The RenaissanceThe Renaissance

Chapter 13Chapter 13

Part 2Part 2

Renaissance ArtRenaissance Art

Differed from Medieval ArtDiffered from Medieval Art

Italian Art differed from that in Italian Art differed from that in Northern EuropeNorthern Europe

Medieval ArtMedieval Art Medieval PaintingMedieval Painting

Usually religious scenes and themesUsually religious scenes and themes Idealized with stylized and generic facesIdealized with stylized and generic faces Purpose: to convey the essence of the topicPurpose: to convey the essence of the topic Flat; one-dimensionalFlat; one-dimensional

Medieval SculptureMedieval Sculpture Relief rather than free-standingRelief rather than free-standing Stiff and idealizedStiff and idealized

Medieval Architecture Medieval Architecture Romanesque to Romanesque to GothicGothic:: Pointed arches, spires, busy details, no Pointed arches, spires, busy details, no

symmetrysymmetry

Italian Renaissance Italian Renaissance PaintingPainting

Classical model:Classical model: Often Religious scenes BUTOften Religious scenes BUT Secular themesSecular themes Showcased unique and distinctive Showcased unique and distinctive

individualsindividuals NOT generic or stylizedNOT generic or stylized Faces expressed emotionFaces expressed emotion Three-dimensional due to: shading, use Three-dimensional due to: shading, use

of color, perspectiveof color, perspective

Italian Renaissance Art

Sculpture: free-standing Nude Copied classical (Greek and

Roman) models Celebrated individuals; not

religion

Italian Renaissance Art

Architecture: Classical models Rounded arches Balance Square Angles Symmetry Domes Restraint during the High Renaissance

New Techniques

Perspective: delivered a 3-demensional effect

Chiaroscuro: The use of dark and light colors to give the impression of depth

Sfumato: Blurring or softening of lines (da Vinci)

New Techniques

In sculpture…Contrapposto: a more natural stance with one foot in front of the other

In Northern Europe More detail…especially in the background More emotion than Italians Used Oil-Based paint ( the Italians used

tempura but will borrow the oil-based from the North)

Frequently a preoccupation with death

North was less classical & more religious Reflected Christian Humanism

The Italian Renaissance Began…

In the Quatracento (1400’s) In Florence The Medici’s were among the first

with Donatello’s David for Lorenzo’s wedding

Then the Sforza's of Milan commissioned da Vinci’s Last Supper

Donatello’s David

Donatello

The first artist since antiquity to sculpt a free-standing nude figure

da Vinci’s The Last Supper

da Vinci’s Mona Lisa

da Vinci…a true Renaissance Man

Artist Inventor You name it

Patronage…

Was one way to flaunt one’s wealth Artists worked by accepting

commissions Artists were respected and paid well Artists were sometimes seen as

geniuses

Local churches were also patrons of the arts

Brunelleschi’s Il Duomo was built for Santa Maria

del Fiore Cathedral

Il Duomo

The largest dome in Europe in its time

Brunelleschi was called the Father of Perspective

Ghiberti’s two sets of doors were for Santa Maria del

Fiore’s baptistery

The Door Panels

Were called the Gates of Paradise by Michelangelo

Ghiberti won a contest against Brunelleschi and won the right to sculpt the bronze doors

Michelangelo’s David was intended for this baptistery

Giotto

Was considered the first Renaissance Painter

Three Panels The Lamentation

Giotto’s Lamentation

Michelangelo’s David

By the Cinquecento (1500’s)

Rome was the leader Renaissance popes spent big bucks:

Alexander VI Julius II Leo X

Commissioned by the Church:

Michelangelo’s:

Dome at St. Peter’s Cathedral Ceiling of the Sistine Chapel The Pieta

Michelangelo’s Dome at St. Peter’s

Michelangelo’s Ceiling of the Sistine Chapel

Michelangelo’s Pieta

The Pieta

At St. Peter’s Cathedral Considered to be the most perfect

marble statue ever

Raphael

Was a student of Michelangelo and da Vinci

Painted LOTS of the Madonna and Child

But also…School of Athens

Raphael’s School of Athens

Masaccio

The first painter of the Renaissance to portray real, nude human figures in three dimensions

Note the use of perspective

The Expulsion of Adam and Eve

Botticelli’s Birth of VenusNote the contrapposto

Titian

The greatest painter of the Venetian school

Titian’s The Presentation of the

Virgin