Week8 - Renaissance Part 1
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Week8 - Renaissance Part 1
- 1. Europe and the Byzantine Empire ca. 1000
- 7. Theodora and attendants, mosaic from the south wall of the apse, San Vitale, Ravenna, Italy, ca. 547.
- 8. Blanche of Castile, Louis IX, and two monks, dedication page (folio 8 recto) of a moralized Bible, from Paris, France, 1226–1234. Ink, tempera, and gold leaf on vellum, 1’ 3” X 10 1/2”. Pierpont Morgan Library, New York.
- 9. Orcagna, tabernacle, Or San Michele, Florence, Italy, begun 1349.Mosaic, gold, marble, lapis lazuli. Bernardo Daddi,Madonna and Child with Saints, painted panel insert, 1346–1347.
- 10. CIMABUE, Madonna Enthroned with Angels and Prophets, ca. 1280–1290. Tempera on wood, 12’ 7” x 7’ 4”. Galleria degli Uffizi, Florence. “ Once Cimabue thought to hold the field In painting, and now Giotto has the cry So that the other’s fame, grown dim, must yield.” - Dante Alighieri from The Divine Comedy
- 12. Jerry Saltz writes, "Stingel escapes the irony and kitsch of the recent past and gives us an atmospherics of melancholy and love. “
- 13. DUCCIO DI BUONINSEGNA, Betrayal of Jesus, detail from the back of the Maestà altarpiece, from the Siena Cathedral, Siena, Italy, 1309–1311. Tempera on wood, detail approx. 1’ 10 1/2” x 3’ 4”. Museo dell’Opera del Duomo, Siena.
- 14. Duccio, Christ Entering Jerusalem , detail of Maesta Alter, 1308-11, Tempra on Panel, 40x21”
- 15. The frescos in the Arena Chapel at Padua by Giotto ca 1305
- 16. The Birth of the Virgin
- 17. GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco, 6’ 6 3/4” x 6’ 3/4”. Giotto = Transition from art of the Middle Ages to Art of the Renaissance
- 18. BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, San Francesco, Pescia, Italy, 1235. Tempera on wood, approx. 5’ x 3’ x 6”. Giotto, Legend of St Francis: Sermon to the Birds, 1297-99
- 20. Saints Martin, Jerome, and Gregory, jamb statues, Porch of the Confessors (right doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1220–1230. Visitation, jamb statues of central doorway, west facade, Reims Cathedral, Reims, France, ca. 1230. Old Testament kings and queens, jamb statues, central doorway of Royal Portal, Chartres Cathedral, Chartres, France, ca. 1145–1155.
- 21. DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, approx. 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele. Donatello first created a full-scale nude model in clay, then draped it with clay-soaked linen and arranged the fabric in folds. He is considered one of the first sculptors to use this method.
- 23. Donatello St Mary Magdalen c. 1457 Wood, height: 188 cm Statue of an old market woman, Early Imperial, Julio-Claudian, 1st century A.D. Roman
- 24. LORENZO GHIBERTI, east doors (“Gates of Paradise”), baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 17’ high. Modern copy, ca. 1980. Original panels in Museo dell’Opera del Duomo, Florence.
- 25. LORENZO GHIBERTI, Isaac and His Sons - east doors, baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 2’ 7 1/2” x 2’ 7 1/2”.
- 26. MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”. Vaulting mirrors architectural space it is a part of from the viewers point of view The trinity, Mary and St. John flanked by the two donors. Sarcophagus at the bottom reads, “What you are, I once was; what I am, you will become”
- 29. Andrea Mantegna The Lamentation over the Dead Christ c. 1490 Tempera on canvas, 68 x 81 cm Pinacoteca di Brera, Milan
- 31. SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’ 8” x 9’ 1”. Galleria degli Uffizi, Florence.
- 32. Sandro Botticelli shows the Renaissance tendency to mix Greek gods and goddesses with Christian themes. In Neo-Platonic thought, Venus was identified with both Eve and the Virgin Mary. Warhol
- 34. The Adoration of the Magi (detail) c. 1475 Tempera on panel Galleria degli Uffizi, Florence
- 35. The detail shows the assumed self-portrait of the artist.
- 36. SANDRO BOTTICELLI, Portrait of a Youth, early 1480s. Tempera on panel, 1’ 4” x 1’. National Gallery of Art, Washington (Andrew W. Mellon Collection).
- 38. Giovanni Bellini, St Francis in the Desert, 1485, Oil on Panel
- 39. High Renaissance: 1500-1520 A.D.
- 40. LEONARDO DA VINCI, Virgin of the Rocks, ca. 1485. Oil on wood (transferred to canvas), approx. 6’ 3” x 3’ 7”. Louvre, Paris.
- 41. LEONARDO DA VINCI, cartoon for Virgin and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightened with white on brown paper, approx. 4’ 6” x 3’ 3”. National Gallery, London. Leonardo da Vinci was the epitome of a true “Renaissance Man.” He was a master painter, inventor, poet, architect, sculptor, engineer, scientist, and musician.
- 42. LEONARDO DA VINCI, Last Supper (uncleaned), ca. 1495–1498. Fresco (oil and tempera on plaster), 29’ 10” x 13’ 9”. Refectory, Santa Maria delle Grazie, Milan.
- 43. Vitruvian Man 1492 Pen, ink, watercolor and metalpoint on paper, 343 x 245 mm Gallerie dell'Accademia, Venice
- 44. Anatomical studies of the shoulder 1510-11 Black chalk, pen and ink on paper, 289 x 199 mm Royal Library, Windsor
- 46. LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, approx. 2’ 6” x 1’ 9”. Louvre, Paris. Sfumato – “smoky” – thin transparent glazes. Leonardo da Vinci described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane".
- 50. Michelangelo, Pieta , 1498-1500
- 51. “ Michelangelus Bonarotis Florent Facibat” (Michelangelo Buonarroti Florentine made this.)
- 54. MICHELANGELO BUONARROTI, David, 1501–1504. (he was 27) Marble, 13’ 5” high. Galleria dell’Accademia, Florence. Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, approx. 2’ 10” high. Acropolis Museum, Athens.
- 58. Painted when he was 33 -the images cover 700 sq. yds. and must be painted on scaffolding at arm’s reach, while envisioning it as viewed from 70’ feet below.
- 59. Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473. Copyright © Nippon Television Network Corporation, Tokyo.
- 61. MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512. Fresco, approx. 128’ x 45’.
- 63. MICHELANGELO BUONARROTI, Creation of Adam (detail), ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1511–1512. Fresco, approx. 9’ 2” x 18’ 8”.
- 67. 12 th Century Byzantine Mosaic of Last Judgment
- 70. Michelangelo chose to render Minos as a stinging caricature of his enemy Biagio da Cesena (a Vatican official who declared Last Judgment unfit for sacred walls) complete with donkey ears and a serpent striking his genitalia.
- 71. MICHELANGELO BUONARROTI, drawing of south elevation of Saint Peter’s, Vatican City, Rome, Italy, 1546–1564 (engraving by ÉTIENNE DUPÉRAC, ca. 1569). Metropolitan Museum of Art, New York
- 73. Raphael Sanzio (1483-1520) Portrait of Julius II 1511-12 Oil on wood, 108 x 80,7 cm National Gallery, London … a portrait "so animated and true to life that it was frightening to behold, as though it were actually alive" (Vasari).
- 74. RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, approx. 19’ x 27’.
- 78. Pl;ato Aristotle
- 80. RAPHAEL, Madonna in the Meadow, 1505. Oil on panel, 3’ 8 1/2” x 2’ 10 1/4”. Kunsthistorisches Museum, Vienna.
- 81. Raphael, The Transfiguration of Christ
Notes de l'éditeur
- The Pope who had commissioned the pictorial cycles and the works that had so contributed to the artist's fame, is depicted - according to historical sources, in the master's hand - in a portrait "so animated and true to life that it was frightening to behold, as though it were actually alive" (Vasari). The painting shows the Pope seated with the tiara on his head, dressed in a white surplice and a purple mantle. Here the simple but effective tonal contrast, first used in the Portrait of a Cardinal, reappears. The Pope, though old, still seems very vigorous and the Della Rovere energy is clearly visible in the hand that grasps the right arm of the chair with strength and pride. The two acorn-shaped knobs on the back of the chair recall the Pope's coat of arms. The intimacy of the image indicates that Raphael has progressed from the narrative compositions of the Vatican Stanze to the full dominance of individual subjectivity.