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Ch 21 Renaissance quatrocento italy

expulsion of adam and eve from eden (brancacci chapel in florence)
-stumble blindly expelled from eden
-hazy backgroud=no specific location but
-cry from eve voices anguish
-substantial body weight
brunelleschi created which two architectural commissions?
dome on florence cathedral
design hospital degli innocenti (hospital of the innocents-orphanage)
hospital degli innocenti
-across from church (madonna would watch over infants)
-first building to embody new renaissance architectural style
-cubical segments (10 wide, tall, deep)
-color scheme- all white stucco, grey stone w/ blue roudels terrracotta baby in swaddled clothes
pazzi chapel
by brunelleschi
-part of santa croce church, monks chapter house
-one of first independent renaissance central plan buildings
-capels were burial sites and spaces for liturgical celebrations/commemorative services
chapels served what purpose for patrons?
expressions of piety and devotion, and donors to enhance their stature in community
battista sforza & frederico da montefeltro
piero della francesca
portrait of Federico with deceased wife
-combine profile views of roman coins w/ flemish landscape portraiture
-concealed disfigured right side of the face
Foreshortened Christ
by andrea mantegna
-perspective
-seems realstic, but feet had to be reduced in size
-intensely poignant bible tragedy depiction
Mantegna
master of perspective
St. Mark (statue in San Michele, Florence)
Donatello
-introduced contraposto back into quattrocento sculpture
-drapery falls naturally & moves w/ body
-first renaissance statue that doesn’t conceal but actually accentuates movement of arms, legs, shoulders and hips
Feast of Herod (panel on baptismal front of siena cathedral)
by donatello
-marks intro of rationalized perspective space
-two arched courtyards show the open space in distance
rationalized perspective
made possible scale drawings, maps, charts, graphs, and diagrams (foundation for modern science and technology)
isaac and his sons (from florence baptistry “gates of paradise”)
ghiberti
-used linear perspective to create the illusion of distance
-also used sculptural aerial perspective (forms less distinct the deeper they are in space)
-vanishing point on central axis of composition
David
donatello
-revival of freestanding nude, contraposto
-david was a symbol of the florentine republic
-sensuous beauty of the greek gods
gattamelata
Donatello
grandest/most costly quattrocento portraits in roman tradition
-over life size bronze equestrian statues
-stands on a lofty base, apart from it’s surroundings (celebrates liberation of sculpture from architecture)
-human is actually proportionate to his horse–> shows might by force of character instead of sheer size
-dauntless resolution and unshakeable will
tribute money (fresco in brancacci chapel)
by masaccio
-story divided into three parts (inventive arrangement- circular around Jesus in spacious landscape)
-figures have greater psychological/physical credibility
-light comes from a source outside the picture
-illusion of deep scuptural relief
-suggest bones, muscles and pression and tension of joints (living, real and natural)
-perspective, vanishing point, and decreases brightness of colors to represent distance
birth of venus
botticelli
inspired by humanist poem
-revived theme of female nude
-elegant & linear style, romantic representation of venus, born of sea foam
-lightness, bodies move with the wind,
Resurrection
piero della francesca
-roman guards sleep while jesus is resurrected, guards foreshortened
-compositional triangle
-christ’s body is similar to greco-roman nude statues, w/ pastel cloak standing out from dark colors
-portrait-like face features
-tired eyes and somber expression are only indications of suffering
holy trinity
-masaccio
-premier example of application of math to depiction of space w/ perspective
-two levels of height
-donors in paintings
-breath taking illusion (dimensions of chapel can be assumed beecause of how exact his proportions were)
vanishing point is at foot of cross
Annunciation (San Marco)
Fra Angelico
-simple & direct fresco (simplicity & serenity)
-figure/architecture are pristine clarity
-devotional image
David (statue 2)
Verrocchio
-brash confidence
-narrative realism
-sturdy, wiry apprentice in leather w/ jaunty pride
-easy balance of weight, thin and muscular w/ prominent veins (shows he studied psychology of young men)
Camera Picta (painted chamber)
Andrea mantegna
-viewer becomes the viewed–> figures from above look down
-first perspective view of a ceiling from below
-first completely consistent illusionistic decoration of an entire room
-strongly foreshortened angels

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Ch 21 Renaissance quatrocento italy
Artscolumbia
Artscolumbia
expulsion of adam and eve from eden (brancacci chapel in florence)
-stumble blindly expelled from eden -hazy backgroud=no specific location but -cry from eve voices anguish -substantial body weight
brunel
2017-09-06 05:39:43
Ch 21 Renaissance quatrocento italy
$ 13.900 2018-12-31
artscolumbia.org
In stock
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