The Early Renaissance in Italy (15th Century or “Quattrocento”) Rise of Humanism, Importance of Florence as artistic Centers, and Powerful Patrons (Medicini Family)

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Last updated 3:54 AM on 1/13/26
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16 Terms

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Humanism

There was a rise of humanism in art during this time, along with the importance of Florence as the artistic center

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Sacrifice of Isaac 1401 (Loser)

Brunelleschi’s entry in the east door competition in (French Gothic quatrefoil frame a medieval holdover) (cast bronze, old testament)

<p><strong><span>Brunelleschi’s e</span></strong><span style="background-color: transparent;"><strong><span>ntry in the east door competition in (French Gothic quatrefoil frame a medieval holdover) (cast bronze, old testament) </span></strong></span></p>
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Sacrifice of Isaac 1401 (Winner)

Ghiberti’s entry for the east door competition in (French Gothic quatrefoil frame a medieval holdover) (cast bronze, old testament)

  • 1st “classical” nude since Antiquity, appreciation of the human body, he made them look muscular

  • Ghiberti won due to the classical motifs, illusionism of depth, dramatic intensity, and the artisan virtuosity

<p><span style="background-color: transparent;"><strong><span>Ghiberti’s entry for the east door competition in (French Gothic quatrefoil frame a medieval holdover) (cast bronze, old testament) </span></strong></span></p><ul><li><p><span style="background-color: transparent;"><strong><span>1st “classical” nude since Antiquity, appreciation of the human body, he made them look muscular</span></strong></span></p></li><li><p><span><strong><span>Ghiberti won</span></strong></span><span style="background-color: transparent;"><strong><span> due to the classical motifs, illusionism of depth, dramatic intensity, and the artisan virtuosity</span></strong></span></p></li></ul><p></p>
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Linear Perspective

Horizon line, vanishing point, and orthogonals (diagonal lines) which all give an illusion of depth/perspective - thanks to Brunelleschi

<p><span style="background-color: transparent;"><strong><span>Horizon line, vanishing point, and orthogonals (diagonal lines) which all give an illusion of depth/perspective - thanks to Brunelleschi</span></strong></span></p>
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Atmospheric perspective (Aerial perspective)

the farther back an object, the blurrier, less detailed, and bluer it appears

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Gates of Paradise 1425-1452

East doors, Baptistery of San Giovanni, Florence made by Ghiberti. It is the entire door.

<p><span style="background-color: transparent;"><strong><span>East doors, Baptistery of San Giovanni, Florence made by Ghiberti. It is the entire door. </span></strong></span></p>
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Saint Mark 1411-1413

  • Sculpted by Donatello, he reintroduces Greek contrapposto stance to statuary

  • Guild headquarters had artists sculpt their patrons’ saint, basically like their mascot

<ul><li><p><span><strong><span>Sculpted by Donatello, he</span></strong></span><span style="background-color: transparent;"><strong><span> reintroduces Greek </span></strong></span><span><strong><span>contrapposto</span></strong></span><span style="background-color: transparent;"><strong><span> stance to statuary</span></strong></span></p></li><li><p><span style="background-color: transparent;"><strong><span>Guild headquarters had artists sculpt their patrons’ saint, basically like their mascot</span></strong></span></p></li></ul><p></p>
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David (Medici Family) 1440-1460

  • Fully nude sculpture by Donatello

  • About the biblical character David, from David vs. Goliath

  • Laurel wreath - Was put on victors, a symbol of victory

<ul><li><p><span style="background-color: transparent;"><strong><span>Fully nude sculpture by Donatello</span></strong></span></p></li><li><p><span style="background-color: transparent;"><strong><span>About the biblical character David, from David vs. Goliath</span></strong></span></p></li><li><p><span><strong><mark data-color="green" style="background-color: green; color: inherit;"><span>Laurel wreath</span></mark><span> </span></strong></span><span style="background-color: transparent;"><strong><span>- Was put on victors, a symbol of victory</span></strong></span></p></li></ul><p></p>
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Holy Trinity 1425

Painting by Masaccio

  • “I was once what you are, and what I am you will become”

  • Classical coffered ceiling inside a painted barrel vaulted, fluted pilasters with Corinthian capitals, and columns

  • Used linear perspective

<p>Painting by <strong><span>Masaccio</span></strong></p><ul><li><p><span style="background-color: transparent;"><strong><span>“I was once what you are, and what I am you will become”</span></strong></span></p></li><li><p><span style="background-color: transparent;"><strong><span>Classical coffered ceiling inside a painted barrel vaulted, fluted pilasters with Corinthian capitals, and columns</span></strong></span></p></li><li><p><span style="background-color: transparent;"><strong><span>Used linear perspective</span></strong></span></p></li></ul><p></p>
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Birth of Venus 1484

Painted by Botticelli

  • Personification - Ideas in human form, learned this in english

  • Tempera was used for this painting

<p>Painted by <span><strong><span>Botticelli</span></strong></span></p><ul><li><p><span><strong><span>Personification</span></strong></span><span style="background-color: transparent;"><strong><span> - Ideas in human form, learned this in english</span></strong></span></p></li><li><p><span style="background-color: transparent;"><strong><span>Tempera was used for this painting</span></strong></span></p></li></ul><p></p>
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Pursuit of Knowledge

There was more of a pursuit for knowledge, along with the studying of the classical world. Studying perspective.

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Modular

Brunelleschi revived classical systems of proportions and employed this method of repeated use of forms and dimensions in his architecture

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cornice

like the edges that sticks out at the tops of buildings

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Quattrocento

Early Renaissance, a transformative period in Florence and Italy characterized by realism, humanism, linear perspective, and classical influences in painting, sculpture, and architecture

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Palazzo Medici 1445

Bartolommeo, Rustic masonry at ground level mixed with classical architectural elements including a prominent cornice

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Church of Sant’Andre

Alberti, Pilasters extend up uninterrupted in “colossal order”