Renaissance

Transcript

1. Renaissance  &  The  Rise  of  Humanism  
   Reading  
   Ar+orms,  248-­‐262  
    
   Range  
   1300-­‐1600  
   Proto,  Early,  and  High  
   Renaissance  
    
   Terms/Concept  
   Humanism,  Medici,  
   Terribilita,  Buon  Fresco,    
    
    
   Key  Monuments  
    GioCo  di  Bondone,  The  
   Lamenta@on,“Arena”  (Scr
   ovegni)  Chapel,  Padua,  
   Italy,  1305-­‐1306.  
    Donatello,  David,  
   1446-­‐1460  
    Sandro  BoTcelli,  
   Primavera,  1482.  
   Raphael,  The  School  of  
   Athens,  1510-­‐1511.  
   

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2. Reminders  
   •  InterrogaUng  the  Museum  is  due  Thursday  
   April  4th  
   •  Be  sure  to  hand  in  your  worksheet  with  your  
   essay.  
   

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6. “Arena”  (Scrovegni)  Chapel,  Padua,  Italy,  1305-­‐1306.  
   

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7. GioCo  di  Bondone,  Scenes  from  the  Lives  of  Christ  and  the  
   Virgin,  “Arena”  (Scrovegni)  Chapel,  Padua,  Italy,  1305-­‐1306.  
   Enrico  Scrovegni  Presents  the  Completed  Chapel  to  the  
   Virgin  
   

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8. Altar  
   GioCo  di  Bondone,  Scenes  from  the  Lives  of  Christ  and  the  
   Virgin,  “Arena”  (Scrovegni)  Chapel,  Padua,  Italy,  1305-­‐1306.  
   Faux-­‐Marble  Treatment,  Arena  Chapel,  c.  1305-­‐1306   House  of  the  Samnite,  
   Herculaneum,  100-­‐80  
   BCE  
   

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9. GioCo  di  Bondone,  Scenes  from  the  Lives  of  Christ  and  the  
   Virgin,  “Arena”  (Scrovegni)  Chapel,  Padua,  Italy,  1305-­‐1306.  
   

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10. GioCo  di  Bondone,  Scenes  from  the  Lives  of  Christ  and  the  
    Virgin,  “Arena”  (Scrovegni)  Chapel,  Padua,  Italy,  1305-­‐1306.  
    Bringing  of  
    the  Rods  
    Wedding  
    at  Cana  
    Raising  of  
    Lazarus  
    The  
    ResurrecUon  
    The  
    LamentaUon  
    Praying  
    Suitors  
    Life  of  the  Virgin  
    Life  of  Christ  
    Death  of  Christ  
    

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11. GioCo  di  Bondone,  The  Lamenta@on,  “Arena”  (Scrovegni)  
    Chapel,  Padua,  Italy,  1305-­‐1306.  
    

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12. GioCo  di  Bondone,  The  Lamenta@on,  “Arena”  (Scrovegni)  
    Chapel,  Padua,  Italy,  1305-­‐1306.  
    Chiaroscuro  =  Contrast  of  light  and  dark  to  
    create  modeling.  
    

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13. GioCo  di  Bondone,  The  Lamenta@on,  “Arena”  (Scrovegni)  
    Chapel,  Padua,  Italy,  1305-­‐1306.  
    Mary  cradles  the  body  of  Christ  
    

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14. GioCo  di  Bondone,  The  Lamenta@on,  “Arena”  (Scrovegni)  
    Chapel,  Padua,  Italy,  1305-­‐1306.  
    Extreme  emoUon  on  the  faces  of  the  angels.  
    

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15. GioCo  di  Bondone,  Scenes  from  the  Lives  of  Christ  and  the  
    Virgin,  “Arena”  (Scrovegni)  Chapel,  Padua,  Italy,  1305-­‐1306.  
    Vices  
    “Invidia”  or  Envy  
    

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16. GioCo  di  Bondone,  The  Last  
    Judgment,  “Arena”  (Scrovegni)  
    Chapel,  Padua,  Italy,  1305-­‐1306.  
    Last  Judgment  (Detai),  Tympanum,  Ste.  Foy,  
    Conques,  France,  11th  century.  
    Andrea  di  Cione  (Orcagna),  SalvaUon  
    of  Emperor  Henry  II,  from  the  Strozzi  
    Altarpiece,  1354-­‐1357.  
    

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17. Donatello,  David,  1446-­‐1460  
    Goliath  =  Milan  
    David  =  Florence  
    The  victor  is  whoever  defends  the  fatherland.  
    All-­‐powerful  God  crushes  the  angry  enemy.  
    Behold,  a  boy  overcomes  the  great  tyrant.  
    Conquer,  O  ciUzens!  
    

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18. Donatello,  David,  1446-­‐1460  
    Laurel  Wreath  =  Victory  
    

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19. Donatello,  David,  1446-­‐1460  
    

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20. Donatello,  David,  1446-­‐1460  
    “Riace  Warrior,”  Greece,  5th  Century  
    BCE  
    “Heroic”  Nudity  
    Lost-­‐Wax  CasUng  
    

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21. Donatello,  David,  1446-­‐1460  
    

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22. Donatello,  David,  1446-­‐1460  
    

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23. Donatello,  David,  1446-­‐1460  
    

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24. Donatello,  David,  1446-­‐1460  
    

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25. Donatello,  David,  1446-­‐1460  
    

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26. Donatello,  David,  1446-­‐1460  
    

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27. Donatello,  David,  1446-­‐1460  
    Feather  
    

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28. Donatello,  
    David,  
    1446-­‐1460.  
    Andrea  del  
    Verrocchio,  
    David,  1465.  
    

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29. “The  greatest  arUst  has  no  concepUon  
    which  as  single  block  of  marble  does  
    not  potenUally  contain  within  its  mass,  
    but  only  a  hand  obedient  to  the  mind  
    can  penetrate  this  image.”  
    Michelangelo,  David,  1501-­‐1504.  
    

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30. Contrapposto    
    Michelangelo,  David,  
    1501-­‐1504.  
    Polykleitos,  
    Doryphoros,  5th  c.  BCE  
    

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31. Michelangelo,  Pieta,  1500.  
    Michelangelo,  David,  1501-­‐1504.  
    

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32. Terribilita  
    Michelangelo,  David,  1501-­‐1504.  
    

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33. Michelangelo,  David,  
    1501-­‐1504.  
    Donatello,  David,  
    1446-­‐1460.  
    

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34. Michelangelo,  
    David,  1501-­‐1504.  
    Donatello,  David,  
    1446-­‐1460.  
    

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35. Michelangelo,  David,  
    1501-­‐1504.  
    Donatello,  David,  
    1446-­‐1460.  
    Polykleitos,  Doryphoros,  
    c.  430  BCE  
    

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36. “God’s  Bankers”  
    

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37. Sandro  BoTcelli,  Primavera,  1482.  
    Mercury  
    Three  Graces  
    Venus  
    Mercury  +  Venus  =  Cupid  
    Flora  
    Zephyrus  
    Chloris  
    

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38. Sandro  BoTcelli,  Primavera,  1482.  
    Lorenzo  di  Pierfranceso  de  Medici   Semiramide  Appiani  
    

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39. Sandro  BoTcelli,  Primavera,  1482.  
    

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40. Sandro  BoTcelli,  Primavera,  1482.  
    Mercury  
    Three  Graces  
    Venus  
    Mercury  +  Venus  =  Cupid  
    Flora  
    Zephyrus  
    Chloris  
    

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41. Sandro  BoTcelli,  Primavera,  1482.  
    “Zephyrus  caught  sight  of  
    me,  I  avoided  him,  he  
    followed,  I  took  flight;  he  was  
    stronger…”  –Flora  in  Ovid’s  
    Fas@  
    “I  enjoy  eternal  spring,  a  
    radient  season..At  the  
    heart  of  the  land  my  dowry  
    lies  a  ferUle  garden  in  the  
    mildest  of  climates…My  
    noble  husband  filled  it  with  
    flowers,  saying:  ‘You,  o  
    goddess,  shall  rule  over  the  
    flowers!’”  
     –Flora  in  Ovid’s  Fas@  
    

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42. Sandro  BoTcelli,  Primavera,  1482.  
    Mercury  
    Three  Graces  
    Venus  
    Mercury  +  Venus  =  Cupid  
    Flora  
    Zephyrus  
    Chloris  
    

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43. A  PainUng  from  Pompeii,  1st  Century  CE  
    Sandro  BoTcelli,  Primavera,  1482.  
    

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44. Sandro  BoTcelli,  Primavera,  1482.  
    Mercury  
    Three  Graces  
    Venus  
    Mercury  +  Venus  =  Cupid  
    Flora  
    Zephyrus  
    Chloris  
    

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45. Sandro  BoTcelli,  Primavera,  1482.  
    

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46. Sandro  BoTcelli,  Primavera,  1482.  
    

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47. Sandro  BoTcelli,  Primavera,  1482.  
    

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48. The  Medici  Crest  Contained  at  least  four  
    oranges  
    Sandro  BoTcelli,  Primavera,  1482.  
    

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49. VaUcan  Palace  and  New  St.  Peter’s,  Rome,  
    Bramante’s  Plan,  1506.  
    

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50. Michelangelo,  
    Sis@ne  Chapel,  
    1508-­‐1512  
    

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57. Julius  II  Coat  of  Arms  with  
    Oak  Tree  
    Ignudo  with  Acorns,  SisUne  Chapel,  Ceiling,  
    Rome,  c.  1510-­‐1511.  
    

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58. “This  miserable  job  has  given  me  a  goiter…The  force  
    of  it  has  jammed  by  belly  up  beneath  my  chin.  Beard  
    to  the  sky…Brush  splaCerings  make  a  pavement  of  
    my  face…I’m  not  a  painter!”  
    “I  used  to  consider  that  sculpture  was  the  lantern  of  painUng  and  that  
    between  the  two  things  there  was  the  same  difference  as  that  
    between  the  sun  and  the  moon.    But...I  now  consider  that  painUng  and  
    sculpture  are  one  and  the  same  thing…As  to  that  man  [Leonardo]  who  
    wrote  saying  that    painUng  was  more  noble  than  sculpture,  if  he  had  
    known  as  much  about  the  other  subjects  on  which  he  has  wriCen,  
    why,  my  maid  servant  would  have  wriCen  beCer!”  
    

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59. The  Prophet  Zechariah  
    

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60. Michelangelo,  the  Prophet  Zechariah,  
    SisUne  Chapel,  Rome,  1508-­‐1512.  
    Raphael,  Portrait  of  Pope  Julius  II,  
       
    

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