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Italy
MASACCIO, Holy Trinity, ca. 1424–1427. Fig. 8-23.
ItalyExample:
• Fresco in church, donor portraits
• Applies linear perspective based on location of viewer’s eye
• Illusionistic extension of viewer’s space
• Classical architectural vocabulary MASACCIO, Holy Trinity,
ca. 1424–1427. Fig. 8-23.
Italy
SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Fig. 8-27.
ItalyExample:
• Master of line
• Based on poem by humanist
• Created for Medici
• Mythology
• Venus inspired by classical sculpture
• Revival of female nude
SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Fig. 8-27.
Italy
MICHELOZZO DI BARTOLOMMEO, Palazzo
Medici-Riccardi, 1445. Fig. 8-31.
ItalyExample: • Powerful patron • Rustication on lower
level• Dressed masonry above• Heavy cornice at top• Plan organized around
interior court with round-arched colonnade
• Clarity and rationality of Renaissance forms
MICHELOZZO DI BARTOLOMMEO, Palazzo Medici-Riccardi,
1445. Fig. 8-31.
Italy
LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–1470. Fig. 8-33.
ItalyExample:
• Architectural theorist
• Treatise presents rules of Renaissance architecture
• Application of classical elements
• Temple frontal, scrolls
• Proportional relationships
LEON BATTISTA ALBERTI, Santa Maria Novella, Florence, 1456–
1470. Fig. 8-33.
Italy
LEON BATTISTA ALBERTI, Sant’Andrea,
1470. Fig. 8-36.
ItalyExample: • For princely court • Temple frontal and
triumphal arch• Proportional
relationships mean façade too short
• Interior coffered barrel vault
• Colossal order pilasters LEON BATTISTA ALBERTI, Sant’Andrea, Mantua, 1470.
Fig. 8-36.
Italy
ANDREA MANTEGNA, Camera Picta, 1465–1474. Fig. 8-38.
ItalyExample:
• For princely patron
• Propaganda
• Images of court life
• Pictorial illusionism
• Trompe l’oeil oculus painted di sotto in su
• Unified perspectival space
ANDREA MANTEGNA, Camera Picta, 1465–1474. Fig. 8-38.