HISTORY OF ARTS IN MEDIEVAL AND RENAISSANCE ITALY

• Cimabue

• Vault of the Four Evangelists

• Fresco, 1277-1283

• Assisi, San Francesco’s Basilica

• Summarized symbolic image/idea of Italy, represented by roman monuments, Pantheon, St Peter’s Basilica,

• Ara Pacis Augustae (Altar of Peace of Augustus)

• 9 BCE, Rome

• Devoted to Emperor Augustus

• Was a way to celebrate peace, after Augustus killed all possible enemies

• Created good propaganda around himself and his government

• Classic Roman style

• From the Ara pacis Augustae

• Allegory of the Golden Age

• Goddess Earth, surrounded by air on the left and water on the right

• Naturalistic elements including animals, children, women

• All incredibly idealized

• Ritual procession of Augustus and his family

• The procession portrayed many recognizable people including Augustus the emperor who was political and religious authority, performing sacrifice thanking gods for peace

• Following is his family

• Love for art portraying individual people

• Below are the decorative panels that show garlands and vegetables

• Italian and European arts use decorative patterns coming from Roman times

• Fragments of the colossal statue of the Emperor Constantine

• Rome

• Discovered in 1487 in the Roman Forum

• Constantine: deciding in 3013 to proclaim giving christians the opportunity to have recognition, later became christian, from then on christians were not prosecuted and instead became a christian place

• Constantine emperor played with compromise, did not want to abandon pagen traditions but also understood christian mentality and relgions was the future of his empire

• Emperors who ruled from the 1st to 3rd century

• Faces include Augustus, Vespisian, trajan, Caracalla

• Second slide, changed Constantine’s face, making peoples faces recognizable is no more

• Two peculiar faces have big eyes but other features are changed

• Why did they change his face? Because christian art is a mirror of christian mentality and that in the beginning is being different from paganism 

• Pagan art had fought so much on realism and recognizable faces

• Christians said earth is world of imperfection, has to transcend earth to reach spiritual level, don't count as individuals but count the soul

• Can see in christian art is trying to transcend reality

• Hagia Sophia

• Originally church, then a mosque (from 1453), a museum (from 1935), now a mosque 

• Built by constantine, damaged by earthquakes and destroyed during revolt, rebuilt by Hustinian

• Focus is how this is different than other european basilicas 

• Interesting is the concept of space, many windows so that it feels like the dome is floating, also full of light, becomes spiritual emotion

• Buttresses – preserve the structure of the dome 

• Emperor's door – precious marbles and materials

• Gold

• Surviving mosaics: Mary with Child the the emperors Constantine and Justinian offering the city of Constantinople and Hagia Sophia

• Another mosaic: Christ enthrones with emperors offering money on one side and a scrawl, the rights to the church, unique opportunities and keeping status

• Third mosaic: virgin Mary and child with emperors John II Comnen and Irene. Even though faces are recognizable but image is flat, much less idealized. 

Ravenna

• Surrounded by a lagoon

• Important port that allowed perfect navigation to Constantinople

• One of the most visited cities in this area because many areas that remind of 5th and 6th century

• San Vitale – view of the presbytery and the apse

  • To be appropriate to give experience of what eternity could be

  • The reason why mosaics are used and how its linked to religion

• Mosaics are expensive, such a labor heavy technique and also a result that only stained glass is able to replicate with the same feeling that people receive 

San Vitale

• Central plan for the building, like Hagia Sophia

  • Central plan does not give as much authority

  • Italian church style:

    • Have more authority when someone walks in

    • People gathered and in front people celebrate mass, more easy and comfortable to see mass, has practicality

  • In central plan, people have to turn their heads more and view may be obstructed 

• Perfection related to God which connects to the building

• Diagonal line on the bottom to the right is the side entrance which was typical of bisontine culture 

• Circle for christian culture and beyond means perfection

• Octogon has to do with 7 days of creation, 1 day of rest, symbol of creation and what god did to create

• Giving faithful or viewer experience of being overwhelmed by space aims to change visual perspective

• Mosaics give different atmosphere full of life, without measurable dimenstions

• Gold background:

  • expensive and full of light material

  • also they put the ties at the slight angle in order to reflect light, shimmer effect, trick they used in that period

  • Gold = paradise, eternal light 

San Vitale, Christ (the true king) on the globe surrounded by archangels mosaic on the apse 

• Jesus flanked by archangels, on the left is San Vitale and on the right is another Bishop

• Bishop wanted to offer great gift to god, emperor and himself, offering symbol of San Vitale to Jesus, in the bishop’s hand is the church

• The garden is symbolic, invokes the idea paradise

• Bisontine culture uses limited number of colors, no more than 40 shades, even though they had an unlimited amount, because it was the symbolic meaning that was important

• Mosaics give different atmosphere full of life, without measurable dimenstions

• Gold background:

  • expensive and full of light material

  • also they put the ties at the slight angle in order to reflect light, shimmer effect, trick they used in that period

  • Gold = paradise, eternal light 

Justinian offers the bread for the Eucharist

• San Vitale

• Gold background tells us it’s a sacred space 

• Halo present

• Even political figures had halos sometimes, emperor is a sacred figure because they have God’s support

• Surrounded by parts of clergy and the army

• Maximians, much more important so his name is labelled

• Justinian is bringing something having to do with literature

• Eucharist is eternal and enduring moment caught in this piece

• Mosaics give different atmosphere full of life, without measurable dimenstions

• Gold background:

  • expensive and full of light material

  • also they put the ties at the slight angle in order to reflect light, shimmer effect, trick they used in that period

  • Gold = paradise, eternal light 

Theodora offers the chalice of wine for the eucharist

• She is very dressed up, wearing a robe that has the pattern of the 3 wise men, people coming from the east or asia, looking at stars that guided them to Jesus, they were the first to bring gifts to Jesus

• So Theodora is a new wise gift, she is bringing a gift to Jesus through the chalice

• All the women and men are portrayed from the front

• These mosaics are part of ritual portrait of emperor bringing gifts to god

• column shown in the front to show pouring water and perspective

• Feet of characters are walking on each other because some are more important and therefore cover the feet of others

• More spiritual space where true images of human bodies don’t appear as often

• Crucifix, 12th century, tempera on wood, Lucca, Museo di Palazzo Guinigi

• Peculiar cross and another strange image of Hesus suffering crucifixion

• All come from Byzantine artists or artists raised in Tuscany that know of Byzantine art

• Does not show any suffering

• From the anatomical pov, must consider what the Byzantine art considered what he looked like

• All muscles represented in regular way, all artists must respond in a way that must be respected 

• Byzantine master

• Crucifix (christus patiens, suffering Christ)

• About 1230

• Scenes of: deposition, lamentation over the dead body, entombment, visit of the pious women, supper at Emmaus, incredulity of St Thomas

• Pediment christ in Majesty

• Suppedaneum Christ’s Descent into Hell

• Image of someone who is dead and has suffered 

• Small scenes in the squares gives us certainty that it is a Byzantine artist coming from Constantinople

• What was the function of this type of image?

  • Looking at the different crosses, the structure is the same, 

  • Function: gate that separates faith part and clergy stays

• Giotto 1267-1337

• Verification of the Stigmata

• This particular fresco is a detailed representation of a pivotal moment in Saint Francis' life, where he receives the stigmata, symbolizing his deep devotion and connection with Christ.

• The scene is filled with figures gathered around the saint, their faces expressing a mix of awe and reverence.

• From the legend of St Francis

• Fresco, 1290-1295

• Assisi, Basilica Superiore 

• Giotto

• The Nativity Scene at Greccio

• From the Legend of St Francis

• Fresco 1290-1295

• Assisi, Basilica Superiore 

• First nativity scene that St Francis set up 

• Cross is from behind 

• Guinta Pisano

• Crucifix

• Is asked to paint a suffering Jesus, he paints it differently

• Figure is more strongly arched, and has a more muscular body

• Jesus face seems suffering a little more, Guinta changed this too

• Guinta carved wood to stress line of the eyes to add impression of suffering and mouth is more downturned and bitter

• The artist did not simply decide but had a commission, so we must consider who accepted Guinta’s change

• The choice to be more devoted to suffering cries than triumphant cries, was more successful 

• Very much to do with race of two religious orders that were the Franciscans and Dominicans 

  • Why is it important? Founded by two people who were St Francis (canonized 2 years after death) and St Dominic (canonized 13 years after death)

  • Important because they changed perspective of people in front of the church

  • Canonized immediately, usually takes decades

• Development is singular and crucial

• Cimabue 

• Crucifix

• Tempura and gold on wood

• 1275-1285

• Firenze, Santa Croce (before 1966 flood)

• Can see the present state post flood as well

• Dominco and francesco created new way to devote to religion

• Mandicon saints and they found the mandicon orders

• Poverty was the key for conquering people

• Fryers were close to people because they were poor

• That's  why image of Jesus was created for Dominicans and Franciscans

• Different loincloths  

• Giotto 1267-1337

• Crucifix

• 1295 ca

• Tempera and gold on wood

• Firenze, Santa Maria Novella

• Body has no arch or idealization

• Considering what we saw before, much more realistic

• True suffering face, convincing anatomy

• Image of blood that follows his arm and dropping on the cross

• The body being very pale 

• Preparatory drawing, revealed through infrared analysis 

• Giotto translated the art of painting from Greek into Latin and Brought it into the modern style and he had the most complete command of the art that anyone ever had

Latin Cross Plan

• It has one longer arm (the nave), forming an asymmetrical cross, similar to the traditional Christian cross

• Santiago de Compostela Cathedral

Greek Cross Plan

• It has four arms of equal length, forming a symmetrical cross

• Venice, St. Mark’s basilica

• Certain sense like a central plan, people supposed to sit and listen to mass, participate in mass both in front of the main alter or also less or right but this is uncomfortable because it is hard to see 

• In the end the central plan or greek cross plan lost in a way

Giotto Greek —> Latin style

• “Giotto translated the art of painting from Greek into Latin and brought it into the modern style, and he had the most complete command of the art that anyone ever had.“

• Greek meant Byzantine

• He is saying that he left the Byzantine tradition and translated it into Latin

• Latin is classic tradition, what Giotto would’ve seen in ancient Roman art 

• Vernacular language, moment in which people still understood ancient Latin, but all over Europe, vernacular languages were developing and were starting to overtake Latin 

• Giotto was painting in a new way

• In this area of Europe, innovation becomes a positive element, in contrast in Byzantine time artists had to follow tradition

• And now an artist is being praised for being new 

• In a certain sense, someone who repeats too much will lose a positive connotation

• One of the first times Giotto is known and famous and unique, first time in which visual art is praised, having to do with inspiration and culture 

• Coppo di Marcovaldo

• Madonna del Bordone

• Tempera and gold on wood, 1261

• Siena, chiesa di santa Maria dei Servi

• Mary with her child

• Marcovaldo was following Byzantine formulas, that is to say recognizable pose 

• The hair garment is created through gold highlight 

• Cimabue

• The Madonna in Majesty

• Tempura on wood, gold background

• Galleria degli Uffizi, Florence

• Image of Mary is mary, she is just pointing to her child telling the viewer that he is the road to eternal life, etc

• Typical Byzantine formula

• She is highlighted by gold, typical of the time

• The angels surrounding her are painted in non traditional colors

• Below the prophets are holding scrolls which reference the mysteries of the incarnation and mary’s virginity

• Gold = byzantine

• But, elements of drapery and expressions of the figures hint at the emerging Renaissance style

• Giotto

• Ognissanti madonna

• 1300-05

• Tempura on woods, gold background 

• Galleria degli Uffizi, Florence

• Gives impression that virgin Mary can be contained and sit in realistic way in the throne

• Standing and sitting angels instead of them flying

• Giotto gives impression of a true space in which we could actually walk

• Not highlighting with gold (Byzantine), but creating light in a new style, seems like Mary has volume and is really breathing 

• Giotto was not criticized for this innovation, he was followed, every painter in Italy and beyond followed his model 

• “In painting, Cimabue thought he held the field, and now its Giotto they acclaim - the former only keeps a shadowed fame” – Dante

Basilica and convent of Saint Francis Assisi (1228-1280)

• Church built in short time because Pope was financing and liked Assisi

• The architect got inspiration from gothic architecture and mixed it with Romanesch, 

• Plan of the church is a latin cross

• Most people couldn't read back then so art was helpful to teach them what religion said

• The lives of saints, stories, etc, would be depicted on the church’s walls so everyone could follow along 

  • “It is the bible for the poor”

• The Canticle of the Creature

  • Poem written by Francesco di Assisi in which he praises God for having created fire, water, sun and how beautiful the world is.

  • The first time someone writes their appreciation for nature

Three scenes from the Legend of Saint Francis by Giotto and his workshop

• Giotto

• Painted in a correct perspective to give us the impression that it is clear and immediately can be understood in a glance 

• The blue on the art was put on last and used to be bright but fell off

• Show figures that are full of volume, bodies are real and can imagine that they can come outwards towards us 

• St Francis belonged to wealthy family, renounced his wealth and giving it as gifts to others

• Giotto creates relationships between figures and the ambience and landscape 

• Renunciation of Worldly Goods

• Giotto

• Father did not accept choice, in provocative way, went into center of Assisi and stripped and bishop is covering him up with cloth

• Father has taken his clothes after Assisi threw him down

• Man holding the father back physically

• Viewers of this would be being convinced and led to the religion 

• Giotto creates very strange buildings in the back, they make no sense from our point of view

• The buildings work as frames for the people below 

• St Francis Preaching before Honorius III

• Giotto

• Human space, people sitting, dramatic reaction of St Francis preaching while the Pope is very interested in listening to hum

• Pope’s face is the most interesting element because he is the most important in that time and he is very concentrated on what Francis is saying

• Giotto created new technique, adding layers, for human skin he adds one greenish base, then adds red, then stresses all the elements of nose, mouth and around the eyes 

• The Nativity Scene at Freccio

• Giotto

• Every figure is portrayed in his own way

• St Francis of Assisi is preparing a Christmas crib

• He and the baby have a halo on them

• Friars are singing, women are looking at what's happening, boy in bed recreating scene

• Cross being seen from behind 

The miracle of the Spring

• Giotto

• Depicts one of the miraculous deeds of St Francis

• One figure, the farmer is drinking from the newly sprung water source which is a manifestation of St Francis’ divine intervention

• Two monks accompany them

• Upwards direction

• Interesting landscape, rocky

• Stylized trees, proportions off

• Human emotion

• Symbolic landscape

• Dark colors

Cappella degli Scrovegni or Chapel of Arena

• Ancient theatre in Padua

• Giotto worked here 

• Cappella degli Scrovegni, 1303-05

• Stories of Jaochim and Anne (the parents of the Virgin Mary)

• The life of Mary and Christ

• Last Judgement on the counter-facade

• Representations of the vices and virtues

• Scrovegni wanted to save his soul, many if they weren't good during life would try to make up for it before dying…

• Giotto painted almost everything in the church 

• Giotto painted values as personifications, painted them as statues, values such as faith

• Annunciation of Saint Anne

• Giotto

• Is it possible to visualize what happened in religious history? Yes we can use arts to show sacred stories

• Giotto shows a story of Saint Anne (virgin mary’s mother)

• Anne is told by angel she will soon give birth by miraculous conception

• She is very old and has no son or daughter, she is given the virgin mary by an angel

• Young servant girl outside the room

• Shades and volume are given for the figures 

• Wall near us is removed so viewer is let into the scene

• The flight into Egypt

• Every face expression, Mary is full of dignity and looks like queen in exile

• Scene is accompanied by rocky backdrop that stressed Mary’s figure

• She is holding her child in a very familiar way, good mother and child relationship

• The Kiss of Judas

• Giotto

• Depicts the moment of betrayal when Judas identifies Jesus to the authorities

• Showcases Giottos style and emotional depth

• Protaganists of scene, we can see them acting

• Judas face tells us he knows what he is doing and has satisfaction turning in a friend

• Every figure doing something meaningful in this scene

• Nowhere to escape

• Judas kissing Jesus

The Lamentation over the dead christ

• Jesus on his mothers lap after he has been taken off the cross

• Every person is concentrated on mourning but in their own way

• John has his arms outstretched, incapable of understanding what happened and greiving

• Something like a revolution, showing people from behind

• A scene we are able to enter so we can see what is happening

• Everyone is so close and concentrated on Jesus

• The people turned around are helping us enter the scene

• One of Giotto’s most interesting works

• The colors are really interesting because every figure has their own personality thanks to different colors, also helps volumes come to life

Triumphal arch of the church

• Limited number inside provides a more personal expereince

• Recycled in noble sense from Christian culture

• For Roman people, triumphal arch is where generals after winning battles could pass through and be celebrated by the people

• Christian culture has reshaped the image of arch by putting it in the main part of church by celebrating triumph of Christ

The Republic of Florence in the Early Renaissance

• Giotto fame speads across Italy

• Renaissance was born 1401 because its the moment in which there was competition where we see new things emerging artistically

Andrea di Bonaituo

• Firenze Santa Maria Novella

• Philosophical arrangement of painting, not modern

• Not realistic

• Very colorful and shows aspects of nature

• Interesting aspect

  • Detail of the representation of the cathedral of Santa Maria del Fiore

  • This detail didn’t exist when he created it

  • Florence when building the church, had projected such a monumental cathedral, that they had created a problem for themselves: didn’t know how to finish the church

  • Florence was an ambitious city, ruling class was driven

  • Church and city ready to do great things

  • Imagine NYC, culturally and economically important, many artistic things happening

  • Florence had everything happening there and families who had incredible fortunes

  • Going against aristocracy, eventually became ruling class

• In 1348 was so called black death, plague, potentially half pop Florence died

• In painting, Florence restarting after tragedy

Baptistery of San Giovanni Battista

Andrea Pisano, South Door

• 1401 competition for the Baptistery door, commissioned by the Arte di Calimala

• Other 5 have been lost, remaining have been preserved 

• Art called The Sacrifice of Isaac was made by Lorenzo Ghiberti and Filippo Brunelleschi

• Wealthiest people would finance baptistry

• Lorenzo won the competition 

• Probably joined winners but one dropped out because impossible to work together 

• Shape of the frame is unique 

• Created an image, diagonal line from left to right, also following the shape of figure of the main character which is the story 

  • had to create story from old testament

    • Abraham forced by God to prove his incredible faitha nd God asks him to sacrifice his only son Isaac, even though he didn’t understand losing his son he still sacraficed him but decides to be sacrificed in Isaacs place

• Space is complicated but also sense of harmony and also action is being created, Abraham is elegent

• Can see how figure is classic torso, impression that artist studied attentively a marble that he based it off of

• Drapery was also typical of Gothic culture

• Figures are perffectly decorated but Isaacs body is very simplified

• Looking also at person working in foreground, we can see how this is less decorative, interested in what they can say to viewer

• Scene is very dramatic 

Ghiberti and Brunelleschi

• How these two personalities Ghiberti and Brunelleschi and rivalry was very celebrated, entire Florence was interested in what they were doing, arts started to have important role, unexpected in middle ages, since Giotto Florence developed taste in arts, that's why Renaissance was born there

  • In 1402, Brunelleschi goes to rome

  • Well educated, trained as goldsmith before he became artist

  • Goldsmith were well respected, worked on specific materials, etc

  • Good training for doing art later on 

• Art called The Sacrifice of Isaac was made by Lorenzo Ghiberti and Filippo Brunelleschi

Maarten van Heemskerck

• View of the Roman forum, detail of a drawing

• pen and ink on paper 1532-36

• Studying ancient ruins, one of the first to do this

• Interesting because in following centuries many artists who will go to Rome and study

• Maarten is Dutch artist 

• Reporter of what Rome was, left many drawings that show image of Rome in his times, interesting because he had same ambition one century later

• Points in city where there were many ruins

• Second drawing by same guy

• View of the Palatine Hill with the remains of the imperial palaces

• They were moving towards things that weren’t gothic but new style

• Roma puanta fuit ipsa ruina docet — how great Rome once was, the reuins themselves show 

• Artists feel like they must go to Rome in this time 

Herman Posthumus

• View of Roman Ruins 

• Oil on canvas

• In the middle literary quotation (time destroyer of all things)

• So feeling of all artists is a romantic feeling, grandeur of past and immensity of architecture gives feeling of mediocrity of present

• Nostalgia for past

• Measuring column, drawing, in the art piece

• Second part of being in Rome, studying passionately but also rigorously

  • scholarly knowledge, perfect survvey of what the class left, this is the artistic attitude. 

Donatello

• very young when he started to work as a sculptor and received commissions in autonomous way

David 1408-1409

• Sculpture put in important palace because it was supposed to be in an important place, in buttresses, in front of city, nothing else but sky behind it

• After finished, ended up being too small for buttress, was put in one of the first rooms of the seat of the government

• Symbol of republic of Florence, since David is biblical hero who defeats enemy

• Republic of Florence liked to see themselves as biblical hero

• Slightly gothic sculpture

• Twist of torso, elegance of head

• Idealized image of a boy and idealization of hands

• Same elegance in the drapery

• Donatello is very young, even though he just got to Rome and started studying, still working on traditional drapery

• In the narrative, the Israelites are fighting the Philistines, whose champion – Goliath – repeatedly offers to meet the Israelites' best warrior in single combat to decide the whole battle. None of the trained Israelite soldiers are brave enough to fight the giant Goliath, yet David, a shepherd boy who is too young to be a soldier, accepts the challenge. Saul, the king of Israel, offers David armour and weapons, but the boy is untrained and refuses them. Instead, he goes out with his sling and confronts Goliath before hitting the giant in the head with a stone and knocking him down. He then grabs Goliath's sword and cuts off his head, causing the Philistines to withdraw as agreed, and saving the Israelites. David's special strength comes from God, and the story illustrates the triumph of good over evil. According to Olszewski, David's triumph over Goliath has been interpreted as a "parallel of Christ's triumph" over the devil

San Giovanni Battista or John the Baptist

• Lorenzo Ghiberti

• Bronze 1412-16

• Ghiberti still immersed in gothic culture

• Drapery is curated, less realistic

• Bronze importance

  • difficult technique, something that one must work on very carefully

  • bronze 10x more expensive than marble

  • ghiberti working on bronze was precious and rare

  • we know donatello worked with ghiberti and learned from him

• Put silver on the eyes, gives impression of lively gaze

• Ancient technique that Ghiberti reproduced

Saint George

• Donatello

• Marble 1415-17

• Commission: arte dei Corazzi e Spadai, Guild of Armourers and Swordsmiths

• Full of energy, ready for battle, modern soldier

• No more idealization

• Donatello has met reality, seeing with a new perspective

• Giving portrait of single person, celebrates everyone

• Ancient culture suggested Donatello’s new art should be more realistic to celebrate and respect people through showing individuality 

• Modern revolution within art

• Roman portrait was very technical

• Predella or the lower part of an altarpiece

  • narrative part of sacred image

  • lower part showing their action or their life

  • St George battling the dragon and the liberation of the princess

  • Scene describes through marble with certain atmospheric senstivity

  • Details: wind being blown, elegance of princess and 3 dimensional draperies, her knee

  • Landscape is incredible, cloudy sky, trees being blown by the wind, building behind princess created in a linear perspective

  • May have collabed with Brunaleschi because there is a perfect impression of perspective 

  • Open part of building shows hallway in which from this angle we could go inside and walk inside it

  • Space that does not exist but so rigorously created that it looks real

  • Painting effect and depth but with very limited thickness

Stiacciato

• New technique created by Donatello

• Sense of depth and layers

The Banquet of Herod

• Donatello 

• Gilded Bronze

• 1423-27

• Siena, Baptistry

• Stiacciato technique allows for three different planes

• Characters creating dramatic and horrible scene

• There is a void in the middle

• Server brings head of St John, offers it to Herad who asked for John to be beheaded but is still disgusted by the sight

• Perspective in foreground gives intense drama

• Second plane shows musicians

• Third plane, executioner offering head of St John the baptist to us

• Sophisticated technique gives opportunity to create space and depth

• On the other side, Donatello suggested that perspective gives opportunity to tell a lot of other things, because different layers provide more speace

• Linear perspective 

Miracle of the Ass

• Donatello

• Gilded Bronze 1446-49

• Padua, Basilica di Sant’Antonio

• Shows miracles performed by Saint Anthony of Padua

• The miracle is that a non believer told the Saint that they wouldn’t believe unless the donkey came out of its stable and knelt before the Eucharist and didn’t eat the food spontaneously and we see in the scene that it does

• Today many pilgrims still go, same thing happening in the 15th century being renowned for pilgrims

• Called Donatello up and commissioned him for a group of statues to be framed by altar

• Stiacciato example

• Complicated work, middle is the miracle

• Today we think it’s an odd scene

• Framed by architecture, reminds us of ancient architecture in the Roman forum

• How Donatello works thorugh the bronze and creates a shadowed impression

• How the image of the large arches to give the impression that there’s not a wall at the end of the scene but gives unsettling space that it is so deep that we don’t know where its going 

Miracle of the Repentant Son

• Donatello

• Gilded Bronze

• 1446-53

• According to the stories of Saint Anthony, a young man confessed to the saint that he had kicked his mother. Anthony, to deplore his action, told him that the leg stained by such a sin deserved to be cut off. The repentant man, upon returning home, not understanding the meaning of the words, cut off his own leg, and news of his punishment spread throughout the city. Anthony immediately went to the man and, after explaining the meaning of his words in a prayer, miraculously reattached his leg.

• Large number of figures in just a few cm of thickness

• Looks like a very deep and abstract space

• Donatello creates abstract spaces sometimes

• Space is measurable in one sense but behind we cannot understand what the building is

• On one side there is light and on one there is shadow

• Figures perfectly portrayed in their actions

Linear perspective

• A system of creating an illusion of depth on a flat surface by depicting parallel lines (orthogonals) converging in a single vanishing point on the composition’s horizontal line. 

• Key components include: Orthogonals, the receding parallel lines, the horizon line, representing eye level; and the vanishing point(s), where these lines appear to meet

• This mathematical system was developed by Filippo Brunelleschi during the Italian Renaissance to create realistic, three dimensional space in art 

• Representation is based on the definition of the viewpoint, from which visual rays emanate forming the visual pyramid; the perspective image is the intersection of the visual pyramid with the plane of the picture; parallel lines converge at that point (vanishing point)

• Linear perspective was a turning point because Florentine culture changed the arts across Europe, but there were still moments of resistance

• Putting people in the right position for the mirror to see a small painting

• Perfect because put object in front of baptistry

• Showed how good his method was because when the mirror was moved, it was possible to see the real baptistry, which matched up perfectly with the image reflected in the perspective drawing

Domenico Veneziano 

• Pala di Santa Lucia dei Magnoli

• 1445-1447

• tempura on wood

• Firenze, Uffizi

• Mary in the center, saints to the side

• Interesting because of the impression it gives of space

• Bright colors

Gentile da Fabriano 

• Adoration of the Magni

• tempura on wood

• 1423

• Firenze, Uffizi

• Ignores the linear perspective

• Different way to do space

• Even though the new method was successful and spread quickly, there were people, like Fabriano, who resisted or ignored or preferred the other methods

• Linear perspective was a turning point because Florentine culture changed the arts across Europe, but there were still moments of resistance

• The panel portrays the path of the three wise men in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture

• Exotic animals such as monkeys, horses, camels, and lions signify the patron's wealth and status, as well as creating an exotic setting relating to the biblical scene of the painting.^[3] Arabic imitation script is evident in the artwork, elevating the work's significance in regards to its luxury and exoticism.

• Mary’s robe paint color very expensive, shows she’s important

• Gold and silver also used to add dimension because it raised off the surface of the painting

• Leonardo da Vinci

• Perspective study for the Adoration of the Magi, metalpoint, pen, ink, and white lead on paper

• Behind the scenes

• 1481, Uffizi Florence 

• Working on architecture

• Building linear perspective

• Studying people, horses, etc, that can be fitted to the space 

• Leonardo da Vinci

• Adoration of the Magi

• Charcoal, watercolor, ink and oil on wood

• Galleria degli Uffizi, Florence

• New interpretation of the subject

• 3 kings followed a star to Jesus

• Same subject as others painted before, he wanted to show through background that the appearance of Jesus, he symbolized 

• Background very relevant

• Unknown painter

• View of an ideal city

• 1470 circa

• Urbino

• Galleria Nazionale delle Marche 

• Making a perfect city for modern times

• Interesting for us that the floor and composition of building, impression that we can walk within the city

• Artists fascinated because space seemed so real 

• Antonello da Messina

• St Jerome in his Study

• C 1474

• Oil on wood

• National Gallery London

• He was born in a territory, now Italy, but was ruled by Spain, Catalan

• Knew the spanish style 

• Simple linear method is enough to create illusion of a true space 

• Light is used very well

• The arch frames the space inside

• Can see through the building all the way through the windows behind to fields

• Melozzo da Forli

• Pope Sixtus IV appoints Platina as perfect of the Vatican Library

• Fresco 1477

• Rome Vatican Palaces

• Wall of Vatican library

• See how people look real and in a real space

• The space has been calculated well 

• Platina is pointing down to an inscription, written by himself, which boasts Sixtus’ deeds

• Background is perspective representation of a classic architecture

• The scene shows the Pope, seen slightly from below, faced by the kneeling humanist Bartolomeo Platina, together with the Pope's nephews: the two cardinals, Giuliano della Rovere, standing in front of the Pope, and Raffaele Riario behind his chair.

• To the left are Girolamo Riario and Giuliano's brother Giovanni della Rovere on the left. Giuliano della Rovere was later to become Pope Julius II.

Leon Battista Alberti

• Thanks to social standing, had good education, good intellect who could speak to other aristocratic people

• Succeeded to transform the connotation of artists in his time

• Not just people working with hands but also people who could think 

• Book dedicated to Brunelleschi because he helped create linear perspective 

• Relevant figure in the culture

• Speaks of revolution of arts and sciences

• Brunelleschi built dome of the Santa Maria del Fiore, duomo in Florence 1420-1436

• Succeeded because experimented with new method

• Filippo Brunellesci

• Spedale degli Innocenti

• 1419

• Facade, Florence

• Important place in the middle of the city

• Proposed new vision of architecture

• Orphanage

• Outside is white plaster, sandstone

• Civic buildings had to be more simple

Church of orsanmichele

Avoiding gothic tradition, going for simplicity

Donatello

• Habakkuk (commonly called Lo Zuccone) The bald one

• Marble 

• 1423-25

• Firenze

• Praise humanity even though its not beautiful

• Not get an idealized view of man

• Human beings have their own power

• Modern idea 

Masaccio 

• Crucifixion 

• 1425

• From the Polytych of Pisa

• Napoli, Capodimonte

• Hiding Jesus’ neck

• Angle from below

Masaccio

• Payment of the tribute

• 1425

• Florence, Santa Maria del Carmine, Brancacci Chapel

• Landscape, architecture, and people

• Gives impression of 3 different moments

• Describes a scene in which Jesus directs Peter to find a coin in the mouth of a fish in order to pay the temple tax.

• Colors are very simple

• Artist is working like Giotto had done, colors are Giottos

• Creating volume and characters

• Young Michelangelo will watch Giotto and Masaccio

Masaccio

• The Expulsion of Adam and Eve from Paradise

• 1424-28

• Fresco

• Firenze, Santa Maria del Carmine, Brancacci Chapel

• Wants to show that they are naked and know it so trying to cover themselves

• Covering feels less scandelous

• The two are completely fallen

• Masaccio is working on human feelings, one of the strongest images because the face of Eve is suffering and Adam is covering his

Giotto

Giotto di Bondone, known mononymously as Giotto, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period.

Key Themes of the Early Florentine and Italian Renaissance

• A renewed interest in and rediscovery of ancient art, culture, and civilization, including classical philosophy and ethics

• A fascination with perspective, embraced as a revolutionary method of representing space and humanity's place within it 

• A new appreciation for the dignity of human beings, valued for their intrinsic worth and individuality 

Pedro Berruguate

• Portrait of Federico da Montefeltro with his son Guidobaldo

• 1480-81

• Federico was a humanist and military leader

• Son: had so many daughters and only one son, was always sick so Federico really counted on him

• Boy is wearing ceremonial robe and holding scepter

• They are in the studio surrounded by symbols of his power and interests

  • Upper corner shelf, is a headpiece full of pearls and this is shown because it comes from abroad and is expensive 

  • Wearing armour which could have to do with showing off his military strength

  • On his left leg is a garter given to him by the King of England

• Duke sits on a sort of throne reading a codex, expensive for its time, connects to his humanist interests

Ducal Palace

• Federico da Montefeltro 

• Lord of Urbino and became duke later on

• The exterior of the palace is unfinished

• There are round towers that are military architecture protecting the sky

  • Medieval city gates

• The Palace has simple arches and architecture

• Why is everything so simple and plain?

  • “Federico, Duke of Urbino, Count of Montefeltro and Casteldurante….. Raised this residence from the ground up for the glory of himself and his descendants. He, who fought many times in war… victorious in every war, expanded his domain. His justice, clemency, generosity, and morality, in times of peace, equaled and honored his military victories. 

• Federico’s love for books and his efforts to build a great library are well documented by his librarian, Vespiano da Bisticci, who wrote the Vita di Federico da Montefeltro, the duke’s biography. Before entering Federico’s service, Vespasiano had been the librarian to Cosimo de’ Medici in Florence

• Studiolo

  • Far away from public spaces within the palace but both a private and public space

  • Even though it has no window, is close to the facade

  • Illusion to allow more space

  • Wood gives viewer perspective

  • Federico armour

    • Just taken off armour and left his active and now devotes himself to religion

The Duke and Duchess of Urbino

• Piero della Francesca

• Federico da montefeltro and battista Sforza 

• 1473-75

• Oil on wood

• Firenze, uffizi

• Perfectly describe federico’s face

• Pale skin is typical of women’s aesthetics

• They are in front of part of their territory, declaration of dominion of this place

• Uses style to give them opportunity to sit or stand in front of their land

• Why portrait in profile?

  • This side profile gave them an angle that ensured a good portrayal of their features and a faithful representation of their facial details without allowing their emotions to show through (very straight face expressions)

• Posture is one of confidence

• New technique because oil on wood was brought to perfection by Jan van Eyck

• One of the most celebrated portraits of the Italian Renaissance

• Jan van eyck

• Madonna of Chancellor Rolin

  • Chancellor of a region in France

• Oil on wood

• Louvre in Paris

• The scene depicts the Virgin Mary crowned by a hovering angel while she presents the infant Jesus to Rolin.

• It is set within a spacious room with a rich decoration of columns and bas-reliefs.

• In the background is a landscape with a city on a river, probably intended to be Rolin's hometown.

• Open window onto the landscape

• Good technique and style allows the indoors to be linked to the landscape beyond

• Light coming from multiple directions

• Reverse side of the portraits

• Triumph of the duke and duchess

• Federico led by white horses, animals led imperial chariots in ancient Rome, during triumphs of commanders

• Federico is like these ancient commanders, celebrating military success

• Figure putting crown on his head, figure really existed in ancient rome times, slave to continuously stay behind and hold the crown on his head

• Others led by brown unicorns 

• Drawing is very clear and the technique for the landscape is delicate brushstrokes

• There’s an attention to light, shows how he is looking at Flemish paintins and new techniques of painting with oil

• Trained in the new technique and we know this because he progressed from the beginning of his career

• Successful noble women

• In a trial with her husband

• Federico wanted to celebrate the couple

• She had been a good marriage because of family and giving him many children, including one son

• Arch of Titus: attic (the uppermost part of the arch)

  • Chariots could be on a triumphal arch

  • Quotation of archeological monument

  • Triumphal arches have chariots on top

• Piero della Francesca

• Madonna and Child with Saints (Montefeltro Altarpiece)

• 1472-74

• Painting for church was an achievment because it meant everyone would see your talent

• Architecture is perfectly portrayed thanks to lighting and design

• Likely he had in mind the design of a real basilica, the basilica of Sant’Andrea from 1470

• Mary

  • The most important figure and in the middle

  • She is in a strange attitude

  • Mary meditating on the incredible job God has asked her to do

• Baby is naked

  • One century later, Roman church will consider it a scandal to show Jesus naked

  • But now, different naked, but proof Jesus had become true child or man

• Vertical, intellectual light, not quite a physical light

• Although dimension and volume of light give realism

• This painting was commissioned by Federico III Montefeltro, Duke of Urbino to celebrate the birth of his son Guidobaldo

• The Duke is pictured kneeling to show devotion and wearing his armour

  • Wearing his armour could signify military strength and devotion to protect his faith which was a new concept for presenting in armour when in a holy presence.

• Realistic portrait of hands and rings were painted by somebody else

• Shoulders of duke, armour reflects window, helps us understand that the light is coming from a vertical direction, showing light is in our place

• In the center hanging by a thread from the shell is an eg

  • Suggests the mystery of incarnation

  • First element: Sleeping boy, mary praying on him

  • Second element of silent preaching

  • Ostrich egg is enclosed within the shell

  • Meaning of ostrich egg is perfection

• Domenico Veneziano

• Santa Lucia de’ Magnoli Altarpiece

• Uffizi Gallery

• The first true painting of the Virgin and Child with saints on a unified scale and sharing the same space

• Created a unified space

• The base of the throne and floor have a geometric perspective which was an innovation introduced in early Italian Renaissance. 

• Saints are portrayed on the side

• Modern for it’s time

• Joos van Wassenhove

• Justus of Ghent, known in Italy as Guisto di Gand

• Communion of the Apostles

• Corpus Domini Altarpiece

• 1473-74

• Tempera on wood

• Same commissioner Federico, loved the different interpretations of style

• Even the figures have no proper anatomy or how the body is supposed to move

• Bodies more decorative than realistic

• Strong colors, but faded over time

• Drapery, typical of Flemish and German painting, was fascinating for Italian people

• They love the new painting coming from Florence

• Figure flying is interesting and attractive for people

• Two small and beautiful landscapes

• Domenico Morone

• The Expulsion of the Bonacolsi

• oil on canvas

• 1494

• Commission from the Marquis of Mantua, Francesco II Gonzaga

• Recalls this event and moments of drama with vivid details and historical accuracy

• Thought to be a painting dedicated to the glories of the Gonzaga family

• The work is thought to be about the victorious battle that Ludovico Gonzaga won for the possession of Mantua

• Bonacolsi family were in charge until a member of the Gonzaga family killed their captain and took over as captain of the city

• Francesco Squarcione

• Madonna with Child, 1455

• Andrea Mantegna

• St Mark, 1448 

• Mantegna was age 17 the year of this painting, and it was the year he regained his independence after six years in the studio of Francesco Squarcione

• Mantegna filed a lawsuit against his former master Squarcione for not paying him for works he had produced under his own name 

• Attention to light and space

• Love for fruit and greenery that are a staple of his paintings

• Gospel book to the side

• Andrea Mantegna

• A Man lying on a stone slab

• Pen and brown ink

• Gives the impression that someone really is laying in front of us

• Copy of Dying Gual, A roman copy from a Greek bronze statue

• Chose a high point of view

• From technical pov, contour of body, firm lines, but also volume is suggested by strong lines on torso and drapery shows legs 

• This pose was appreciated 

Andrea mantegna

• St James led to his Martyrdom

• Pen and brown ink

• One of the first fresco he painted

• Was close to viewers eyes

• He chose to create scene taken from point of view that is from the bottom looking up

• Difficult practicing this type of perspective 

• Why this perspective?

  • Showing off his skills

• Sketch of it before

  • He developed the idea of depicting scene from below over time

  • Characters mostly stayed the same 

• Taking a risk by representing the scene from a different point of view

• Mantegna

• Scenes from the Life of St Christopher: The Martyrdom and the transport of his body

• Marble columns, obsession with antiquity evident in this painting

• Way Mantegna shapes his groups

  • As if we are entering from the back of the group

  • Let’s the audience feel involved by entering the space

  • People on the outside are watching others struggle to transport the body

San Zeno Altarpiece

• Mantegna

• Made to depict a heavenly realm

• Unified space and all saints are breathing the same air

• Since he had opportunity, he projected the gilded wooden frame as it is a sort of portico

• Greenery and fruits present again as this is his signature 

• Imitation of material is realistic

• Visual truth increased importance

  • Can see a saint covered by a column, shows the true space

  • Theological space but also physical space where they are really standing and the pillar is able to obstruct our view

• Bright colors

• Madonna and Child are sitting in the middle on a marble throne surrounded by eight saints

• These saints are arranged according to the patron’s preferences

• Andrea Mantegna

• Bridal Chamber

• Bedchambers semi public space

• Glory of artist could in some sense be the glory of his patron

• mantegna considered as someone who could give him political advantages in a sense, for his own objectives

• The space is transformed by a new technique and ability to shape reality on the walls?

• How does decoration work? He opens up the walls in a sense because he paints pillars that creates space on the other side with landscapes

• Each arch has elements of greenery

• Few elements that are not actually painted, the whole room transformed into a painting

West Wall

Andrea Mantegna Bridal Chamber

• Landscape with people 

• Only men or boys because it is a public scene and the public rooms were mostly male rooms at that time

• Likely that the reason why this fresco is devoted to meeting has to do with the important moment for Gonzaga family

• Meeting between cardinal Francesco and his father Ludovico II

• Everyone is recognizable

• Francesco first cardinal of the family

• Becoming cardinal important because it was a relevant political role, granted access to policy in Rome where high diplomatic issues were discussed. Wealthy appointments because every cardinal had avenues to make money, every subject was asked to pay taxes to the cardinal, and church

• Second son had to go for a religious role 

• Francesco and Ludovico are meeting again after he went to Rome, Mantegna doesn’t want to show emotion or happiness between father and son

• Very ritual between them

• Nobody is involved in motion, 

• Idealized quotation of Rome

• Rome was hill city, and you can recognize the walls of the city and other roman monuments 

• Idealized landscape, gives meaning to scene 

The Court Scene

Andrea Mantegna Bridal Chamber

• Snapshot of court of the gonzaga 

• Stair which starts in the base and goes to upper area where court is gathered, sitting or standing, we don’t know what’s happening in this picture

• We can guess it is an election of Ludovico’s second son Federico as a cardinal of the Roman church

• Because Ludovico is holding a letter that gives news and he is talking to his secretary

• Ludovico’s wife, has many children with him

• Everyone is recognizable in this portrait

• Meaning? Convince people that this was a lively court full of luxurious habits and things, enjoying their life 

• Sitting in a sort of garden

• Marble boulder, typical renaissance decoration 

• Court of Gonzaga, with marquis Ludovico II and his wife Barbara of Brandenburg 

  • Barbara is important to Ludovico because her social standing was higher than his so it was a good wedding for him, why she’s distant in a way

• The oculus 

  • Ducal palace

  • Well known even today

  • Mantegna had worked hard to improve perspective over time, this is the height of his achievement

  • Mantegna acheiving perfect light for this fictional space

  • Women leaning over the railing area

  • Vase put on the edge

  • Open above us when we look up

  • Everything talks about politics even though we don’t know which moment is represented

  • First to perfect his perspective of the bottom up

• Mantegna

• The Martyrdom of St Sebastian

• Shows how Mantegna works on religious things

• He is not very involved in the religious side

• Soldier pierced with arrows while bound by rope

• Mantegna shows us how rope is binding his body, remarkable because he wanted to show perfect accurate male body

• Study of human anatomy and body structure

  • More important or at the same level of religious meaning

  •  

• Also remarkable how St Sebastian is leaning against the pillar, in one sense we understand symbolic meaning of ruins

• Ruins of ancient monuments, pagen religion overwhelmed and ending because of Christian religion

• Mantegna is more interested in the beautiful ruins and beloved antiquity

• He clearly studied the architectural elements of the ruins

• Presence of two people that just came from killing St Sebastian

• Strange because their faces have a non idealized expression

• Since they are bad guys, Mantegna insists on sharp realism

• Mantegna

• The sacrifice of Isaac

• 1500 around

• Small paintings created on a light canvas 

• Wealthy people have chapels or rooms decorated with ancient relics which were difficult to purchase because not many to find, so some patrons commissioned sculptures in ancient styles 

• No marble in the area, so had to spend a lot of money to get marble from quarries, so Mantegna created a third kind, painted instead of using the precious materials 

• In absence of marble and real ancient relics, good paintings worth it

• Imitates the appearance of a sculpture

• This technique, with attention to detail and the dramatic poses of the figures creates a grandness and emotional intensity 

• Mantegna

• Sophonisba 

• Queen of rival of Rome

• Sculpted style from Mantegna, seems to carve forms

• She is drinking poison that her husband gave to her because she was captured in Rome and will be a slave there, would rather kill herself

• Mantegna keeps on dedicating to ancient culture in different ways

• Triumphs of caesar

• Mantegna 

• 1485-1506

• Series of nine large paintings by Mantegna in the Italian Renaissance 

• They were made for the Gonzaga Ducal Palace, Mantua

• Representation of Roman triumph

• Used to be ten but now there are 9, tenth was lost 

• We know the composition of tenth because of witness 

• Gonzaga family had to create a 30 metre long corridor for it

• Don't know who was the commissioner, just know it was Mantegna who painted it

• Painted during Francesco’s era

• The scenes actually described in very specific and exact way an ancient triumph

• All images come from archeological relics, ancient sources, historians

• Evident Mantegna was looking at historical truth and helped by other people 

Fourth canvas of Triumphs of Cesar

• Bearers of vases, sacrificial bulls, and trumpeters

• Celebrate someone who won battle or war in Rome

• Where people were killed, because at least 5 thousand victims had t obe part of the achievement to be celebrated by a triumph in Rome

• Triumph was dedicated to very few people, rare

Sixth canvas of Triumphs of Cesar

• Procession continues with men bearing the spoils of victory, some almost buckling under the heavy weight

• A bare footed bald man crouches down to rest his pole on the ground, his face is red from exhaustian

• A group of figures in the upper right corner watch the parade from the top of the aqueduct

• On the left is a triumphal column, topped by a gilt statue of a mounted general

• Seems as though the people are passing in front of us

Ninth canvas of Triumphs of Cesar

• Julius Caesar on the triumphal chariot 

• Ducal palace

• Mantegna

• At the end of the procession 

• Protagonist in the last canvas

• No possibility to understand who commissioned this 

• No reference to the Gonzaga family, politics, current events

• Completely archaeological and historical reconstruction 

• Victory at his shoulders, don't forget you are only a man

• Humbling their leader 

Andrea del Verrocchio and Leonardo da Vinci

• Father allowed Da Vinci to learn under Verrocchio 

• Trained as a painter then a sculpture 

• Generous master because when leonardo, after 3 years apprenticeship, he was an independent artist and could work by himself

• He worked by himself but kept on working under commercial umbrella of Verrocchio’s workshop 

• Helped with working conditions, finding work, etc

• Successful man who was kind to other people 

• Verrocchio considered someone who could offer a gift to a king far from florence

Leonardo da Vinci

• Father allowed him to learn under Verrocchio in his workshop

• 3 years apprenticeship, he was an independent artist and could work by himself

• He worked by himself but kept on working under commercial umbrella of Verrocchio’s workshop 

• Helped with working conditions, finding work, etc

• First trained in drawing

Leonardo da Vinci

• Study of a woman’s head 

• Metal point, pen and brown ink, highlighted with white gouache 

• Drawing looked down upon but in Florence drawing basis for everything, meant studying things, becoming expert in all techniques, and becoming master in all types of art 

• Highly meticulous 

• Technique was metal point which is very difficult because when you work with metalpoint there are subtle lines and any mistakes made are impossible to get rid of

• Hair is perfectly rendered around her

• Style which is slight and detailed 

• Particular of hair, jewels, mouth, nose, and subtle shadows of her face

Study of a woman’s hands

• Leonardo da Vinci

• Charcoal, metalpoint, white heightening on prepared paper 

• Hatching on her hands to give much more density to the volume in order to keep her impression of three dimensional hands 

• Hands have some resemblance to the girl in the lady with the bouquet, could be preparatory for the sculpture or could be drawing it with inspiration from the sculpture 

• Reaching great result with realism