Italian Renaissance ARH 202 - 001
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ARH 202 - 001
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This 5 page Class Notes was uploaded by Audrey Pontin on Tuesday August 30, 2016. The Class Notes belongs to ARH 202 - 001 at University of North Carolina - Wilmington taught by Deirdre Marie Moench in Fall 2016. Since its upload, it has received 7 views. For similar materials see Renaissance Through Early Twentieth Century in Art History at University of North Carolina - Wilmington.
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Date Created: 08/30/16
All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/30/16. Italian Renaissance Santa Maria del Fiore: Battle for the Doors Brunelleschi, Sacrifice of Isaac, l401 o Abraham asked by God to sacrifice his son, Isaac o God see’s Abraham is about to kill son and tells him not to, as he has proved his loyalty o Evidence Greek and Roman elements with addition of Christianity o Abraham dressed like Roman as he wears traditional toga o Men at bottom drawn from narrative into corners of foreground with donkey = balance o Abraham evened out with angel and lamb on the left with Isaac in the middle Lamb: new sacrifice (same level as Isaac) o Made out of 7 pieces of bronze and fused together to make coherent version Ghiberti, Sacrifice et Isaac, 1401 Abraham in toga with Zeuslike beard Isaac in heroic nude posture as he challenges father to kill him o Symmetrical, idealized body type o Made of only one piece of bronze: wins battle of baptistery doors of Santa del Fiore gets to finish Northern Baptistery doors: 28 bronze plates Brunelleschi, Florence Cathedral Dome, ca. 14201436 o Brunelleschi recognized for talent during competition, brought back to build dome o Built from outside o Created rib system: 8 ribs, with brick in between o Space within held horizontal ribs o Created interlocked set of bricks for support o 140 ft. in diameter o Brunelleschi died during process Classical orders of Architecture o Doric: Greek and Roman columns o Tuscan o Ionic: Greek and Roman (spiraleye look) o Corinthian: Greek and Roman o Composite (leafy appearance) All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/30/16. Brunelleschi: Plan of San Lorenzo, 1418 o plain and muted inside creating soft look o windows appear small, limiting amount of incoming light o Flat, coffered ceiling o Roman arches o Essentially 1st Renaissance building in Florence Palazzo Medici – Riccordi, 1446 o unknown architect: Brunelleschi or Bartolomeo? o Tore down 20 homes to build o owner managing money of Florence: Medici family o Roman windowing o Pediment added above bottom windows o Rusticated walls: polished/ smoother bricks as building goes up o Based on Roman domestic dwellings and atriums o Courtyard holds no ceiling as it opens to the sky o Round arches supported by Corinthian columns Donatello, David, 1440s o sculptor possibly trained in with Ghiberti. o David seen as Florence’s “mascot" as no one can take over their Republic o Doing the work of men as a boy, appearing underdeveloped o Life size sculpture o Earliest organic nude since Antiquity o stands on head of Goliath o Made of bronze, reflects light giving figure more depth Donatello: Equestrian Monument of Erasm da Narni 14431453 (Padua) o Mocks sculpture of Roman Emperor o figure appears tired are serious o Renaissance touch of showing dignity and honor of military men o textures shine through o Medusa crest on chest representing intimidation to enemies o Greek and Roman influence: Medusa and equestrian style statue Ghiberti, Gates of Paradise, East doors, 14251452 o depicts old testament on left and new testament on right All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/30/16. o Story of Isaac: twins Esau and Jacobs of Isaac and Rebecca Esau: eldest, hunter, masculine Jacob: youngest, mama’s boy Jacob plans to over throw brother, both go separate ways Esau: Edomites’ father Jacob: Israelites’ father Continuous narrative able to tell narrative through linear perspective Masaccio, Trinity with the Virgin, John the Evangelist, and Donors. 14251428 o Fresco: painting on wet plastered walls o Incorporated Roman architecture o Devoid of medieval and gothic, all influenced by antiquity with a Renaissance fashion o Church of Santa Maria in Florence o Cartoon: sketch of painting, poked holes to allude design, sticks to wall and is chalked with charcoal to reveal painting outlines. o Donors praying on the sides o Mary and John surround crucifixion but instead of Christ’s body being held by cross, he is being held in the arms of God in triumphal archway o Blue and red contrasts in wardrobe o Corinthian and ionic columns o No suffering present through body of Christ, looks asleep and calm o Devotional image for viewer o Memento mori: Skelton on slab in bottom panel o Mary holds out hands, welcoming viewer Masaccio, The Expulsion of Adam and Eve from Paradise, 1427 o 3 characters: Adam, Eve, and angel o Small architectural element: Gate to Garden of Eden o Rest of landscape is barren desert o Figures in motion, 3D o Emotion of shame and regret through the creators of sin o Figures represent classical sculpture/nude o Eve’s face looks as if face is melting away with grief Masaccio, The Tribute Money, 1427 o Tax collector in short skirt, asks Jesus to pay his taxes o St. Peter upset with tax collector yet Jesus agrees to help. All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/30/16. o Fishes for a fish that hold his needed money in its mouth. o Linear perspective is present as everything recedes to Jesus’ head o Atmospheric perspective and back ground blurs details with distance o Fresco Fra Angelico, Annunciation, 14301445 o Nickname due to work in church while painting: “angelic Fryer” o First fresco one would see when wakes up and goes to bed o No traditional symbolism seen: no book, lilies, holy spirit; as Italians cut to the point o Characters are big for their space o Mary sits on stool instead of floor o Corinthian columns hold up roman arches o Contemporary interior decoration/architecture o More nature opposed to city background Botticelli, Birth of Venus, 14841486 o Worked for Lorenzo D’Medici who invited artists to come study, hence Botticelli connection o Never married, in love with married woman :: model for Venus o Venus: central figure o Zephier, wind god, blowing to shore o Flora, right figure, hold cloth of springtime to cover nude body o Modest look on Venus’ face, more detail o Horizon line in background o People not actually on ground, not bearing weight o Symbolisms: myrtle flowers in wind along with roses on cloth Piero della Francesca, Battista Sforza and Federio de Monterfeltro, 1474 o Roman emperor style portrait profile o Wife hires Davinci o Man has moles and wrinkles o Wife appears flawless as never seen by artist: idealized appearance Northern influence in wardrobe and hairstyle o Their kingdom seen in background, continuous landscape o Double portrait, matching as they hang together o Women painted first to hide right side of man as he lost his right eye in a joust o He remains dominant through bright colored wardrobe and height. All of the following material derived from Dr. Moench’s ARH 202 lecture on Friday 8/30/16. Mantegna, Camera Picta 14651475 o Lead painter of Northern Italy in last half of 15 century o Ceiling fresco said to be lifelike hence title o Trompe l’oeil: tricks the eye to think it’s real “as seen from below” o Potti: chubby baby angels playing on circle, looks like they could fall o Exotic bird o Venice represented by man in turban highlighting trade connections