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EarlyRenaissance_ItalianPainting1.pptxART HISTORY 132
Early Renaissance:
Italian Painting
© Joel Hollander, Ph.D., 2020
1
Republic of Florence
Florence est. in 59 BCE by Julius Caesar
fifteen old aristocratic families moved to Florence between 1000 and 1100 CE
12th century: prospered through extensive trade w/ foreign countries
13th century; barely able to maintain peace between competing socio-economic factions
intro of new gold coin (florin) c. 1250
became dominant trade coin of W. Europe for large scale transactions
Bubonic Plague (1347-48)
economic downturn took its toll on Florentine city-state
ensuing collapse of feudal system
Ciompi Revolt (1378-1382)
discontented wool workers
established revolutionary commune
wealthier classes crushed rebellion
The Medicis
bank est. by Giovanni di Bicci de' Medici in 1397
Cosimo de' Medici
"first among equals" rather than autocrat
de facto ruler until exiled to Venice in 1433
next year, people of F overturned CM's exile in democratic vote
patronage transformed Florence into epitome of Renaissance city
ancient manuscripts bequeathed to Cosimo by leading humanist scholar
political crisis of 1458
M's opponents ruined by cost of wars w/ Milan
acquired properties at bargain prices
opposition demand political reforms
M response w/ threats of force
exiled opponents of regime
introduced open vote in councils
The Medicis (cont.)
Lorenzo de’ Medici (1449-1492)
grandson of Cosimo; greatest artistic patron of Renaissance
Verrocchio, Botticelli, Leonardo da Vinci, Ghirlandaio, & Michelangelo (who lived w/ Medicis for 3 years)
Pazzi conspiracy (1478)
unsuccessful coup; conspirators violently executed
scheme supported by Archbishop of Pisa; also executed
Pope Sixtus excommunicated everyone in Florence & sent delegation to arrest LM
populace refused to resign LM
war followed, lasting two years
LM diplomatically secured peace
succeeded by son
The Medicis (cont.)
Lorenzo de’ Medici (cont.)
started collection of books that became Medici Library
large numbers of Classical works
large workshop to copy books and disseminate content across Europe
supported Humanism
circle of scholarly friends who studied Greek philosophers
attempted to merge ideas of Plato w/ Christianity (“Neo-Platonism”)
diplomatic efforts
commission of Ghirlandaio, Botticelli, & Perugino to paint murals in Sistine Chapel
sealed alliance between Lorenzo and Pope Sixtus IV
Humanism
definition: cultural/educational reform during Renaissance
revived interest in ancient Greek/Roman thought
rejects medieval mysticism
aims: civic & spiritual
virtuous & prudent actions
common good & individual nobility
conjunction of faith & reason
curricula: revival of classical liberal arts
grammar, rhetoric, history, poetry and moral philosophy
study of ancient republican models of gov’t
themes: Christianity infused w/ Classical (pagan) culture Neo-Platonism
scope: spread through W. and North Europe
many upper classes received Humanist educations
many high Church officials were Humanists
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Masaccio (1401-1428?)
biography:
father notary
mother daughter of an innkeeper
grew up near Florence
training: no evidence of M's artistic education
Renaissance painters traditionally began apprenticeship at age of 12
moved to Florence to receive training
joined painters guild in 1422
significance: 1st great painter of Quattrocento
according to Vasari, M best of his generation at recreating
lifelike figures (nudes) & movement
three-dimensional volumes
foreshortening
linear perspective
aerial perspective & vanishing point
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Masaccio
Brancacci Chapel (c. 1425)
function: private chapel
narratives: OT (Adam & Eve) + obscure NT stories (St. Peter)
composition: registered
two (2) horizontal cycles of narrative extend around chapel
stylistic source: Giotto’s Arena Chapel
figures large, heavy, and solid
emotions faces and gestures
differences from Giotto:
M uses linear and atmospheric perspective, directional light, and chiaroscuro
effect: even more convincingly lifelike than 14th predecessor
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Masaccio’s Italian Early Renaissance Tribute Money (c. 1425)
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(Left) Polykleitos’ Classical Greek Spearbearer (c. 450 BCE) vs. (right) detail from Masaccio’s Italian Early Renaissance Tribute Money (c. 1425 CE)
Masaccio
Brancacci Chapel (cont.)
Expulsion from Paradise
subject: OT (Adam & Eve)
narrative: assisted by gestures & facial expressions
composition: dynamic
diagonal arrangement of forms & gestures
foreshortening (torso, forearm)
sweeping movement of angel’s drapery
compliments strict verticality
color: vibrant
light/shadow: chiaroscuro
figures: solidly modeled; nude
perspective: linear (e.g., gate) & aerial
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(Left) detail of Adam & Eve from van Eyck’s Flemish Early Renaissance Ghent Altarpiece (c. 1425) vs. (right) Masaccio’s Italian Early Renaissance Expulsion (c. 1425)
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Masaccio
Holy Trinity (1425)
figures:
God the Father
dove of Holy Spirit
Jesus (the Son)
Madonna/St. John Baptist
donors (kneeling)
narrative: directed by gestures
M instructing about C’s death
see skeleton below
composition: stable CVA & tri- format
color: primary red & blue; muted tones
light/shadow: est. volume on figures
issue: Humanism classical architecture
linear perspective:
square stone vaulting
steps leading to niche
vanishing point: implied horizon of J’s outstretched arms
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Piero della Francesca (1420-1492)
Resurrection (1463)
narrative tone: stoic (Classical)
figures: idealized
mathematical proportions
lean musculature
composition: stable
CVA
implicit triangular format
frieze-like arrangement (Classical)
color: pastel & compliments
light/shadow: even distribution
perspective:
foreshortening
linear implied (trees)
atmospheric sky/clouds
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Sandro Botticelli (1445-1510)
patron: Lorenzo de’ Medici
career: covered in Vasari’s Lives, but reputation suffered posthumously until late 19th century
apprenticed to Fra Filippo Lippi one of top Florentine painters
influenced by Masaccio’s monumental figures
commissions: included side panel in Sistine Chapel (1481-82)
three (3) of original fourteen (14) large scenes
Humanist copy of classical Arch of Constantine (Rome)
mythological subjects: c. 1480s
very large scale
classical mythology (see Humanism)
divine love as important place as Christianity (see Neo-Platonism)
Botticelli’s The Birth of Venus (c. 1485)
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(Left) Botticelli’s Italian Early Ren. Birth of Venus (c. 1475 CE) vs. Praxitele’s Greek Late Classical Aphrodite (c. 350 BCE)
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Botticelli’s Venus and Mars (c. 1485)
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(Left) detail of Venus from Botticelli’s Venus and Mars (c. 1485) vs. Greek Classical “Dionysius” from pediment of Parthenon (c. 450 BCE)
(Left) detail of Venus from Botticelli’s Venus and Mars (c. 1485) vs. (right) Apotheosis of Antoninus Pius and Faustina, pedestal of Column of Antoninus Pius, Rome (c. 161 CE)
(Top) detail of Mars from Botticelli’s Venus and Mars (c. 1485) vs. (bottom) Greek Archaic “Dying Warrior” pediment sculpture from Temple of Aphaia (c. 500 BCE)
Domenico Ghirlandaio (1449-1494)
Giovanna Tornabuoni (c. 1490)
subject: noblewoman (aristocrat)
theme: wealth, status, and piety
meaning: memorial; died in childbirth
pose: profile
facial features: idealized
color: vibrant
decorativeness: patterns of clothing
light/shadow: near absence of shadow flattens volume
iconography: Humanist & religious
epitaph quotes ancient Roman poet
coral necklace (rosary) & brooch
partly closed prayer book
handkerchief
perspective: limited to linear (windowsill)
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(Left) Ghirlandaio’s Italian Early Ren. Giovanna Tornabuoni (c. 1475) vs. (right) Leonardo’s High Renaissance La Bella Principessa (c. 1500)
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Ghirlandaio
Old Man and Grandson (1490)
narrative: emotional qualities beyond traditional portraiture
theme: virtue vs. external appearances
figures: range of qualities of naturalism
old man realistic & grotesque
child idealized
composition: dynamic
color: vibrant & muted
light/shadow: even distribution on figures
perspective: combines
linear architecture (windowsill), winding road & stream emptying into lake
aerial distant, faint landscape
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Andrea Mantegna (1431-1506)
biography: born in Venice
training: Squarcione (Padua)
as many as 137 painters passed through S's school; famous all over Italy
context: Humanism
fanatic for ancient Rome; traveled in Italy and perhaps Greece
amassed antique statues, reliefs, vases, etc. & drawings from them
aim: optical illusion & perspective
not always mathematically correct
attained astonishing effect
approach: fundamentally sculptural means to painting
(Left) Polykleitos’ Classical Greek Doryphoros (c. 450 BCE) vs. (right) Mantegna’s Italian Early Renaissance Martyrdom of St. Sebastian (c. 1475 CE)
Mantegna
Lamentation (1490)
narrative: portrays body of Christ lying face upward on marble slab
watched over by VM, St. John Baptist, and Mary Magdalene
weeping for His death
usually shows more contact between mourners and body
severely cropped
quality of naturalism: realistic
enhanced by extreme perspective
“wet” drapery: wet (Classical)
foreshortening
dramatizes recumbent figure
emphasizes anatomical details (thorax/chest)
color: muted
light/shadow: dramatic modelling
IMAGE INDEX
Slide 2: Map of late 15th century Italy.
Slide 3: 15th century Florin gold coins from Florence, Italy.
Slide 4: Portrait of Lorenzo Medici the Great by Agnolo di Cosimo.
Slide 5: Detail of MICHELANGELO’s staircase in Medici [Laurentian] Library, Florence, Italy.
Slide 6: HOLBEIN, Hans the Younger. Portrait of Erasmus (1523), Oil on canvas, National Gallery, London.
Slide 7: Detail of MASACCIO’s self-portrait from St. Peter Raising the Son of Theophilus and St. Peter Enthroned as First Bishop of Antioch, Brancacci Chapel, S. Maria del Carmine, Florence.
Slide 8: MASACCIO. View of left wall of Brancacci Chapel (1426- 27), 255 x 598 cm., Santa Maria del Carmine, Florence.
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IMAGE INDEX
Slide 9: MASACCIO. The Tribute Money (1426-27), left wall of Brancacci Chapel.
Slide 10: (Left) POLYKLEITOS’ Classical Greek Spearbearer (c. 450 BCE); and (right) detail from Masaccio’s Italian Early Renaissance Tribute Money (c. 1425 CE)
Slide 11: MASACCIO. The Expulsion (1426-27), left wall of Brancacci Chapel.
Slide 12: (Left) detail of Adam & Eve from van Eyck’s Flemish Early Ren. Ghent Altarpiece (c. 1425); and (right) Masaccio’s Italian Early Ren. Expulsion (c. 1425)
Slide 13: MASACCIO. Holy Trinity (c. 1425), Fresco, 22’ x 11’, Santa Maria Novella, Florence.
Slide 14: DELLA FRANCESCA, Piero. Resurrection (1463), mural in fresco and tempera, 225 x 200 cm, Museo Civico, Sansepolcro, Italy.
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IMAGE INDEX
Slide 15: Detail of probable self-portrait from Sandro BOTTICELLI’s Adoration of the Magi (1475), Tempera on panel, Galleria degli Uffizi, Florence.
Slide 16: BOTTICELLI, Sandro. The Birth of Venus (c. 1485), Tempera on canvas, approx. 5’8” x 9’1”, Galleria degli Uffizi, Florence.
Slide 17: (Left) BOTTICELLI’s Italian Early Renaissance Birth of Venus (c. 1485 CE); and (right) PRAXITELE’s Greek Late Classical Aphrodite (c. 350 BCE).
Slide 18: BOTTICELLI, Sandro. Venus and Mars (1483), Tempera on wood, 69 x 173,5 cm, National Gallery, London.
Slide 19: (Left) detail of Venus from Botticelli’s Venus and Mars (c. 1485); and Greek Classical “Dionysius” from pediment of Parthenon (c. 450 BCE)
IMAGE INDEX
Slide 20: (Left) detail of Venus from Botticelli’s Venus and Mars (c. 1485); and (right) Apotheosis of Antoninus Pius and Faustina, pedestal of Column of Antoninus Pius, Rome (c. 161 CE)
Slide 21: (Top) detail of Mars from Botticelli’s Venus and Mars (c. 1485); and (bottom) Greek Archaic “Dying Warrior” pediment sculpture from Temple of Aphaia (c. 500 BCE)
Slide 22: GHIRLANDAIO. Giovanna Tornabuoni (1488), Oil and tempera on wood, 2’6” x 1’8”, Thyssen-Bornemisza Collection, Madrid, SP.
Slide 23: (Left) Ghirlandaio’s Italian Early Renaissance Giovanna Tornabuoni (c. 1475); and (right) Leonardo’s High Renaissance La Bella Principessa (c. 1500)
Slide 24: GHIRLANDAIO. An Old Man and His Grandson (1490), Tempera on wood, 62 x 46 cm., Musée du Louvre, Paris.
IMAGE INDEX
Slide 25: MANTEGNA, Andrea. St. Sebastian (1480), fresco, Musée du Louvre, Paris.
Slide 26: (Left) Polykleitos’ Classical Greek Doryphoros (c. 450 BCE); and (right) Mantegna’s Italian Early Renaissance Martyrdom of St. Sebastian (c. 1475 CE)
Slide 27: MANTEGNA, Andrea. The Lamentation over the Dead Christ (1490), Tempera on canvas, 68x81 cm, Pinacoteca di Brera, Milan.
