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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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ITALY,1400-1500GARDNER CHAPTER 21-2PP. 548-556
GATES OF PARADISE
LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425-1452, gilded bronze, 17’ high
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
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
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
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
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
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.
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
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
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
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
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.”
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
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
Details from Andrea del Castagno’s – Last Supper