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Early Italian RenaissanceOriginally created by Mr. Douglas Darracott, Plano West HS Plano, TX
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View of Florence, copy of the Carta della Catena, c.1480
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Left: Lorenzo Ghiberti. Sacrifice of Isaac, competition panel for the east doors of the baptistery of Florence, 1401-2, gilded bronze reliefandRight: Filippo Brunelleschi. Sacrifice of Isaac, competition panel for the east doors of the baptistery of Florence, 1401-2, gilded bronze relief
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Brunelleschi and Ghiberti/ contest sponsored by a guild/ blend of Gothic and classical features/ foreshortening
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Right: Boy Removing a Thorn from his Foot, Roman copy of a Greek original (Augustan period)
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Left: Lorenzo Ghiberti. North doors of the Florence Baptistery, 1403-1424, gilt bronzeBelow: Self-Portrait of Ghiberti, detail of the north doors of the Florence Baptistery
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Nanni di Banco. Quattro Santi Coronati, (Or San Michele, Florence), c. 1408-1414, marble
Nanni di Banco/ Christian sculptors as martyrs/ architectural setting (tabernacle)/ influence of Roman portraiture/ bottega
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Relief below Nanni di Bancos Four Crowned Saints
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Donatello. St. Mark, 1411-13, marble
Donatello/ return of the contrapposto pose/ a humanist emphasis on the individual
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Donatello. Saint George (Or San Michele, Florence), c. 1415-17, marble
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Donatello. Prophet figure (Zuccone) from the campanile of Florence Cathedral, 1423-25, marble
Zuccone/ power of characterization
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Donatello. Saint Louis of Toulouse, c. 1423, bronze
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Donatello. Feast of Herod (Baptistery of San Giovanni, Siena), 1423-27, gilded bronze
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Donatello. David, c. 1428-32, bronze
a symbol of Florence/ the Medici/ the effeminate male as a hero and an object of beauty
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Left: Bust of Antinous from the time of HadrianBelow: Detail of Donatellos David
similarity to classical works (such as that of Antinous)
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Donatello. Annunciation from the Church of Santa Croce (Florence)
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Donatello. Gattamelata, c. 1445-1450, bronze
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Gattamelata (Erasmo da Narni)/ equestrian statue/ the Renaissance individualist/ condotierre/ gorgon
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Donatello. Mary Magdalene, c. 1454-1455, wood
Mary Magdalene/ Donatellos varied approaches to sculpting/ heightened expression favored over classical beauty
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Donatello. Judith and Holofernes, late 1450s, bronze with some gilding
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Judith and Holofernes/ mingling of death and eroticism /a triangular base decorated with scenes of Bacchic revelry/ the defeat of tyranny by virtue expressed after the expulsion of the Medici
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Gentile da Fabriano. Adoration of the Magi, 1423, tempera on wood
Gentile da Fabriano/ Feast of the Ephiphany (January 6)/ the Magi (Caspar, Melchoir, and Balthasar)
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Palla Strozzi/ blend of the International Gothic Style and a new naturalism
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predella
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Masaccio. The Holy Trinity, Santa Maria Novella (Florence) 1425, fresco
Masaccio/ Giorgio Vasari/ application of one-point perspective/ vanishing point/ references to the Trinity/ donors (the Lenzi family)/ a memento mori/ aedicule (framed niche)
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classical symmetry and architectural features (pilasters, coffers, a barrel vault, etc.)
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Masolino, Masaccio, and others. Brancacci Chapel of Santa Maria del Carmine (Florence), c. 1424-7, fresco
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Masaccio. Tribute Money, Brancacci Chapel, Santa Maria del Carmine (Florence) c. 1427
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Brancacci Chapel/ Masolino/ Golden Legend of Jacobus de Voraigne/ tribute money/ chiaroscuro/ foreshortened halos/ influence of Giotto and Nanni di Banco
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horizon line/ atmospheric (or aerial) perspective
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Left: Masaccio. Expulsion of Adam and EveRight: Masolino. Temptation of Adam and Eve
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Left: Medici Venus, 1st century CE, marbleRight: Masaccio. Expulsion of Adam and Eve
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Left: Masolino. Saint Peter PreachingMasaccio. Saint Peter Baptizing
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Left: Masaccio. Saint Peter Healing by the Fall of his ShadowRight: Saint Peter Distributing Alms and the Death of Ananias
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Filippo Brunelleschi. Dome of the Florence Cathedral, 1420-36
Filippo Brunelleschi/ close study of Roman monuments/ strict, but simple, proportions/ tall drum, or cylindrical base/ eight visible ribs/ inner and outer shell/ lantern
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inner and outer shell
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Filippo Brunelleschi. Santo Spirito (Florence) begun c. 1436
Latin cross plan/ use of a square module/ pietra serena/ appeal to reason and intellect
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Left: Plan of Santo Spirito; Right: Interior of Santo Spirito
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Filippo Brunelleschi. San Lorenzo (Florence), 1418 -1466
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Filippo Brunelleschi. Pazzi Chapel (Santa Croce, Florence) begun c. 1440
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centrally-planned chapel/ clarity of architectural structure expressed/ glazed terracotta reliefs/ Luca della Robbia
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Luca della Robbia. Madonna and Child, from Or San Michele (Florence), c. 1455-60, glazed terracotta
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Michelozzo. Palazzo Medici-Riccardi (Florence) begun 1444
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Michelozzo/ Cosimo de Medici/ conservative tastes/ rustication/ cornice/ cortile
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Benozzo Gozzoli. Procession of the Magi (Palazzo Medici-Riccardi), 1459, fresco
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Benozzo Gozzoli/ expression of political interests/ Medici dress (Cosimo and Piero)/ self-portrait of the artist in the crowd
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Medici villas and castles in the landscape
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Lorenzo Ghiberti. The Gates of Paradise, east door, Florence Baptistery, 1424-52, gilt bronze relief
Lorenzo Ghiberti/ paradiso (space between a cathedral and a baptistery)/ relationship to painting and the writings of Alberti/ use of the square panel
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Lorenzo Ghiberti. Genesis, showing the Creation of Adam, the Creation of Eve, the Temptation, and the Expulsion from the Gates of Paradise
schiacciato developed by Donatello
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Lorenzo Ghiberti. Meeting of Solomon and Sheba, from the Gates of Paradise
Solomon and the Queen of Sheba
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Lorenzo Ghiberti. Jacob and Esau, from the Gates of Paradise
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Lorenzo Ghiberti. Detail of Scenes from the life of Joseph from the Gates of Paradise
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Lorenzo Ghiberti. The Baptism of Christ, from the Gates of Paradise
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Jacopo della Quercia. Creation of Adam, detail of the main portal of San Petronio (Bologna), 1425-39
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Jacopo della Quercia. Expulsion of Adam and Eve (left) and Adam and Eve at Work (right), details of the main portal of San Petronio (Bologna), 1425-39
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Paolo Uccello. Battle of San Romano, c. 1455, tempera on wood
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Paolo Uccello/ Battle of San Romano/ Niccolo da Tolentino without a helmet/ tapestry-like richness in the ritual and pageantry of war
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oranges, roses, and pomegranates (symbols of fertility)
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interest in experimenting with perspective and foreshortening
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Paolo Uccello. Drawing of a mazzocchio, 1430s, pen and ink
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Paolo Uccello. Battle of San Romano, c. 1455, tempera on wood
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Left: Andrea del Verrocchio. David, c. 1465-70, bronzeRight: Donatellos David
Andrea del Verrocchio/ use of an open form/ assertive depiction of an adolescent
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Kufesque script
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Andrea del Verrocchio. Doubting Thomas (Or San Michele in Florence), c. 1466-1467, bronze
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Andrea del Verrocchio. Bartolommeo Colleoni, (Venice), c. 1483-8, bronze
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Antonio Pollaiuolo. Hercules and Antaeus, c. 1475, bronze
Antonio Pollaiuolo/ Hercules and Antaeus/ abandoning the frontality of medieval sculpture/ combining nudity and Classical subject matter/ small bronzes for humanist art patrons
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Antonio del Pollaiuolo and Piero del Pollaiuolo. The Martyrdom of Saint Sebastian, c. 1475, oil on wood
St. Sebastian/ a variety of poses/ ecorche
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Antonio Pollaiuolo. Battle of the Ten Nudes, c. 1465, engraving
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Fra Filippo Lippi. Madonna and Child with Angels, c. 1455, tempera on wood
Fra Filippo Lippi/ linear style/ use of models
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Fra Filippo Lippi. Madonna Adoring Christ, 1450s
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Sandro Botticelli. Birth of Venus, c. 1482, tempera on canvas
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Sandro Botticelli/ NeoPlatonism and Marsilio Ficino/ Lorenzo di Pierfrancesco deMedici/ birth of a Venus and the Virgin Mary/ based on the Medici Venus
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Zephrus and Chloris/ intellectual contemplation of beauty
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Sandro Botticelli. Primavera (Spring), c. 1482, tempera on canvas
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sacred and profane visions of Venus/ Flora and the arrival of spring/ Mars and his caduceus/ a halo of laurel
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the three Graces and a blind Cupid
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a study of botany
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Unicorn at the Fountain, from the Hunt of the Unicorn series, c. 1498-1500, tapestry
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Sandro Botticelli. Adoration of the Magi, 1470s, tempera on panel
elevation of sacred figures over secular personages/ crumbling stones and a peacock/ self-portrait of an artist gazing out toward us
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Right: Sandro Botticelli. Portrait of a Youth, early 1480s, tempera on panelBelow: Detail of Madonna del Magnificant, c. 1480s
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Sandro Botticelli. Madonna of the Pomegranate, c. 1480, tempera on panel
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Sandro Botticelli. Venus and Mars, c. 1445-1510
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Domenico Veneziano. Saint Lucy Altarpiece, c. 1445, oil on panel
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Bernardo Rosselllino. Tomb of Leonardo Bruni (Santa Croce, Florence, Italy), c. 1445-1450, marble
Leonardo Bruni/ mixture of Classical and Christian iconography/ catafalque/ a deceased humanist with a book/ winged genii/ escutcheon
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Domenico Ghirlandaio. Giovanna Tornabuoni (?), 1488, oil and tempera on wood
Domenico Ghirlandaio/ profile portrait/ a quote from classical literature
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Domenico Ghirlandaio. Birth of the Virgin (Cappella Maggiore, Santa Maria Novella), 1485-1490, fresco
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Ludovica Tornabuoni in center stage/ secularization of sacred themes/ rational order /
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Studiolo of Federico da Montefeltro at the Ducal Palace in Urbino, 1476 grotesque style/ intarsia with the artists signature
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Domenico Ghirlandaio. Adoration of the Shepherds, 1485
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Melozzo da Forli. Pope Sixtus IV, His Nephews, and the Librarian Platina, 1480-81, fresco
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Leon Battista Alberti. Palazzo Rucellai (Florence), c. 1452-70
Leon Battista Alberti/ referencing the Colosseum/ flat vs. recessed faade/ supercolumniation (placing one order above another)/ ashlar masonry/ an architectural metaphor for the city
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Leon Battista Alberti. Santa Maria Novella (Florence) c. 1458-1470
continued application of the square module/ scroll buttresses/ Dominican solar emblems/ reliance on Vitruvius
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Leon Battista Alberti. SantAndrea (Mantua) designed c. 1470
combined Roman architectural motifs/ colossal order/the artist emerging as an intellectual
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absence of side aisles/ wide barrel vault with coffers
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Plan of SantAndrea (Mantua), begun 1472
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Fra Angelico. Annunciation from San Marco (Florence), c. 1440-45, fresco
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Fra Angelico/ life in a Dominican monastery/ influence of Brunelleschi in the loggia/ enclosed garden and crossed hands
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Fra Angelico. Mocking of Christ with the Virgin and St. Dominic at San Marco (Florence), 1438-1445
an austere, surreal setting in a simple cell/ disembodied head and hands
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Fra Angelico. Annunciation (with St. Peter at the left) at San Marco (Florence), 1438-1445
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Andrea del Castagno. Last Supper, from the refectory of SantApollonia (Florence), 1447, fresco
Andrea del Castagno/ recession of space in a refectory
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inscriptions of the names of the disciples/ panels of colored marble
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Left: Andrea del Castagno. The Youthful David, c. 1448, leather mounted on woodRight: Andrea del Castagno. Pippo Spano, 1449-51, fresco
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Andrea del Castagno. Niccolo da Tolentino, Florence Cathedral, 1456, fresco
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Luca della Robbia. Madonna and Child, from Or San Michele (Florence), c. 1455-60, glazed terracotta
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Luca della Robbia. Boys singing from a Choir Book, from a Cantoria (singing gallery) at Florence Cathedral
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Andrea della Robbia. Annuniciation (Arezzo)
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Andrea della Robbia. The Ascension (Arezzo)
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View of the Sistine Chapel (Rome)Left: Present-day viewBelow: Reconstruction drawing of the interior of the time of Sixtus IV
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Perugino. Christ Delivering the Keys to the Kingdom (Sistine Chapel, Rome) 1481-83, fresco
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Perugino/ expression of the churchs authority in a classical setting (Petrine Doctrine) / Sixtus IV
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Attribute (keys of St. Peter)/ antique structures referencing Solomon and Constantine
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Biblical figures alongside contemporary figures
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Botticellis Punishment of Korah
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Perugino. Baptism of Christ, (Sistine Chapel, Rome) 1481-83, fresco
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Andrea Mantegna. Camera degli Sposi, 1474, frescoes
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Andrea Mantegna/ Camera degli Sposi/ portraits of Roman emperors
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di sotto in su/ putti and a peacock in an oculus
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Ludovico Gonzaga and his family at the court of Mantua/ Vittorino da Feltre and the uomo universale
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Andrea Mantegna. Saint Sebastian, 1450s-1470s.
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Andrea Mantegna. Dead Christ, c. 1501, tempera on canvas
foreshortening/ emphasis on Christs wounds
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Andrea Mantegna. St. James Led to Martyrdom, from the Ovetari Chapel (Padua), c. 1455 (now destroyed)
St. James/ interest in the archeological past/ challenging problems with perspective
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Andrea Mantegna. Parnassus, c. 1499-1502, tempera on canvas
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Piero della Francesca. Baptism of Christ, c. 1452-53, tempera on panel
Piero della Francesca/ divine composition: the square and the circle/ John the Baptist and three angels/ distant Italian landscape of Sansepolcro/ qualities of light and serenity
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three angels separated by a tree
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Luciano Laurana. Ducal Palace at Urbino, begun c. 1465
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Anonymous. Ideal City, late 15th century, tempera on panel
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Piero della Francesca. Flagellation of Christ, c. 1460, oil and tempera on panel
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flagellation of Christ/ an architectonic composition
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Piero della Francesca. Battista Sforza and Federico da Montefeltro, c. 1472, oil and tempera on panel
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the court of Urbino/Federico de Montefeltro/ Battista Sforza, recently deceased
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diptych/ portraits suggesting rank and status/ influence of Northern (Flemish) painting
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triumphal processions with allegorical personifications
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Piero della Francesca. Brera Altarpiece, c. 1472-1474, oil on panel
sacra conversazione/ absence of Battista Sforza/ volumetric construction of form/ a coral necklace, a scalloped shell, and an egg
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Piero della Francesca. Resurrection, Palazzo Comunale (Borgo San Sepolcro ) c. 1463, fresco
rebirth and resurrection in a secular setting
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Christ as a vertical axis
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Piero della Francesca. Finding of the True Cross and Proving of the True Cross (San Francesco, Arezzo), c. 1455, fresco
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Luca Signorelli. Damned Cast into Hell (Orvieto Cathedral), 1499-1504, fresco
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Luca Signorelli/ Girolamo Savonarola
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Luca Signorelli. Detail from the Apocalypse (Orvieto Cathedral), 1499-1504, fresco
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Left: Luca Signorelli. Detail showing self-portrait and that of a monk (Fra Angelico?) Below: Resurrection of the Flesh (Orvieto), fresco
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inspired by Dante and lingering medieval traditions
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bold images of the human form
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Early Italian Renaissance
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