Delights-- This garden refers to those of carnal desire.
However oddly disguised, the birds, fruit, and the like are symbols or metaohors
of Adam and Eve--they doom us to be the prisoners of our appetites·
Sermon Content in his work--member of esoteric religious cult.
Triptych of Garden of Earthly Delights (right wing) >
5.
Matthias Gruenwald ~Mathis Gothart Nlthart)
1470180-1528 German
Epitomizes the burst of cr~~tive energy in the north--after him stricter interpretation
of scripture, toned down images, et al
Isenheim Altaroiece--1510-15 "Crucifixion" Agonizina.asoects of geath.
the _green pallor of death and putrefaction (extremely inventive if not morbid)
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The "Resu"ectlon" Supernatural effects--glowing halo around Christ.
Beautiful and effective
Detail, Crucifixion >
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-------6. Masaccio
1401-1428 Florence
Utilized scientific (linear) perspective to define space in the
"Holy Trinity Wlth"The Vlrgln~ Developed the use of rational picture
space (naturalistic)--the painting became a symbol of the
universe ruled by divine reason.
"The Tribute Money"--weight and volume to bodies--all stand
in beautiful contrapposto .
Detail, Holy Trinity with the Virgin>
7.
Sandro Botticelli
1444/45·1510 Florence
Favorite painter of the so called "Medici Circle" Lorenzo the Magnificent
"Blrth of Venus" Quasi- Religious painting--was a curious mixture
of pagan and Christian ideals (Venus & Mary are symbols of
physical and divine love) others too forms seem to float, have no
weight, dual meanings through-out the picture.
Birth of Venus >
8. Lorenzo Ghiberti
1381·1455 Florence
"Gstes of Psrsdlse" -- Won a competition to decorate the Baotistery
doors at Saint Giovanni in Florence, (to comolete took over twenty
years including assistants.) Michaelangelo called them,
"fit for the gates of paradise." Thus the name stuck.
We see the skillful application of linear perspective in relief sculpture.
Details - Gates of Paradise>
9. Oonatello
1386·1466 Florence
The man who did the most to reestablish the Classical attitude toward the human body.
He set the pace for all the 15th century inclUding Michaelangelo. "Dsvld" First free-standing
life-size nude statue since antiqUity, sensuous beauty·-young Christian boy armed only
with his "faith"--unable to lift, let alone use the sword of his adversary-- wears a Greek
hat, an apparent reference to classicism.
10. Leonardo Oa Vinci
David>
Mona Lisa>
1452·1519 Florence: One of the three most important masters of the high Renaissance.
The quendescentical Renaissance rnan--possessor of a variety of interests and pursuits
"The Last supper"1495-98 PTempera wall painting--a magnificent experiment
miscalculated "Mons LlSB" 1503-05 Oil on panel, wife of a Florentine merchant
Mona Lisa Giaconda. Her smile may be read in two ways, as the echo of a momentary
mood, somewhat akin to the archaic smile of the Greeks (sign of life) and as a timeless,
symbolic expression, a quality of maternal tenderness to Leonardo, and the essence
of womanhood. Even the background seems to suggest elemental, generative forces
at work, this is an invented landscape, no such place in Italy. As with all his paintings the skillful use of
modeling with dark and light called "chiaroscuro" and an exclusive of Leonardo's called "Sfumato"·
.• an effect of smoky haze, of softened edges.
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Michaelangelo.1475-1564
11.
Florence
The second of the three major masters of the high Renaissance. He epitomized the
concept of genius as "divine inspiration. He was a painter, sculptor and architect.
"Oavid"_ 1501-04 Conventions, standards, traditions thrown off.
13' tall, first
monumental nude since Antiquity. A portrait, not in the literal sense, in spirit. Wrestling with self-outward calm. (like a coiled spring) the decision to fight, action in repose.
"The Sistine Chapel" 1508-12 Largest painting in the world, fresco. Pressured by
Julius II. Scenes from genesis predominate--ereation of the world, the fall of man and
reconciliation with the Lord. Almost single-handed in execution
"St. Peter's Cathedral" 1537-50 Took charge after Bramante died reworking his plans
and designed the distinctive dome that was completed after his death
" < Sistine Ceiling - details
School of Athens>
12.
Raphael
1483-1520 Florence
The last of the "big three" of the High Renaissance and perhaps the central painter of the
period because he was able to merge the qualities of both Leonardo and Michaelangelo, creating
an art at once lyric and dramatic, pictorially rich and sculpturally solid. Julius II commissioned him
to decorate a series of rooms in the Vatican Palace. In one of these rooms, across from each
other;
"The School of Athens" 1509 a fresco whose theme is "Philosophy" with his
contemporaries serving as models {Leonardo as Plato, Michaelangelo as Heraclitus, Bramante
as Euclid and a self-portrait with the group surrounding Bramante.
"The Oisupta" 1509 another fresco incorporating science and others. This is
considered a magnificent companion piece.
Raphael's work and life marked by effortless grace. However a life style of "burning the
candle at both ends" finally catches up with him and he dies at a rather young thirty-seven.
13.
Titian
1488190-1576 Venice
An artist of extraordinary gifts whom dominated Venetian
painting for half the 16th century.
"Venus of Urbino" 1538 A classical, sensual nude.
Symbolic elements represent martial love and fidelity
(dog represents both erotic desire and fidelity) while the myrtle
plant in the flowerpot echoes virility and potency and the hope chest symbolizes virtue.
Late works signal a style change. "Allegory of Prudence" c.1570 is an unusual triple
portrait, which is an allegory of Prudence, reflecting Titian's preoccupation with the stages of life.