Humanism and the Allure of AntiquityPART2

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“Masaccio”Tommaso de ser Giovanni de Mone Cassai

Artistic heir of Giotto, but takes space and light one step further into unexplored territory

Dies at age 27 (causes unknown)

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Santa Maria del Carmine

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Brancacci ChapelImages of St. Peter’s life by various artists

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MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x 19’ 7 1/8”.

Tribute MoneyMathew 17:24-27

Tax collector meets Jesus and disciples at the entrance of the Roman town of Capernum, Jesus directs St. Peter to shore of lake Galilee to gather a coin from the mouth of a fish.

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Linear Perspective

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Atmospheric Perspective

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Halos “foreshortened”

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Figural forms (especially the tax collector) suggest bones, muscles, and the pressures on tendons and joints to convey contained energy.

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Chiaroscuro (cast light and shadow)

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Santa Maria Novella

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MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.

Holy Trinity First application of linear perspective and mathematics to a depiction of space.

Ascending pyramid of figures leads viewers from the despair of death to the hope of resurrection and eternal life.

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Mary

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St. John

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Lorenzo Lenzi and Wife

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Drapery modeled with chiaroscuro

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Vanishing point is 5 feet above the ground, roughly eye level.

Rational measured coherence:

If calculated as a real space:Painted vault is 7 feet and the depth of the chapel is 9 feet.

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I once was what you are and what I am you also will be.

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Memento MoriA visual reminder of human mortality.

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Memento MoriToday we might interpret this as a reminder to “seize the day” or live life to it’s fullest, but at the time it is more an exhortation to repent so that one might join the kingdom of heaven.

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DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.

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Medici Palace and Garden entry way

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Contrapposto

overt eroticism

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First freestanding nude since Classical antiquity. Nudity usually associated with shame and sin.

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David vs. GoliathSword vs StoneMilan and Naples vs. FlorenceMilitary might vs. Cultural richness

David represents Florence, the always underdog against the greater powers of Milan(Visconti) and Naples (Ladislaus)

The private sensuality and eroticism are strangely at odds with this public, civic message

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ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.

DONATELLO, Penitent Mary Magdalene, ca. 1455. Painted and gilded wood, 6’ 2” high. Museo dell’Opera del Duomo, Florence.

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Rejection of the material world for a secluded spiritual life

Sculpture acts as a “moral conscience” for the city of Florence

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DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high.

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Gattamelata= Honey Cat

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