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ITALY, 1400- 1500 GARDNER CHAPTER 21-2 PP. 548-556

ITALY, 1400-1500

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ITALY, 1400-1500. GARDNER CHAPTER 21-2 PP. 548-556. GATES OF PARADISE. LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425-1452, gilded bronze, 17’ high. - PowerPoint PPT Presentation

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Page 1: ITALY, 1400-1500

ITALY,1400-1500GARDNER CHAPTER 21-2PP. 548-556

Page 2: ITALY, 1400-1500

GATES OF PARADISE

LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425-1452, gilded bronze, 17’ high

Page 3: ITALY, 1400-1500

LORENEZO GHIBERTI, Isaac and His Sons, detail from east doors of the baptistery in Florence, Italy, 1425-1452, gilded bronze, 2’ 7½” x 2’ 7½“

Commission awarded to Ghiberti after the success of the second set of Baptistery doors

Spatially more sophisticated than panels of his previous set of doors; figures have a more convincing volume

Lean, elegant, elongated bodies

Delicate lines

Linear perspective used throughout

Page 4: ITALY, 1400-1500

DONATELLO – DAVID DONATELLO, David, ca. 1440-1460, bronze, 5’2”

high

The revival of the freestanding nude statue

Cast for display in the courtyard of the Medici palace in Florence

In the Middle Ages nude statues were considered indecent and idolatrous

Image of the youthful biblical slayer of Goliath -> symbol of the independent Florentine republic

Relaxed contrapposto and the sensuous beauty of nude Greek gods -> appealed to the humanist Medici

Page 5: ITALY, 1400-1500

VERROCCHIO

ANDREA DEL VERROCCHIO, David, ca. 1465-1470, bronze, 4’1½” high

Verrocchio directed a flourishing BOTTEGA (studio-shop) in Florence

Also made for the Medici -> displays a brash confidence

The statue’s narrative realism contrasts strongly with the quiet classicism of Donatello’s David

Page 6: ITALY, 1400-1500

POLLAIUOLO ANTONIO DEL POLLAIUOLO,

Hercules and Antaeus, ca. 1470-1475, bronze, 1’6” high

Renaissance interest in classical culture led to a revival of Greco-Roman themes in art

Commissioned by the Medici

Exhibits the stress and strain of the human figure in violent action -> depicts the wrestling match between the giant Antaeus and Hercules -> strangled him around the waist while keeping him aloft

Page 7: ITALY, 1400-1500

GATTAMELATA DONATELLO, Gattamelata (equestrian

statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445-1453, bronze, 12’2” high

Increased emphasis on human achievement and recognition of humanism -> revival of portraiture in the 15th century

Commemorative monument to the CONDOTIERRE Erasmo da Narni -> nicknamed Gattamelata = “the honeyed cat”

First equestrian statue to rival the mounted portraits of antiquity, cf. Marcus Aurelius

Horse is spirited, to scale, resting one leg on an orb -> ancient symbol of hegemony over the earth

Page 8: ITALY, 1400-1500

BARTOLOMMEOCOLLEONI ANDREA DEL VERROCCHIO, Bartolommeo

Colleoni (equestrian statue), Campo dei Santi Giovanni e Paulo, Venice, Italy, ca. 1481-1496, bronze, 13’ high

Equestrian statue of the Venetian conditierre Colleoni

Compare the image of grim wiseness with the image of brute strength and merciless might

Dramatically alive and forceful appearance with bulging, fiery eyes -> rising from the saddle w/a violent twist of the body Machiavelli in his 1513 political treatise, The Prince,

wrote that the successful ruler must combine the traits of the lion and the fox. Gattamelata is the fox and Colleoni is the lion.

Page 9: ITALY, 1400-1500

GENTILE DAFABRIANO GENTILE DA FABRIANO, Adoration of the Magi,

altarpiece from Strozzi Chapel, Santa Trinita, Florence, 1423, tempera on wood, 9’11” x 9’3”

Persistence of the International Gothic Style well into the 15th century

Fancifully dressed figures in a courtly outing to see the Christ child at the Epiphany -> reflects the wealth of the patrons, the Strozzi family

Exotic animals

Kings are of various ages symbolizing the Three Ages of Man

High horizon line filled w/activity

Naturalism seen in the various animals viewed from many angles

Late Gothic splendor of color, costume, and framing ornament

Page 10: ITALY, 1400-1500

The church of Santa Maria del Carmine in Florence

To the right – the Bracacci family chapel Masaccio was commissioned to paint

frescoes for it MASACCIO is the artistic descendant of

Giotto

Page 11: ITALY, 1400-1500

MASACCIO MASSACCIO, The Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, fresco, 8’4” x 19’7”

Odd subject matter; continuous narrative starting in center then moving left then right; figures recall the simple grandeur of Giotto’s figure but w/more psychological and physical credibility; use of light; arrangement of figures in circular depth around Jesus; one-point perspective; landscape displays atmospheric perspective

Page 12: ITALY, 1400-1500

MASACCIO

MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424-1427, fresco, 7’ x 2’11”

Bold use of nude forms

Intense expressions -> Adam hides his face in shame, Eve hides her body in shame

Bleak background represents the desolation outside the garden

Angel is foreshortened

Page 13: ITALY, 1400-1500

HOLY TRINITY MASACCIO, Holy Trinity, Santa Maria Novella,

Florence, Italy, ca. 1424-1427, fresco, 21’10” x 10’5”

Created for the Lenzi family as a tombstone

Triangular figural composition dominated by Brunelleschi inspired architecture

Christ appears in dual role as Crucified Christ and as the second person of the Trinity -> God the father supports him, the white dove of the Holy Spirit between the two

Mary and Saint John flank Christ

Patrons kneel outside the arch

Realism of faces

Skeleton below symbolizes death -> inscription reads “I was once what you are; and what I am you will become.”

Page 14: ITALY, 1400-1500

FRA ANGELICO

FRA ANGELICO, Annuciation, San Marco, Florence, Italy, ca. 1438-1447, fresco, 7’1” x 10’6”

Painted for the Dominican monks of San Marco

Fra Angelico’s fresco is simple and direct

Humility of the figures; serenely religious; solid Giotto like quality

Empty spare scene equivalent to the monastic cells; foliated capitals; Brunelleschi like arches

The appeal of and reflection of the artist’s simple, humble character

Page 15: ITALY, 1400-1500

ANDREA DEL CASTAGNO

ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447, fresco, 15’5” x 32’

Painted for cloistered nuns in a convent Placed in the refectory -> religious scene of eating complements where it is placed in the convent Figures are individualized; precise edging; uniform sharp focus; little communication among figures Judas on our side of the table -> apart from the others symbolizing his/our guilt Lavishly painted room that Christ and the disciples occupy

Page 16: ITALY, 1400-1500

Details from Andrea del Castagno’s – Last Supper