The Renaissance 9.1

Renaissance means “rebirth.”

A long period of intense artistic activity began in Europe during the early 1400s. It was fueled by a renewed

interest (or rebirth) in the ancient Roman and Greek art styles,

as well as explorations in science and math.

The artistic revival began in the Italian city of Florence. The rich and powerful Medici family supported the arts, and

provided much of the funding for art activities.

Filippo Brunelleschi (1377-1446)Brunelleschi was a sculptor and architect. His most famous work is

the design for the enormous dome of the Cathedral of Florence, 1420. It was built as two shells, one inside the other. The shells

were linked with ribs and supports. This huge structure can be seen from all over the city of Florence.

The Sacrifice of Isaac 1401 Brunelleschi Ghiberti

In 1401, both Brunelleschi and Lorenzo Ghiberti created these sample sculptural reliefs. They were entries in a competition to win the commission to design the doors of the Florence baptistry. Ghiberti won the contest; the two doors took more than twenty years to complete, seen on the following slide...

Lorenzo Ghiberti The Gates of

Paradise c. 1435

Lorenzo Ghiberti: The Story of Jacob and Esau Within these images the artist has created the illusion of depth; figures are smaller as they go back in space, and parallel lines lead to a single vanishing point. Several of the figures seem to project out in space in front of the panel.

Lorenzo Ghiberti c. 1435

Ghiberti Joseph in Egypt c. 1425-47, Gates of Paradise

DonatelloDavid

Life-size bronze1430-1432

Donatello’s style combines Classic style and

Renaissance expression. He combined the

contrapposto of the Greeks — suggesting movement —

with facial expressions suggesting pride, dignity

and self-reliance, which are Renaissance ideals.

This is the first life-size, freestanding nude sculpture

since ancient times.

Freestanding means it was meant to be viewed from all

sides.

DonatelloGattamelata

Bronze, 11’ tall1445-1450

Donatello was commissioned to sculpt a huge equestrian statue

of the Venetian general, Gattamelata.

Equestrian means related to horseback riding.

This is the first large equestrian sculpture of the Renaissance, and the first larger-than-life

horse and rider since ancient Rome.

Donatella was influenced by the famous Classic statue of Marcus Aurelius in Rome, as we see in

the next slide...

TextText

Equestrian Statue of Marcus Aurelius Donatello 1445-50 161-180 AD

DonatelloSt. Mark 1411-13 St. George 1415-17

DonatelloMary Magdalene

1454-55Wood 6’2”

DonatelloFeast of Herod c. 1425

PAINTING IN THE RENAISSANCERenaissance painting began in Florence, Italy, when a young artist named Masaccio painted frescoes on

a chapel wall.

Masaccio revolutionized painting. He combined visual perspective, a sense of natural light, and the monumental human forms of the earlier Italian

Gothic artist, Giotto.

Masaccio, Tribute Money, Fresco, c. 1427Notice the strong light source coming from the right — shadows fall to the

left of the figures. The illusion of spatial depth is created by overlapping planes, atmospheric perspective, and the receding size of objects as they go back

into the distance.

Three different parts of a story are being told here, from left to right across the picture.

MasaccioThe Expulsion from

EdenFresco, 1427

Notice the strong light source coming from the right —

shadows fall to the left of the figures. The play of light and shadows modeling the forms

make the rounded human bodies and expressive faces seem to occupy real space, suggesting a sense of three-

dimensional volume.

MasaccioThe Holy Trinity with the Virgin, St. John,

and Two Donors 1425

Notice how the figures are located in an illusory

space, created by the painted overhead

archway which establishes a view of the figures as if seen from

below.

Brancacci Chapel, 1427 Frescoes by Masaccio

Fra Angelico, The Annunciation, Fresco, 1440-50Fra Angelico often painted figures located within architectural structures

which establish a strong sense of linear perspective. The people are delicately rendered

and colored. His use of light is more theatrical, rather than consistently realistic and

natural.

Paolo Ucello, Battle of San Romano, Tempera on panel, 6’x10’, 1445

Ucello was concerned with perspective and pictorial spatial depth. Here we see soldiers located right up close to the viewer in the foreground; as the

action in the picture recedes back into space, objects diminish in size. This is part of a 3-panel painting.

Ucello, The Hunt, 1470Ucello was concerned with perspective and pictorial spatial depth.

Here we see hunters located right up close to the viewer in the foreground; as the action in the picture recedes back into the

distance, people, animals and trees diminish in size, reinforcing the illusion of deep space.

Paolo Ucello (1397-1475)

Piero della Francesca, The Discovery and Proving of the True Cross

Fresco, 1453-1454Piero was very concerned with perspective, spatial depth, and the use of

decorative, flat geometric design. His painting has a cool and severe character; the

people appear to be without emotion.

Piero della Francesca, The Flagellation of Christ, Fresco, 1400s

Piero’s figures are cool and calm. With a very deliberate use of linear perspective — and dramatic change in scale — the artist creates a feeling of

great depth in space.Notice how the main action of the narrative story (Christ and his tormentors) is

unexpectedly placed farther away from the viewer instead of a more typical foreground placement.

Piero della Francesca

The Baptism of Jesus

Fresco, 1400s

Piero della Francesca

ResurrectionFresco, 1463

Piero della Francesca Portraits, 1472

Sandro Boticelli, The Birth of Venus, Tempera on canvas, 6’x9’ 1482

Boticelli’s huge painting shows a scene based on traditional mythology. The imagery also carries a Christian symbolic meaning: Venus, the water and

Spring could represent Christ, baptism and John the Baptist. Boticelli was a master of delicate lines, gracefully drawn figures and carefully balanced

colors. Despite many carefully rendered details, it is not a realistic scene — the water is highly stylized, proportions are distorted, and the light is not

natural.

Sandro Boticelli “Primavera” 1400sBoticelli’s figures are elegantly rendered in a pleasing manner, but

they are nonetheless elongated, stylized, and the entire scene disregards a natural circumstance of daylight. Light is

manipulated for theatrical purposes.

Sandro Boticelli “Primavera” 1400sDetail of the larger painting.

Sandro Boticelli, Mars and Venus, Oil and tempera, 1485

The Renaissance in Venice and Northern Italy

Venice became a dominant economic and political power during the early 15th century. Both Ucello and Donatello had temporary art studios there, influencing the local artists with

their Florentine styles.

Andrea Mantegna (1431-1506) learned a lot from the visiting artists of Florence. He mastered form, anatomy, and excelled

in the use of perspective and foreshortening, seen in the following slide...

Andrea Mantegna, The Dead Christ, 27”x 32” Tempera on canvas, 1501

Notice extreme foreshortening in the dead body of Christ, stretched out on a marble slab.

The viewer can see the crucifixion nail holes in Christ’s hands and feet. The feet appear to jump off the picture plane, entering directly into the viewer’s

space.

Andrea Mantegna Notice extreme

visual angle; the scene is depicted from a worm’s eye point

of view.

Andrea Mantegna, The Crucifixion, oil on panel, 1460

Andrea Mantegna Ceiling of the

Camera degli sposi, Fresco,

1474

Andrea Mantegna, The Court at Mantua, Fresco, 1471

Andrea Mantegna

Giovanni Bellini (1431-1516) St. Francis of Assisi, oil on canvas

The arrival of oil painting techniques in Italy enabled Bellini to develop a new

richness of color, using a full range of value.

Giovanni Bellini (1431-1516) Oil on canvas

With the arrival of oil painting techniques

in Italy, Bellini developed a new

richness of color and range of value.

Giovanni Bellini (1431-1516)

The Doge Leonardo Loredan 24 x 18”

Oil on Panel, 1502

Bellini concentrated on the specific facial features

of the Doge, who was elected as the leader of the Venetian Republic.

Careful attention was paid to the natural play of light and shadow throughout the picture, and to the delicate textures of the

luxurious fabrics in which the sitter was clothed.