Nicola Pisano, The Annunciation and the Nativity, part of the pulpit of the baptistery of Pisa Cathedral, 1259-60

Pisano, Nicolo, Pulpit in Pisa Baptistry, 1259-60, full vw; Pisano, Giovanni, Pulpit in Pisa Cathedral, 1302-10, full vw

Giovanni Pisano (Nicolo’s son) The Annunciation and the Nativity, 1297-1301, pulpit of Sant’ Andrea, Pistoia 40 years later

L: Virgin of Paris, Middle and Right: Giovanni Pisano, Madonna, 1315

Cimabue, Madonna Enthroned (with Angels and Prophets), 1280-90, 12’7” x 7’4”

Giotto, Madonna Enthroned, 1310, tempera on wood, 10’8” x 6’8”

Late Byzantine, Madonna Enthroned, 12th c Giotto, Madonna Enthroned, 1310

Cimabue and Giotto

Giotto, Scrovegni (aka Arena) Chapel, Padua, 1305-06

Giotto, The Betrayal, from the Scrovegni Chapel

Giotto, Lamentation, Scrovegni Chapel, 1305-06

Duccio, Virgin and Child Enthroned with Saints OR Madonna Enthroned, from the Maesta Altarpiece, Siena, 1308-11

Duccio, Annunciation of the Death of the Virgin, from Maesta Altarpiece, 1308-11

Duccio, Christ Entering Jerusalem, from Maesta Altarpiece, 1308-11

Ambrogio Lorenzetti, Peaceful City, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.

Ambrogio Lorenzetti, Peaceful Country, detail from Effects of Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338–1339. Fresco.

Martini, Simone, The Annunciation, 1333 BIG: about 10 feet x 9 feet

Martini, Simone, The Road to Calvary, Intl G. St, 1340 LITTLE: about 10 INCHES x 6 inches

Limbourg Brothers, Les Tres Riches Heures du Duc de Berry, 1413-1416

Limbourg Brothers, February and October, Les Tres Riches Heures du Duc de Barry, 1413-16

Gentile da Fabriano, The Adoration of the Magi, 1423, about 10’ x 9’

Gentile da Fabriano, scene from predella of The Adoration of the Magi, 1423

Ghiberti (L) and Brunelleschi (R), The Sacrifice of Isaac, 14

Ghiberti’s Sacrifice of Isaac

Ghiberti (L) and Brunelleschi (R), The Sacrifice of Isaac, 14

Ghiberti, Baptistry Door, Florence (Gates of Paradise), 1425-1435

LORENZO GHIBERTI, Isaac and His Sons (detail of FIG. 21-10), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

Brunelleschi’s dome on the Florence Duomo (Cathedral)

Brunelleschi, Ospedale degli Innocenti

Brunelleschi, plan of San Lorenzo

Brunelleschi, interior of San Lorenzo, Florence

Brunelleschi, interior of San Lorenzo, Florence

FILIPPO BRUNELLESCHI, early plan (left) and plan as constructed (right) of Santo Spirito, Florence, Italy, designed 1434–1436; begun 1446.

FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–1436; begun ca. 1436.

Brunelleschi, Pazzi Chapel façade and interior, Santa Croce, Florence

Nanni di Banco, Quatto Santi Coronati; c. 1408-13, Marble, height: c. 185 cm, Orsanmichele, Florence

Donatello, St. Mark, Orsanmichele, Florence, 1411-13

Donatello, St. George, 1415-17, Orsanmichele, Florence

Donatello, Zuccone, 1423-25

Donatello, David, 1428-32

Greek High Classical, Polykleitos, Doryphorus, ~450 BCE

DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high.

Donatello, Mary Magdalene, 1445-50

Example of Italian Gothic secular architecture—Palazzo Vecchio—for example of rusticated walls, Florence

Michelozzo, Palazzo Medici-Ricardi, begun 1444—rusticated walls first floor

MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

Masaccio, The Tribute Money, 1427, Brancacci Chapel, Florence

Masaccio, The Expulsion from Paradise, Brancacci Chapel, Florence

Masaccio, The Holy Trinity, 1425, S. Maria Novella, Florence

Uccello, The Battle of San Romano, 1455, one of three sections dispersed to the Louvre, London’s Natl Gallery, and the Uffizi

Andrea del Castagno, Last Supper, 1445-50

Andrea del Castagno and Leonardo

Piero della Francesca, Resurrection, 1463

Piero della Francesca, Flagellation of Christ

Piero della Francesca, Baptism of Christ

Piero della Francesca, Duchess and Duke of Urbino, 174-1475

Fra Angelico, Annunciation, c 1450, San Marco Monasterio, Florence

Fra Angelico, Annunciation, c 1441. Fresco, 176 x 148. Museo di San Marco, Cell 3, Florence, Italy

Fra Filippo Lippi, Madonna and Child w Angels, 1457-1465. Tempera on panel. Galleria degli Uffizi, Florence, Italy

Fra Filippo Lippi, Madonna and Child,1440-45

Bernardo Rossellini, Tomb of Leonardo Bruni, c 1450

Pollaiuolo, Hercules and Antaeus, 1475, 18”

Pollaiuolo, The Battle of Naked Men, engraving, 1475, 16”x23”

Niccolo Dell’Arca, The Lamentation, 1485-90 terracotta, inexpensive enough to be fullsize MOTION + EMOTION

Verrocchio, David, 1476, 47”

Donatello and Verrocchio’s Davids

Mantegna, The Dead Christ, 1466

Mantegna, Camera degli sposi (Bridal Chamber), Ducal Palace, Mantua,1465-74

Mantegna, Camera degli sposi (room of the newlyweds), ceiling fresco, Ducal Palace, Mantua di sotto en su

Mantegna, St James on the way to his execution, c 1455, largely destroyed in WWII. In a church in Padua. Worm’s eye view.

Botticelli, Portrait of a Youth, 1483-84

Botticelli, La Primavera (Spring), 1478

Botticelli, The Birth of Venus, 1485

Botticelli, The Adoration of the Magi, 1485-86

Perugino, The Delivery of the Keys (OR Christ Delivering the Keys of the Kingdom to St. Peter)1482

Alberti, Palazzo Rucellai, Florence, 1446-51 (exterior decoration modeled after exterior decoration of Colosseum)

Alberti, Santa Maria Novella (façade only is by Alberti), Florence, 1578-70 SCROLL BUTTRESSES

LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

LEON BATTISTA ALBERTI, interior of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470, begun 1472.

Alberti, San Andrea, Mantua designed 1470

Pulpit @ PISA BAPTISTRY 1259-60 15’ high NICOLO PISANO “DADDY”

The Annunciation and the Nativity

Adoration of the Magi / Nicolo Pisano / Pisa Baptistry Pulpit

Giovanni Pisano PISA CATHEDRAL PULPIT 1302-10 (40 years later)

Mary not as large More facial emotions Deeply carved in comparison to Daddy Still very crowded (HORROR VACUI) but more space around each figure Individuality in figures more apparent (Giovanni) CAVITYS and SHADOWS (Nicolo) Bulging round masses

Giovanni Pisano / Nativity on the Pisa Cathedral Pulpit

GIOVANNI PISANO / PISA CATHEDRAL PULPIT ADORATION OF THE MAGI

PRESENTATION IN THE TEMPLE

A B 40 years later

Virgin of Paris / Notre Dame Giovanni Pisano / Madonna / 1315

BONAVENTURA BERLINGHIERI Saint Francis Altarpiece 1235 San Francesco Tempera on Wood

ARNOLFO DE CAMBIO = assistant to Nicola Pisano, trained as sculptor but worked mainly as an architect in FLORENCE

Arnolfo de CAMBIO SANTA MARIA NOVELLA Begun 1279 FLORENCE San Miniato el Monte = “Tuscan Style” / Italian Romanesque

ARNOLFO de CAMBIO / Santa Croce Florence begun in 1290

Arnolfo de Cambio PALAZZO VECCHIO 1298-1314 Florence RUSTICATED CRENELLATIONS

Santa Maria del Fiore (Duomo of Florence) by ARNOLFO DE CAMBIO and others! Begun around 1180 minus the dome!

1417

3 MAIN influences on E.R.Art BYZANTINE Symmetrical Frontal Linear Floating Gold iconic imagery Flat downward-pointed feet Isocephalic arrangement of figures (heads on all the same level of the picture plane)

2. GOTHIC More realistic More natural emotions than Byzantine or Classical S-Figure type (Gothic Sway) early re-attempt at contrapposto

3. CLASSICAL Idealized figures Calm faces Rational More stereotypical, generic figures

Italian Renaissance Century - Breakdown / FYI TRECENTO (1300s) VEEERY Early Renaissance QUATTROCENTO (1400s) Early and later High Renaissance CINCQUECENTO (1500s) High and then Late Renaissance

Italy during the TRECENTO (1300s)

HUMANISM: Value in the lived experience of a human being. HUMANISM is a philosophy born in the RENAISSANCE … but they are still DEVOUTLY CHRISTIAN! They send you a humanistic message with Christian imagery.

Made of many states - always at odds with each other and competing FLORENCE is the center of the the birth of the Renaissance MEDICI $$$$$ funds REASON: the plague / Florence has quicker recovery than most FLORENCE = FIRENZE

Florence vs. Sienna

CIMABUE Madonna Enthroned with St. Francis and St. Domenic c. 1280 Tempera on panel

CIMABUE / Madonna Enthroned 1280-90 / 12’7” x 7’4” / tempera on POPLAR

BLUE = symbolizes her role as the queen of heaven WHITE = symbolizes Mary’s purity and purity of Jesus RED = the blood of Christ / the sacrifice

GIOTTO : the turning point Trademarks= Figures have mass / chirascuro Pivotal moments in stories Sought intelligent audience

GIOTTO Madonna Enthroned 1310 Tempera on wood 10’8” x 6’8”

Late Byzantine Early Renaissance

CIMABUE GIOTTO

The SCROVEGNI Chapel (aka THE ARENA CHAPEL) Built by the SCROVEGNI Family

The SCROVEGNI Chapel Padua, Italy 1305-06

QUATREFOIL

GIOTTO : The Betrayal

THE LAMENTATION KNOW THIS PAINTING!

SIENA, Italy The Piazza Pubblico (above) holds the Palazzo Pubblico “THE NINE” would sequester themselves here for nine days, deciding on what the city needed.

DUCCIO Di Buoninsegna Rucellai Madonna 1285 Egg Tempera on Wood 15’x 9’5” Sta. Maria Novella

CIMABUE DUCCIO

DUCCIO : the direct counterpart to Giotto, but from SIENNA DUCCIO di Buoninsegna (DUCCIO) Virgin and Child Enthroned with Saints (aka Madonna Enthroned) From the MAESTA ALTARPIECE (Majesty)

Backside: originally was SCENES from The life of Jesus 1776: MAJOR SCREW UP by the SIENESE!

DUCCIO Annunciation of the Death of the Virgin Maesta Altaerpiece / 1308-11

DUCCIO Christ Entering Jerusalem From the Maesta Altarpiece 1308-11

SIENA, Italy The Piazza Pubblico Palazzo Pubblico “THE NINE” would sequester themselves here for nine days, deciding on what the city needed.

59

THE PALAZZO PUBLICO Room of Peace

62 AMBROGIO LORENZETTI PEACEFUL COUNTRY detail from Effects of Good Government in the City and in the Country 1338-1339 / FRESCO

89 sq ft SIMONE MARTINI The Annunciation 1333 App. 10’x9’

INTERNATIONAL GOTHIC STYLE

0.4 sq ft SIMONE MARTINI THE ROAD TO CALVARY 1340 10X6”

LIMBOURG BROTHERS Les Tres Riches Huere du Duc de Berry 1413-1416 January MAY

February October 12 scenes of human life within nature: a calendar

predella GENTILE da FABRIANO “the greatest painter of the International Style” THE ADORATION OF THE MAGI 1423 10’X 9’

SCENE FROM THE PRADELLA Adoration of the Magi He could still work in miniature too! A very NORTHERN thing.

Florence: The Quattrocento (1400s)

COMPETITION PROMPT: Submit a QUATREFOIL shaped scene of “THE SACRIFICE OF ISSAAC”

G

B

“THE FEUD THAT SPARKED THE RENAISSANCE” Ghiberti vs. Brunelleschi

Andrea Pisano 1st set of doors on the Florence Baptistry DO WE SEE SOME INFLUENCE? Ya think?

GHIBERTI NORTH DOORS OF THE FLORENCE BAPTISTRY 1403-1424 *THESE ARE THE DOORS THAT WERE MADE via HIS WINNING THE COMMISSION from Brunelleschi! REMEMBER: The QUATREFOIL Shape!

GHIBERTI Pisano

GHIBERTI THE GATES OF PARADISE (Florence Baptistry Doors) 1425-1435

1. Andrea Pisano’s Doors 2. Ghiberti’s FIRST SET of Doors 3. Gates Of Paradise There is nothing over here and its looks like poo.

83 Lorenzo GHIBERTI Isaac and His Sons Gates of Paradise 2’ 7.5” x 2’ 7.5”

http://www.bluffton.edu/~sullivanm/italy/florence/ghibertiparadise/0116moses.jpg

Cathedral built 50 years before the dome.

BRUNELLESCHI’S DOME 1420-36 Florence Duomo OGIVAL SECTION (rounding tapered) arches meeting @ the top lantern

BRUNELLESCHI : Ospedale degli Innocenti

Brunelleschi Plan of SAN LORENZO B believed that architecture should reflect the ‘right’ proportions - “proportional ratios expressed through whole numbers” HE MEASURED CLASSICAL RUINS to arrive at what he believed these to be.

PIETRA SERENA: DARK STONE INTERIOR of San Lorenzo BRUNI brought back classical architectural terms like Rounded arches Classical colonnades Tunnel vaults

Don’t judge a book by it’s cover?

100 BRUNELLESCHI Early and later plans for SAN SPIRITO 1434-1436, built in 1446

101

Brunelleschi PAZZI CHAPEL @ Santa Croce

ORSAN MICHELE : originally a grain market converted to a church Statues of PATRON SAINTS of the guilds decorate the facades

Nanni di Banco Quatto Santi Coronati c. 1408-13 Marble @ Orsan Michele Guild of Sculptors, Architects and masons

GHIBERTI John the Baptist at ORSAN MICHELE 1412-16

Orsanmichele DONATELLO St. Mark @ Orsanmichele Florence, 1411-13 Linen-weavers and peddlers guild

Donatello the most important innovator in ER sculpture!

DONATELLO St. Mark

DONATELLO St. George 1415-17 @ Orsanmichele Armourers Guild

DONATELLO Zuccone (“Pumpkin Head”) / 1423-25

DONATELLO David 1428-32 FIRST LARGE FREESTANDING NUDE SINCE CLASSICAL TIMES!

Androgynous feel Strong diagonals IDEALIZED period FLORENCE: MILAN at war

115 DONATELLO Gattamelata (Equestrian Statue of Erasmo da Narni) Padua, Italy 1445-1450 12’2”

ROME Renaissance

DONATELLO Mary Magdalene 1445-50

1466

PALAZZO VECCHIO Italian Gothic! RUSTICATED WALLS

MICHELOZZO Palazzo Medici- Ricardi Begun 1444

122

First Half of the 15th C. Innovations/Focus in PAINTING are: Humanism continues Illusion of depth LINEAR PERSPECTIVE! (Brunelleschi!) Atmospheric perspective Unified light source CONTRAPPOSTO Foreshortening Realistic arrangement of figures in space GEOMETRY

The BRANCACCI CHAPEL MASACCIO / The Tribute Money / 1427 / Florence A seldom seen depicted story from MATTHEW 17.

THE EXPLUSION FROM PARADISE MASACCIO The Brancacci Chapel

MAUSALINO Adam and Eve 1425 Brancacci Chapel

MASALINO

MASACCIO The Holy Trinity 1425 / S. Maria Novella / Florence “I once was what you are, and what I am, you will become.”

Paolo UCCELLO The Battle of San Romano / 1455 / one of three sections

ANDREA DEL CASTANGO The Last Supper / 1445-50 (in dining hall of St. Apollonia, Florence)

Pierro della Francesca RESURRECTION 1463

Pierro della Francesca / FLAGELLATION OF CHRIST

PDF - Baptism of Christ

PIERO della FRANCESCA DUCHESS AND DUKE OF URBINO 1474-75

FRA ANGELICO ANNUNCIATION / c. 1450 / San Marco Monasterio / FL

FRA ANGELICO ANNUNCIATION c. 1441 Fresco

FRA FILIPPO LIPPI Madonna and Child with Angels 1457-1465 Tempera

Second HALF of the 15th C. FOCUS shifted to MOTION EMOTION more sophisticated ways of showing CONTINUOUS SPACE.

Pollaiuolo MID 15th C. Civic campaign to support art production ended …. What does that mean? Hercules and Antaeus 1475 / 18”

PALLAUOLO / Battle of Naked Men / engraving / 1475 / 16”x23” écorché = as if without skin

Niccolo Dell’Arca THE LAMENTATION 1485-90 *terracotta MOTION & EMOTION

Verrocchio DAVID 1476 47”

THE DEAD CHRIST 1466 Mantenga

Camera degli sposi MANTENGA Bridal Chamber “Room of the Newlyweds” FRESCO

di sotto en su = from below upwards tromp l’oeil (deceives the eye)

Andrea Mantegna Saint James Led to Martyrdom 1455 Fresco

SANRO BOTTICELLI Portrait of a Youth 1483-84 Fra Filippo Lippi was his teacher.

BOTTICELLI / La Primavera / 1478

BOTTICELLI THE BIRTH OF VENUS 1485

BOTTICELLI / The Adoration of the Magi / 1485-86

PERUGINO The Delivery of the Keys / 1482 (OR Christ Delivering the Keys of the Kingdom to St. Peter)

ALBERTI Palazzo Rucellai / 1446-51

SANTA MARIA NOVELLA façade ALBERTI 1458-70

Inspired by SAN MINEATO AL MONTE / Tuscan Style

162 Figure 21-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472. Leon Battista ALBERTI / plan of SAN ANDREA 147072

163

temple front and triumphal arch combined