The Reinassance: Painting
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Transcript of The Reinassance: Painting
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THE RENAISSANCE: PAINTING
María Jesús Camposlearningfromhistory.wikispaces.com
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HISTORICAL CONTEXT Independent Italian
States Bourgeoisie:
traders, bankers Rome as the centre
of Christianity Patronage
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RENAISSANCE: GENERAL CHARACTERISTICS Revival of Classical Greek and
Roman Culture Anthropocentrism: Humans
became the centre of philosophical and artistic reflection
Rationalism and critical thinking: explain the world through science and rational thinking (end of theocentrism)
Importance of knowledge: intellectual curiosity, new techniques
Desire to create order, proportion and harmony.
Use of math and rationality: scale and proportion
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CHRONOLOGY Trecento (14th century): evolution and remains
from Gothic style Quattrocento (15th century): harmony and
proportion Cinquecento (16th century): expansion through
Europe Mannerism (from 1530 till the Baroque): dramatic
effects, harmony and proportion are abandoned…
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PAINTING
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PAINTING
Harmony Realism Idealism and serenity: ideal
beauty, physical and spiritual beauty.
Anthropocentrism: anatomy of the human body. Nudes. The body reflects the feelings.
Balance and proportion: symmetry, piramidal composition.
Peace and pleasure. Optimism
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Perspective: to give depth and volumen to scenes, objects and figures.
Perspective in painting: placing the figures in different planes and using landscapes or achitectural features in the most distant ones. Linear Perspective:
arranging the elements on imaginary lines which converge at a vanishing point at the back.
Aerial perspective: blurring the background so it appears further away or using contrasts of light and shadow to créate volumen (chiaroscuro).
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New techniques and materials Painting:
Frescoes: walls Tempera: wooden panels Oil technique: cloth canvasses.
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Subjects: Religious Classical Antiquity:
mythology (nudes) Portraits Nature, landscapes,
buildings, cities…
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PAINTING
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CUATROCENTO
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MASSACCIO: LA TRINIDAD
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MASSACCIO: CAP. BRANCACCI “EL TRIBUTO DE LA MONEDA”
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FRA ANGELICO: LA ANUNCIACIÓN
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GHIRLANDAIO: RETRATO DE ANCIANO CON SU NIETO
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SANDRO BOTTICELLI: LA PRIMAVERA
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SANDRO BOTTICELLI: EL NACIMIENTO DE VENUS
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BOTTICELLI: ANUNCIACIÓN
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PIERO DE LA FRANCESCA: DUQUES DE URBINO
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ANDREA MANTEGNA: CRISTO YACENTE
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CINQUECENTO
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LEONARDO DA VINCI: LA VIRGEN DE LAS ROCAS
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LEONARDO: LA GIOCONDA (LOUVRE) / GIOCONDA DEL MUSEO PRADO
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LEONARDO, “LA DAMA DEL ARMIÑO”
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LEONARDO DA VINCI: LA ÚLTIMA CENA (MILÁN)
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LEONARDO: LA ANUNCIACIÓN
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MIGUEL ANGEL: LA CAPILLA SIXTINA
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RAFAEL: LOS DESPOSORIOS DE LA VIRGEN
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RAFAEL: LA ESCUELA DE ATENAS
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RAFAEL: EL CARDENAL (MUSEO DEL PRADO) / LA VIRGEN DEL JILGUERO
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VENETIAN SCHOOL
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GIORGIONE “VENUS DORMIDA”
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TIZIANO: VENUS CON EL AMOR Y LA MÚSICA
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TIZIANO “ DANAE Y LA LLUVIA DE ORO”
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TIZIANO : “CARLOS V EN LA BATALLA DE MÜHLBERG”
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TIZIANO: “FELIPE II “ / “CABALLERO DE AZUL”
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TINTORETTO “EL LAVATORIO”
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VERONÉS “LAS BODAS DE CANÁ”
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“LAS BODAS DE CANÁ”DETALLE
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REINASSANCE INFLUENCE IN EUROPE:
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VAN DER WEYDEN, “EL DESCENDIMIENTO” (GOTHIC-REINASSANCE)
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ALBERTO DURERO, “AUTORRETRATO” (CINQUECENTO GERMANY)
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ALBERTO DURERO, “LIEBRE” / “ADAN Y EVA”
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EL GRECO, “EL EXPOLIO DE CRISTO” (MANIERISMO)
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EL GRECO, “EL ENTIERRO DEL CONDE ORGAZ”
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EL GRECO, “EL CABALLERO DE LA MANO EN EL PECHO” / “LA DAMA DE ARMIÑO” ¿GRECO?
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EL GRECO, “VISTA DE TOLEDO”
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Developed by María Jesús CamposChusteacherwikiteacher