36. Brunelleschi
• Brunelleschi created the early
Renaissance, Architecturally
• First to study the exact
measurements of ancient
monuments
• Invented linear perspective
• Won the building of the
Florence Cathedral Dome-
created a new way of
distributing weight and a new
hoisting machine for
construction
• Interior- order rather than
Passion. Precise and
San Lorenzo 1421-69
mathematical
37. Brunelleschi
• Brunelleschi created the early
Renaissance, Architecturally
• First to study the exact
measurements of ancient
monuments
• Invented linear perspective
• Won the building of the
Florence Cathedral Dome-
created a new way of
distributing weight and a new
hoisting machine for
construction
• Interior- order rather than
Passion. Precise and
San Lorenzo 1421-69
mathematical
45. Brunelleschi
Cupola - A rounded convex
roof on a circular base; a
dome of a small size.
Florence Cathedral Dome 1417
46. compare...
• Life-sized figures
• Mass and volume much more
realistic than Medieval
• Heads based on Roman sculpture
• This time form and content are not
separated like in Medieval
Nanni di Banco, Four Saints, c.1410-14
47. compare...
• Life-sized figures
• Mass and volume much more
realistic than Medieval
• Heads based on Roman sculpture
• This time form and content are not
separated like in Medieval
Jamb statues, west portal
Nanni di Banco, Four Saints, c.1410-14 Chartres Cathedral 1145-70
48. Donatello
Based on Classical
proportions
Symbolic of struggle
between Florence and
Milan
David, 1425-30, Bronze
49. Donatello
Humanism - renewed interest
in art & writings of antiquity.
A belief that the body is
beautiful.
Based on Classical
proportions
Symbolic of struggle
between Florence and
Milan
David, 1425-30, Bronze
50. Donatello
Based on Classical
proportions
Symbolic of struggle
between Florence and
Milan
David, 1425-30, Bronze
51. Donatello
Based on Classical
proportions
Symbolic of struggle
between Florence and
Milan
David, 1425-30, Bronze
52. Donatello
Based on Classical
proportions
Symbolic of struggle
between Florence and
Milan
David, 1425-30, Bronze
53. Donatello
Based on Classical
proportions
Symbolic of struggle
between Florence and
Milan
David, 1425-30, Bronze
55. Masaccio
Three scenes in one painting
Didactic
The Tribute Money c. 1427 Use of Perspective
Christ is the Vanishing Point
Fresco
Figures treated Sculpturally
57. Botticelli
Mythological
Allegorical
Illustrative
Savanarola
Neo-platonism
The Birth of Venus, 1480, Tempera on Canvas
58. Neo-platonism - Philosophical
Botticelli attempt to justify Humanism
with Christianity by rationalizing
pagan imagery as metaphor.
Mythological
Allegorical
Illustrative
Savanarola
Neo-platonism
The Birth of Venus, 1480, Tempera on Canvas
62. Review
Why was Florence the birthplace of the Renaissance?
63. Review
Why was Florence the birthplace of the Renaissance?
How did Science and Mathematics became tools of the
artist?
64. Review
Why was Florence the birthplace of the Renaissance?
How did Science and Mathematics became tools of the
artist?
How is ancient Rome and Greece are sources for
inspiration?
65. Review
Why was Florence the birthplace of the Renaissance?
How did Science and Mathematics became tools of the
artist?
How is ancient Rome and Greece are sources for
inspiration?
What is Humanism and how does it differ from Neo-
platonism?
66. Review
Why was Florence the birthplace of the Renaissance?
How did Science and Mathematics became tools of the
artist?
How is ancient Rome and Greece are sources for
inspiration?
What is Humanism and how does it differ from Neo-
platonism?
Name some characteristics of Early Renaissance art and
architechure?
84. Key Concepts
Rome becomes center of the art in Europe
The notion of Artist as Genius is born
Chiaroscuro
Sfumato
painterly
85. • Very atmospheric, figures emerge
from the background (sfumato) -makes
the painting intimate
• Do not know who the other figures
are and its hard to place the
symbolism but painting is very simple
Leonardo Da Vinci, The Virgin of the Rocks c. 1485
86. Michelangelo
David
1501-4
Marble
-Michelangelo (1475-1564)
-considered a genius by others and by himself-
sometimes he thought of this as a curse
-he thought that he should answer to no human
because of his genius
-sculptor first- only thing that satisfied him was to
“liberate real three-dimensional bodies from
recalcitrant matter”- kind of like God!
-the human figure as the ultimate vehicle for
expression linked him with the Greeks-all of his
figures have Pathos
-David commissioned in 1501 (he was 26!)
Meant to be placed high on Florence Cathedral but
moved to the center of Florence
-Has pent up energy, action in repose, very unlike
Donatello
Had spent time in Rome studying Laocoon and other
Hellenistic work
87. Raphael, School of Athens, 1510-11
-Raphael was working at the Vatican at the same time as Michelangelo
-in the Pope’s library
- Frescos represented the liberal arts
-This one is about philosophy- its considered Raphael’s masterpiece
-he had probably seen the Sistine Chapel and was influenced by it
-similar feel as the last supper- attention to the individual
89. Review
• Both a culmination of the early Renaissance and a
departure from it
90. Review
• Both a culmination of the early Renaissance and a
departure from it
• Viewed the artist as a genius rather than a craftsman-
creation rather than making
91. Review
• Both a culmination of the early Renaissance and a
departure from it
• Viewed the artist as a genius rather than a craftsman-
creation rather than making
• This caused the patrons of the Renaissance to spend vast
amounts of money and the artists to devote a huge amount
of time
92. Review
• Both a culmination of the early Renaissance and a
departure from it
• Viewed the artist as a genius rather than a craftsman-
creation rather than making
• This caused the patrons of the Renaissance to spend vast
amounts of money and the artists to devote a huge amount
of time
• Less concerned with rational order and more with visual
effectiveness
93. Review
• Both a culmination of the early Renaissance and a
departure from it
• Viewed the artist as a genius rather than a craftsman-
creation rather than making
• This caused the patrons of the Renaissance to spend vast
amounts of money and the artists to devote a huge amount
of time
• Less concerned with rational order and more with visual
effectiveness
• New drama meant to engage the viewer
94. Review
• Both a culmination of the early Renaissance and a
departure from it
• Viewed the artist as a genius rather than a craftsman-
creation rather than making
• This caused the patrons of the Renaissance to spend vast
amounts of money and the artists to devote a huge amount
of time
• Less concerned with rational order and more with visual
effectiveness
• New drama meant to engage the viewer
• Key monuments all produced between 1495 and 1520
95. Review
• Both a culmination of the early Renaissance and a
departure from it
• Viewed the artist as a genius rather than a craftsman-
creation rather than making
• This caused the patrons of the Renaissance to spend vast
amounts of money and the artists to devote a huge amount
of time
• Less concerned with rational order and more with visual
effectiveness
• New drama meant to engage the viewer
• Key monuments all produced between 1495 and 1520
102. Caravaggio
Baroque
The Calling of
St. Matthew
1599-1600
Oil
103.
104. Jan van Eyck
Northern
Renaissance
The Arnolfini
Wedding
1434
oil on panel
105. Discussion Questions
What are the primary stylistic achievements
of the 15th-century Italian artist? How do
these traits reflect a change in man's view of
spirituality and the emergence of Humanism?
Do important political families today
patronize the arts as during the Renaissance?
Why or why not? Can you cite examples?
Notas do Editor
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
Out of the dark ages into the enlightenment.... \nWhat does that mean?\n
\n
What does Renaissance mean?\n
What does Renaissance mean?\n
What does Renaissance mean?\n
What does Renaissance mean?\n
What does Renaissance mean?\n
\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Key characteristics:\nNaturalism\nAllegory - What does that mean fable: a short moral story (often with animal characters)\nemblem: a visible symbol representing an abstract idea\nan expressive style that uses fictional characters and events to describe some subject by suggestive resemblances; an extended metaphor\n\ndepth -how?\n
Order over passion. Mathematical. Opposite of gothic emotionalism\n
Another popular explanation for the Italian Renaissance is the thesis, first advanced by historian Hans Baron,[7] that states that the primary impetus of the early Renaissance was the long-running series of wars between Florence and Milan. By the late 14th century, Milan had become a centralized monarchy under the control of the Visconti family. Giangaleazzo Visconti, who ruled the city from 1378 to 1402, was renowned both for his cruelty and for his abilities, and set about building an empire in Northern Italy. He launched a long series of wars, with Milan steadily conquering neighbouring states and defeating the various coalitions led by Florence that sought in vain to halt the advance. This culminated in the 1402 siege of Florence, when it looked as though the city was doomed to fall, before Giangaleazzo suddenly died and his empire collapsed.\nBaron's thesis suggests that during these long wars, the leading figures of Florence rallied the people by presenting the war as one between the free republic and the despotic monarchy, between the ideals of the Greek and Roman Republics and those of the Roman Empire and Medieval kingdoms. For Baron, the most important figure in crafting this ideology was Leonardo Bruni. This time of crisis in Florence was the period when most of the major early Renaissance figures were coming of age, such as Ghiberti, Donatello, Masolino, and Brunelleschi, and that they were inculcated with this republican ideology. These and other figures later went on to advocate republican ideas that were to have an enormous impact on the Renaissance.\n\n
Another popular explanation for the Italian Renaissance is the thesis, first advanced by historian Hans Baron,[7] that states that the primary impetus of the early Renaissance was the long-running series of wars between Florence and Milan. By the late 14th century, Milan had become a centralized monarchy under the control of the Visconti family. Giangaleazzo Visconti, who ruled the city from 1378 to 1402, was renowned both for his cruelty and for his abilities, and set about building an empire in Northern Italy. He launched a long series of wars, with Milan steadily conquering neighbouring states and defeating the various coalitions led by Florence that sought in vain to halt the advance. This culminated in the 1402 siege of Florence, when it looked as though the city was doomed to fall, before Giangaleazzo suddenly died and his empire collapsed.\nBaron's thesis suggests that during these long wars, the leading figures of Florence rallied the people by presenting the war as one between the free republic and the despotic monarchy, between the ideals of the Greek and Roman Republics and those of the Roman Empire and Medieval kingdoms. For Baron, the most important figure in crafting this ideology was Leonardo Bruni. This time of crisis in Florence was the period when most of the major early Renaissance figures were coming of age, such as Ghiberti, Donatello, Masolino, and Brunelleschi, and that they were inculcated with this republican ideology. These and other figures later went on to advocate republican ideas that were to have an enormous impact on the Renaissance.\n\n
Another popular explanation for the Italian Renaissance is the thesis, first advanced by historian Hans Baron,[7] that states that the primary impetus of the early Renaissance was the long-running series of wars between Florence and Milan. By the late 14th century, Milan had become a centralized monarchy under the control of the Visconti family. Giangaleazzo Visconti, who ruled the city from 1378 to 1402, was renowned both for his cruelty and for his abilities, and set about building an empire in Northern Italy. He launched a long series of wars, with Milan steadily conquering neighbouring states and defeating the various coalitions led by Florence that sought in vain to halt the advance. This culminated in the 1402 siege of Florence, when it looked as though the city was doomed to fall, before Giangaleazzo suddenly died and his empire collapsed.\nBaron's thesis suggests that during these long wars, the leading figures of Florence rallied the people by presenting the war as one between the free republic and the despotic monarchy, between the ideals of the Greek and Roman Republics and those of the Roman Empire and Medieval kingdoms. For Baron, the most important figure in crafting this ideology was Leonardo Bruni. This time of crisis in Florence was the period when most of the major early Renaissance figures were coming of age, such as Ghiberti, Donatello, Masolino, and Brunelleschi, and that they were inculcated with this republican ideology. These and other figures later went on to advocate republican ideas that were to have an enormous impact on the Renaissance.\n\n
Another popular explanation for the Italian Renaissance is the thesis, first advanced by historian Hans Baron,[7] that states that the primary impetus of the early Renaissance was the long-running series of wars between Florence and Milan. By the late 14th century, Milan had become a centralized monarchy under the control of the Visconti family. Giangaleazzo Visconti, who ruled the city from 1378 to 1402, was renowned both for his cruelty and for his abilities, and set about building an empire in Northern Italy. He launched a long series of wars, with Milan steadily conquering neighbouring states and defeating the various coalitions led by Florence that sought in vain to halt the advance. This culminated in the 1402 siege of Florence, when it looked as though the city was doomed to fall, before Giangaleazzo suddenly died and his empire collapsed.\nBaron's thesis suggests that during these long wars, the leading figures of Florence rallied the people by presenting the war as one between the free republic and the despotic monarchy, between the ideals of the Greek and Roman Republics and those of the Roman Empire and Medieval kingdoms. For Baron, the most important figure in crafting this ideology was Leonardo Bruni. This time of crisis in Florence was the period when most of the major early Renaissance figures were coming of age, such as Ghiberti, Donatello, Masolino, and Brunelleschi, and that they were inculcated with this republican ideology. These and other figures later went on to advocate republican ideas that were to have an enormous impact on the Renaissance.\n\n