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    Renaissance Art, pictures

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    St. Mark's Basilica, Venice, rebuilt 1060
    St. Mark’s Basilica, Venice, rebuilt 1060
    greek cross ground plan influenced by church of apostles in constantinople, modeled on byzantine prototype, late gothic decoration, marble gives visual expression to success/wealth, scene of transferring Mark’s body here, bronze horses brought from constantinople as booty after 4th crusade, porphyry tetrarchs
    S. Marco interior, Venice
    S. Marco interior, Venice
    5 domes supported by round arches rested on piers, compare with hagia sophia, marble floor opus sectile design
    Pala d'Oro altarpiece, S Marco
    Pala d’Oro altarpiece, S Marco
    gold, gem studded, byzantine craftsmanship, gothic statue altarscreen
    Doge's Palace, Venice, 1340-late 1400s
    Doge’s Palace, Venice, 1340-late 1400s
    gothic style emphasizes link with n europe through commerce, less masculine than on in florence giving effect of society being serene and welcoming
    Porta della Carta, entrance to Doge's Palace
    Porta della Carta, entrance to Doge’s Palace
    byzantine, doge kneeling in front of st mark winged lion
    The Cathedral, Siena, Giovanni Pisano, 1299
    The Cathedral, Siena, Giovanni Pisano, 1299
    visual expression to beliefs, civic pride, political identity, black and white stone of siena sets apart from rest of city, extremely gothic, french influence, projecting statues, competition with florence prompts expansion
    Siena Cathedral Pulpit, Nicola Pisano, 1268
    Siena Cathedral Pulpit, Nicola Pisano, 1268
    similar to his in pisa but more accommodating of siena demands, less classicizing more gothic
    Maesta, Agostinio di Duccio, 1311, siena cathedral altarpiece
    Maesta, Agostinio di Duccio, 1311, siena cathedral altarpiece
    earth shattering, double sided, virgin is the protector centrally enthroned, rich decoration, elongated to show importance, 4 surrounding alters devoted to her
    Siena Cathedral interior
    Siena Cathedral interior
    depictions of the virgin, see selves as citizens of republic devoted to her, political agenda
    The Palazzo Pubblico, 1310
    The Palazzo Pubblico, 1310
    built for common good, public spirited nature shows benign mother state looking after children, fountain for public use, prominent bell tower summoned council and announced time to the citizens
    Allegory of Good Government/The Good City, Ambrogio Lorenzetti, 1338, Sala del Nove, palazzo pubblico
    Allegory of Good Government/The Good City, Ambrogio Lorenzetti, 1338, Sala del Nove, palazzo pubblico
    common good attended by civic and theological virtues, citizens connect justice to the common good, justice unifies while ben commune governs by following virtues; impact of this government is smooth functioning and happiness when justice rules
    Maesta, Simone Martini, 1315, sala del consiglio, palazzo pubblico
    Maesta, Simone Martini, 1315, sala del consiglio, palazzo pubblico
    not as grand as duccio’s but still patriotic, not to promote a citizen but ennoble virgin in thanks, speaks to democrats making sure they make honest laws and not overpower the weak
    Tempio Malatestiano, LB Alberti, 1450, Rimini (incomplete)
    Tempio Malatestiano, LB Alberti, 1450, Rimini (incomplete)
    commissioned by sigismondo to show his significance, white marble shows connection to rome, classicizing design incorporates antique roman forms of triumphal arch and the aqueduct, sarcophagi in side arches, imperial victory
    Tempio Malatestiano interior, Duccio, chapel of st. sigismund/the ancestors/music-making angels, tomb of isotta degli atti
    Tempio Malatestiano interior, Duccio, chapel of st. sigismund/the ancestors/music-making angels, tomb of isotta degli atti
    gold, lapis lazry, stone interior give sense of richness; painting of sigismondo and his saint display his worth endorsed by higher power
    Palazzo Ducale, Francesco Laurana, Francesco Martini, 1468+, Urbino
    Palazzo Ducale, Francesco Laurana, Francesco Martini, 1468+, Urbino
    commissioned by federigo montefeltro, reflection of his outlook, palace and city at one, harmony in materials, proportion, inviting doors of public, good design can elevate society
    Palazzo Ducale courtyard, Urbino
    Palazzo Ducale courtyard, Urbino
    open and inviting, precise measurement, unlike fortress nature of Sigismondo’s castle that kept people out, interior dedicated to holy ghost, a wooded study with manuscripts and paintings of famous men
    sforza castle, sala delle asse ceiling fresco, da vinci, 1498, milan
    sforza castle, sala delle asse ceiling fresco, da vinci, 1498, milan
    covered in trees suggesting viewer is outside, courtly language and metaphor used shows da vinci was more suited as court artist, this position contributed to growing status of the artist in society
    portrait of cecilia gallerani, da vinci, 1490, milan
    portrait of cecilia gallerani, da vinci, 1490, milan
    the favorite mistress of ludovico, she invited leo to intellectual meetings, holds an ermine a symbol of ludovico, emerges from darkness, evokes personality, unlike typical solemn portraits of women with sharp profile and no individuality, leo gives more than the usual here
    the last supper, da vinci, 1498, refectory of santa maria delle grazie, milan
    the last supper, da vinci, 1498, refectory of santa maria delle grazie, milan
    did not survive test of time, geometry used to show room extending into wall, spacious sense, opportunity to explore human response/gesture
    castlenuovo, 1450s, naples
    castlenuovo, 1450s, naples
    commissioned by alfonso, in tune with late architecture of aragon influenced by french, interior with spanish design and amazing vault system, gothic tendencies
    Arch of Alfonso, 1466, white marble, triumphal monument/castle gate/cenotaph, naples, compare with arch of titus in rome
    Arch of Alfonso, 1466, white marble, triumphal monument/castle gate/cenotaph, naples, compare with arch of titus in rome
    classicizing, immortalizes alfonso’s victorious entry into naples, shows his embodiment of cardinal virtues, wants to be honored so makes it seem like he is an emperor
    samson and delilah
    Mantegna, 1490, ferrara, for isabella d’este; manifestation of men, done in a single color to give sculptural effect, example of strong women
    pallas expelling the vices, mantegna, 1499, ferrara
    pallas expelling the vices, mantegna, 1499, ferrara
    for isabella, call of women having to assert self against inferior views, tree=virtue deserted, 3 virtues in sky, prudence imprisoned, izzy rushing to garden
    pernassus, mantegna, 1497, ferrara
    pernassus, mantegna, 1497, ferrara
    place governed by apollo that promotes learning/art, dancing muses in center
    garden of peaceful arts, allegory of the court of isabella d’este
    lorenzo costa, 1504; isabella is thought to be the lady being crowned, protected by gods, sheltered from battle by music/art/literature/learning, gives sense of her ambition
    Mantegna, camera degli sposi, castello s giorgio, palazzo ducale, mantua
    Mantegna, camera degli sposi, castello s giorgio, palazzo ducale, mantua
    transformed space with perspective, views of gonzaga court life, subtle self references in association with gonzaga show his intelligence and status
    ludovico gonzaga and his court, mantegna, 1474, mantua
    ludovico gonzaga and his court, mantegna, 1474, mantua
    seated are most distinguished, court dressed in red and white tights, depicts moment when servant tells ludovico the good news of son’s arrival as cardinal
    ceiling of camera degli sposi, mantegna, mantua
    ceiling of camera degli sposi, mantegna, mantua
    portrait of the first 8 roman emperors and reliefs of the deeds of classical heroes; virtual oculus shows genius and command of what the eye sees, in tune with illusionism we read in writings
    s andrea basilica, LB Alberti, 1470s, mantua
    s andrea basilica, LB Alberti, 1470s, mantua
    large, spacious, barrel vaulted, inspired by roman basilica, contains mantegna’s chapel in association with gonzaga, thinking of his legacy, expression to his excellence, proclaims to be greater than greek world greatest painter, underlines development of artistic status which he achieves

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    Renaissance Art, pictures. (2017, Sep 04). Retrieved from https://artscolumbia.org/renaissance-art-pictures-14305/

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