chapter seventeen renaissance artists. “the eye, which is called the window of the soul, is the...
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Chapter Seventeen
Renaissance Artists
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“The eye, which is called the window of the soul, is the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature.”
Leonardo da Vinci
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Early Renaissance (1400-1490)
Florence: the Medici High Renaissance (1490-1530)
Rome: the Pope
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http://portal.chaminade-stl.com/Portals/87/renaissance%20italy.jpg
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Early Renaissance1. patronage2. the artist as hero and genius3. the revival of the classical
nude
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New Techniques of Spatial Illusionism
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Perspective Filippo Brunelleschi developed the laws of
perspective. Masaccio was among the first to use Brun
elleschi's rules to achieve the illusion of perspective in his paintings.
Leon Battista Alberti theorized the method in the book On Painting
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Definition Perspective in art is a method of graphically
depicting three-dimensional objects and spatial relationships in two-dimensional planes.
The illusion of depth in a painting, drawing, or graphic is created using the perspective method.
Perspective is based on elementary laws of optics: objects in the distance appear smaller and less distinct than objects that are near.
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http://www.getty.edu/art/exhibitions/geometry/images/linear_perspective.jpg
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Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, ca. 1426-1427.
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http://www.nexusjournal.com/images_number1/Talbot20.gif
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Basic principles of linear perspective. http://mh1.xplana.com/imagevault/upload/d5c59e51fe4d99d1ac9e.jpg
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http://www2.evansville.edu/studiochalkboard/ap-aerial.html
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Aerial or atmospheric interference with visual perception causes loss of contrast, detail and sharp focus. The effect, which Leonardo called "the perspective of disappearance," tends to make objects seem to take on a blue-gray middle value as they increase in distance. This effect is used by film makers to give the illusion of great depth, but can be used to great effect by painters and draughtsmen. The illustration above shows loss of color saturation, contrast, and detail as the cubes fall further away from the viewer.
http://www2.evansville.edu/studiochalkboard/ap-aerial.html
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Aerial Perspective
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Aerial Perspective
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Masaccio, The Tribute of Money, ca. 1425. http://www.wga.hu/art/m/masaccio/brancacc/tribute/tribute.jpg
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Chiaroscuro
The arrangement or treatment of the light and dark parts in a pictorial work of art
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IntarsiaMosaics made of pieces of inlaid wood
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Ghiberti, Baptistery of San Giovanni, FlorenceSolomon and the Queen of Sheba: Relief from the Doors of Paradise, 1425–52 http://www.bluffton.edu/~sullivanm/italy/florence/ghibertiparadise/0118solomon.jpg
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http://www.bluffton.edu/~sullivanm/italy/florence/ghibertiparadise/0123doors.jpg
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Leonardo
da Vinci
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More haze
Some haze
A feeling of distance
The Virgin of the Rocks
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The Last Supper
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Mona Lisa(La Gioconda)
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The Venetian SchoolGiovanni Bellini (c. 1430-151
6)Giorgione (c. 1478-1510)Titian (c. 1490-1576)
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The Venetian SchoolCharacteristics
Their art reflected the luxurious life of Venice.
Their aim was to appeal to the senses, not the mind.
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Giorgione, Pastoral Concert
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Titian, Venus of Urbino
masterful blends colors
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Raphael
composition:
1. Clarity
2. Harmony
3. Unity of design
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Circle
triangle
Trapezoid
Raphael, Alba Madonna
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Raphael, the School of Athens
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RAPHAEL. The Disputa. 1509
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Michelangelo, Sistine Chapel ceiling
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Painted between 1508 to 1512Nine scenes from the Book of
GenesisSeven Old Testament prophetsFive sibyls, as well as four
corners and eight triangular areas also containing scenes.
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Creation of Adam God and Man Equal in size and
muscular grace The moment of
fulfillment sought by Adam
Potential divinity of humankind
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Michelangelo, the Last Judgment, 1536
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Nude vs. Naked“A naked body has to be seen
as an object in order to become a nude.”
“Nakedness reveals itself. Nudity is placed on display.”
(John Berger, Ways of Seeing, 1972)
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In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man. Everything is addressed to him. Everything must appear to be the result of his being there. It is for him that the figures have assumed their nudity. But he, by definition, is a stranger—with his clothes still on.
(John Berger, Ways of Seeing, 1972)
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http://www.loudounsymphony.org/image/birth-of-venus-lg.jpg
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http://www.kingsborough.edu/academicDepartments/art/gallery/Aguerrilla.htm
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The Renaissance Portrait
Two reasons:The desire to immortalize oneself by wa
y of one’s physical appearanceThe wish to publicize one’s greatness
in the traditional manner of Greek and Roman antiquity
(Fiero 401)
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Jan van Eyck, Marriage of Giovanni Anolfini and His Bride, 1434
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http://gallery.euroweb.hu/html/e/eyck_van/jan/15arnolf/
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The mirror is the focal point of the whole composition. It has often been noted that two tiny figures can be seen reflected in it, their image captured as they cross the threshold of the room. They are the painter himself and a young man, perhaps arriving to act as witnesses to the marriage. The essential point, however, is the fact that the convex mirror is able to absorb and reflect in a single image both the floor and the ceiling of the room, as well as the sky and the garden outside, both of which are otherwise barely visible through the side window. The mirror thus acts as a sort of hole in the texture of space. It sucks the entire visual world into itself, transforming it into a representation. http://gallery.euroweb.hu/html/e/eyck_van/jan/15arnolf/15arnol3.html
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Jan van Eyck, Man in a Turban1433
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Jan van Eyck, Portrait of Margareta van Eyck, 1439
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Jan van Eyck, The Virgin of Chancellor Rolin, 1435http://gallery.euroweb.hu/html/e/eyck_van/jan/02page/index.html
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Sculpture
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http://www.thais.it/scultura/image/sch00009.jpg
“Indeed, in this tribute to male beauty, Donatello rejected the medieval view of the human body as the wellspring of sin and anticipated the modern Western exaltation of the body as the seat of pleasure” (Fiero 395).
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Pieta Lifeless Jesus
held by young Virgin
Protective pyramidal shape
Monumental statement on the meaning of Christian Sacrifice
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Mother Mary is represented very young, three possible reasons:
1. incorruptible purity
2. Perhaps Mary was Jesus’ daughter, like all of humanity is, but is also his mother.
3. Viewer is actually looking at an image of Mary holding the baby Jesus
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Renaissance Architecture
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Florence Cathedral (Santa Maria del Fiore, called the Duomo), dome, 1420–36, by Filippo Brunelleschi (1377–1436)
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S. Maria Novella by Leon Battista Alberti, at Florence, Italy, 1456 to 1470. http://www.greatbuildings.com/cgi-bin/gbi.cgi/S._Maria_Novella.html/cid_2461243.gbi
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http://www.wga.hu/frames-e.html?/html/m/michelan/5archite/late/index.html
Dome of St Peter's1564, Basilica di San Pietro, Vatican
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http://mh1.xplana.com/imagevault/upload/53a2d52aaa9e29f1f4c8.jpg Leon Battista Alberti. Interior of Sant'Andrea, Mantua, Italy. Designed 1470.
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Leon Battista Alberti. Façade of Sant'Andrea, Mantua. Designed 1470 http://mh1.xplana.com/imagevault/upload/4117920caf37d8508c26.jpg
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Leon Battista Alberti. Façade of Sant'Andrea, Mantua. Designed 1470 http://mh1.xplana.com/imagevault/upload/888d4c817e45c5fdb825.jpg
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The End