Italy

MASACCIO, Holy Trinity, ca. 1424–1427. Fig. 8-23.

ItalyExample:

• Fresco in church, donor portraits

• Applies linear perspective based on location of viewer’s eye

• Illusionistic extension of viewer’s space

• Classical architectural vocabulary MASACCIO, Holy Trinity,

ca. 1424–1427. Fig. 8-23.

Italy

SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Fig. 8-27.

ItalyExample:

• Master of line

• Based on poem by humanist

• Created for Medici

• Mythology

• Venus inspired by classical sculpture

• Revival of female nude

SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Fig. 8-27.

Italy

MICHELOZZO DI BARTOLOMMEO, Palazzo

Medici-Riccardi, 1445. Fig. 8-31.

ItalyExample: • Powerful patron • Rustication on lower

level• Dressed masonry above• Heavy cornice at top• Plan organized around

interior court with round-arched colonnade

• Clarity and rationality of Renaissance forms

MICHELOZZO DI BARTOLOMMEO, Palazzo Medici-Riccardi,

1445. Fig. 8-31.

Italy

LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–1470. Fig. 8-33.

ItalyExample:

• Architectural theorist

• Treatise presents rules of Renaissance architecture

• Application of classical elements

• Temple frontal, scrolls

• Proportional relationships

LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–

1470. Fig. 8-33.

Italy

LEON BATTISTA ALBERTI, Sant’Andrea,

1470. Fig. 8-36.

ItalyExample: • For princely court • Temple frontal and

triumphal arch• Proportional

relationships mean façade too short

• Interior coffered barrel vault

• Colossal order pilasters LEON BATTISTA ALBERTI, Sant’Andrea, Mantua, 1470.

Fig. 8-36.

Italy

ANDREA MANTEGNA, Camera Picta, 1465–1474. Fig. 8-38.

ItalyExample:

• For princely patron

• Propaganda

• Images of court life

• Pictorial illusionism

• Trompe l’oeil oculus painted di sotto in su

• Unified perspectival space

ANDREA MANTEGNA, Camera Picta, 1465–1474. Fig. 8-38.