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- Sant' Andrea
- Artist: Alberti
- Era: 15th Century Italian Renaissance, 1470
- Location: Mantua, Italy
- Techniques:
- Christianity's triumph over the Pagan religion
- facade looks taller than it is wide - optical illusion
- top round piece - blending two subjects - temple front facade and triumphal arch- floor to ceiling pilasters
- each pilaster is on a pedestal
- pilasters unify three registers
- enlarged center arch
- three registers of voids on side
- three portals
- emphasis on verticality
- colossal pilasters with corinthean capitals
- deep portal
- coffered barrel vaulted ceiling
- door is recessed into archway
- architecture and pediment creates a heavy crowning element and is complex surface articulation
- sense of rhythm through light and shadow - pillaster then portal
- Latin cross plan
- lots of side chapels
- barrel vaulted chapels
- coffered barrel vaulted ceiling in nave
- massive piers lining the nave
- nave arcade with piers that mimic exterior
- giant arches open into chapels
- reviving Roman architecture to show Christian dominance
- medallions in pediment
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- Tribute Money
- Artist: Masaccio
- Era: 15th Century Italian Renaissance, 1427
- Location: Branacci Chapel. Sta. Maria Del Carmine, Florence, Italy
- Techniques:
- fresco
- true continuous narration
- simple grandeur to each figure
- greater sense of psychology and physical credibility
- every figure around Christ is in an elliptical shape
- each figure has his own space
- heavy modeling
- strong contrast of light and dark
- color and light are used to create a modelled figure - chiaroscuro
- atmospheric perspective
- spacious landscape
- a lot of gestures
- a lot of play of color
- solmen and weighty
- living, real, and natural
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- Holy Trinity
- Artist: Masaccio
- Era: 15th Century Italian Renaissance, 1428
- Location: Sta. Maria Novella, Florence, Italy
- Techniques:
- realism based on observation
- application of mathematics to pictorial organization in the new science of perspective
- two levels of an unequal height
- Virgin Mary and St. John on either side
- inside coffered barrels vaults
- pilasters
- Roman triumphal arch - medallions
- god the father behind Christ- in between god and Christ is the dove
- outside edges are donors which are the foundation of the triangular composition
- masonry marble base that projects out and everything else recesses back into space
- vanishing point at foot of cross and connects trinity to coffin
- one point perspective comes out of painting and into the viewer's space
- nine foot chapel with seven foot vault
- unity and harmony
- coffin projects out
- flat wall with receding niche
- gravity and the psychology of Christ is actually dead - his muscles sag
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- Expulsion of Adam and Eve
- Artist: Masaccio
- Era: 15th Century Italian Renaissance, 1425
- Location: Brancacci Chapel, Florence, Italy
- Techniques:
- sharply slanted light source
- light is a strong unifying element
- substantial bodily weight
- atmospheric perspective
- no specific location
- Adam's feet are clearly in contact with the ground
- Eve is shown crying out in anguish - psychology
- stumbling along blindly driven by the angel's will and their own despair
- starkly simple composition
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- Battle of San Romano
- Artist: Paolo Uccello
- Era: 15th Century Italian Renaissance, 1455
- Location: National Gallery, London, Britain
- Techniques:
- tempera paint on wood
- Medici commission
- one of three panels
- commemorates Florence's victory over Siena
- bright orange fruit behind the unbroken lances, Medici apples
- solid figures done with more sections of color
- using foreshortened technique on figures and to show movement of horse
- foreshortened lances and dead soldiers - creating lines that create one point perspective and a base for all the figures on top of it like a chess board
- orthogonals - imaginary lines that merge to create perspective and recession into space
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- Battle of the Ten Nudes
- Artist: Pollaiuollo
- Era: 15th Century Italian Renaissance, 1465
- Location: Metropolitan Museum of Art, New York
- Techniques:
- engraving
- variety of poses
- foreshortening
- stiff and frozen figures
- muscles at maximum tension
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- Birth of Venus
- Artist: Bottecelli
- Era: 15th Century Italian Renaissance, 1482
- Techniques:
- tempera on canvas
- Neo-Platonist ideal beauty
- based on a poem
- winds are personified as zephyrs
- she is being blown to shore
- island of Pamona the city coming to cover Venus
- weightlessness of the winds
- undulating drapery
- perfumed by rose petals in wind
- Venus is an allusion to the Madonna
- first female nude since Antiquity
- full figured
- strawberry blonde hair
- oval shaped face tilted to the side
- elongated fingers
- pale skin
- strive for beauty of the soul
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- Primavera
- Artist: Bottecelli
- Era: 15th Century Italian Renaissance
- Techniques:
- Neo-Platonist, Clasiccal and Christian
- two natures to Venus - earthly love, celestial/universal love
- equated to virgin Mary- inside an arch of trees
- grove of orange trees with Medici apples
- fertility symbolized in fruitful trees
- Flora is the Roman goddess of fertility on the right
- three graces or muses on the left
- cupid is above Venus' head
- zepher chasing Chori
- far left is messenger god Mercury who is using wand to create clouds
- Venus is in contemperary costume
- marriage wreath on her head demonstrates her earthly nature - figure who governs over marital love
- cupid represents romantic deisres
- alludes to rebirth of Classical era in Humanist tradition
- Venus is in Bottecelli's Ne
- platonic fashion
- Medici influence in Humanism
- Flora has sexual overtones
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- St. Lucy Altarpiece
- Artist: Domenico Veneziano
- Era: 15th Century Italian Renaissance, 1445
- Techniques:
- blonde pallet - pastels
- composition of sacred individuals - "sacred conversation"
- figures from different eras
- - Madonna and child
- - St Francis
- - St John the Baptist
- - St. Lucy
- - and some random guy
- oppulemt setting- elongated figures
- a lot of individualizaton
- facial expressions and body positions created a solemn dignity
- detachment between mother and child
- slightly pointed arches with groin vaults - Gothic
- ceiling above Mary is open
- paints in the sunlight
- outdoor courtyard setting
- atmospheric luminosity
- modelling of figures is less severe
- softer use of lighting
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- Annunciation from the Legend of the True Cross
- Artist: Piero Della Francesca
- Era: 15th Century Italian Renaissance
- Location: San Francesco, Arezzo
- Techniques:
- if one found Christ's cross than it would have magical plows
- darker colors but still has blond pallet
- shadows are varying shades of blues and purples
- geometry in compositional layout
- each body is a pyramid
- places each triangle inside a rectangle
- Mary is under a portico
- angel is in open area- door panels emphasize geometry
- Mary is detached
- reduces actions and gestures to the slowest pose possible
- light and color function together
- colors turn cool in the shadow and lose intensity
- color of something far away loses intensity
- center is darkest part of image because light comes from edges
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- Annunciation of San Marco
- Artist: Fra Angelico
- Era: 15th Century Italian Renaissance, 1440-1445
- Techniques:
- fresco
- appears at the top of the stairs leading to the friars' cells - simplicity and serenity serves as a remind to the monks to maintain a humble character
- "as you venerate while passing before it this figure of the intact vision beware lest you admit to say a hail o Mary"
- universal appeal
- fully reflects the artist's simple and humble character
- architectural setting
- - rounded archway
- - outdoors
- - slightly pointed arches in back
- - ionic volutes with acanthus leaves, composite capitals
- - black rod painted in
- - arches frame figure
- Mary is frail and in a concave form
- clearly defined space
- detail to figure and the nature scene
- feathers in wings a detailed and multicolored
- wings accented by his rose colored garment
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- The Last Supper
- Artist: Andrea Del Castagno
- Era: 15th Century Italian Renaissance, 1447
- Location: Florence, Italy
- Techniques:
- fresco painting
- set on a wall up high and made to look like its own architectural room
- in a convent for Benedictine nuns
- commitment to biblical narrative and interest in perspective
- floor and ceiling create recession into space
- two side walls don't look parallel
- worms eye view - can't see what's on top of table
- segregates Judas by putting him in front of table- no interaction between figures or with the viewer
- faux-marble panels emphasize geometry
- figures are static, sculptural, and solid
- heavy folds of drapery
- perspective limits action of figures
- conventional compositional layout- room cuts in sharply
- sense of self absorption
- Judas is malevolent from gospel of St John
- more translucent halos
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- Madonna and Child with Angels
- Artist: Fra Fillipo Lippi
- Era: 15th Century Italian Renaissance, 1455
- Techniques:
- tempera on wood
- manipulated the line to create a fluid composition
- manipulating of line creates more intimacy
- used a model of mother and son
- earthly manner
- landscape setting
- seated in front of window
- not catatonic
- child is a chubby little baby
- direct personal images
- two angels are very natural - mischievous children
- mischievous grin of angel in front of Madonna
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- Christ Delivering the Key of the Kingdom to St. Peter
- Artist: Perugino
- Era: 15th Century Italian Renaissance, 1481-1483
- Location: Sistine Chapel, Vatican, Rome
- Techniques:
- fresco painting
- papacy uses this to base its claim over the church
- Christ is surrounded by twelve apostles and Renaissance contemporaries
- stage that opens into background
- one point perspective
- open background brings attention to center
- lines in pavement create orthoganols
- figures in middle ground compliment figures in foreground
- figrues in middle ground are smaller - recession into space
- scattered figures in middle ground emphasize order of foreground
- two triumphal arches serve as the base of a compositional triangle
- chapel is in middle ground
- complex use of space
- cathedral modeled after Constantine's
- interlock of two and three dimensional space
- placement of central actors emphasizes central axis
- symmetrical organization
- figures are solid and whole
- drapery creates the illusion of sculpted figures
- difference between drapery and bodies
- backs of individuals - conversation and action
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- Camera Degli Sposi
- Artist: Andrea Mantegna
- Era: 15th Century Italian Renaissance, 1474
- Location: Ducal Palace, Mantua, Italy
- Techniques:
- fresco over entire room
- celebrations of courtly lifestyle
- baroque decor
- grandiose manner
- members of the family in domestic and landscape settings
- medallions allude to Roman triumphal arches
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- Ceiling of Camer Degli Sposi
- Artist: Andrea Mantegna
- Era: 15th Century Italian Renaissance, 1474
- Location: Ducal Palace, Mantua, Italy
- Techniques:
- fresco
- flat ceiling painted to look like it is domed
- trompe l'oeil - deceiving the eye
- made to look like an oculus
- cupids on balcony and figures looking down on them
- humorous because it was over the bed of the newly weds
- peacock symbolizes goddess of marriage, allusion to Classicism
- foreshortening technique
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- St. James Led to Martyrdom
- Artist: Andrea Mantegna
- Era: 15th Century Italian Renaissance, 1455
- Location: Oveteri Chapel, Church of the Eremitani, Papua, Italy
- Techniques:
- early interest in illusionism
- St James is blessing a man
- historical authenticity, not narrative
- minuscule perspective
- strong diagonals make up awkward and dramatic perspective
- diagonal lines bring attention to main event
- barrel vaulted coffered ceiling creates orthoganols
- historically correct costumes
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- The Dead Christ
- Artist: Andrea Mantegna
- Era: 15th Century Italian Renaissance, 1501
- Techniques:
- tempera on canvas
- basic foreshortening
- feet are reduced - tempering naturalism
- line ingraving style - paint strokes are like lines in an ingraving
- extremely realistic details
- unmerciful view of the dead
- made sinners feel worse about being bad since Christ died for their benefit
- pain in his face
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