The Renaissance

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Guess the artist
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Brunelleschis Dome (Florence)
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The Renaissance

• The amazing 15th Century

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I. The Renaissance is

• A. A rebirth in artistic achievement starting in
  Florence, Italy and spread thruout Europe
• B. A re-discovery of the art and sciences of
  Classical Greece and Rome
• C. A renewed interest in the importance of
  humanity.
• D. Artists emerged as personalities, not as
  unknown craftsmen as in the Middle Ages
• E. Age of Exploration

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II. Humanism

• A. A new interest in man as the most important
  of Gods creations, the most intelligent, the
  most beautiful.
• B. The works of man have value beyond glorifying
  the Church and serving God.
• C. The use of the arts, sciences, wisdom and
  knowledge to used in the service of humanity.

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• D. Artistic results
• 1. Resulted in works of art that were not
  strictly to praise God
• 2. Re-introduced portrait art of individuals
• E. Medici Family - leading political and
  financial power in Florence, who were PATRONS
  (people who paid artists and organized training
  for potential artists) of the arts.

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F. Top Four Artistic Breakthrus

• 1. Oil paint on stretched canvas-began to replace
  frescoes. Allowed for a greater range of rich
  colors with smooth gradations of tone which
  helped make paintings look 3-dimensional

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2. Perspective

• a. method of creating the illusion of DEPTH on a
  flat surface.
• b. This painting, THE DEAD CHRIST, by Andrea
  Mantegna, uses the perspective technique of
  FORESHORTENING-lines of the body are compressed
  to appear more real

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• c. Linear perspective created optical effect of
  objects receding into the distance thru lines
  that appear to meet at a single point in the
  painting known as the VANISHING POINT

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Example of the vanishing point Adoration of the
Magi, Botticelli
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Adoration of the Magi, Botticelli
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3. Chiaroscuro

• a. The use of light and shadow the lighter
  parts seem to emerge from the darker areas,
  producing the illusion of rounded, sculptural
  relief on a flat surface
• Judith and Holofernes by Andrea Mantegna

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4. Pyramid configuration

• a. Symmetrical composition that builds to a
  climax at the center.
• Madonna of the Goldfinch by Raphael

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G. Sfumato

• 1. Leonardo Da Vinci pioneered the use of
  SFUMATO guazy, thin layers of paint that
  created a slight haze-creates sense of enormous
  depth and distance

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The Annunication, Da Vinci
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III. Early Renaissance

• A. Sculpture - Donatello - 1386-1466
• 1. Used classic style of contraposto stance
  with a Renaissance attitude
• 2. Used both marble and bronze
• 3. His bronze DAVID is unique-first life sized,
  free standing nude statue since the days of
  classical Greece and Rome.

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B. Meaning of Donatellos DAVID

• 1. Became symbol to Florentines of the victory
  of the small and self sufficient over brute force
  of larger opponents
• 2. symbolic of Christs victory over sin and death

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• C. Equestrian monument of Gattamelata
• 1. Huge in size, mounted on a pedestal
• 2. Horse is huge, but is dominated by the
  riders WILL
• 3. Created to honor a dead general

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D. Masaccio, painter

• 1. Used light as never before, paintings have a
  single source of light casting accurate shadows
  scenery has almost endless depth clothing seems
  to drape over real bodies

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Masaccio
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E. Sandro Botticelli, 1445-1510

• 1. Helped to reconcile the classical past with
  the Christian future (NEOPLATONISTS) by painting
  mythological subjects as metaphors of Christian
  thoughts. His BIRTH OF VENUS symbolizes divine
  love thru which Christians are linked to God.
• a. Master of delicate lines
• b. One of the first works painted on canvas

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Birth of Venus, Boticelli
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Botticelli - self portrait
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Primavera (spring) by Botticelli
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Pallas Centaur by Botticelli
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F. Andrea Mantegna

• 1. Excelled at working with perspective, esp.
  foreshortening (painted parts get smaller as they
  recede into space. Painted scenes at eye level
  so viewer looks up at figures-THE CRUCIFICTION

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Andrea Mantegna-The Dead Christ
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IV. THE HIGH RENAISSANCE

• A. Michaelangelo - 1475-1564
• 1. Sculptor who believed his art was to
  liberate the figure from the marble that
  imprisons it
• B. He believed
• 1. Creativity is inspired by God
• 2. Considered painting an inferior art

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• 3. Invited to study at the Medici palace at age
  15
• 4. Carved the PIETA (pity) age 23
• 5. His DAVID became the symbol of the city of
  Florence-declared greatest sculptor in Italy
• 6. MOSES - tomb decoration for Pope Julius II
  (the warrior pope)
• 7. Sistine Chapel-private chapel of the popes-the
  ceiling had 10,000 sq. ft. to be painted. Much
  of the Old Testament (creation of Adam,
  Noah/flood, etc.). 100s of figures and scenes.
  Years later he added THE LAST JUDGEMENT-angry God
  punishing the damned.

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THE PIETA by Michaelangelo
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Michaelangelos DAVID
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David (rear view)
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Creation of Man - Mich.
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MOSES
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Detail from The Last Judgement
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The Holy Family-Michael.
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Lybian Sybil-Mich.
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C. Leonardo Da Vinci (1452-1519)

• 1. Moved to Milan as military engineer
• 2. Excelled as a painter, poet, architect,
  sculptor and designer of machines
• 3. Famous works (only 25 still survive)
• a. The Last Supper - fresco depicting the moment
  when Christ tells his disciples one will betray
  him. The Last Supper began to deteriorate almost
  immed.
• b. Mona Lisa-portrait of a young noblewoman.
• c. Da Vinci pioneered mastered perspective,
  balanced composition sfumato.

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Benois Madonna -da Vinci
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Virgin of the Rocks
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Detail- Virgin of the Rocks
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The Last Supper (fresco)
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Sketch of assault chariot
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Study of proportions -da Vinci
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Da Vinci-himself as an old man
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D. Raphael 1483-1520

• 1. Combined Da Vincis Michaelangelos
  techniques
• a. da Vincis pyramidal construction, modeled
  faces using chiaroscuro
• b. Michaelangelos full-bodied, dynamic figures
  and contrapposto pose
• c. Re-introduced halo as thin gold circle
• d. Famous works include

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The Small Cowper Madonna

• e. Note the very thin halo over the Virgins head
  as well as the baby Jesus.

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St. George killing the dragon
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Madonna Child-Raphael
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Raphael - self portrait?
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Madonna of the Goldfinch-Rafael
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The Alba Madonna-Raphael

• f. Composition uses the triangle, most stable
  form
• g. landscape has great depth (atmosph. Per.)
• h. all eyes look at cross
• i. balance between form (composition) content
  (meaning)-summarizes Christs life/death/resurr.
• j. Sculptural quality of robes suggests Michael.

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• k. Use of sfumato, clear light and Italian
  countryside reminds us of Da Vinci
• l. sensitive faces, balance of elements and
  graceful gestures are pure Rafael

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The School of Athens -Raphael
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The School of Athens - Raphael
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• m. Note sculptural quality
• n. individual group poses
• o. architectural setting
• p. vanishing point behind heads of Aristotle
  Plato
• q. significance characters are Raphaels
  contemporaries.
• r. Fuses Renaissance Christianity while paying
  tribute to pagan, classical past

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E. Titian-1490-1576

• 1. From Venice, Italy believed that color and
  mood were more important in painting than line
  and scientific accuracy.
• 2. Painted surface with 30-40 transparent glazes
  to tone down brightness and unify surface
• 3. Let brush strokes remain visible and edges of
  forms blend into backgrounds
• 4. Ignored details to emphasize color/movement
• 5. 3 major themes pagan mythology (Venus),
  portraits of rulers, religious subjects with lots
  of emotion and activity

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Three Ages of Man-Titian
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Doge Andrea Gritti-Titian

• a. slashing brushstrokes to show strength of
  subject
• b. soft edges, suggest movement, tho subject is
  sitting still
• c. vivid colors create a sense of the Doges
  personality rather than an exact portrait

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Venus and Adonis-Titian

• d. Goddess is reluctant to let her human lover
  go hunting
• e. use of triangular composition

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Venus with a Mirror-Titian

• F. one of Titians personal favorites
• g. rich, glowing colors

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Caravaggio - The Card Sharps