A Comparison of Art from Medieval to the Renaissance

A Comparison of Art from Medieval to the Renaissance

We start with:

Late Medieval Art

Á Giotto, ca 1288-92?

Á Tempera on wood and ground gold.

St. Francis’ Rule Approved

Á Giotto, 1302 ca.

Á Tempera on wood and ground gold.

The Lamentation

The Crucifixion

Á Giotto, 1305 ca.

Á Tempera on wood and ground gold.

Medieval Art = Religious Themes

ÁGiotto, 1320 ca.

ÁTempera on wood and ground gold.

The Epiphany

1. Realism & Expression

� Expulsion fromthe Garden

� Masaccio

� 1427

� First nudes sinceclassical times.

2. Perspective

Perspective!Perspective!Perspective!

Perspective!Perspective!

First use of linear

perspective!

Perspective!Perspective!

� The Trinity

� Masaccio

� 1427

What you are, I once was; what I am, you will

become.

3. Classicism

� Greco-Roman influence.

� Secularism.

� Humanism.

� Individualism free standing figures.

� Symmetry/BalanceThe “Classical Pose”

Medici “Venus” (1c)

4. Emphasis on Individualism� Batista Sforza & Federico de Montefeltre:

The Duke & Dutchess of Urbino

� Piero della Francesca, 1465-1466.

5. Geometrical Arrangement of

Figures� The Dreyfus Madonna with the Pomegranate

� Leonardo da Vinci

� 1469

� The figure as architecture!

6. Light & Shadowing/Softening

Edges

Chiaroscuro

Sfumato

7. Artists as Personalities/Celebrities

� Lives of the Most Excellent Painters, Sculptors, andArchitects

� Giorgio Vasari

� 1550

� David by Donatello

� 1430

The Liberation of Sculpture

3 Ninja Turtles!!!3 Ninja Turtles!!!

1. Self-Portrait -- da Vinci, 1512

1452 - 1519

� Artist

� Sculptor

� Architect

� Scientist

� Engineer

� Inventor

Leonardo, the Artist

� The Virgin of the Rocks

� Leonardo daVinci

� 1483-1486

The Last Supper - da Vinci, 1498& Geometry

horizontal

vert

ical

Perspective!

The Last Supper - da Vinci, 1498

� Detail of Jesus

� The Last Supper

� Leonardo da Vinci

� 1498

Deterioration

Leonardo, the Sculptor

� An Equestrian Statue

� 1516-1518

Leonardo, the Architect:Pages from his Notebook

� Study of a central church.

� 1488

2. Michelangelo Buonorrati

� 1475 – 1564

� He represented the body in three dimensions of sculpture.

� David

� MichelangeloBuonarotti

� 1504

� Marble

15c

16c

What

a

difference

a

century

makes!

� The Pieta

� MichelangeloBuonarroti

� 1499

� marble

The Popes as Patrons of the Arts

The Sistine Chapel

Michelangelo Buonarroti

1508 - 1512

The Sistine Chapel’s Ceiling

Michelangelo Buonarroti1508 - 1512

The Sistine Chapel Details

The Creation

of the Heavens

The Sistine Chapel Details

Creation of Man

The Sistine Chapel Details

The Fall from Grace

The Sistine Chapel Details

The Last Judgment

3. Raffaello Sanzio (1483-1520)

Self-Portrait, 1506 Portrait of the Artist with a Friend, 1518

Baldassare Castiglione by Raphael,

1514-1515� Castiglione

represented the humanist “gentleman” as a man of refinement and self-control.

Perspective!

Perspective!

Betrothal

of the Virgin

Raphael

1504

The School of Athens – Raphael, 1510 -11

Raphael

Da Vinci

Michelangelo

Aristotle:looks to thisearth [thehere and

now].

Plato:looks to theheavens [or

the IDEALrealm].

The School of Athens – Raphael, details

Averroes

Hypatia

Pythagoras

Zoroaster

Ptolemy

Euclid

Pope Leo X with Cardinal Giulio deMedici and Luigi De Rossi by Raphael, 1518-1519� A Medici Pope.

� He went through the Vatican treasury in a year!

� His extravagances offended even some cardinals [as well as Martin Luther!].

� Started selling indulgences.

Birth of Venus – Botticelli, 1485

An attempt to depict perfect beauty.

, Should not be considered an appendage to Italian art.

, -But, Italian influence was strong.-Painting in OIL developed in

Flanders, was widely adopted in Italy.

, -The differences between the two cultures:Italy change was inspired by

humanism with its emphasis on the revival of the values of classical antiquity.

Northern Europe change was driven by religious reform, the return to Christian values, and the revolt against the authority of the Church.

, CHARACTERISTICS:, -More princes & kings were patrons of artists.

, -The continuation of late medieval attention to details.

, -Tendency toward realism & naturalism [less emphasis on the “classical ideal”].

, -Interest in landscapes.

, -More emphasis on middle-class and peasant life.

, -Details of domestic interiors.

, -Great skill in portraiture.

Jan van Eyck (1395 – 1441)Jan van Eyck (1395 – 1441)

, The Virgin and Chancellor Rolin, 1435.

Giovanni Arnolfini and His

Wife

(Wedding Portrait)

Jan Van

Eyck

1434

Jan van Eyck - Giovanni Arnolfini & His Wife

Jan van Eyck - Giovanni Arnolfini & His Wife

Rogier van der Weyden (1399-1464)

Rogier van der Weyden (1399-1464)

The Depositio

n

1435

van der Weyden’s Deposition (details)van der Weyden’s

Deposition (details)

Quentin Massys (1465-1530)

Quentin Massys (1465-1530)

Massys’ The Moneylender & His Wife, 1514

, A new phase of Italian influence in France began with the French invasions of the Italian peninsula that began in 1494.

, -The most important royal patron was Francis I. -Actively encouraged humanistic

learning. -Invited da Vinci and Andrea del Sarto

to France. -He collected paintings by the great

Italian masters like Titian, Raphael, and Michelangelo.

Jean Clouet – Portrait of Francis I, 1525

Jean Clouet – Portrait of Francis I, 1525

Lucas Cranach the Elder (1472-1553)

Lucas Cranach the Elder (1472-1553)

, Court painter at Wittenberg from 1505-1553.

, His best portraits were of Martin Luther (to the left).

Matthias Grünewald (1470-1528)

Matthias Grünewald (1470-1528)

, -Converted to Lutheranism.

, -Possibly involved in the Peasants’ Revolt on the peasants side.

, -Depictions of intense emotion, especially painful emotion.

, The Mocking of Christ, 1503

Albrecht Dürer (1471-1528)

Albrecht Dürer (1471-1528), Self-Portrait at 26, 1498.

Dürer – Self-Portrait in Fur-Collared Robe, 1500

Dürer – Self-Portrait in Fur-Collared Robe, 1500

Dürer

The Last Supper

woodcut, 1510

Dürer

The Last Supper

woodcut, 1510

Durer – The Triumphal Arch, 1515-1517

Durer – The Triumphal Arch, 1515-1517

The Triumphal Arch, details

The Triumphal Arch, details

The Triumphal Arch, details

The Triumphal Arch, details

Dürer

FourHorsemen

of theApocalyps

e

woodcut, 1498

Dürer

FourHorsemen

of theApocalyps

e

woodcut, 1498

Hans Holbein, the Younger (1497-1543)

Hans Holbein, the Younger (1497-1543)

, -One of the great German artists who did most of his work in England.

, -While in Basel, he befriended Erasmus.

, -Henry VIII was his patron from 1536.

, Great portraitist noted for: Objectivity &

detachment. Doesn’t conceal

the weaknesses of his subjects.

, Erasmus Writing, 1523

Artist to the TudorsArtist to the Tudors

Henry VIII (left), 1540 and the future Edward VI (above), 1543.

Holbein’s, The Ambassadors, 1533

Holbein’s, The Ambassadors, 1533

A Skull

Multiple PerspectivesMultiple Perspectives

Pieter Bruegel the Elder (1525-1569)

Pieter Bruegel the Elder (1525-1569)

, One of the greatest artistic geniuses of his

age.

, Worked in Antwerp and then moved to

Brussels.

, In touch with a circle of Erasmian

humanists.

, Was deeply concerned with human vice

and follies.

, A lot of his work is biblical…parables

Bruegel’s, The Triumph of Death, 1562

Bruegel’s, The Triumph of Death, 1562

Bruegel’s, Hunters in the Snow, 1565

Bruegel’s, Hunters in the Snow, 1565

Bruegel’s, Winter Scene, 1565

Bruegel’s, Winter Scene, 1565

Bruegel’s, The Harvesters, 1565

Bruegel’s, The Harvesters, 1565

, master of landscapes; not a portraitist.

-People in his works often have round, blank, heavy faces.

-They are expressionless, mindless, and sometimes malicious.

See The Beggars – next slide

Bruegel’s, The Beggars, 1568

Bruegel’s, The Beggars, 1568

ConclusionsConclusions, The artistic production of Northern

Europe in the 16c was vast, rich, and complex.

, The Northern Renaissance ended with a Mannerist phase, which lasted a generation longer in the North than it did in Italy, where it was outmoded by 1600.

, Mannerism = maniera – style, Distorted figures and exaggerated

musculature and heightened color to express emotionTitian – master of color – Vivid Red & BlueMichalangelo – Last Judgement