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A. Architecture: In most Italy, architecture was still basically Romanesque, Goth' northem-most part of the country. i\. B. Painting: /l. 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. ' ~ ,11'::'-_.... \'_,' _.~. -- __ Generalizations .ItIIY. . ~ 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 1/1 J ,.WI,_-..c,enters of Euro , the other b ng Flanders. t" n FP '. ~ n· 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 -4 Th R nal \ ril r ' ~ I I ' cha P I. ~ \'. 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) I '_~""'2 • 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 ~ -2- 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 : < II woodcuts _Albrecht Durer -J- . . -i';:~ 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) . . The "Resu"ectlon" Supernatural effects--glowing halo around Christ. Beautiful and effective Detail, Crucifixion > 4 -5. ~------ -------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. -6- 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.