Quattrocento esculturaypintura
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QUATTROCENTO.Escultura y Pintura
Historia del Arte. 2º BachilleratoI.E.S. Alonso de Madrigal
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Introducción: Recuperación de la estatuaria clásica. Recuperación de la representación naturalista del cuerpo
humano. Estudio meticuloso de la anatomía humana. No imitándola sino mejorándola:
◦ Con la composición armoniosa mediante el uso de formas suaves.◦ Un conocimiento de la perspectiva, sobre todo en el relieve.
La escultura se independiza del marco arquitectónico. Se utiliza gran variedad de materiales: mármol, bronce,
terracota, madera... Los temas adquieren una enorme variedad:
◦ Mitológicos.◦ Religiosos.◦ Retrato.◦ Ecuestres.
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Lorenzo Ghiberti (1378-1455)
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El concurso de 1401 para la decoración de las segundas puertas del baptisterio de Florencia. Participan J. de La Quercia, Lorenzo Ghiberti y Filippo Brunelleschi. El tema del concurso-competición: el sacrificio de Isaac. ¿A quién elegirías tú? ¿por qué?
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Este fue el vencedor
Sacrificio de Isaac. L. Ghiberti.
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El tema de la puerta está dedicado al
Nuevo Testamento, la vida de Cristo y
símbolos de la Iglesia Católica
Puerta Norte del Baptisterio de Florencia.
Bronce dorado. 1424
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Bautismo de CristoDetalle de la Puerta Norte.Las escenas se insertabanen un espacio lobulado declara tradición medieval.
Las formas curvilíneas delas figuras y la blandura del
modelado evidencian laimpronta gótica de estas
primeras puertas.
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Puerta del Paraíso
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Caín y Abel
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Donatello (1386-1466)
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Decoración de las hornacinas del campanario de la Catedral de Florencia
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PROFETA ABACUC
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San Juan Evangelista San Marcos
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Oratorio de San Miguel. Florencia.
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San Jorge
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Relieve: “la Muerte del Dragón”
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Tumba del antipapa Juan
XXIII
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Tumba del Cardenal Rainaldo Brancacci
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Púlpito de la Catedral
del Prato
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Cantoría de la Catedral de Florencia
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Milagros de San Antonio. Padua. (Milagro del corazón del avaro)
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PINTURA
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Temas de la pintura del Quattrocento italianoTemas de la pintura del Quattrocento italiano
ReligiososReligiosos Son los más abundantesSon los más abundantes Tratado desde un punto de vista más humanoTratado desde un punto de vista más humano
Se quiere destacar la calidad de las personasSe quiere destacar la calidad de las personas Su significación dentro de los designios divinosSu significación dentro de los designios divinos Cristo es valorado como hombre:Cristo es valorado como hombre:
Resaltan los pasajes donde aparece su Resaltan los pasajes donde aparece su humanidad.humanidad.
Relación con su madreRelación con su madre Relaciones con aquellos que convivieron con Relaciones con aquellos que convivieron con
ÉlÉl.. Encuadrarlo dentro de su marco históricoEncuadrarlo dentro de su marco histórico
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Temas de la pintura del Quattrocento italianoTemas de la pintura del Quattrocento italiano
El Retrato: El Retrato: Se independiza de los cuadros religiosos: donante Se independiza de los cuadros religiosos: donante Causas:Causas:
La dignidad del hombreLa dignidad del hombre El individualismoEl individualismo Influencia romanaInfluencia romana
MedallasMedallas Relieves Relieves Excavaciones arquelógicasExcavaciones arquelógicas
Malatesta, de Piero Malatesta, de Piero della Francescadella Francesca
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Temas de la pintura del Quattrocento italianoTemas de la pintura del Quattrocento italiano
Mitológicos: Mitológicos: Excavaciones arqueológicasExcavaciones arqueológicas Influencia de la Antigüedad clásicaInfluencia de la Antigüedad clásica Neoplatonismo que concilia:Neoplatonismo que concilia:
Cultura grecolatinaCultura grecolatina Cultura cristianaCultura cristiana Carácter moralizanteCarácter moralizante
Héroes mitológicos y personajes históricos: modelo Héroes mitológicos y personajes históricos: modelo de virtudesde virtudes
Alegorías de ideas, sentimientos y fuerzas de la Alegorías de ideas, sentimientos y fuerzas de la naturaleza con su propio lenguajenaturaleza con su propio lenguaje
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Fra Angélico (1400-1455)
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Masaccio (1401-1428)
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Capilla Brancacci
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LA TRINIDAD
Iglesia de Sta. María Novella
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La Trinidad
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LA REDUCCIÓN DEL ESPACIO PROFUNDO AL PLANO. LA PERSPECTIVA LINEAL.
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DETALLES DE LA VIRGEN Y DE SAN JUAN
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Piero della Francesca (1429-1492)
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Basílica de San Francisco (Arezzo). Historia de la Veracruz.
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Retratos de F. Montefeltro y Battista Sforza (1466)
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Retratos de F. Montefeltro y Battista Sforza. Parte posterior. (1466)
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PIERO della FRANCESCASacra conversazione. Pala Brera. 1472-1474.
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Sandro Botticelli (1447-1510)
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La Primavera, 1477-78 (Una alegoría sobre el amor platónico)Temple sobre tabla. 315 x 205 cm - Galleria degli Uffizi, Florencia
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EL NACIMIENTO DE VENUS, c. 1485Temple sobre lienzo, 172.5 x 278.5 cm. Galleria degli Uffizi, Florencia
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PALAS DOMANDO AL CENTAURO, Temple sobre lienzo Sandro Boticelli. (1482)
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Madonna del Magnificat
1480-81Temple sobre tabla,
diámetro 118 cmGalleria degli Uffizi, Florencia
La armonía compositiva es un elemento fundamental en su estilo
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LA ADORACIÓN DE LOS MAGOS c. 1475Temple sobre tabla, 111 x 134 cm. Galleria degli Uffizi, Florencia
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