Nicola Pisano.

Pulpit of the Baptistery.

1259-60.

15ft.

Located in Pisa.

Carried some medieval traditions, like trefoil arches and lions supporting columns, but also included classical elements. Face types along with bulk and weight of figures reveal an influence of classical relief. Symbol of St. John at the lectern. 

Created from Carrara marble, which is known for it's pureness. 

Pisa was a magnet for artists who sought commissions at that time. Pisano was one of the first renaissance artists. The figures packed into the individual panels is reminicent of roman sarcophogi. 

Nicola Pisano.

Panel.

Annunciation, Nativity, and Adoration

of the Shepherds.

Pulpit of the Baptistery.

1259-60.

Cimabue.

Madonna Enthroned with Angels and Prophets.

1280-90.

12ft. 7in x7ft 4in.

Transitional from Byzantine.

Cimabue challenged some of the conventions that dominated late medival art in pursuit of a new naturalisim.  

Showed reliance on Byzantine models for composition, but used gold embellishments to enhance space, and the overlapping of the saints and angels to further influence and convince one of the illusion of depth.

Giotto.

Madonna Enthroned.

1310.

Italy. 

Painted for Ognissanti in Florence.

Seen against the tradtional gold backround, but the Virgin is seen as a weighty, classical queen. The body of the virgin is apparent underneath the drapery of her robe. Giotto strove to give her substance. 

This painting marked the end of medival painting in Italy. 

Giotto.

View of Arena (Scrovegni) Chapel. 

1305-06.

In Padua.

Scrovegni comissioned on a site near now razed palace. Intially intended for private use to pardon the banker's crime of usury. Even speculation of Giotto being architect due to the amount of space given way for his fresco. 

Repetition of the color blue. 

38 framed pictures framed on three levels. 

Top - Life of Madonna's parents Joachim and Anna

Middle - Life and Mission of Christ

Bottom - Passion, Cruxifiction, and Ressurection

Giotto's powerful work was fortified with the use of gestures, composition, and intense expression of his figures.

Giotto.

“Lamentation” Panel

From the Arena Chapel.

1305-06.

See Scrovegni Chapel

Attempts at foreshortening.

Ambrogio Lorenzetti.

Effects of Good Government (detail: Peaceful City) 

1338-1339.

Lorenzetti also transistional artist, all records lost after 1348.

Located in Palazzo Publico. Fresco.

Served as an allegory of good government and what happens when a city is ruled correctly. 

Through the use of figures, one can see harmony of the city.

Panoramic view of Siena.

Ambrogio Lorenzetti.

Effects of Good Government (detail: Peaceful Country) 

1338-1339.

Allegory of Security in angel's scroll. 

Also one of the first appearences of landscape in western art since antiquity.  Particularized the landscape.

Duccio.

The Maesta Altarpiece (Front)

1308-1311.

Tempera on Wood.

Devotional imagery. Saints kneeling in foreground have individualized faces and are loose in posture.

Byzantine tradition, but much softer in nature figures.

repetetive motifs such as blue and gold.
Rested on predella. 

Sienese believed that Mary had brought them victory against Monteperti in 1260. Focus of religious life in republic.

Duccio.

The Maesta Altarpiece (Back)

1308-1311.

Simone Martini (And LippoMemmi).

Annunciation.

1333

Altar piece in Siena cathedral. 

Features elegant shapes, radiant color, line, and weightless figures in space; all hallmarks of the artist's style. 

White lilies are represent of Virgin's purity. 

Madonna's expression is realistic, showing modesty in front of Gabriel. Two saint figures believed to be painted by Lippo Memmi. 

Arnolfo de Cambio et al.

Florence Cathedral (AKA - The Duomo).

begun in 1296. Completed in 19th century. 

Basilica styled. Attempt at holding all of Florence's population, but holds instead about 30K. Marble inlay all over building to match inside. Has octagonal dome, which was completed by Brunelleschi. Giotto designed bell tower in 1334. 

Jan Van Eyck

Arnolfini Wedding Portrait (...?)

1434

Oil on wood; oil being a new medium.

Wedding portraits served as a legal document to record and sanctify (Eyck even signed this one) marriage. Two witnesses stand in the mirror central in the composition. 

Bedroom is of flemmish design, both mundane and charged with the spiritual. Everything is of importance, such as candle to represent divinity, oranges fertility, et cetera. Visable light source. 

Jan van Eyck.

Ghent Altarpiece (closed).

1432.

Exterior panels represent donors, annunciation scene above with a view of a flemmish city outside the windows. 

Uppermost panels depict Zachariah and Micah, along with sibyls. 

Jan van Eyck.

Ghent Altarpiece (open).

1432.

Depicts humanities redemption and overall salvation. Christ wears heaven's and earth's crowns with Madonna to his right and st. john to his left. . 

Community of saints come together at bottom to celebrate. Represent of virtues- Temperance, Prudence, Fortitude, and Justice.

Commissioned by Vyd and his wife; allowed him to be chief magistrate after unveiling.

Polyptych - Multiple images included

This style became hallmark of flemmish painting. 

Robert Campin (Master of Flemalle)

Merode Altarpiece (open).

1425-1428.

2’ 1⅜ x 10’ ⅞

Oil on Wood. 

A modernization (in Northern Style) of the Annunciation; domestication of the entire scene. Being a private devotional piece, there was room for liberties. Separating daily life and religious practice helped to strengthen one's connection with spirtiuality. 

Items function as religious symbols, such as lilies. 

Donor and his wife painted on the left panel. Workshop on right panel also connected to donors. 

Rogier van Der Weyden.
Deposition.

ca. 1435.

7’x 2⅝” x 8 ⅛”

Amazing array of texture and details. 

 Figures compressed onto one stage to serve maximum action. 

Emotional Power  in his pieces made him a sought after painter.

Contemporary clothing to make it relatable. 

Figures have sense of volume due to awareness of sculpted altarpieces and the competition that they proposed. 

Archers Guild commissioned  for the Notre-Dame horse-les-murs; commemorated them by adding the cross bows in the upper corners. 

Clause Sluter.

Well of Moses.

1395-1406.

Sluter died before entire fountain completion. Originally called 'Fons Vitae', or fountiain of everlasting life. For monks of a carthusian monestary. The horns on Moses' head were actually there because of a mistranslation of the bible. Moses and 5 other prophets channel Gothic feeling, but heavily and realisticly detailed with individualized faces and distinct costumes. Was originally painted, but flaked off. 

Limbourg Brothers.
Les Tres Riches Heures du Duc de Berry

(The Very Sumptuous Book of Hours of the Duke of Berry)
1413-1416. 

 “8 7/7 x 5 3/8”

_January 

Duke of Burgundy, ruling over Berry and others, was an avid art patron, focused on finding books and other trinkets. Had one of the largest libraries with over 300 books.

To illuminate was to bring light to. Oranized by days of the year.

Book of Hours would include prayers to be used all throughout the day.

Zodiac signs and days of year shown at top in a lunette.

Books were made on vellum or on parchment. 

Imaged showed generosity of Duke of Berry and his relationship with his people.

Brothers died before completion; was completed 70 years later.

Workshop of Micheal Wolgemut,

Tarvisium, Page from the Nuremerg Chronicle.

1493.

Wood Cut. 

1’2” x 9”

Used Gothic typeface. 

Contained 650 illustrations.

Author – Hartman Schedel, Nuremberg

Physician compiled information. 

Chronicle = History of the World. 

Pictures colored by hand and therefore all different. 

Martin  Schongauer.

Saint Anthony Tormented by Demons.

1480-90.

Engraving.

1’ ¼” x 9”

Thought to have been Schongauer to develop cross-hatching. Was a gold smith, prior, and because of that, was able to create tonality through the use of texture by use of intaglio printing.

Uses a network of lines, some parallel and some intersecting.

St. Anthony was an early Monk/Hermit. Spent lifetime meditating in cave, and was holy enough to levitate. Demons attacked when demons attacked. Because of strong faith, was able to resist demons taunting.

Brunellesschi

Dome of The Duomo

Florence Cathedral

1420-1436

Broad knowledge of roman construction and inventiveness. 

Devised new methods to build. 

Designed around an ogival section, which was more stable due to the shape of the dome. 

Created a double shell for the dome itself, with 8 ribs on the outside, 16 on the inside. First time in history. 

Does not express his renaissance style as it was designed based on Gothic principles.

Alberti

Palazzo Rucellai

Florence

1452-1470

Commissioned by a wealty family. Palazzo means palace.

Huge sense of symetry and unity. 

Lack of rustication.Plasters/Embedded Columns. Plays with the orders.

Prized for its elegance; traveling up the building, architecture more refined.

Alberti

Pazzi Chapel

Exterior

Designed 1420

Began in 1442

Centrally planned, corinthean columns. Florence. 
Gift to the Franciscan church of Santa Croce.  Exterior doesn't reflect original design. 

Glazed terracotta reliefs of the four evangelists. Roundels are mostly done by Lucal della Robbia. 

Alberti

Pazzi Chapel

Exterior

Designed 1420

Began in 1442

Botticelli

Birth of Venus

1484-86

 Tempra on Canvas

One of the earliest instances of use of Canvas. 

Most paintings that had been on canvas had been banners. 

Botticelli benefited greatly from Medici family.

Neo-Platonic thought.

First instance where artist tried to visualize her coming into instance.

Also represents the Virgin Mary.

Venus represents Love and beauty, as did the Madonna.

Botticelli

Primavera

1482

Tempra on wood 

Plays on influence of Neo-Platinisim.

Central female figure to represent Venus. 

Idea of Rebirth

Not fully understood.

Semi-circular shape around Venus represents halo.

Cloak of Red & Blue of the Madonna.

Perhaps commisioned by Medicis for a marriage within their family.

Leonardo da Vinci 

Mona Lisa

1503 - 05

Sfumato - misty haziness.

Use of thin glazes.

One of the first images where a woman was painted to be looking out at viewer as women were to not look men directly in the eyes. 

Mysterious landscape in the background.

Columns at sides (Loggia), but painting has since been trimmed, and one can no longer see it.

Leonardo da Vinci 

The Last Supper

1495-98

Raphael

Marriage of the Virgin

1504

Raphael was a social person, conversationalist, womanizer. Large sense of harmony and grace in his paintings.

Pinnacle of success due to being able to tie together all the principles and elements of designs.

Was 20-21 at completion of this painting.

Cult of the Virgin still going strong.

Shows off her marriage, despite it not being brought up in biblical scripture.

Golden Legend.  Speaks about having multiple suitors seeking her hand. Wooden rod with bloom on tip would receive her hand. 

Raphael

School of Athens (Philosophy)

1509 - 11

 Julius II Pope, nicknamed warrior pope. Fought a number of wars to gain papal territories. Famous humanist. Commissioned this.

Was aggressive in getting commissions. 

Pope would sign important treatises in the room where this painting is located, called stanza della segnatura.

Painting was created with instruction of the Pope as well as theologists.

Great gathering of classical thinkers. Such as Socrates, Ptolemy, Aristotle, etc.

Painted the illusion of going past the wall. Follows the trope - Painting is a window unto the world. 

Michelangelo

Pieta

1498-1500

Pieta translates to pity. Not a subject done in Italy often. More commonly done by north.

Commissioned by a French cardinal.

Christ was 33 when crucified, Virgin should be well into 40’s, and should appear older.

Michelangelo retorted with portraying it in a realistic way.   

Doesn’t play on emotional aspect of scene.

Subtle portrayal of the scene.

Michelangelo

David

1501-04

Real located in academia.

Psychic connection to something beyond scene.

Commissioned to do this for city of Florence.
David was the young shepard boy. Underdog, represented peace.

Michelangelo was interested in capturing psychic state of David.

At point in narrative, was just before he was to fell the giant called Goliath.

Sense of tension.  

Michelangelo

Sistine Chapel

1508 - 1512

Julius II commissioned. 

Wanted a learned hand to repaint. 

Vatican is a place for all pilgrims to worship.

Michelangelo did not want to paint the chapel, as his love was for sculpture, and wanted to finish his tomb instead.

Worked with pope and team of theologians and scholars.

Choices were not random, and mapped classical, old testament references to point to new testament.

Was originally supposed to be 12 prophets and 12 apostles, not as massive as it turned out.

Painted architectural elements to separate images.Used the human figure between elements to move eye. 

Narratives told through the human form, no landscape.

Bramante

Tempietto

1502-ish

Started out as a painter.

Worked in Milan.

Knew Leonardo Da Vinci.

Bramante lost source of income and moved to Rome.

Tempietto – Diminutive Term for Temple

Christian site. Location chosen because St. Peter was supposedly crucified at that spot.

King and Queen of Spain commissioned.

Circular/Central Plan.Used Doric capitals at the top if pillars.

Much movement and play with volume.

Palladio 

Villa Rotunda

1566-70

Was built as a Summer Home.Speaks with deep knowledge of ancient architecture .

Has a temple front, has a steep set of steps. Located on a high hill.

Central Plan.

Diaphragm wall  allows breeze to circulate through building. Built to keep the circulation of air.

Copy of this building in London.

Separate entry way for servants.

Giorgione and Titian

Pastoral Symphony

1508 - 1510

Work of Mystery.
Textual Source… Scholars still debate what it’s about. 

Inspired by poetry, but more about the mood.

Very evocative, but not as locked into narrative.

Located the Louve.
Flute is instrument of poet.

Women thought to not be real people, more like muses.

Peaceful mood.

Attention paid even to foliage.

Beauty of the flesh. 

Giorgione

The Tempest

1510

French Term for 'Rebirth'.

Used to describe the history, culture, and art of 14th thru 16th century Western Europe.

Artists revived 'classical' style during this period.

An Independant, self-governing city. 

Three major types.

·        Republics (ran by Councils or Communal Base)

·        Kingdom, Duchies (ran by Monarchs and Dukes)

·        Papal States (ran by Pope/Catholic Church)

Translates to "Fresh".

Painting on lime plaster. Either Dry or Wet. 

In wet fresco, pigments are mixed with water and become chemically bound to the freshly laid plaster. 

Predella

The narrow ledge on which an altarpiece rests on an altar.

Masaccio

Tribute Money

Brancacci Chapel

1427

Took innovations of Giotto to move them forward.

Large scale wall painting. Brancacci family commissioned this for their church. 

Masaccio died at 27.

Scene from New Testament, Book Matthew, but not something that was painted repeatedly. 

Tells story of Christ, approached by Roman Tax Collector,  Jesus told St. Peter about coin being in mouth of fish to pay collector with. 

Story shows that Jesus still partakes in paying of earthly tax. 

Message – You have to pay your taxes. 

Plays into idea of civic beauty. 

Enhanced naturalism taken to next level.