Renaissance Art (part 3)

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Author:
felara9614
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176680
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Renaissance Art (part 3)
Updated:
2012-10-10 22:44:24
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APAH
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15th Century Italian Renaissance
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    • St. George
    • Artist: Donatello
    • Era: 15th Century Italian Renaissance, 1415-1417
    • Location: Florence, Italy
    • Techniques:
    • marble
    • idealistic young man
    • individualized portraiture
    • patron saint of England
    • bold firmness
    • erect intense concentrated poses
    • light turn of torso
    • Mary Magdalene
    • Artist: Donatello
    • Era: 15th Century Italian Renaissance
    • Location: Florence, Italy
    • Techniques:
    • emotional expression
    • carved of wood with a sheen
    • Mary is a emaciated vacant-eyed hermit clothed only by her hair
    • she is aged and has led a sinful life - she is typically beautiful
    • sunken cheeks and eyes
    • soul is going to be revitalized in afterlife
    • David
    • Artist: Donatello
    • Era: 15th Century Italian Renaissance, 1420-1450
    • Location: Florence, Italy
    • Techniques:
    • bronze sculpture
    • first free standing nude sculpture since Antiquity
    • he is a symbol of the Florentine love of liberty
    • message is that Medici are responsible for Florence's prosperity and freedom
    • Goliath is the personification of Milan
    • one side is tense and one is relaxed
    • boots and hat allude to Mercury
    • weight shift and s-curve of body
    • high surface patina - high play of light and shadow
    • sculpture in the round
    • discovery of self
    • David
    • Artist: Verrocchio
    • Era: 15th Century Italian Renaissance, 1465-1470
    • Techniques:
    •  bronze statue
    • Medici commissioned
    • sturdy young apprentice
    • leather doublet
    • stands with pride
    • more realistic sense of accomplishment
    • easy balance
    • thin, adolescent musculature
    • defined veins
    • new psychology of the brash and confident young David
    • contraposta
    • high surface patina
    • play of light and shadow
    • sculpture in the round
    • sword and elbow sharply break through the closed sculpture
    • Hercules and Antaeus
    • Artist: Pollaiuolo
    • Era: 15th Century Italian Renaissance, 1475
    • Techniques:
    • Medici commission
    • Humanist imagery
    • figures have stress and strain to create violent action
    • pagan subject matter
    • nervous movement
    • emotional expressiveness (Antaeus is screaming but Hercules is calm)
    • linear mobility (planes)
    • spatial complexity (planes)
    • dramatic immediacy
    • each line creates a different plane
    • figures interlock in a coil that is about to be released
    • flickering play of light and dark
    • Gattamelata
    • Artist: Donatello
    • Era: 15th Century Italian Renaissance, 1445-1450
    • Location: Piaza Del Santo, Padua
    • Techniques:
    • bronze statue
    • equestrian statue of Erasmo da Narni
    • outdoors
    • commissioned by city officials - the first the rival of the Marcus Aurelius Equestrian Statue
    • horse's foot is raised but resting on an orb for balance
    • horse is like a plow horse because it is so muscular
    • Erasmo is in a high seated position
    • represents strength and unlimited power
    • his face is set in a dauntless resolution, unshakeable will
    • male Renaissance individual - intelligent, courageous, ambitious, and humble
    • a man who can advance in society due to his own will
    • Bartolommeo Colleoni
    • Artist: Verrocchio
    • Era: 15th Century Italian Renaissance, 1483-1488
    • Location: Campo Dei Santi Giovanni & Paolo, Italy
    • Techniques:
    • bronze statue
    • commissioned by Colleoni
    • he is animated in surveying the square
    • horse is in an arching stride
    • horse has a powerful neck
    • horse's foot is raised as if on parade
    • Colleoni has anger and rage
    • shifts weight in sturrup that violent twists body
    • savage and merciless military leader
    • Dome of the Florence Cathedral
    • Artist: Brunelleschi
    • Era: 15th Century Italian Renaissance, 1420-1436
    • Location: Florence, Italy
    • Techniques:
    • semicircular dome based on an ellips
    • first two-shelled dome
    • 24 interior ribs and 8 exterior ribs
    • lantern sits on top of dome pushes all the ribs down and holds them in place
    • pointed arch section
    • no longer needs buttressing


    • Santo Spirito
    • Artist: Brunelleschi
    • Era: 15th Century Italian Renaissance, 1436
    • Location: Florence, Italy
    • Techniques:
    • little chapels on outer edge
    • had to have three portals
    • 2 side aisles
    • one to four ratio
    • nave is twice as tall as it is wide
    • flat nave ceiling
    • rounded arches
    • columns separate nave from aisle- floor accentuates model system
    • shallow saucer-like dome inside vaults of aisles
    • cold church not warm and inviting - mathematical precision


    • Pazzi Chapel
    • Artist: Brunelleschi
    • Era: 15th Century Italian Renaissance, 1440
    • Location: Sta. Croce, Florence, Italy
    • Techniques:
    • inside courtyard attached to main cathedral
    • facade might have been done by someone else
    • narthex is influenced by Roman triumphal arhces but isn't mathematically correct
    • circular module system
    • square and rectangular bays
    • all white interior with pietra serena (grayish-brown) ornamentation - two tones creates balance and symmetry
    • ring of windows in dome creates halo effect
    • two archways that are opposite
    • two shallow barrel vaults opposite with tympanums that match archways
    • medallions above each window and smaller arches
    • medallions are glazed terra cotta relief
    • four evangelists in domes - oendeive
    • 12 apostles on pilaster framed panels
    • Palazzo Medici-Riccardi
    • Artist: Bartolommeo
    • Era: 15t Century Italian Renaissance, begun in 1445
    • Location: Florence, Italy
    • Techniques:
    • Medici originally commissioned it
    • bought by Riccardis and they double the facade
    • simple, massive, and solid
    • heavy cornice line
    • fortress with a lid
    • focus on three registers with decreasing heights
    • hand cut stone
    • bottom level is roughest and top is finest - optical illusion to make building look more graceful
    • rounded relieving arches above windows
    • open colonnaded courtyard
    • inspired by Colosseum - three types of columns vs three types of stones
    • Palazzo Rucellai
    • Artist: Alberti
    • Era: 15th Century Italian Renaissance, 1450-1470
    • Location: Florence, Italy
    • Techniques:
    • three levels of piers up building, flattened versions of colomns
    • Tuscan capitals on bottom, second level are ionic flutes mixed with acanthus leaves, top level is corinthean
    • heavy cornice on top
    • rectangular flat structures, two dimensional quality, rhythm
    • all stones are equal and refined- rapid rhythm across piece
    • piers put emphasis on verticality
    • pilasters are the piers but they don't project from the wall
    • West Facade of Sta. Maria Novella
    • Artist: Alberti
    • Era: 15th Century Italian Renaissance, 1458-1470
    • Location: Florence, Italy
    • Techniques:
    • modification of Gothic cathedral
    • temple front facade
    • height and width are equal, but top and bottom are separated because top is more rounded
    • two demensional qualities with geometric shapes
    • niches in front wall held tombs
    • pilasters flatten the space and create divisions of space
    • columns around the openings function similarly to jamb statues
    • scroll design on upper half connects the bottom and the top
    • San Francesco
    • Artist: Alberti
    • Era: 15th Century Italian Renaissance, 1451
    • Location: Rimini
    • Techniques:
    • shell over a pre-existing building
    • love of Classical learning
    • Neo-Pagan style of architecture for Christianity
    • shrine for scholars and Alberti's mistress
    • monumental triumphal Roman arch influence
    • three recessed arches
    • rounded elements - reduced medallions also from Roman triumphal arches
    • used piers down side with a tomb in between each one
    • columns on facade to allude to Roman triumphal arches
    • flat entablature projects sharply - projects out above columns to create rhythm

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