BELL RINGER – 9/17 m.socrative.com – Room 38178 OR Bell
Ringer Card
QUESTION: Short Answer The word “Renaissance” translates
to... If you know the answer, put what you know. If you’re not sure, take a guess. Today, as long
as you HAVE an answer, you’ll get the points I do NOT have your binder grades added up or in the gradebook yet. They HAVE all been checked, the scores just need to be tallied. With my surgery and the conference yesterday I just haven’t gotten to them yet. You will DEFINITELY have them by the end of the week – sorry for the delay! Most of them were GREAT!
INTRODUCTION TO THE RENAISSANCE
INTRODUCTION TO THE RENAISSANCE Renaissance = “rebirth”
Rebirth of our understanding of ourselves as social and creative beings
Florence, the crucible of the Italian Renaissance, was called the “New Athens” Liberal arts were first redefined as art – not
“craft” as they were in the Middle Ages
INTRODUCTION TO THE RENAISSANCE Arts became an essential part of
learning
Artists, architects, composers, and writers gained confidence from their new status and from the technical mastery they were achieving
It seemed possible to surpass the works of the classical world
INTRODUCTION TO THE RENAISSANCE Renaissance describes a new sense of
self and self-awareness
Where and how the Renaissance began, and what specifically it was, is as difficult as answering the question of where and how it ended – if it ended at all!
INTRODUCTION TO THE RENAISSANCE The rebirth of ideas began in the 1400s
after centuries of stagnation
In Italy, there was a new spirit of inquiry and understanding – the classical world of Greece and Rome again became the inspiration for a superior civilization
INTRODUCTION TO THE RENAISSANCE The Renaissance was really 3 periods,
each with its own circumstances and characteristics Early Renaissance – in Florence High Renaissance – in Rome and Venice Late Renaissance – occurred outside Italy
in the northern European states.
THE EARLY RENAISSANCE Florence, Italy
Men and women felt they had found kindred spirits in the Greeks and Romans
The Greeks gave an idealized model of humankind that could be expressed in painting and sculpture
Ideas of nobility, intellect, and physical perfection led to new conceptions of what constituted beauty
ANTIQUITY Scholars pursued an understanding of classical art and
architecture They became enamored with measuring things
Scientific curiosity and concern for detail led to a fascination with anatomy
Scientific investigation led to a new system of mechanical perspective
All this measuring and codifying produced a set of rules for proportion and balance Unity, form, and perfect proportion were codified as a set of laws
THE PAPAL STATES Papal States: large area of central Italy
Middle of 15th century
The Renaissance popes expended great time, wealth, and energy in consolidating the Papal States Often included diplomacy and war Filled papal offices with loyal relatives
The Renaissance popes were great patrons of Renaissance artists and ideas
THE PAPAL STATES Benefits from the Renaissance popes were
mostly in worldly realms as opposed to spiritual
Vatican Library: filled with priceless manuscripts, brought major scholars to Rome, and supported research
Rome became one of the most beautiful cities of the world
EARLY RENAISSANCE ARTPainting
EARLY RENAISSANCE PAINTING CHARACTERISTICS
Highly realistic linear perspective
Treated paintings as a window into space Paintings will appear deep
Painters used realistic light, shadow, and, most of all, human anatomy
Desire to depict the beauty of nature and human form
MASACCIO (MAH-ZAH-COH) 1401-1429 (died of malaria)
Employs deep space and rational perspective in his figures Was one of the first to give us perspective
Fresco: technique of painting on a moist, plaster surface with colors ground up in water Common throughout the Renaissance (along with some
tempera panels)
Summoned in 1425 to create a series of frescoes for the Brancacci Chapel of the Church of Santa Maria del Carmine in Florence (religion supporting the arts)
MASACCIO Deep perspective is used to create
dramatic contrasts – gives solidity to the figures and unifies the paintings
Figures are strong, detailed, and very human
Compositions carefully hold the parts of the painting subordinate to the whole.
MASACCIO – THE HOLY TRINITY
MASACCIO – THE HOLY TRINITY Full frontal, single vanishing point
perspective Things get smaller as they approach
the vanishing point
Precise anatomical detail and accuracy
Places the crucified Christ at the center Similar to medieval artwork
The barrel vault recedes dramatically creating deep space, as if we were gazing up into 3-dimensional space
FRA ANGELICO (AHN-JAY-LEE-KOH) 1400-1455
Became an accomplished painter before taking vows in the Dominican Order
Numerous works
Took things one step further than Massacio
FRA ANGELICO - ANNUNCIATION
FRA ANGELICO - ANNUNCIATION An Angel comes
to Mary
Divides the canvas into thirds
The arches occupy two-thirds of the work
The rest is the receding arcade
FRA ANGELICO - ANNUNCIATION The Angel’s
words are printed to appear to come out of his mouth
Mary’s response is written upside down so that it must be read from Mary toward the angel
FRA ANGELICO - ANNUNCIATION Angelico’s figures
are 3D, though only slightly
Highlight and shadow contrasts are minimum, but there
Deep space – arcade recedes to a vanishing point on an imagined horizon
LATE 15TH CENTURY The essences of new art were well known and
well established, and it was now time for further exploration in other avenues
Lyrical expression, more poetic than anything thus far Up to this point EVERYTHING was done for the church
Botticelli – 1445-1510 The first major Renaissance artist to venture back
into the stories of the Greek and Roman Gods Our first “secular” artist
BOTTICELLI – LA PRIMAVERA
BOTTICELLI – LA PRIMAVERA Unconcerned
with deep space
Forms emerge through outline
Subjects carry their own emotion: contemplation, sadness or happiness
BOTTICELLI – LA PRIMAVERA Human, but
mythical
Anatomically quite simple, but realistic
Little detailed musculature Mostly covered
by clothing
3D figures, but seem to be floating in space
BOTTICELLI – THE BIRTH OF VENUS
BOTTICELLI – THE BIRTH OF VENUS Depicts the
mythical birth of Venus from the sea
Symbolizes the birth of beauty in the minds of humankind with ideas fertilized by divinity
BOTTICELLI – THE BIRTH OF VENUS Weight
seems to be suspended not in or even on the shell, rather held in place almost magically by unseen forces
Wind god blows her to shore
BOTTICELLI – THE BIRTH OF VENUS Some deep
space
Realistic anatomy, muscular details
Realistic light and shading
EARLY RENAISSANCE ARTSCULPTURE AND ARCHITECTURE
SCULPTURE Freestanding sculpture is dominant
Scientific inquiry and an interest in anatomy are reflected Obsessed with measuring things – new rules for proportion
The nude, full of character and charged with energy, reappears for the first time since ancient times As you saw in Botticelli’s “Birth of Venus”
Human form was approached layer by layer, through an understanding of its skeletal and muscular framework Even when clothed, sculpture revealed the body under the
surface
DONATELLO 1386-1466
Saw life and reality in terms much different from his predecessors and contemporaries
Was fascinated by the optical qualities of form and by the intense inner life of his subjects
Amazingly dramatic and forceful works
DONATELLO’S DAVID The first freestanding nude
since ancient times His most famous work!
Partially clothed – boots, helmet
Facial expression reflects a lifelike human quality
Asymmetrical stance
Symbolizes Christ’s triumph over Satan (David’s triumph over Goliath)
DAVID
He stands on Goliath’s head
DONATELLO’S DAVID Clear muscular detail
Individual pose and emotion
Correct proportions/anatomy
Filled with action and strength
MAJOR BREAKTHROUGH Another major breakthrough of Renaissance art
came in the discovery of principles for depicting perspective mechanically and naturalistically
Produces a visually convincing and attractive means of depicting objects in space
Subjects will have qualities that give them a relationship to the distant horizon
GHIBERTI’S THE GATES OF PARADISE
East doors of the Florence Baptistery
GHIBERTI’S THE GATES OF PARADISE
GHIBERTI’S THE GATES OF PARADISE
GHIBERTI’S THE GATES OF PARADISE
GHIBERTI’S THE GATES OF PARADISE
GHIBERTI’S THE GATE’S OF PARADISE
Commissioned in 1425
Bears 10 scenes
Ghiberti freely uses each as if it were the canvas of a painting
Perspective is employed to give sculpture a totally new sense of deep space
GHIBERTI’S THE GATE’S OF PARADISE Each panel depicts
an incident from the Old Testament
Scenes take on remarkable senses of space
The Story of Jacob and Esau -->
GHIBERTI’S THE STORY OF JACOB AND ESAU
Beautiful surfaces are created with delicate and careful exact detail
Receding arcades to portray depth and perspective
Took Ghiberti 21 years to complete the entire gates
ARCHITECTURE Architects became concerned with reviving
classical models, but did so along mechanical lines Measured ruins of Roman buildings and translated
proportions to Renaissance buildings
Renaissance architects applied classical detail to a wide range of forms and structures
Radical change in the outer expression of structure Supporting elements, (such as posts, masonry, and
arches) are hidden from view.
FILIPPO BRUNELLESCHI’S DOME OF THE CATHEDRAL OF FLORENCE
Brunelleschi spent 3 years completing a model
Was hired after the overall plan of the cathedral was already in place (and built) – could not be changed
Plan included an octagonal base for the dome itself
FILIPPO BRUNELLESCHI’S DOME OF THE CATHEDRAL OF FLORENCE
Eight massive ribs, like the spokes of an umbrella, are designed to admit light into the interior
Marble lantern on top holds it all together
Built from 1420-1436
FILIPPO BRUNELLESCHI’S DOME OF THE CATHEDRAL OF FLORENCE
Rises 180 feet into the air – apparent from both the inside and out
Structural considerations are subordinate
• Inspired by the Pantheon
• Pantheon’s dome is impressive only from the inside. Its exterior support clutters the visual experience outside.
FILIPPO BRUNELLESCHI’S DOME OF THE CATHEDRAL OF FLORENCE
The inside, painted by Bonainuto
NAME THE PAINTING & ARTIST Part of your quizzes/tests this period will require you to
IDENITIFY specific important pieces of artwork
To prepare you for this, we will run through them often in class before you’re ever quizzed/tested on them
A painting will appear – write down the NAME AND ARTIST to the best of your knowledge. We will go over the answers on the second pass. Please keep them to yourself the first time. THIS WILL NOT BE GRADED – IT IS PRACTICE!
ARTWORK? ARTIST?
PAINTING? ARTIST?
Artwork?
Artist?
PAINTING? ARTIST?
PAINTING? ARTIST?
ARTWORK? ARTIST?
PAINTING? ARTIST?
ANSWERS Let’s go over the answers!
THE GATES OF PARADISE - GHIBERTI
THE HOLY TRINITY - MASSACIO
David
By Donatello
THE BIRTH OF VENICE - BOTTICELLI
LA PRIMAVERA - BOTTICELLI
THE DOME OF THE CATHEDRAL OF FLORENCE - BRUNELLESCHI
ANNUNCIATION – FRA ANGELICO
CLASS ACTIVITY – CATCH UP Complete your crossword puzzle from
Wednesday
Complete your vanishing point drawing
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