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Richard Ceballos February 11, 2009 Unit 16-Early Renaissance Figure 21-14, ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca. 1470– 1475. Free standing, not life-size Classical, Pagan figures Florence identified themselves with Hercules The Medici paid for this piece, they become a part of Florence Symbol for the city Many free standings are meant to be seen in the round, no clear front Famous for showing the human body in action Figure 21-15, DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Proportions are correct, man is not bigger that horse Stationary Hand rested on the orb Figure 21-16, ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca. 1481– 1496. Looks less stationary The guy who did the other David Tense veins in the horse II. FLORENCE: Painting Masaccio Botticelli Pollaiulo Figure 21-17, GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Strozzi Chapel, Santa Trinità, Florence, Italy, 1423. An altarpiece, not commissioned by the Medici This looks more conservative Perspective at work, huge procession going off into the distance The Donor having the artist placed in the biblical scene, becomes a total convention There is more perspective Figure 21-18, MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, for a chapel, frescos show scenes from the life of Saint Peter Continuous narration Balance, contropposto Giotto, one light source, (unique to Renaissance) Shocking, three-dimensional Linear perspective, by Jesus’ face Atmospheric perspective, play on shadow and light Balanced symmetrical composition Classical body types, realism plus idealism Furthers, expands Giotto’s conventions Figure 21-19, MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Notice that Adam’s and Eve’s body types and poses are derivative of ancient Roman statuary Eve has the “modest Venus” pose Angel telling to go Powerful and emotional Overwhelmed with guilt Eve hides her nudity in shame, Adam hides his face Figure 21-20, MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Notice symmetry created by the pyramidal composition. Notice the significance of the donors (Renaissance interest in the individual), classical architecture. Painting of the Trinity Extremely successful in achieving the illusionism of death Horizon line on floor Holy spirit, symbolized by the little white dove Two figures inside the holy space, Virgin Mary and John the Evangelist Outside holy space, donors, standing outside of the holy space Skeleton on ledge, reminders of death, “you better get your ducks in a row” Triangular composition or pyramidal composition, becomes a very popular convention, compositional strategy Becomes the hallmark of the Renaissance He died at 27, thought he was poisoned by competitive artists Figure 21-21, FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco for the monastery Enclosed garden, Virgin Mary’s chastity, virginity One point perspective Figure 21-22, ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Judas on our side One point perspective Dinning room with the covenant Supposed to be marble panels Figure 21-23, FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Monk/artist, known for his linear qualities Lines are very strong Secularizing of religious figures Two angels holding baby Jesus up Further than ever before with humanistic depictions Figure 21-24, DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490. Placing a member of the family in the center Donor’s family into the biblical scene Also a fresco Figure 21-25, DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil paint invention from Northern Renaissance Convention of the Renaissance Return a gaze, convention of looking in profile, usually a woman Figure 21-26, PAOLO UCCELLO, Battle of San Romano, ca. 1455 (?). Bedchamber, for one of the Medici members Looks like a set of toys Orange symbolizes Medici, something with the name Medici sounding like orange in Italian How linear perspective is looked at Figure 21-27, SANDRO BOTTICELLI, Primavera, ca. 1482. Called to Rome because he was in big trouble, Medici family stood up for him Lines are very strongly pronounced Scary blue guy- west wind, stealing another mythological creature Transformation of nymph into spring Halo around head Cupid (son of Venus)