BYZANTINE

1. Cimabue, Madonna Enthroned, c. 1280-90
   1. Used as a teaching tool
   2. Incorrect use of space & perspective
   1. Muted colors
   1. Hierarchy of scale
   2. Tempera

PROTO-RENAISSANCE

1. Giotto, Lamentation, 1305-06
   1. Uses the background more appropriately
   2. Better use of composition
   3. Diagonal lines (hill, secondary subjects eyes) to bring the eye back to Christ
   4. Different types of people, people are individualized, better body posture
   5. True fresco—inside a church
   6. More color variation
   7. No perspective, but it does show a background

PROTO-RENAISSANCE

1. Lorenzetti, Peaceful City, 1338 – 40
   1. True fresco
   1. Celebration of Siena
   1. Dancing maidens remind us of safety
   1. Just a city scape—no paintings of this for about 1,000 years—Lorenzetti kind of revises this.
   1. Intuitive perspective (not true measurements)
   1. This was done just before the “Black Plague”

EARLY RENAISSANCE

1. Ghiberti, Issac and His Sons, 1425-52
   1. This is the best example of the classical revival
      1. The idea of philosophy
   1. Use of atmospheric & linear perspective
   2. Continuous narrative
   3. Figures are well proportioned (contraposto, classical style)
   4. Relief panel—shallow relief but the use of linear perspective emphasizes the relief, bronze

EARLY RENAISSANCE

1. Donatello, St. Mark, 1411-13
   1. Intense emotion
   2. Movement in his face & hands
   3. “gospel writer” and emphasis is given to his hands
   1. Contraposto is seen through the drapery
   2. Humanism: interest in human anatomy, emotion, humanity

EARLY RENAISSANCE

1. Fabriano, Adoration of the Magi, 1423 (International Gothic)
   1. Only example of Int’l Gothic; this was influenced by French Gothic
   1. Patterns, textures, details given to drapery
   1. *Strozzi’s commissioned this work
   1. Fine clothing could not be worn in public but it could be depicted in paintings
   1. Nativity scene
   2. Tempera gold leaf

EARLY RENAISSANCE

1. Masaccio, Holy Trinity, ca. 1424-1427
   1.  tall fresco in a church in Florence
   2. Holy Trinity
   3. Mary & John act as intercessors (the go-between between the worshiper & God)
   1. Patrons at the very base of the painting
   2. Linear perspective, symbolic (vanishing point behind the trinity) perspective
   3. VERY detailed modeling
   4. Chiaroscuro (“spotlight”) used on Christ
   5. Masaccio focused on the human form
   6. Realistic
   7. Triangle balance & harmony used
   8. the bones beneath are Adam and saying says I was as you are and will become (something like that)
   9. Christ is above the bones symbolizing conquering death.
   10. The archway (very Roman) symbolizing triumph over death.
   11. Color symbolism: red symbolizes the blood of christ; blue symbolizes the heavens

EARLY RENAISSANCE

1. Botticelli, Birth of Venus, 1484-86

a.    commissioned by the Medici’s

b.    venus, her attendant, and the “wind” & his wife.

c.    good sense of space, perspective, depth, shape/anatomy,

d.    rich variety of colors

e.    Venus was the symbol of higher love

f.    very defined and crisp edges

EARLY RENAISSANCE

1.  Brunelleschi, Dome of the Florence Cathedral, 1420-1436

1. The dome has two layers (double shelled dome—dome within the dome)

1. Changes the shape of the dome (barrel vault dome) to support 37,000 tons

1. Brunelleschi invents the blueprint.

Late Northern Renaissance

24. Brugel the Elder, Hunters in the Snow, 1565

1. Genre painting: everyday life

1. The colors are natural & earthy

1. Naturalism

Late Northern Renaissance

23. Holbein the Younger, The French Ambassadors, 1533

1. Table filled with objects to show they are wealthy, educated, and traveled

1. Anomorphic skull represents the idea of death, time is fleeting and right in front of us, even though we can't see it

1. Everything is done very well… colors, perspective, proportions

Late Northern Renaissance

22. Albrecht Durer, Four Apostles, 1526

1. Represents the idea that people should read for themselves

1. Create new art to go with new religion

1. John, Mark, Peter, and Paul

Northern Early Renaissance

21. Jan van Eyck, Giovanni Arnolfini and His Bride, 1434

1. 5 characteristics

1. Wedding portrait

1. Male and female side of the portrait

1. Mirror = all seeing eye of God

1. Christ pictures around the mirror.

1. One candle in the chandelier

1. Dog = fidelity

1. Oranges = fertility

1. Bedrooms & bedchambers were not the same; bedrooms were for sleeping, bedchambers were for entertaining: playing cards, etc…

1. St. Bridget near the mirror = childbirth

1. Prayer beads

1. Artist signature above the mirror

NORTHERN EARLY RENAISSANCE

20. Van der Weyden, Deposition, 1435

Symbols:

1. Skull: a) Adam, b) Death, c) Golgotha~~means the place of the skulls
2. Corners: bows & arrows=patrons were the Archers Guild
3. Intense emotions
4. Twisted bodies and limbs~~”Immitatio Christi”=Mary’s body position is the same as Christ’s.

NORTHERN EARLY RENAISSANCE

19. Limbourg Brothers, January, 1413-1416

1. Duke of Berry is the brother of the King

1. Illumination

1. Fleur de lys: symbol of Royalty, and only royalty were aloud to use it.

1. Characters look gothic--distorted anatomy

1. Detail & patterns

1. Very colorful

Northern Early Renaissance

**5 CHARACTERISTICS OF NORTH. EARLY. REN.**

1. Bright color

1. Texture

1. Detail
2. Symbols
3. Nonclassical looking anatomy/perspective

MANNERISM

18. Bologna, Abduction of the Sabine Women, 1583

1. EMOTION!!

1. A lot of “S shapes”

1. Zig zags & corkscrew movements~~creates the desire to walk around the sculpture

1. Everything takes place in a cylinder shape

1. Unrealistic positions

MANNERISM

17. Pontormo, Entombment of Christ (or Descent from the Cross), 1525 – 1528

1. Mannerism Style

1. Human figures are definitely NOT realistic: elongated, bazar positions

1. No depth or perspective

1. Faces are too emotional and really creepy
2. No symbols to define who is who
3. Very drastic lights & darks: lighting is very strange.
4. Colors that don't really go together
5. No focal point

HIGH RENAISSANCE

16. Titian, Madonna of the Pisaro Family, 1519-26 (Venetian High Renaissance)

1. The Pisaro Family is all kneeling on the floor

1. The father was the bishop & leader of the Popes army

1. The left side of the picture represents the turk & pope battle

1. Peter is in the blue & yellow robe

1. St. Francis is one of the monks on the right

1. It is an offering to Mary

1. Youthful, idealized Mary; REAL Christ child BABY

1. Great color, texture

1. Focal point in a V leading up to Mary

HIGH RENAISSANCE

15. Giorgione (or Titian), Pastoral Symphony, 1510 (Venetian High Renaissance)

1. Good amount of chiaroscuro

1. The men are composing music
2. The women are not real: just inspiration or muses

1. idealized

HIGH RENAISSANCE

14. Michelangelo, Moses, 1513 – 1515     

1. Patron was Pope Julius II created for his tomb (supposed to be 40 sculptures & was only 6 because he died before Mic. Could finish)

1. Connection between Moses & Pope Julius II because they are lawmakers

1. Mistranslation read “horns” instead of “rays of light”

1. Emotion, drama, & thought in his face.
2. This work is inside a church—it is a tomb exterior

1. Pieced together.

HIGH RENAISSANCE

13. Raphael, Philosophy (OR School of Athens), 1509 – 1511

1. Not religious… man & human's achievements
2. Plato & Aristotle; plato pointing up: sciences of the universe, Aristotle pointing down: science of earth

1. Classical, difined, plato philosophers on the left, aristotle on the left
2. No religious elements in the work
3. Rafael on the far right, Divinchi included,
4.  Linear!! Eye flows from each group to the next… Limbs point from one group to the next.

HIGH RENAISSANCE

12. Leonardo Da Vinci, Last Supper, 1495 – 1498

1. Symbols: Christ in the center (of the universe), Christ in the shape of the triangle (holy trinity, calmness), numbers of three () and 4 () which together make 7 (number of perfection)
2. Fresco with oil which desintigrated very quickly

HIGH RENAISSANCE

11. Leonardo Da Vinci, Virgin of the Rocks, 1483

1. Interlocking gestures & glances

1. Very natural looking bodies, perspective, skin, backgrounds
2. Triangular formation used
3. Chairoscuro used to illuminate Mary's face & Christ
4. Sfumato used

EARLY RENAISSANCE

10.  Perugino, Christ Delivering the Keys of the Kingdom to Peter, 1481-83

a. Painted in Rome—still in Rome

b. linear, atmospheric perspective

c. continuous narrative

d. great use of human anatomy: contraposto

e. same color combinations

f. Symbolism: Three buildings in the background, center building is Old St. Peters