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EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE Comparing the styles… 15th Century Italian Renaissance NORTHERN ITALIAN Realism through excessive details Realism through mathematics and linear perspective Intentional references to Gothic Architecture Intentional references to Classical Architecture and figure studies Intuitive Perspective Linear Perspective Great art in the form of Oil Paints, Altarpieces and smaller paintings Great art in the form of Frescoes and larger Temperas Van Der Goes, Van Eyck, Van Der Weyden, Campin Masaccio, Donatello, Ghiberti, Brunelleschi, Botticelli 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE Brancacci Chapel, Florence 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE Brancacci Chapel, Florence 15th Century Italian Renaissance Masaccio, Tribute Money, Brancacci Chapel, Florence, Italy, ca. 1427. Masaccio presented this narrative in three episodes within the fresco. In the center, Christ, surrounded by his disciples, tells St. Peter to retrieve the coin from the fish, while the tax collector stands in the foreground, his back to spectators and hand extended, awaiting payment. At the left, in the middle distance, St. Peter extracts the coin from the fish’s mouth, and at the right, he thrusts the coin into the tax collector’s hand. Masaccio realized most of the figures not through generalized modeling with a flat neutral light lacking an identifiable source but by a light coming from a specific source outside the picture. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Masaccio Expulsion of Adam and Eve from Eden, Brancacci Chapel, Florence, Italy, ca 1425 This was painted in an awkwardly narrow space at the entrance to the Brancacci Chapel. It displays the representational innovations of Tribute Money. For example, the sharply slanted light from an outside source creates deep relief, with lights placed alongside darks, and acts as a strong unifying agent. Masaccio also presented the figures moving with structural accuracy and with substantial bodily weight. Further, the hazy, atmospheric background specifies no locale but suggests a space around and beyond the figures. Adam’s feet, clearly in contact with the ground, mark the human presence on earth, and the cry issuing from Eve’s mouth voices her anguish. The angel does not force them physically from Eden, rather, they stumble on blindly, driven by the angel’s will and their own despair. The composition is starkly simple, its message incomparably eloquent. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Masaccio, Holy Trinity Santa Maria Novella, Florence, Italy ca 1428 Masaccio’s fresco embodies two principal Renaissance interests--realism based on observation and the application of mathematics in the new science of perspective. The composition is painted on two levels of unequal height. In the coffered barrel-vaulted chapel reminiscent of a Roman triumphal arch, the Virgin Mary and St. John appear on either side of the crucified Christ. God the Father emerges from behind Christ, supporting the arms of the cross. The Dove of the Holy Spirit hovers between God and Christ. Also included are portraits of the donors of the painting, who kneel in front of the pilasters. Below the altar-- a masonry insert in the depicted composition--the artist painted a tomb containing a skeleton. An Italian inscription above the skeleton reminds spectators that “I was once what you are, and what I am you will become.” 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Baptistry of San Giovanni, Florence, Italy, ca 1059 This is the building that Brunelleschi and Ghiberti were asked to design bronze reliefs for. They each illustrated the story of Abraham and Isaac. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Brunelleschi’s Sacrifice of Isaac Ghiberti’s Sacrifice of Isaac 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Lorenzo Ghiberti ”Gates of Paradise”, baptistery, Florence Cathedral 1425-1452 Ghiberti, who demonstrated his interest in perspective in his Sacrifice of Isaac, embraced Donatello’s innovations. Ghiberti’ s enthusiasm for a unified system for representing space is particularly evident in his famous east doors. Michelangelo later declared these as “so beautiful that they would do well for the gates of Paradise.” Each of the panels contains a relief set in plain moldings and depicts a scene from the Old Testament. The complete gilding of the reliefs creates an effect of great splendor and elegance. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Lorenzo Ghiberti Isaac and his sons (”Gates of Paradise”), baptistery, Florence Cathedral, Florence 1425-1452 EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Filippo Brunelleschi dome of Florence Cathedral Florence, Italy 1420-1436 Brunelleschi’s broad knowledge of Roman construction principles and his analytical and inventive mind permitted him to solve an engineering problem that no other 15th-century architect could have solved. The challenge was the design and construction of a dome for the huge crossing of the unfinished Florence Cathedral. The space to be spanned was much too wide to permit construction with the aid of traditional wooden centering. Nor was it possible [because of the crossing plan] to support the dome with buttressed walls. In 1420, officials overseeing cathedral projects awarded Brunelleschi and Ghiberti a joint commission. Ghiberti later abandoned the project and left it to his associates. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Filippo Brunelleschi dome of Florence Cathedral Florence, Italy 1420-1436 Brunelleschi not only discarded traditional building methods and devised new ones, but he also invented much of the machinery necessary for the job. Although he might have preferred the hemispheric shape of Roman domes, Brunelleschi raised the center of his dome which is inherently more stable because it reduces the outward thrust around the dome’s base. To minimize the structure’s weight, he designed a relatively thin double shell--the first in history-around a skeleton of 24 ribs. The eight most important are visible on the exterior. The structure is anchored at the top with a heavy lantern, built after his death but from his design. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Climbing the stairs inside the Duomo 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Filippo Brunelleschi dome of Florence Cathedral Florence, Italy 1420-1436 15th CENTURY ITALIAN RENAISSANCE Note the people on the lantern! 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Applying Roman Mathematical Logic Filippo Brunelleschi west facade of the Pazzi Chapel Florence, Italy begun ca. 1440 The chapel that was the Pazzi family’s gift to the church of Santa Croce in Florence presented Brunelleschi with the opportunity to explore this interest in a structure much better suited to such a design than a basilican church. The chapel was not completed until the 1460s, long after Brunelleschi’s death, and thus the exterior does not reflect Brunelleschi’s original design. The narthex (the entrance hall leading to the nave of a church.) seems to have been added as an afterthought, perhaps by the sculptor-architect Giuliano da Maiano. It is suggested that the local chapter of Franciscan monks who held meetings in the chapel needed the expansion. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Applying Roman Mathematical Logic Filippo Brunelleschi west facade of the Pazzi Chapel Florence, Italy begun ca. 1440 This chapel was the Pazzi family’s gift to the church of Santa Croce in Florence. The artist is Filippo Brunelleschi, who began to design this chapel in 1440 and it was not completed until after his death. The interior trim is in gray stone or pietra serena (serene stone). Medallions with glazed terracotta are featured on the inside representing the Four Evangelista and decorated wall panels represent the Twelve Apostles. Brunelleschi used this opportunity to create a structure more suited to a compact and selfcontained “central floor plan” as seen in the Pantheon. He used a basic unit that allowed him to construct a balanced, harmonious, and regularly proportioned space. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Applying Roman Mathematical Logic Plan and section of the Pazzi Chapel, Florence 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Donatello, David 1428-1432 The Medici family commissioned Donatello to create this bronze statue for the Palazzo Medici courtyard. This was the first freestanding nude statue created since ancient times. This statue portrays the biblical David, the young slayer of Goliath and the symbol of the independent Florentine republic. David possesses the relaxed classical contrapposto stance and the proportions and beauty of Greek Praxitelean gods. The Medici family chose the subject of David, perhaps because they had seen Donatello’s previous statue of David which is located in the center of political activity in Florence. This shows that the Medici family identified themselves with Florence, and the prosperity of the city. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE Donatello, David 1428-1432 15th Century Italian Renaissance Leon Battista Alberti Palazzo Rucellai, c.1450 CE. Palazzo Rucellai is a palatial 15th-century townhouse on the Via della Vigna Nuova in Florence. The Rucellai Palace is believed by most scholars to have been designed by Alberti between 1446 and 1451 and executed, at least in part, by Bernardo Rossellino. Its facade was one of the first to proclaim the new ideas of Renaissance architecture based on the use of pilasters and entablatures in proportional relationship to each other. The ground floor was for business (the Rucellai family were powerful bankers) and was flanked by benches running along the street facade. The second story was the main formal reception floor and the third story the private family and sleeping quarters. A fourth "hidden" floor under the roof was for servants; because it had almost no windows, it was quite dark inside. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Leon Battista Alberti Palazzo Rucellai, c.1450 CE. The overall horizontality of this façade is called “trabeated” architecture, which Alberti thought was most fitting for the homes of nobility. Each bay also decreases in height from the bottom to top. On each bay, Alberti used engaged columns, to visually support the entablature. On the first bay, they use the Tuscan order. On the second and third bays, Alberti used smaller stones to give the feeling of lightness, which is enhanced by the rounded arches of the windows, a typically Roman feature. Both of these bays also have pilasters, although on the second bay they are of the Ionic order, and on the third they’re Corinthian. Alberti’s overriding concern with balance and proportion is evident in his symmetrical treatment of the palace’s facade. The use of the three classical orders to indicate upward progression was inspired by the Colosseum at Rome. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Sandro Botticelli Portrait of a Youth, early 1480s This full face portrait was created by Botticelli in the last decade of the fifteenth century. Italian painters adopted the 3/4 and full face views believing that such poses increased information available to viewers about the subject’s appearance. These poses also permit greater exploration of the subject’s character. This is evident in this portrait where he is highly expressive psychologically. He has a delicate pose, a graceful head tilt, sidelong glance, and an elegant hand gesture. The subject seems to be half-musing, half-insinuating. Botticelli merged feminine and masculine traits to make an image of rarefied beauty. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Sandro Botticelli, Birth of Venus, 1484-86. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Sandro Botticelli, Birth of Venus, 1484-86. EARLY ITALIAN RENAISSANCE Sandro Botticelli was one of the best known artists who produced works for the Medici. He painted this tempera on canvas for the Medici family. A poem on the theme of the famous Birth of Venus by Angelo Poliziano was what inspired Botticelli to create this lyrical image. Zephyrus (the west wind) blows Venus, born of the sea foam and carried on a cockle shell to her sacred island, Cyprus. The nymph Pomona runs to her with a brocaded mantle. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Comparing d’Medici’s Venus with Botticelli’s 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Sandro Botticelli, Primavera, 1482. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Sandro Botticelli, Adoration of the Magi, c1475. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Botticelli painted himself in the picture as he looks back at the viewer ! Sandro Botticelli, Adoration of the Magi, c 1475. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Sandro Botticelli, Birth of Venus, 1481-82. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Fra Angelico, Annunciation, San Marco, Florence, Italy 1440-1445 EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Leon Alberti San Andrea, 1470-76 EARLY ITALIAN RENAISSANCE Leon Battista Alberti worked as an architect from the 1450s onward, principally in Florence, Rimini, and Mantua. As a trained humanist and true Renaissance man, Alberti was as accomplished as an architect as he was a humanist, musician, and art theorist. Alberti's many treatises on art include Della Pittura (On Painting), De Sculptura (On Sculpture), and De re Aedificatoria (On Architecture). The first treatise, Della Pittura, was a fundamental handbook for artists, explaining the principles behind linear perspective, which may have been first developed by Brunelleschi. Alberti shared Brunelleschi's reverence for Roman architecture and was inspired by the example of Vitruvius, the only Roman architectural theorist whose writings are still in existence. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Interior and Elevation of San Andrea 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Fra Filippo Lippi Madonna and Child with Two Angels, c1465 CE. Tempera on wood EARLY ITALIAN RENAISSANCE In this painting of the Madonna and Child with Two Angels—a variation on the Madonna and Child Enthroned (see Giotto or Cimabue) that artists have been painting for hundreds of years—halos virtually disappear. Mary's hands are clasped in prayer, and both she and the Christ child appear lost in thought, but otherwise the figures have become so human that we almost feel as though we are looking at a portrait. The angels look especially playful, and the one in the foreground seems like he might giggle as he looks out at us! 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Fra Filippo Lippi Madonna and Child with Two Angels, c1465 CE. Tempera on wood EARLY ITALIAN RENAISSANCE The delicate swirls of transparent fabric that move around Mary's face and shoulders are a new decorative element that Lippi brings to Early Renaissance painting—something that will be important to his student, Botticelli. However, the pictorial modeling of Mary's form—from the bulk and solidity of her body to the careful folds of drapery around her lap—reveal Masaccio's influence. The detailed backgrounds of this era are reminiscent of those from the Early Northern Renaissance. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Compare the smooth skins, linear outlines and flowing hair of Lippi’s painting to that of Botticelli’s Annunciation (below). 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Piero della Francesca, Battista Sforza & Federico da Montefeltro (Duke & Duchess of Urbino), 1472-1473. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Andrea Mantegna, Calvary, 1457-60. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Andrea Mantegna, Camera Degli Sposi, (the Gonzaga family), Mantua, Italy, 1465-74. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Andrea Mantegna, Fresco. Camera degli Sposi (Bridal Chamber), Mantua, Italy. 1465-74. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Andrea Mantegna, Lamentation Over Dead Christ, c1490. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Andrea Mantegna St. Sebastian c1480. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Andrea Mantegna, St. Sebastian. c1480. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Antonio Pollaiolo, Battle of the Nudes, 1470s. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Antonio Pollaiolo, Battle of the Nudes, 1470s. EARLY ITALIAN RENAISSANCE Antonio del Pollaiolo was a notable sculptor and painter, but this engraving (which was the only known one he created) was an exceptional piece for this century. Like many Italian works, this reference to Classical Greek bodies attempts to show the tension and balance that the male warrior would exhibit from various poses. 15th CENTURY ITALIAN RENAISSANCE 15th Century Italian Renaissance Perugino, The Delivery of the Keys to St. Peter. Fresco, 1481–82. EARLY ITALIAN RENAISSANCE 15th CENTURY ITALIAN RENAISSANCE