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FINALEXAMSLIDES
ArtHistory202
VirginandChildandangels
(stainedglass)(NotreDamedelaBelleVerriere)
DetailofawindowinthechoirofChartresCathedralChartres,France
1170with13thcenturysidepanels
• Purpose:nottoilluminatebuttotransformnaturallightintomysNcalluxnova
• Virgin=beauNful,young,worldly,haloed;notassevereasinTheotokosmosaic
• Lightenteredfromoutsidethroughascreenofstone‐setcoloredglass;differentapproachthanthereflectedlightinByzanNnearchitecture
• AlmostenNrewallisstainedglass(architecturalfactor)heldinplacebyintricatestonearmatureofironbands
• Gothicpassionforluminouscoloredlight=daring/successfulsubtracNonofsuperfluousmaterialbulkjustshortofdestabilizingthestructure(engineeringgenius)
Rosewindowandlancets
(stainedglass)Northtransept,ChartresCathedral
Chartres,France1220
• RoyalmoNfsofyellowcastlesonaredgroundandyellowfleurs‐de‐lisonabluegroundfilltherower’slowerspandrels
• IconographyfitforaqueenenthronedVirginandChildappearintheroundelatcenterofrose
• TwelvepanelscontainimagesofOldTestamentkingsmedievalmoNf(genealogical“treeofJesse”)
• MoresymbolsofChrist’sOldTestamentancestorsaccompanythetradiNonalones,echoingtheroyalgenealogyoftherosebutatalargerscale
• RoseandlancetschangeinhueandintensitywiththehoursturnsolidarchitectureintofloaNngvisionofcelesNalheavens
• AlmostenNrewallisstainedglass(architecturalfactor)heldinplacebyintricatestonearmatureofironbands
• Gothicpassionforluminouscoloredlight=daring/successfulsubtracNonofsuperfluousmaterialbulkjustshortofdestabilizingthestructure(engineeringgenius)
InteriorofAmiensCathedral
RobertdeLuzarches&ThomasdeCormont&RenauddeCormont
Amiens,France1220
• Impressiveheight!
• Designreflectsthebuilders’confidentuseofthecompleteHighGothicstructuralvocabulary
• DesignpermifedthealmostcompletedissoluNonofheavymassesandthickweight‐bearingwalls
• Conceptofself‐sustainingskeletalarchitecturereachedfullmaturity!
• Overalleffectofeffortlessstrength&buoyantlightnessdespitemassivestonearchitecture
Vaults,clerestory,andtriforium,ofthechoirofAmiensCathedral
RobertdeLuzarches&Thomas&RenauddeCormontAmiens,France
1220
• Choirvaultsresembleacanopysuspendedfrombundledmasts
• Sunlightenteringfromtheclerestorycreatestheeffectofbuoyantlightnessnotnormallyassociatedwithstonearchitecture
• COMPAREtoHagiaSophiawithits“floaNngdome”;AmiensisGothiccounterparttoByzanNnium’sHagiaSophia
Interioroftheupperchapel
Sainte‐ChapelleParis,France
1243‐1248
• Extendedthestyleofwall‐dissolvingstained‐glasswindowstoanenNrebuilding
• Chapelisamasterpieceoftheso‐calledRayonnant(radiant)styleoftheHighGothicage
• PreferredstyleoftheroyalParisiancourtofSaintLouis
• Stainedglassaccountsformorethan75%oftheRayonnantGothicstructure!
• SupporNngelementsarehardlymorethanlargemullions,orverNcalstonebars
• Emphasisontheextremeslendernessofthearchitecturalformsandonlinearityingeneral
• Windowsfilterthelightandfilltheinteriorwithanunearthlyrose‐violetatmosphere
VirginandChild(VirginofParis)
Notre‐DameParis,France
Early14thcentury
• BestexampleofthecourtstyleinLateGothicsculpture
• SculptorportrayedMaryinanexaggeratedS‐curveposturetypicalofLateGothicsculpture
• Sheisaworldlyqueeninroyalgarmentsandcrown
• Christchildequallyrichlyalred;infantprince
• Tender,anecdotalcharacterizaNonofmotherandsonrepresentsafurtherhumanizaNonoftheportrayalofreligiousfiguresinGothicsculpture
VirginofJeanned’Evreux
ADDINFO?!
Figuresbasedongeometricshapes
VillarddeHonnecourtParis,France
1220‐1235
Godasarchitectoftheworld
Paris,France1220‐1230
WestfaçadeofSaint‐Maclou
Rouen,France1500‐1514
• MasterpieceofLateGothicFlamboyantarchitecture
• OrnatetraceryfeaturescurvesandcountercurvesthatformbrifledecoraNvewebsmaskingthebuildingsstructure
• Flamboyant:flamelikeappearanceofitspointedbartracery)
• ChurchisNnycomparedtocathedrals
• Transparencyofthepinnaclesoverthedoorwayspermitsvisitorstoseethecentralrosewindowandtheflyingbufresses
• BewilderingcomplexityofviewsthatisthehallmarkoftheFlamboyantstyle.
TheCastleofLoveandknightsjousNng
AddInfo?!
DeathoftheVirgin
Tympanumoflepdoorway,southtransept,StrasbourgCathedral
Strasbourg,France1230
Senseoffiguralbalance
ElementofrealemoNon,meanttoemitsorrow
Madeuseofthesemicircularspace
TriangleofMaryMagdaleneatthebofom,pointstoChristwhoistakinghersoul
Senseofthreedimensionality
ChristholdsdolloftheVirgin,hersoul
AlotofGermansculpture,likethis,emphasizesandexaggeratesforemoNonalresponse
VirginwiththeDeadChrist(RofgenPieta)
Rhineland,Germany1300‐1325
• EmoNonalityevokedfromitsarNsNcstyle
• Tracesofpaint,aswascommononwoodenstatues
• EmaciatedChristhangsinVirgin’sarms
• Virginhasafaceofextremesorrow
• Meanttoevokegreatcompassionintheviewer
• “affectedpiety”presenNngtheviewerwithanexaggeratedemoNon
EkkehardandUta
Statuesinthewestchoir,NaumburgCathedral
Naumburg,Germany1249‐1255
• Benefactorsofthecathedral
• Developmentofsecularfiguresinartvs.thetypicalreligiousones!
• Architecturalcanopieswheretheyarefrom/ruled
• RepresentaNonofalocalhistoryisnewish
• Figurescaughtinamoment,UtaclutchingherrobeasifinmoNon
• Historiatedportrait,despitetheindividualizaNon
Equestrianportrait(BambergRider)
Statueintheeastchoir,BambergCathedral
Bamberg,Germany1235‐1240
SaintFrancisAltarpiece
BonaventuraBerlinghieriSanFrancisco,Pescia,Italy
1235
• ShowsimportanceofthenewFranciscanandDominicanorders
• DocumentsrecenteventsoftheSaint’slife
• Firstknownaltarpiecededicatedtohim
• IdenNfiedbythewhiteropewith3knots(3vows)
• Notexactlyahistoricalportrait;focusisonanintensefigureandthatfigure’sstyle,nottheindividualfeatures
• SaintseenasaSecondChrist(stomatawounds)
• The“manera‐greca”
• ByzanNne:frontal,linear,flatness,halo,gold;icon‐style
• Greekstyle
MadonnaEnthronedwithAngelsandProphets
CimabueSantaTrinita,Florence,Italy
1280‐1290
• UnmistakableinfluenceofGothicsculpture
• ChallengedtheconvenNonsthatdominatedlatemedievalartinpursuitofanewnaturalism(thecloseobservaNonofthenaturalworld;coreofclassicaltradiNon)
• RelianceontheByzanNnemodelsforthecomposiNonandthegoldbackground
• Non‐ByzanNneelements:threedimensionalityoftheMadonna’srobe,thespacethatthethronerecedesinto,overlappingbodiesoftheangels
MadonnaEnthroned
GiofodiBondoneChurchofOgnissanN,Florence,Italy
1310
• TradiNonalgoldbackground
• MarkstheendofmedievalpainNnginItalyandthebeginningofanewnaturalisNcstyle!
• MadonnasitswithinherGothicthronelikeanancientmarblegoddess• Weighty,queenlymother• Aimedtocreateafigureofsubstance,dimensionality,andbulk• SculpturesquefiguresprojecNngintothelightasiftheycouldcastshadows
LamentaNon
GiofodiBondoneArenaChapel,Padua,Italy
1305
Boldlyforeshortenedangels(headonwithbodiesrecedingintothebackground)
GiofoarrangedalmostastageforthemourningcongregaNon,whichisboundedbythesteepdiagonaloftheincline
DramaNcfocalpointatlowerlep(Christnotmerelyinmiddle)
Figuresaresculpturesqueandweighty,butconveymoNonandemoNontoo
Singleeventprovokesintenseresponse
ThefiguresseenfromthebackrepresentdevelopmentawayfromtheByzanNnestyle:emphasizeforeground,aidvisualplacementofintermediatefiguresfartherbackinspace(departurefromtradiNonoffrontality)
ArenaChapel
Padua,Italy1305‐1306
ThefrescoesinthischapelshowGiofo’sartatitsfinest.
GiofoiswidelyregardedasthefirstRenaissancepainter.
Projectedtheillusionofsolidbodiesmovingthroughspaceontoaflatsurface(perspecNve)
TheblueofthevaultedceilingisalsopaintedinthebackgroundsofthenarraNvepanelsbelow;thecolorfuncNonstounifytheenNredecoraNvescheme,andrendersthescenesmorerealisNc
DecoraNveborders,butsimplicityofscenes
SpaNaldepthandbodymassvialightandshade;steptowardschiaroscuro
DramaNcnarraNveswerethemechanismofeducaNngthefaithful
GiofosynthesizeddramaNcnarraNve,holylesson,andtruthtohumanexperienceinavisualidiomofhisowninvenNon
VirginandChildEnthronedwithSaints
DucciodiBuoninsegnaMaestaaltarpiece,Siena,Italy
1308‐1311
• Newaspects• Relaxedthestrictfrontalityofthefigures• Figuresturntoeachotherinquietconvo• Individualizedthefacesofthefoursaintskneelingintheforeground• Sopenedtheusualhardbodyoutlinesanddraperypaferning• CreatedglisteningandshimmeringeffectsoftexNles,complementedbythegoldenhalos
• Gothic• Draperyfallsandcurvesloosely• ShowsdialoguebetweenItalyandnorthernEurope
• ByzanNnetradiNon• Formalityandsymmetry• Figuresandfacialtypesofprincipalangels/saints• Couldnotbetooradicalbecauseitwasaholyobjectinchurch• LimitedexperimentaNon
BetrayalofJesus
DucciodiBuoninsegnaMaestaaltarpiece
1309‐1311
ByzanNneinfluence:goldenbackgroundandrockformaNons
SteptowardshumanizaNonofreligiousfigures:individualacNonsandemoNons
Modeledthefigureswithmass
AnnunciaNonaltarpiece
SimoneMarNniandLippoMemmiSienaCathedral,Siena,Italy
1333Temperaandgoldleafonwood
MarNniwasinstrumentalinthecreaNonoftheInternaNonalStyleElegantshapesRadiantcolorFlowinglineWeightlessfiguresinagolden,spacelessselngAppealedtothearistocraNctasteofopulenteverything
ComplexeNquefeoftheEurochivalriccourtsprobablydictatedthepresentaNon
DespitetheVirgin’smodestyanddiffidenceandthetremendousimportoftheangel’smessage,thescenesubordinatesdramatocourtritual,andstructuralexperimentaNontosurfacesplendor
TheintricatetraceryoftherichlytooledFrenchGothic‐inspiredframeandtheelaboratepunchworkhalosenhancethetacNlemagnificence
PeacefulCity
AmbrogioLorenzelSiena,Italy
1338‐1339
IllusionisNcpanoramaofthebustlingcity
FrescoservedasanallegoryofgoodgovernmentintheSieneserepublic
ReminiscentofthetownscapesofancientRomanmurals
ArNstfondlyobservedlifeofhiscity
City’sarchitecturegavearNstanopportunitytoapplySienesearNsts’rapidlygrowingknowledgeofperspecNve
NaveofSantaMariaNovella
1246‐1470Florence,Italy
ThebasilicatesNfiestothegrowinginfluenceoftheDominicanandFranciscanmendicantordersin13thcenturyFlorence
FlorenNnegovernmentandcontribuNonsfromprivateciNzenssubsidizedthecommissioningofthechurch
ThelargecongregaNonstheseordersafractednecessitatedtheexpansivescaleofthechurch
Smalloculiandmarblestripingalongtheogivalarchespunctuatethenave
Originally,ascreenplacedacrossthenaveseparatedthefriarsfromthelayaudience,buttheChurchofficialsremovedthisscreeninthemid‐16thcenturytoencouragegreaterlayparNcipaNonintheMass
January
LimbourgBrothers
LesTresRichesHuresduDucdeBerry
1413‐1416
Sumptuouspicturesinthebook
CharacterisNcacNviNesofeachmonth
Givesunusualprominensetogenresubjects:increasingintegraNonofreligiousandsecularart
January:NewYearsrecepNonatcourt
Dukeismagnanimoushost;firescreenalmosthalolikebehindhishead;capturespowerofthedukeandhisrelaNonshiptothepeasants
Richnessandextravagance:fooddisplayedontapelandrichtapestryonbackwall
October
LimbourgBrothers
LesTresRichesHueresduDucdeBerry
1413‐1416
Sumptuouspicturesinthebook
CharacterisNcacNviNesofeachmonth
Givesunusualprominensetogenresubjects:increasingintegraNonofreligiousandsecularart
Notrichnessfocus,butpeasantry
Imageryflaferedtheduke’simageofhimselfasacompassionatemaster(peasantdoesn’tlookdisgruntled)
GrowingarNsNcinterestinnaturalismisevident:carefulwaybrothersdepictedthearchitecturaldetailsoftheLouvre,convincingshadowsofpeopleandobjects
CampinsettheAnnunciaNoninaFlemishmerchant’shomeinwhichtheeverydayobjectsrepresentedhavesymbolicsignificance
OilpaintspermifedCampintodepictallthedetailswithlovingfidelity
AprivatecomissionforhouseholddevoNon
IntegraNonofreligiousandsecularconcernsBiblicalscenesthattookplaceinaFlemishhouseReligionwassuchanintegralpartofFlemishlifethatseparaNngthesacredfromthesecularbecamevirtuallyimpossibleThepresentaNoninreligiousartoffamiliarselngsandobjectsstrengthenedthedirectbondthepatronorviewerfeltwithbiblicalfigures
Well‐keptmiddle‐classFlemishhouse
SymbolsoftheVirgin’spurityanddivinemission
Donorportrait:portraitsoftheindividualswhocommissionedtheworkdonorskneelinthegardenandwitnessthemomentouseventVerypopularinthe15thcentury
ManinaRedTurban
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PaidtributetotheprofessionofpainNnginFlandersbydrawingafenNontothevenerabletradiNonofthepainter’scrap
AimofrecordingeverydetailofscenewithlovingfidelitytoopNcalappearance(richfabrics,floorpafern,landscapeinwindow)likevanEyk
ImbuedmuchoftherepresentaNonwithsymbolicsignificanceOxidenNfiesfigurerecordingtheVirgin’sfeaturesasSaintLukeCarvedarmrestoftheVirgin’sbenchdepictsAdam,Eve,andserpent(Maryis
newEveandChristisnewAdamredeeminghumanityfromOriginalSin)
DeposiNon
RogiervanderWeydenLouvain,Belgium
1435OilonWood
CompressedthefiguresandacNonontoashallowstage,imitaNngthelargesculpturedshrinesexpressingmaximumacNonwithinalimitedspace
ResemblesareliefcarvingandnotamerepainNng(crispdrawingandprecisemodelingofforms)
ComposiNonalunityDesolaNnganguishthatmanyfiguresshareSimilarposesofChristandVirginMaryLateralrisingandfallingmovements
HisdepicNonoftheagonyoflossisamongthemostauthenNcinreligiousart
LEFTDepictspatronasdevout,kneelsbentandinprayerRecallsFlemishart Standingwithsaint SharpfocusSaintStephendepictedwiththestoneofhismartyrdomandscripturesfor
clarityofidEnNreimagerenderedingreatdetail;intricatearchitecturalbackground
RIGHTVirginMaryandbabyChristIntegraNonofsecularandsacred(asinotherNorthernEuropeanart)MistressofKingCharlesVIIismodelforMary(personalnarraNvegoingon)
MiraculousDraughtofFish
FromtheAltarpieceofSaintPeterCathedralofSaintPeterGeneva,Switzerland
KondradWitz1444
Oilonwood
PainNngisoneoffirstworksdepicNngaspecificlandscape(LakeGeneva)
Noteworthyforapinter’sskillinrenderingwatereffectsSaintPeter’sbodychangescolorbeneathwater(senseofnaturalism)SkyglazeonslowlymovinglakesurfaceMirroredreflecNonsoffiguresinboatTransparencyofshallowwaterinforegroudn
IntricateGothicforms(elaboratecanopy)
Didnotpaintthefiguresorthebackground
WholedesignisinfluidmoNon(restlesslinethatrunsthroughgarments);draperiesaredesignelementsthatNethefigurestogetherandtotheframework
Lookofpsychicstrainheightensthespiritualityofthefigures
NoindividualelementfuncNonswithouttherest
SaintAnthonyTormentedbyDemons
ADDINFO?!
SaintAnthonyTormentedbyDemons
MarNnSchongauer
NORTHERNEUROPE
Maindifferencebetweennorthernanditalian:crosshatchingCrossingoverthelinestocreatethesurface,form,andshadowNorthernartcrosshatchingisaboutwhat’sonthesurfaceDifferencebetweenwhatsphysicallybeneath(italian)andsurface(Northern)Italianartwasmoreparallelhatching,focusingontheunderlyingforms
ThestoryofAbrahamandIsaac,withitsthemeofsacrifice,paralleledthemessagecityofficialshadconveyedtoitsinhabitants
Frenchgothicquatrefoilframes
SturdyandvigorousinterpretaNonofthetheme
EmoNonalagitaNon/dramaNcemoNonAbesuddenlysummonedthedreadfulcouragetokillhisson Lungesforward,robesflying ExposingIsaac’sthroattotheknife Flyingangel Dartsin GrabsAbe’sarmtostophim
DemonstrateshisabilitytoobservecarefullyandrepresentfaithfullyallelementsinthenarraNve
Featuresgracefullyposedfiguresthatrecallclassicalstatuary
Isaac’salterhasaRomanacanthusfrieze
AbrahamintypicallyGothicposewithoufhrusthip
Abeseemstocontemplatetheact
Isaac,beauNfullyposedandrendered,recallsGrego‐RomanstatuaryandcouldberegardedasthefirstclassicalnudesinceanNquity
DeepappreciaNonforhumanformMuscularsystemandskeletalstructureinmovement
Classicalreferencesreflecttheincreasinginfluenceofhumanism
SpaNalillusion:rockylandscapeseestoemergefromblankpaneltowardviewer,stronglyforeshortenedangel
RepresentsfourmartyredpatronsaintsofFlorence’ssculptors’guild
RenaissancearNstafempttoliberatestatuaryfromitsarchitecturalselngStandinginnicheSpaNalrecesspermifedanewanddramaNcpossibilityforinterrelaNonshipof
thefiguresSemicirclewiththeirdeepniche,relatedtooneanotherbypostures/gestures,
arrangementofrobesunifiedspaNalcomposiNon
Psychologicalunityconnectsthem
GuildsviewednewmilitarythreatbasopportunitytoperformcivicdutyrallyingfellowFlorenNnes/promoNngtheirownimportanceandposiNon
Rolemodels:placedfaithaboveallelseandwerekilled
DeeprespectforRomanportraitstatues:emoNonalintensity,beardedheads
Interpret/offercommentaryonclassicalmodelsinmannerofhumanistscholarsdealingwithclassicaltexts
ClassicalprincipleofcontrappostointroducedtoEarlyRenaissancesculptureBalancingofweightBodyisnotrigid,butaflexiblestructureDraperyfallsnaturallyandmoveswiththebody
SNrringlimbs,shipingweight,andmobiledraperysuggestimpendingmovementoutofniche!
Warriorstandsdefiantly,readytospringfromhisnichetodefendFlorence,swordpointedatspectator
BodyistautFaceofnervousenergy
GothictradiNonofdepicNngwarriorsaintsonchurchfacades(buthascivicrolehere)
TurningpointinRenaissancesculptureEvenlandscapesinbapNsterycompeNNonrelifsaremodeledformsseen
againstablankbackgroundTookapainterlyapproachtorepresentaNon,creaNnganatmosphericeffectby
usingincisedlinesLandscaperecedesintodistantspacewindowontoaninfinitevista
FlorenNnepainterworkingintheinternaNonalstyle
SuccessfullyblendednaturalisNcdetailswithLateGothicsplendorincolor,costume,andframingornament
ElaborategildedGothicframe
Gorgeoussurfaceandsumptuouslycostumedkings,etcandexoNcanimals
PresentsallpompandceremonyofchivalriceNquefeinascenthatsacncNfiesthearistocracyinpresenceoftheMadonnaandChild
StrikingnaturalisNcdetailsAnimalsfromvarietyofanglesandforeshortenedforms(horseinthree‐
quarterrearview)Kneelingmanremovingspursfromstandingmagusinforeground
NighlmenaNvitywithcentrallightsource,radiantChristPredominantlyconservaNve,butnotoblivoustocontemporarytrends,andblendofnaturalisNcandinvenNveelementswithoutsacrificingGothicornament
TributeMoney
Massacio
Comparison:Giofovs.MassaccioGiofo:useslighNngtocreatefoldsinclothingMassacio:buildsuptheformsmorenaturallywiththelighNngGiofomodelsthemasses,butMassacio’sismorenaturallooking
MassaccioisthegreatinnovatorofpainNng
PerspecNveHeimplementsone‐pointperspecNveOrthogonalsconvergeatthecenter(totherightofChrist’shead)ArNstsareveryawarehowtousethese“orthogonals”
FiguresrecallGiofo’sinsimplegrandeur,butconveygreaterpsychologicalandphysicalcredibility
Lightcomingfromsourceoutsideofpicture
A&Edrivenbyangel’swillandtheirowndespair
Hazybackgroundoffersnolocalebutsuggestsaspacearoundandbeyondthefigures
RepresentaNonalinnovaNonsSharplyslantedlightfromoutsidesourcercreatesdeeprelief(lightsplaced
alongsidedarks)CryfromEvevoicesheranguish
Simplebutwitheloquentmessage
ExampleofapplicaNonofmathemaNcstopictorialorganizaNon
Brunelleschi’snewscienceofperspecNve
Illusionismisbreathtaking
Vanishingpointisatfootofcross,spectatorslookupatTrinityanddownattomb,pullingtwoviewstogether,creaNngillusionofanactualstructurethattransectsthewallsverNcalplane
Raitonalmeausredcoherencethatisresponsiblefortheunityandharmonyofthefresco
Fullymodeledfiguresbathedinlight
PowerfullyconveyedoneoftheentraltenetsofChrisNanfaith:leadfromdespairofdeathtohopeofresurrecNonandeternallife
Brunelleschisolvedproblemofplacingadomeoverthe140‐footwidecrossingofFlorenceCathedralbydesigningathindoubleshellthatwasogivalinsecNon
Heavylanternanchorsthedomeatthetop
EmployedlinearperspecNvetocreatetheillusionofdistance
UsedsculpturalaerialperspecNve,withformsappearinglessdisNnctthedeepertheyareinspace
AnnunciaNon
FraAngelico
LastSupper
AndreadelCastagno
MadonnaandChildwithAngels
FraFilippoLippi1455
Comparison:GiofoMadonnaEnthronedSamebasicsubjectGiofo’sisalargealtarpieceforpublicdevoNonLippi’sisasmalleraltarpieceforpersonaluse
MadonnaispaintedinanillusionisNcframethatshe(andthegoldencushion)breakoutofNaturalism
MoreawarenessofthearNsNcprocess(asopposedtoitsfocusonreligion/power)
BafleofSanRomano?
AddInfo?
EnthronedMadonnaandSaintsAdoredbyFrederico?
AddInfo?
FlagellaNonofChrist?
ChristDeliveringtheKeysoftheKingdomtoSaintPeter?
BirthoftheVirgin
DomenicoGhirlandaioCappelaMaggiore,SantaMariaNovella
Florence,Italy1485‐1490Fresco
AnNquestyles(all’anNcapulliningthewalls)GreatinterestinclassicalsourcesGrotesquedecoraNvepaferns(PompeiianfrescowallpainNng)
EmphasisonfamilyandnotevenontheVirgin
GiovannaTornabuoni
Primavera
SandroBolcelli1482
ZephyrgrabsChloris,whosefeetareontheground,andflowersbloomoutofhermouth,andChlorisgrabsFlora,whoisassociatedwithflowersblooming
UlNmatelyarepresentaNonofspringNmeandthingsblooming
Thechanging;oftheseason,ofpeople,etc.
Venusisatthecenter,lookingout(withFlora)
Cupidblindfoldedisabove(blindlove,needsnosight)
ParadeofspringNmecomingin(liketheancientquote)
3gracesonthelep:dancing;wouldhavebeenfamiliar
BirthofVenus
SandroBolcelli
Lyricalstyle
Graceful,theanNthesisofMichelangelo’sstyle
IntunewiththeclassicalandhumanistlearningattheNme
ThemodestVenuspose;sheisrepresentedclassicallylikethesculpture
David
Donatello1440‐1460
Bronze
RepresentaNonofgreatbiblicalherowhowasJUSTABOYwhenhedefeatedthegiant
FlorenNneslikedthestoryparNcularly,theyfeltliketheDavidoftheotherItaliancity‐statesandpowers
Humbleyouth
David
AndreadelVerrocchio
Davidasmoreofahero
Lookingup
Moreconfidentpose
Bodyandgestureusedtogiveadifferentimpressionofsamesubject
HerculesandAntaeus
AntoniodelPollaiuolo
Purelyclassicalsubjectmafer
ArNstwasagreatstudentofthehumanbody
InterestedincreaNngthemoNonofphysicallyliping
BafleoftheTenNudes
AntoniodelPollaiuolo
MoreofastudythananarraNvestory
“Echorche”–“asifwithoutskin”
InterioroftheCameraPicta
ForeshortenedChrist