Art&Arch Final Artworks

Brancacci Chapel, Masaccio/Masolino, Florence, Renaissance, 1424-1427, frescoes, Patron: Felice Brancacci, silk merchant; named after Pietro Brancacci, finished by Filippo Lippi (1482-1484), a bunch of episodes from the life of St. Peter, b/c of his name and also they’re Guelphs

Tribute Money in the Brancacci Chapel, Masaccio, Florence, Renaissance, 1424-1427, fresco, Patron: Felice Brancacci; simultaneous narrative, Italian Renaissance clothing and architecture to resonate with contemporary viewers, hat halos, atmospheric perspective, linear perspective converges on Jesus’ face

Madonna and Child with Angels, Fra Filippo Lippi, Florence/Uffizi, Renaissance, 1460-1465, tempera on wood panel; clear veil blends into landscape, subjects go off the canvas or being covered up for the first time, faint halos, atmospheric perspective, Lippi loves curling shapes

Primavera, Botticelli, Florence’s Uffizi, Renaissance, 1482, tempera on wood panel, Patron: Medici family; Venus equated with Mary, fairly symmetrical, L: 3 Graces and Mercury as god of reason, Venus’ head tilted that way, Cupid above her, R: Ovid’s Metamorphoses, Zephyr seizing a nymph and turning her into the goddess of spring, Botticelli trying to say human love is compatible with Christian theology (reason, not lust)

Tempietto, Bramante, Rome, High Renaissance, 1502, masonry/granite/marble; marked the presumed location St. Peter was crucified, martyrium

New St. Peter’s, Bramante (1505) then Michelangelo (1546), Rome/Vatican City, High Renaissance, early decades of the 16th century, travertine, Patron: Pope Julius II; meant to be a centrally planned basilica, Michelangelo wants a round dome, but builder makes it pointed bc it’s easier, largest church ever

The Tempest, Giorgione da Castelfranco, Venice, High Renaissance, 1509-1510, oil on canvas; poesia - invite to engage even if the painting doesn’t have a story to figure out, room for multiple interpretations

Pastoral Symphony, Titian, Venice, High Renaissance, 1501-1511, oil on canvas; colorito and glazing

Bacchus and Ariadne, Titian, Venice, High Renaissance, 1522-1523, oil on canvas, Patron: Alfonso d’Este; ultramarine and vivid/expensive colors

The Last Supper, Leonardo da Vinci, Church of Santa Maria Delle Grazie in Milan, High Renaissance, 1495-1498, oil and tempera on plaster, Patron: Ludovico Sforza; refectory, medium he made up because he doesn’t know how to fresco and didn’t want to turn down the commission, starts to deteriorate pretty much the moment it’s finished

Last Supper, Domenicho Ghirlandaio, Convent of San Marco in Florence, Renaissance, fresco; traditional depiction of the Last Supper before Leonardo

Mona Lisa, Leonardo da Vinci, Florence, High Renaissance, 1503-1505, oil on wood; famous for being the most stolen artwork ever not nec. for its style, 1st waist up portrait, probably Leonardo’s capstone artwork as he continued to perfect it until he died

Virgin and Child with Saint Anne, Leonardo da Vinci, Florence, High Renaissance, 1510, oil on wood; sfumato and interesting pose and composition

Virgin and Child with Saint Anne and the Infant Saint John, Leonardo da Vinci, Milan, High Renaissance, 1505-1507, charcoal and white on brown paper; cartoon prelim of the above painting

Theology (Disputation over the Sacrament), Raphael, Stanza della Segnatura in Vatican Palace, High Renaissance, 1510-1511, fresco, Patron: Pope Julius II; exposition of the doctrine of the Eucharist, being traced from origin in heaven, gap, then host at center (vanishing point), divine meets human, art can only do so much to display lofty theological mysteries

Philosophy (School of Athens), Raphael, Stanza della Segnatura in Vatican Palace, 1510-1511, fresco, Patron: Pope Julius II; Heraclitus with the features of Michelangelo and Plato with the features of Leonardo, can’t fully understand theology without philosophy