Transcript ITALIAN QUATTROCENTO

EUGENIA LANGAN
MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA
WITH APOLOGIES TO FRED KLEINER
THEME
PMA
POSITIVE MENTAL ATTITUDE – HUMANISM
PERSPECTIVE
MODELING AND MATHEMATICS
ANATOMY
TIMELINE
 GENERAL OVERVIEW: WARS AND RIVALRY
AMONG ITALIAN REPUBLICS – FLORENCE AND
MILAN COME OUT ON TOP, THEN VENICE
 1401: BAPTISTERY COMPETITION
 1417: WESTERN SCHISM OVER – POPES BACK IN
ROME (USUALLY CONTROLLED BY SIGNORI)
 © 1425: BRUNELLESCHI INVENTED
MATHEMATICAL LINEAR PERSPECTIVE (?)
 1434: MEDICI DYNASTY (STARTING WITH
COSIMO) IN CONTROL OF FLORENCE
 1469: LORENZO DE’ MEDICI (“THE MAGNIFICENT”)
MEDICI ARE GREATEST PATRONS OF RENAISSANCE
ARTS
 1447: SFORZA/BORGIA OFFICIALLY IN CONTROL
OF MILAN
 1494 – 1559: ITALIAN WARS
 1494: OVERTHROW OF MEDICI
 1494-97 – SAVONAROLA RULES FLORENCE, BONFIRE
OF THE VANITIES
GENERAL GOALS:
 UNDERSTAND THE SOCIAL, RELIGIOUS, AND
POLITICAL INFLUENCES OF 15TH-CENTURY ITALIAN
ART
 DISCUSS THE INCREASED POPULARITY OF
HUMANISM
 OBSERVE THE INFLUENCE OF CLASSICAL ART
AND ARCHITECTURE IN THE PAINTING AND
ARCHITECTURE OF RENAISSANCE ITALY.
 DISCUSS THE ROLE OF WEALTHY AND POWERFUL
PATRONS
 IDENTIFY VARIOUS ARTISTS OF THE PERIOD AND
THEIR TECHNICAL AND STYLISTIC ACCOMPLISHMENTS
 DISCUSS THE VARIOUS ROLES OF COMMEMORATIVE
PORTRAIT
 OBSERVE IMPORTANT ARTISTIC ELEMENTS OF
QUATTROCENTO PAINTING AND SCULPTURE 
GREATER NATURALISM/ REALISM, INCLUDING:
 ATTENTION TO THE HUMAN FORM INCLUDING THE
RETURN OF CLASSICAL NUDITY AND CONTRAPPOSTO
 DISCOVERY AND CODIFICATION OF LINEAR
PERSPECTIVE, AND THE USE OF ATMOSPHERIC
PERSPECTIVE, TO CREATE THE ILLUSION OF THREEDIMENSIONAL SPACE (CLASSICAL INFLUENCE)
 USE OF CHIAROSCURO TO MODEL FORMS
(CLASSICAL INFLUENCE)
 USE OF SINGLE LIGHT SOURCE (NEW)
 USE OF BALANCED, SYMMETRICAL COMPOSITION IN
PAINTING, OFTEN PYRAMID/ TRIANGULAR
(MATHEMATICAL) COMPOSITION
 OBSERVE THE INCREASED INCORPORATION OF
CLASSICAL FORMS INTO ARCHITECTURE (TRIUMPHAL
ARCHES, DOMES, COFFERS, HARMONIOUS
GEOMETRIC RELATIONSHIPS)
THE BAPTISTERY
COMPETITION
1401
BATTISTERO DI SAN
GIOVANNI
(FLORENCE
BAPTISTERY),
DEDICATED 1091
ANDREA PISANO, SCENES FROM LIFE OF JOHN
THE BAPTIST, PANEL FROM SOUTH DOORS OF
FLORENCE BAPTISTERY, GILDED CAST BRONZE
DETAIL FROM PISANO’S DOORS
FILIPPO
BRUNELLESCHI,
SACRIFICE OF
ISAAC,
COMPETITION
PANEL FOR
EAST DOORS OF
FLORENCE
BAPSTISTERY,
1401-02. GILDED
CAST BRONZE,
1' 9" X 1' 5 ½".
MUSEO
NAZIONALE DEL
BARGELLO,
FLORENCE
LORENZO
GHIBERTI,
SACRIFICE OF
ISAAC,
COMPETITION
PANEL FOR
EAST DOORS OF
FLORENCE
BAPTISTERY.
1401-02. GILDED
CAST BRONZE.
MUSEO
NAZIONALE DEL
BARGELLO,
FLORENCE
COMPARE PISANO AND BRUNELLESCHI
COMPARE BRUNELLESCHI AND GHIBERTI
COMPARE BRUNELLESCHI AND GHIBERTI ANGELS
COMPARE ABRAHAMS, BRUNELLESCHI AND
GHIBERTI
GHIBERTI'S ISAAC
CLASSICAL MALE
NUDE
PAINTING
FLORENTINE PAINTING
MASSACIO, TRIBUTE MONEY, BRANCACCI CHAPEL,
SANTA MARIA DEL CARMINE, FLORENCE © 1424 – 27.
FRESCO, 8' X 4 1/8" X 19' 7 1/8". WHAT'S NEW?
SINGLE LIGHT SOURCE, LINEAR AND ATMOSPHERIC
PERSPECTIVE, COMPOSITION, MORE NATURALISM
WHERE'S THE VANISHING POINT?
(STAGE) RIGHT EYE OF JESUS
MASACCIO, EXPULSION OF
ADAM AND EVE FROM EDEN,
BRANCACCI CHAPEL © 1424–27.
FRESCO, 7’ X 2’ 11”.
MOST DIRECT INFLUENCE?
ROMAN STATUES, ESPECIALLY
COPIES OF HELLENISTIC
GREEK STATUARY
WHERE HAVE WE SEEN EVE’S
POSE BEFORE?
MODEST VENUSES
PRAXITELES, APHRODITE
OF KNIDOS © 350 B.C.E. –
ROMAN COPY – MUCH
COPIED
ALEXANDROS OF
ANTIOCH, VENUS DE
MILO © 130 – 100 B.C.E.
ALSO MUCH COPIED
MASACCIO, HOLY TRINITY
WITH DONORS, SANTA MARIA
NOVELLA, FLORENCE, ITALY,
CA. 1424–1427. FRESCO, 21' 10
5/ " X 10' 4 ¾".
8
PERFECT LINEAR
PERSPECTIVE, TROMPE L'
OEIL. VANISHING POINT?
FOOT OF THE CROSS: VIEWER'S
PERSPECTIVE
COMPOSITION?
PYRAMIDICAL -- HOW MANY
TRIANGLES CAN YOU COUNT?
FATHER, HOLY SPIRIT, AND SON
MEMENTO MORI: "I WAS ONCE WHAT YOU ARE
AND WHAT I AM YOU WILL BECOME."
FRA ANGELICO, ANNUNCIATION, SAN MARCO, FLORENCE, ITALY,
CA. 1438–1447. FRESCO, 7' 1" X 10' 6". RETABLE.
LESS HUMANIST, BUT ILLUSIONIST. PRETTY AND POPULAR!
"BEWARE LEST YOU OMIT TO SAY A HAIL MARY!"
FRA FILIPPO LIPPI,
MADONNA AND CHILD
WITH ANGELS, © 1455,
TEMPERA ON WOOD, 2' 11
½" X 2' 1". UFFIZI
GALLERY.
WHAT'S NEW AND
HUMANIST?
NATURAL YOUNG
MOTHER WITH NATURAL
BABY AND NATURAL
CHILD ANGELS – NOTE
THE SUBTLE HALO.
"SECULARIZATION" OF
RELIGIOUS SUBJECTS
ANDREA DEL CASTAGNO, LAST SUPPER, REFECTORY OF
CONVENT OF SANT' APOLLONIA, FLORENCE. 1447. FRESCO,
15' 5" X 32'. WHAT HAPPENED WHEN ARTIST TRIED TO USE
LINEAR PERSPECTIVE BUT DEPICT IMPOSSIBLE SCENE
(EXAMPLE: WE CAN'T SEE CEILING AND ROOF AT THE
SAME TIME IN REAL WORLD!)
SANDRO BOTTICELLI, BIRTH OF VENUS © 1484-86. TEMPERA ON
CANVAS, 5' 9" X 9' 2". UFFIZI GALLERY.
WHAT A PRETTY CARTOON!
PROPORTIONS? POSES?
HER PROPORTIONS?
UNLIKELY! ELONGATED
NECK, TORSO
POSE?
IMPOSSIBLE
CONTRAPPOSTO:
WEIGHT IS SHIFTED TOO
FAR TO LEFT
AND SHE'S ON EDGE OF
SHELL – BUT IT ISN'T
TIPPING SO SHE MUST
WEIGHT ZIP!
DOMENICO GHIRLANDAIO, BIRTH OF THE VIRGIN, CAPPELLA
MAGGIORE, SANTA MARIA NOVELLA, FLORENCE, 1485–1490.
FRESCO, 24' 4" X 14’9”. A MASTERPIECE OF PERPECTIVE,
NATURALISM, HUMANISM, DETAIL AND PATRONAGE – BUT?
DOMENICO GHIRLANDAIO,
GIOVANNA TORNABUONI(?),
1488. OIL AND TEMPERA ON
WOOD, 2' 6" X 1' 8".
THYSSEN-BORNEMISZA
COLLECTION, MADRID.
SIGNIFICANCE?
PATRONAGE – REEMERGENCE OF
PORTRAITURE
DISPLAY OF WEALTH,
EDUCATION, PRIDE
OIL PAINT USED FOR
DETAILS – UNDER TEMPERA
PAOLO UCCELLO, BATTLE OF SAN ROMANO, © 1455 (?). TEMPERA ON
WOOD, APPROX. 6' X 10' 5". NATIONAL GALLERY, LONDON.
PATRON: PROBABLY LORENZO DE MEDICI. METHODICAL LINEAR
PERSPECTIVE MORE IMPORTANT THAN MOTION, NATURALISM
ANTONIO DEL POLLAIUOLO, BATTLE OF THE TEN NUDES ©
1464. ENGRAVING. 1' 3 1/8" X ' 1’ 11 ¼ 1/4”. MET, NY.
OBSESSION WITH MUSCLES – ÉCHORCHÉ – NOT NATURALISM
OTHER ITALIAN PAINTING
PERUGINO, CHRIST DELIVERING THE KEYS OF THE KINGDOM TO SAINT
PETER, SISTINE CHAPEL, VATICAN, 1481–1483. FRESCO, 11' 5 ½" X 18' 8
½". "LOOK, MA! LINEAR PERSPECTIVE! SEE MY ORTHOGONALS
AND VANISHING POINT? LOOK MA, PYRAMIDICAL COMPOSITION!"
PIERO DELLA
FRANCESCA,
ENTHRONED MADONNA
AND SAINTS ADORED BY
FEDERICO DA
MONTEFELTRO (BRERA
ALTARPIECE),
© 1472–1474. OIL ON
WOOD, 8' 2" X 5' 7".
PINACOTECA DI BRERA,
MILAN.
WHAT'S
EXTRAORDINARY HERE?
USE OF LIGHT – USE OF
REFLECTED LIGHT TO
BATHE EACH FIGURE IN
LIGHT
PIERO DELLA FRANCESCA, FLAGELLATION OF CHRIST ©
1455-1465. OIL AND TEMPERA ON WOOD, 1" 1/8" X 2' 8
¼". GALLERIA NAZIONALE DELLE MARCHE, URBINO.
PRECISE PERSPECTIVE?
LUCA SIGNORELLI, DAMNED CAST INTO HELL, SAN BRIZIO
CHAPEL, ORVIETO CATHEDRAL, 1499–1504. FRESCO, 23'
WIDE.
DETAIL, SIGNORELLI'S DAMNED CAST INTO HELL
ANDREA MANTEGNA, INTERIOR OF THE CAMERA PICTA
PALAZZO DUCALE, MANTUA, ITALY, 1465–1474. FRESCO.
WALLS "DISSOLVED" LIKE SECOND-STYLE ROMAN!
MANTEGNA,
TROMPE L'OEIL
CEILING, CAMERA
PICTA. FRESCO, 8'
9" DIAMETER.
ANDREA MANTEGNA, FORESHORTENED CHRIST, © 1500. TEMPERA
ON CANVAS, 2' 2 ¾" X 2' 7/8". PINACOTECA DI BRERA, MILAN.
SCULPTURE
LORENZO
GHIBERTI,
EAST DOORS,
FLORENCE
BAPTISTERY.
GILDED BRONZE.
MODERN (1980)
COPY OF 1425-52
ORIGINAL. 17’ HIGH.
ORIGINAL PANELS
IN MUSEO
DELL’OPERA DEL
DUOMO, FLORENCE.
GHIBERTI, ISAAC AND HIS SONS, PANEL FROM
BAPTISTERY EAST DOORS.
DONATELLO, FEAST OF HEROD, PANEL ON THE BAPTISMAL
FONT OF SIENA CATHEDRAL, 1423–1427. GILDED BRONZE , 1'
11 ½" X 1' 11 ½".
PAINTERLY! LINEAR PERSPECTIVE!
COMPARE GHIBERTI AND DONATELLO
NANNI DI BANCO,
FOUR CROWNED
SAINTS, OR SAN
MICHELE, FLORENCE
© 1410–1416. MARBLE,
FIGURES 6’HIGH.
(COPIES HERE -ORIGINALS IN MUSEUM
ON 2ND FLOOR OF OR
SAN MICHELE).
IN THE ROUND
INFLUENCE: ROMAN,
ESPECIALLY LATE
IMPERIAL PORTRAITS
COMPOSITION  UNITY
INTERACTING WITH
EACH OTHER
THIS BLACK AND WHITE
PHOTO GIVES BETTER
VIEW OF THE FOUR
CROWNED SAINTS'
FACES
PREDECESSORS =
PORTRAIT BUSTS OF
TRAJAN, MARCUS
AURELIUS, ETC.
DONATELLO, SAINT MARK, OR
SAN MICHELE © 1411 – 13.
MARBLE, 7' 9". (COPY HERE,
ORIGINAL ON 2ND FLOOR OF OR
SAN MICHELE)
WHAT'S REVOLUTIONARY HERE?
TRUE CONTRAPPOSTO, DRAPING
HANGS NATURALLY (DOESN'T
CONCEAL BODY)
DONATELLO WAS THE FIRST
SINCE ANTIQUITY TO DO
EITHER!
NOTE THE EMOTIONAL POWER
OF HIS SCULPTURE
DONATELLO, SAINT GEORGE,
OR SAN MICHELE © 1410 –
15. MARBLE, 6' 10" HIGH.
MUSEO NAZIONALE DEL
BARGELLO, FLORENCE
DONATELLO, SAINT GEORGE AND THE DRAGON, RELIEF
BELOW STATUE OF SAINT GEORGE, OR SAN MICHELE ©1417.
MARBLE, 1' 3 ¼" X 3' 1 ¼". BARGELLO (EARLIER THAN
HEROD!)
PAINTERLY ILLUSIONISM (INCISED LINES  ATMOSPHERIC
EFFECT)
DONATELLO, PENITENT
MAGDALENE, © 1453-55. WOOD
WITH POLYCHROMY AND GOLD,
188 CM HIGH. MUSEO
DELL'OPERA DEL DUOMO,
FLORENCE. APPROX. 6' 1" HIGH.
NATURALISM (REALISM!)
SECULARIZATION OF SACRED
SUBJECTS
DETAIL, PENITENT MAGDALENE
DONATELLO, DAVID, © 1440-60.
BRONZE, 5' 2 ¼" HIGH.
WHAT'S NEW?
FIRST FREE-STANDING NUDE STATUE
SINCE ANTIQUITY!
NOTE NUDITY ≠ SINFULNESS (WE SAW
THAT IN N. PISANO'S PULPIT AND
GHIBERTI'S COMPETITION PANEL)
NOTE CONTRAPPOSTO, ALSO MORE
"CLASSICAL" THAN SOME OF HIS
OTHER WORK – NOTE IMPASSIVE
EXPRESSION OF DAVID
PATRON: MEDICIS – DAVID = SYMBOL
OF FLORENCE
ANDREA DEL VERROCHIO,
DAVID, © 1465-70. BRONZE,
4' 1 ½" HIGH. BARGELLO
MORE EMOTIONAL
ALSO COMMISSIONED BY
MEDICI
HERCULES ALSO SYMBOL OF
FLORENCE
COMPARE DONATELLO TO VERROCHIO
ANTONIO DEL POLLAIUOLO,
HERCULES AND ANTAEUS,
© 1470-75. BRONZE, 1' 6" HIGH.
BARGELLO
NATURALISTIC ANATOMY,
MOTION AND EMOTION
PATRON: MEDICI – HERCULES
ALSO A SYMBOL OF FLORENCE
DONATELLO,
GATTAMELATO
(EQUESTRIAN
PORTRAIT OF
ERASMO DE NARNI,
PIAZZO DEL SANTO,
PADUA © 144053.
BRONZE, 12' 2" HIGH.
POWER AND
AUTHORITY –
CONDOTTIERE
EQUATED WITH
EMPERORS
PROPORTIONS
ACCURATE
VEROCCHIO,
BARTOLOMMEO
COLLEONI, CAMPO
DEI SANTI
GIOVANNI E PAOLO,
VENICE, © 1481-96.
BRONZE, 13' HIGH
INSPIRED BY
GATTAMELATA –
MORE POWER AND
AUTHORITY?
FOX AND LION?
ARCHITECTURE
FLORENCE CATHEDRAL: CAMPANILE BY GIOTTO,
DOME BY BRUNELLESCHI, 1420 - 36
CUTAWAY VIEW OF
BRUNELLESCHI'S
DOME, 1420-26.
WHAT PROBLEM DID
HE HAVE?
HOW TO SUPPORT A
DOME OVER 140'
CROSSING
HOW DID HE SOLVE IT?
OGIVAL ARCHES
RIBBED DOUBLE SHELL
BRUNELLESCHI'S PLAN AND ACTUAL PLAN,
SANTO SPIRITU, FLORENCE, 1434 -36.
BRUNELLESCHI, INTERIOR, SANTO SPIRITU, LOOKING
NORTHEAST. ILLUSION OF CENTRAL PLAN (ROMAN
HERITAGE!)
FAÇADE OF
PAZZI CHAPEL,
SANTA CROCE.
DESIGNED BY
BRUNELLESCHI
© 1423,
BUILDING
BEGUN 1442
CENTER = BRUNELLESCHI'S PLAN FOR PAZZI CHAPEL: HE
CREATED "CENTRAL PLAN" WITHIN AXIAL PLAN
BRUNELLESCHI,
INTERIOR OF PAZZI
CHAPEL, LOOKING
NORTHEAST.
ON PENDENTIVES:
GLAZED TERRACOTTA
ROUNDELS OF THE
EVANGELISTS BY LUCA
DELLA ROBIA
NOTE USE OF GRAY
"PIETRA SERENA" TO
DEFINE MODULES OF
PLAN AND ELEVATION
(RECALL ITALIAN
FONDNESS FOR
LIGHT/DARK
CONTRAST
MICHELOZZO DI
BARTOLOMMEO, FAÇADE
OF PALAZZO MEDICIRICCARDI, FLORENCE.
BEGUN 1445.
WHY SO PLAIN?
MASSIVE, LIGHT,
MASSIVE: RUSTICATED
MASONRY ON 1ST STORY,
INCREASINGLY SMOOTH
DRESSED MASONRY ON
2ND AND 3RD STORIES,
THEN PROTRUDING
CORNICE.
CLASSICAL AND NEW
ELEMENTS
INTERIOR COURT, PALAZZO MEDICI-RICCARDI:
INNOVATION – INTERNAL COURT SURROUNDED BY ARCADE
LEON BATTISTA
ALBERTI, PALAZZO
RUCELLAI, FLORENCE
© 1452-70.
SHOWS ALBERTI'S
CONCERN WITH
CLASSICISM: ALL
DRESSED MASONRY
AND SMOOTH WALLS,
AND ASCENDING
ORDERS OF COLUMNS
DEFINE LEVELS
(TUSCAN, COMPOSITE,
CORINTHIAN) TO
MAKE BUILDING
"LIGHTER" ON TOP
LEON BATTISTA ALBERTI,
WEST FAÇADE OF SANT'
ANDREA, MANTUA ,
DESIGNED 1470, BEGUN
1472
CLASSICAL: TEMPLE
FRONT AND TRIUMPHAL
ARCHES -- NOT CLASSICAL:
NO COLUMNS!
FAÇADE SHORTER THAN
CHURCH: WHY?
ALBERTI'S DESIRE FOR
EQUAL PROPORTION
SMALL SQUARE IN FRONT
BUT COLOSSAL ORDER PILASTERS = NAVE HEIGHT
AND BARREL VAULT ECHOES THOSE IN CHURCH!
ALBERTI, PLAN OF SANT'ANDREA: NO AISLES! NAVE
WITH CHAPELS ALONG SIDES – ALBERTI DEPARTS
FROM CLASSICAL MODEL
ALBERTI,
INTERIOR OF
SANT'ANDREA
ECHOES OF
PANTHEON,
BASILICA NOVA –
ROMAN
UNINTERRUPTED
INTERIOR SPACE
NO AISLES –
EVERYONE HAS
GOOD VIEW OF
APSE