THE RENAISSANCE. THE EARLY RENAISSANCE EXTERIOR OF BAPTISTRY.
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Transcript of THE RENAISSANCE. THE EARLY RENAISSANCE EXTERIOR OF BAPTISTRY.
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THE RENAISSANCE
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THE EARLY RENAISSANCE
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EXTERIOR OF BAPTISTRY
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D
U
O
M
O
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THE BAPTISTRY DOORS
LORENZO GHIBERTI
1435 EACH PANEL
– 21 X 17
NATIONAL MUSEUM, FLORENCE
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DETAIL OF BAPTISTRY DOOR
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THE MADONNA IN MAJESTY
CIMABUE
1285 – 1286
UFFIZI GALLERY, FLORENCE
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MADONNA & CHILD ENTHRONED
GIOTTO
1305 – 1310
UFFIZI GALLERY, FLORENCE
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THE MADONNA AND CHILD Masaccio 1426 Tempera on panel 24.5 x 18 cm Uffizi, Florence
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THE EXPULSION OF ADAM AND EVE
Masaccio 1426-1428 Fresco 208 x 88 cm Brancacci Chapel,
Florence
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Brancacci Chapel
Masaccio
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DAVID
DONATELLO 1430-1432 62 1/4” NATIONAL
MUSEUM, FLORENCE
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DETAIL OF DAVID
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MAGDALEN
DONATELLO 1454-1455 6’2” BAPTISTRY,
FLORENCE
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MAGDALEN-DETAIL
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RESURRECTION
Piero della Francesca
1463-1465 Mural in fresco 225 x 200 cm Pinacoteca
Comunale, Sansepolcro
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•Perspective and geometry figure both prominently and subtly in all Piero's works.
•He liked to organize large, plain masses of color in patterns which suggest an underlying geometrical scheme. That gives his paintings the unfinished look which moderns like.
•There are always large areas of white or near-white in his works, the skies are big, light and sunny, and this pleasing radiance, combined with the absence of meticulous clutter, makes his paintings enormously attractive to our eyes. All this was carefully considered and deliberate
•We see that Piero was fond of the square format. Here's another example, for this painting is essentially square, being about 10% higher than it is wide.
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Stillness: The square format, as we've seen before, gives a mood of overall stillness. This static quality is enhanced by locating Christ exactly on center. Arnheim says that Christ's frontal symmetry makes him look like a statue. Christ is static but the guards appear restless. Their tilted heads are a perfect foil for the riveting head of Christ.
Vertical Zones: The central vertical divides the scene with Winter on left, summer on right. The rebirth of nature is here probably a symbol for rebirth of Christ.
Horizontal Zones: Similarly, the painting is divided into three horizontal bands. Christ occupies the middle band, his head and shoulders reaching into the upper band of sky. His figure unites earth and the heaven. The guards are in the zone below the line marked by Christ's foot.
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THE FLAGELLATION
Piero della Francesca
1455 Oil and tempera on
panel 58.4 x 81.5 cm Galleria Nazionale
delle Marche, Urbino
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In his finest work, the wonderfully light and sparkling Flagellation in the Ducal Palace, Urbino, Christ and his tormentors have been pushed into
the background, while three unrelated figures, who are not even watching the scourging, dominate the scene.
"No picture could exude a more pronounced air of geometric
control and no painting was ever more scrupulously planned."
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Geometry of The FlagellationThe diagonal AE of that square passes through the
V, vanishing point of perspective.Further, in square ATVK we see that arc KT from A cuts the diagonal at Christ's head, F, halfway up
the painting. Thus Christ's head is at the center of the original square ASED.
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THE LATE RENAISSANCE
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Annunciation
Da Vinci Uffizi Gallery 1472-1475 98 x 217 cm
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Perspective
Da Vinci: Annunciation
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THE LAST SUPPER
LEONARDO DA VINCI
FLORENTINE 1495-1498 181 X 346 1/2” MILAN
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LAST SUPPER-RESTORED
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First to depict acting as real people
Greatest ex. Of one point perspective – all lines to Jesus head
Looking across the picture from left to right:
• Bartholomew, James Minor and Andrew form a group of three. All are aghast, Andrew to the point of holding his hands up in a "stop!" gesture.
• Judas, Peter and John form the next group of three. Judas, you will note, has his face in shadow and is clutching a small bag (of silver?). Peter is visibly angry and a feminine-looking John seems about to swoon.
• Christ is the calm in the midst of the storm.
• Thomas, James Major and Philip are next. Thomas is clearly agitated, James Major stunned and Philip seems to be seeking clarification.
• Matthew, Thaddeus and Simon comprise the last group of three figures. It appears that, when a situation turns ugly, Simon is the "go to" guy for explanations.
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Castagno 1445-50
Architecture has a strangely oppressive effect on the figures
B/c perspective was devised before diners painted
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MONA LISA
LEONARDO DA VINCI FLORENTINE 1503-1505 30 1/4 X 21” THE LOUVRE, PARIS
http://library.thinkquest.org/13681/data/link2.htm
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THE VIRGIN OF THE ROCKS
Leonardo Da Vinci 1503-1506 6 x 4 ft National Gallery,
LondonThe sfumato (haze) creates a sense of peculiar warmth
and intimacy-more of a poetic vision
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THE VIRGIN OF THE ROCKS Leonardo Da Vinci 1483-1486 Oil on panel 199 x 122 cm Louvre, Paris
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The Da Vinci Code, written by the American novelist Dan Brown, it is claimed the earlier Louvre version contained hidden symbolism which contradicted orthodox Christian belief,
– notably the fact that Jesus is shown praying to John rather than the other way round
– (the novel implies that the baby at the left must be Jesus rather than John, because he is with the Madonna).
– It is also claimed that the Virgin appears to be holding an invisible head and that
– Gabriel appears to be "slicing the neck" with his finger. For this reason the painting was rejected by the Church, and a second, more orthodox, version was painted.
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London Paris
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Vitruvian Man(Man of Perfect Proportions)
– Leonardo Da Vinci– 1492– Pen and Ink– Accademia, Venice– 13 ½ x 9 ½
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Other Example of Da Vinci’s Notebook
Flying Machine Walk on Water
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THE ASSUMPTION OF
THE VIRGIN Correggio 1525 Fresco Parma Cathedral,
Parma, Italy
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SIS
TIN
E C
HA
PE
L
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CEILING OF THE
SISTINE CHAPEL
MICHELANGELO FLORENTINE 1508-1512 THE VATICAN,
ROME
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Ancestors Prophets Genesis Scenes Prophets Ancestors
Death of Haman
Jonah and the Whale Moses & Brass Serpeant
Jeremiah Separation of light from darkness
Libica
Solomon Creation of Sun, Moon, and Planets
Jesse
Persica Separation of Land from Water
Daniel
Roboam Creation of Adam Asa
Ezekiel Creation of Eve Cumaea
Ozias Temptation and Expulsion Ezekias
Erythraea Sacrifice of Noah Isaih
Zorobabel The Flood Josiah
Joel Drunkeness of Noah Delphic Sibyl
David & Goliath
Zachariah Juidith & HoloPhernes
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THE CREATION OF ADAM
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FALL OF MAN
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EXPULSION
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DELPHIC SIBYL
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THE LAST JUDGMENT
MICHELANGELO 1535-1544 ALTAR WALL,
SISTINE CHAPEL, VATICAN CITY
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THE LAST JUDGMENT
DETAIL-CHRIST
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THE LAST JUDGMENT-DETAILS
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THE LAST JUDGMENT-FLAYED SKIN DETAIL
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DAVID
MICHELANGELO 1501-1504 161” ACCADEMIA,
FLORENCE
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DIVAD
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PIETA
MICHELANGELO 1498-1499 68 X 76” ST PETER’S, Vatican City
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PIETA-DETAIL
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Moses
• Michelangelo
•1508-16 and 1542-45, marble
•height 7 ft 8 ½
•San Pietro in Vincoli, Rome. •This sculpture is at the base of Pope Julius II's mausoleum. [Detail of the head of Moses. Moses's horns derive from a long tradition in which horns were symbolic of divinity in Near Eastern and Nordic cultures.]
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THE DYING SLAVE
Michelangelo 1513-1515 7’6 Louvre
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THE REBELLIOUS
SLAVE Michelangelo 1513-1515 7 5/8 ft Louvre
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THE ASSUMPTION OF
THE VIRGIN TITIAN VENETIAN 1516-1518 269 X 140” VENICE
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RAPE OF EUROPA
Titian 1559-1562 Oil on canvas 185 x 205 cm Isabella Stewart
Gardner Museum, Boston
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SCHOOL OF ATHENS
RAPHAEL URBINO 1509-1511 THE
VATICAN PALACE, ROME
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SOCRATES
PLATO & ARISTOTLE
ZENO EPICURUS
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RAPHAEL
EUCLIDZOROASTER & PTOLEMY
PYTHOGARUS
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SISTINE MADONNA Raphael 1513 – 1514 Oil on panel Dresden Gallery,
Dresden, Germany
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In the Mother's arms is the Divine Child, with those strange, far-away-looking eyes that casual visitors so little understand—eyes that even in babyhood seem reading the future, and beginning to see the greatness of the world's sorrow. Kneeling on one side, below them, is St. Sixtus, the nearest perfect of all pictures of strong and venerable age that was ever painted; on the other side Santa Barbara, only less beautiful than the Virgin, is kneeling, with eyes turned from the glory too bright for mortals to look upon. At the bottom of the canvas are the two cherub faces which for centuries have been ideals of innocence and loveliness. The background is of fleecy clouds, and peering out of the clouds are angel faces. It has been said that Raphael never painted anything exactly as it was, but always idealized whatever he touched.
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St. Jerome Punishing the Heretic Sabinian
Raphael Italian 1503 NC Museum
of Art
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BIRTH OF VENUS
SANDRO BOTTICELLI
1485 68 X 109 IN
UFFIZI GALLERY, FLORENCE
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ALLEGORY OF SPRING (LA PRIMAVERA)
Sandro Botticelli 1477-1478 10’4 x 6’9 Uffizi, Florence
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The Adoration of the Child
Sandro Botticelli 1500 NC Museum of
Art
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The Assumption of the Virgin
Lodovico Caracci Italian about 1586-7 NC Museum of Art
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Madonna and Child in a Landscape
Giovanni Battista Cima da Conegliano
Italian, about 1496-99
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The Northern Renaissance
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ARNOLFINI WEDDING PORTRAIT Jan Van Eyck 1434 Oil on wood 31 ¼ x 23 1/s in National Gallery,
London
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Frame is inset with 10 miniature
medallions depicting scenes from life of Christ. Includes VanEyck’s self
portrait and another man
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All seeing eye of GodTaking place on
holy ground
faithfulness
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ERASMUS
Hans Holbein the Younger
1523 43 x 33 cm Louvre
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The Last Supper
Hans Holbein the Younger
1524-1525 Limewood 115 x 97 cm Kunstmuseum,
Öffentliche Kunstsammlung, Basle
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PEASANT WEDDING
Pieter Bruegel the Elder
1568 Oil on wood 45 x 64 ½ in Kunsthistorisches
Museum, Vienna
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Not PHeasant Wedding
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PEASANT DANCE
Pieter Bruegel the Elder
1568 Oil on oak panel 114 x 164 cm Kunshtistorishes
Museum Wien, Vienna
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Self Portrait at Twenty-Seven
Albrecht Durer 1498 Oil on wood 20 ½ x 16 Prado Museum,
Madrid
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Self-Portrait at 28
Albrecht Durer 1500
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The Adoration of the Magi
Albrecht Durer 1504 Uffizi, Florence