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Late Medieval Renaissance Week 3 Lecture 1 & 2

by: amanda Notetaker

Late Medieval Renaissance Week 3 Lecture 1 & 2 ARTH 2302 - 001

Marketplace > Texas State University > Art History > ARTH 2302 - 001 > Late Medieval Renaissance Week 3 Lecture 1 2
amanda Notetaker
Texas State
GPA 3.25

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About this Document

Late Medieval and Early Renaissance in France 15th Century Italy, Mantua and Florence
Ren Mod Art
Kathryn B. Moore
Class Notes
ArtHistory, Art, history, quattrocentro, florence, ghiberti, Brunelleschi, masaccio, donatello
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This 5 page Class Notes was uploaded by amanda Notetaker on Tuesday September 20, 2016. The Class Notes belongs to ARTH 2302 - 001 at Texas State University taught by Kathryn B. Moore in Fall 2016. Since its upload, it has received 7 views. For similar materials see Ren Mod Art in Art History at Texas State University.

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Date Created: 09/20/16
WEEK 3 LECTURE 1 LATE MED & EARLY REN WRAPPED UP SLIDE 53 Van Eyke Man in Red Turban = illusionism and the latin writing on the painting shows his consciousness SLIDE 54 Giovanni Arnolfini and his Bride- fools viewer into looking into a 3D world SLIDE 58 Celebrating marriage- clogs off SLIDE 54 Dog- marriage and fidelity Bedroom- the red textile = intimate view Notice it’s a painting and not idealized SLIDE 59 Detrus Christus uses convew mirrors like Giovanni Notice the glass objects reflecting light, the textiles on the dress SLIDE 61 Balance= good and evil = the couple looking and judging which also shows his consciousness Slide 62 Hans Memling – man is mayor of Ruge SLIDE 63 Notice Mary seems like woman of this world SLIDE 64 Reversed seen and Eyke SLIDE 62 Notice a degree of realism and seeing what’s on the mayor’s mind Slide 65 FRANCE Oil painting on wood French artists looking to the north WEEK 3 LECTURE 1 RENAISSANCE ITALY 15 century = Quattrocento SLIDE 3 Brunelleschi and Ghiberti dominate Slide 4 Florence held a completion for the bronze casted doors for the Siena Cathedral Bronze doors comes from Ancient Rome Slide 10 Brunelleschi technically series of different castings Slide 12 Boy with a Thorn is a hollow cast bronze example of survival of fall of empire. We know Brunelleschi saw this sculpture because its signed at the bottom left corner Brunelleschi wasn’t chosen as winner because his works were more violent and emotional Slide 14 Ghiberti’s piece has less bronze and was more heroic; less complex Won the competition Brunelleschi gave up on sculpture and moved to architecture. There was another competition with the double shell dome Slide 20 What is perspective? Linear perspective= illusion, takes 2D and uses architecture to make it appear in distance and 3D Slide 21 Brunelleschi rediscovery of 1 point perspective Creates painting on wood and takes a plain mirror and used it to demonstrate the painting he made was equal to vision Eyes being mirrors Slide 23 Examples of 1 point perspective that did survive Ghiberti uses for east doors but in relief Slide 27 Donatello – cast gilded bronze Ground receding and successive spaces (court yard) Slide 28 Masaccio Donor painting Subject matter not new what was revolutionary was that it was full Scale painting Working in fresco Triumphant arch Slide 31 skeleton speaks to viewer = reminder of death (unless faith in the trinity you wont be triumphant over death) Notice the fooling of the eye Slide 32 Brancacci Chapel fresco is why there is an absence of detail Cycle is depicting life of Peter and Christ Slide 34 Expulsion Begins with the story of original sin Casts shadows from single light source 1 point perspective and illusion of the single light source Slide 35 Tribute Money Selects Peter to get fish with coin in mouth Demonstration of devotion to Christ as a leader with a group of men Communal decision making Shadows and one point distance atmospheric perspective ARCHITECTURE BRUNELLESCHI Civic building – orphanage Commissioned for Loggia Slide 43 use of Corinthian order = looking to ancient Greece and Rome = conscious rebirth Turning away from gothic- no pointed arches Slide 45 Church has long rectangular hall framed by two rows of columns and side aisles have small chapels Basilica is limited to these requirements ^ Slide 46 Corinthian monolithic columns Responds to human scale and perspective point of view RENAISSANCE QUATTROCENTRO MANTUA Triumphant arch, engaged columns, pediments <- ancient Roman/Greek inspired Slide 49 massive barrel vault Slide 50 each side chapel made out of own Barrel vault Slide 55 fooled eye 1 created illusion of marble vaults and above appears marble parapet and illusion of one point perspective and foreshortening - human body perspective= foreshortening Slide 57 Mantegna Creates illusion that we’re at his feet WEEK 3 LECTURE 2 Rise of wealthy family that heavily commissions art and takes over Florence Medici Family Slide 6 Palazzo Medici Divided into 3 parts with crowning – cornice Windows with round arch opening and Corinthian and string course All elements of Ancient Rome Slide 9 some local grey stone, Corinthian shafts, perfect square Slide 10 Donatello David First time a private family used this imagery Free standing full scale, that practice had fallen before this after fall of Roman Empire Promoting Renaissance Slide 13 Uses stand to show technique- contrapposto Turned bronze into soft flesh of feathers and curves Slide 16 Birth of Venus Botticelli In a private room because they “crossed the line” Not interested in illusion or one point perspective Poetry, lyrism Slide 19 Primavera Botticelli No specific inspiration completely innovative Venus again Poetic sources Metaphor for cycles of nature and rebirth Slide 24 Fra Angelico more public face of Medici Commissions where monks lived Slide 25 Annunciation Fresco Extreme simplicity Omits streams of words from Gabriel Light fills Mary Slide 27 Palazzo Rucellai Family allied with Modici Asked to take existing palace and do a relief Cornice at top 3 part elevation Added order in between windows <- inspired by coliseum Representation of roman structure


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