AP Art History Chapter 21 Notes PDF

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Gardner's Art through the Ages Chapter 21 Lecture, Patricia Morchel...

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Chapter Intro - Caduceus: In ancient Greek mythology, a magical rod entwined with serpents, the attribute of Hermes (Roman, Mercury), the messenger of the gods - Primavera - SANDRO BOTTICELLI - Tempera on Wood Renaissance Humanism - Condottieri: An Italian mercenary general - For the Italian humanists, the quest for knowledge began with the legacy of the Greeks and Romans—the writings of Socrates, Plato, Aristotle, Ovid, and other - Humanism also fostered a belief in individual potential and encouraged individual achievement, as well as civic responsibility Florence - Because high-level patronage required significant accumulated wealth, those individuals, whether princes or merchants, who had managed to prosper came to the fore in artistic circles Sculpture - In 1401, the cathedral’s art directors held a competition to make bronze doors for the east portal of the Baptistery of San Giovanni - Artists and public alike considered this commission particularly prestigious because the east entrance to the baptistery faced the cathedral - Historically important not only for the quality of the work submitted by those seeking the commission but also because it already showcased several key elements associated with mature Renaissance art: personal or, in this case, guild patronage as both a civic imperative and a form of self-promotion - Covenants: In Judaism and Christianity, a binding agreement between God and humans - Prefiguration: In Early Christian art, the depiction of Old Testament persons and events as prophetic forerunners of Christ and New Testament events - Sacrifice of Isaac - FILIPPO BBRUNELLESCHI - Competition Panel for East Doors of the Baptistery of San Giovanni, Florence, Italy - Gilded Bronze - Brunelleschi’s entry in the competition to create new bronze doors for the Florentine baptistery shows a frantic angel about to halt an emotional, unging Abraham clothed in swirling Gothic robes - Ghiberti, the youngest artist in the competition, emphasized grace and smoothnes - Sacrifice of Isaac - LORENZO GHIBERTI

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Competition Panel for East Doors of the Baptistery of San Giovanni Florence, Italy Gilded Bronze In contrast to Brunelleschi’s panel, Ghiberti’s entry in the baptistery competition features gracefully posed figures that recall classical statuary. Isaac’s altar has a Roman acanthus frieze Signoria: The governing body in the Republic of Florence Four Crowned Saints - NANNI DI BANCO - Marble - Nanni’s group representing the four martyred patron saints of Florence’s sculptors guild is an early example of Renaissance artists’ attempt to iberate statuary from its architectural setting Saint Mark, Or San Michele - DONATELLO - Marble - In this statue carved for the guild of linen makers and tailors, Donatello introduced classical contrapposto into Quattrocento sculpture. The drapery falls naturally and moves with the body Transept: The part of a church withan axis that crosses the nave at a right angle Saint George, or San Michele - DONATELLO - Florence, Italy - Marble - Donatello’s statue for the armorers guild once had a bronze sword and helmet - The warrior saint stands defiantly, ready to spring from his niche to defend Florence, his sword pointed at the spectator Saint George and the Dragon - DONATELLO - Relief Below the Statue of Saint George - Donatello’s relief marks a turning point in Renaissance sculpture. He took a painterly approach, creating an atmospheric effect by using incisedines - The depth of the background cannot be measured Feast of Herod - DONATELLO - Panel on the Baptismal Font of Siena Cathedral - Gilded Bronze - Donatello’s Feast of Herod marked the introduction of rationalized perspective space in Renaissance relief sculpture - Two arched courtyards of diminishing size open the space of the action into the distance

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East Doors (Gates of Paradise) - LORENZO GHIBERTI - Baptistery of San Giovanni - Gilded Bronze - In Ghiberti’s later doors for the Florentine baptistery, the sculptor abandoned the Gothic quatrefoil frames for the biblical scenes and employed painterly illusionistic devices Isaac and His Sons - LORENZO GHIBERTI - East doors (Gates of Paradise), Baptistery of San Giovanni, Florence, Italy - Gilded Bronze - In this relief, Ghiberti employed linear perspective to create the illusion of distance, but he also used sculptural aerial perspective, with forms appearing less distinct the deeper they are in space Orthogonal: A line imagined to be behind and perpendicular to the picture plane; the orthogonals in a painting appear to recede toward a vanishing point on the horizon David - DONATELLO - Bronze - Donatello’s David possesses both the relaxed contrapposto and the sensuous beauty of nude Greek gods - The revival of classical statuary style appealed to the sculptor’s patrons, the Medici Bottega: An artist’s studio-shop David - ANDREA DEL VERROCCHIO - Bronze - Verrocchio’s David, also made for the Medici, displays a brash confidence\ - The statue’s narrative realism contrasts strongly with the quiet classicism of Donatello’s David Hercules and Antaeus - ANTONIO DEL POLLAIUOLO - Bronze - The Renaissance interest in classical culture led to the revival of GrecoRoman mythological themes in art - Hercules and Antaeus exhibits the stress and strain of the human figure in violent action tomb of Leonardo Bruni - Santa Croce, Florence, Italy - BERNARDO ROSSELLINO - Rossellino’s tomb in honor of the humanist scholar and Florentine chancellor

Leonardo Bruni combines ancient Roman and Christian motifs - It established the pattern for Renaissance wall tombs - Gattamelata - DONATELLO - Piazza Del Santo, Padua, Italy - Bronze - Donatello based his gigantic portrait of a Venetian general on equestrian statues of ancient Roman emperors - Together, man and horse convey an overwhelming image of irresistible strength - Bartolommeo Colleoni - ANDREA DEL VERROCCHIO - Bronze - Eager to compete with Donatello’s Gattamelata - Colleoni provided the funds for his own equestrian statue in his will. The statue stands on a pedestal even taller than Gattamelata’s Painting - Imitation: The starting point in a young artist’s training. Italian Renaissance artists believed the best way to learn was to copy the works of masters - Emulation: The next step was emulation, which involved modeling one’s art after that of another artist. Although imitation still provided the foundation for this practice, an artist used features of another’s art only as a springboard for improvements or innovations - Adoration of the Magi - GENTILE DA FABRIANO - altarpiece from the Strozzi Chapel, Santa Trinità, Florence, Italy - Tempera on Wood - Gentile was the leading Florentine painter working in the International style - He successfully blended naturalistic details with Late Gothic splendor in color, costume, and framing ornamentation - Tribute Money - MASACCIO - Brancacci Chapel, Santa Maria Del Carmine, Florence, Italy - Fresco - Masaccio’s figures recall Giotto’s in their simple grandeur, but they convey a greater psychological and physical credibility - He modeled his figures with light coming from a source outside the picture - Masaccio’s figures recall Giotto’s in their simple grandeur, but they convey a greater psychological and physical credibility - Expulsion of Adam and Eve from Eden - MASACCIO - Brancacci chapel, Santa Maria del Carmine, Florence, Italy - Adam and Eve, expelled from Eden, stumble on blindly, driven by the angel’s will

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and their own despair - The hazy background specifies no locale but suggests a space around and beyond the figures Triumphal Arch: In Roman architecture, a freestanding arch commemorating an important event, such as a military victory or the opening of a new road Pilasters: A flat, rectangular, vertical member projecting from a wall of which it forms a part. It usually has a base and a capital and is oft en fluted Holy Trinity - MASACCIO - Santa Maria Novella, Florence, Italy - Masaccio’s pioneering Holy Trinity is the premier early-15th-century example of the application of mathematics to the depiction of space according to Brunelleschi’s system of perspective Loggia: A gallery with an open arcade or a colonnade on one or both sides Portico: A roofed colonnade; also an entrance porch Cloister: A monastery courtyard, usually with covered walks or ambulatories along its sides Annunciation - FRA ANGELICO - San Marco, Florence, Italy - Fresco - Painted for the Dominican monks of San Marco, Fra Angelico’s fresco is simple and direct - Its figures and architecture have a pristine clarity befitting the fresco’s function as a devotional image Last Supper - ANDREA DEL CASTAGNO - Refectory of the Monastery of Sant’Apollonia, Florence, Italy - Fresco - Judas sits isolated in this Last Supper based on the Gospel of Saint John - The figures are small compared with the setting, reflecting Castagno’s preoccupation with the new science of perspective Madonna and Child with Angels - FRA FILIPPO LIPPI - Tempera on Wood - Fra Filippo, a monk guilty of many misdemeanors, represented the Virgin and Christ Child in a distinctly worldly manner, carrying the humanization of the holy family further than any artist before him Resurrection - PIERO DELLA FRANCESCA - Palazzo Comunale, Borgo San Sepolcro, Italy

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Fresco Christ miraculously rises from his tomb while the Roman guards sleep The viewer sees the framing portico and the soldiers from below, but has a headon view of the seminude muscular figure of Christ - Birth of the Virgin - DOMENICO GHIRLANDAIO - Cappella Maggiore, Santa Maria Novella, Florence, Italy - Fresco - Ludovica Tornabuoni holds as prominent a place in Ghirlandaio’s fresco as she must have held in Florentine society—evidence of the secularization of sacred themes in 15th-century Italian painting - Giovanna Tornabuoni - DOMENICO GHIRLANDAIO - Oil and Tempera on Wood - Renaissance artists revived the ancient art of portraiture - This portrait reveals the wealth, courtly manners, and humanistic interest in classical literature that lie behind much 15th-century Florentine art - Battle of San Romano - PAOLO UCCELLO - Tempera on Wood - In this panel once in Lorenzo de’ Medici’s bedchamber, Niccolò da Tolentino leads the charge against the Sienese - The foreshortened spears and figures reveal Uccello’s fascination with perspective - Birth of Venus - SANDRO BOTTICELLI - Tempera on Canvas - Inspired by an Angelo Poliziano poem and classical Aphrodite statues, Botticelli revived the theme of the female nude in this elegant and romantic representation of Venus born of sea foam - Battle of Ten Nudes - ANTONIO DEL POLLAIUOLO - Engraving - Pollaiuolo was fascinated by how muscles and sinews activate the human skeleton - He delighted in showing nude figures in violent action and from numerous foreshortened viewpoints - Écorché: The representation of a nude body as if without skin Architecture - Loggia of the Ospedale Degli Innocenti - FILIPPO BRUNELLESCHI - Florence, Italy - Often called the first Renaissance building, the loggia of the orphanage sponsored

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by Florence’s silk and goldsmith guild features a classically austere design based on a module of 10 braccia Pediment: an ornamental feature having this shape Crossing square: The area in a church formed by the intersection (crossing) of a nave and a transept of equal width, oft en used as a standard module of interior proportion Interior of Santo Spirito - FILIPPO BRUNELLESCHI - Florence, Italy - The austerity of the decor and the mathematical clarity of the interior of Santo Spirito contrast sharply with the soaring drama and spirituality of the nave arcades and vaults of Gothic churches Facade of the Pazzi Chapel - FILIPPO BRUNELLESCHI - Santa Croce, Florence, Italy, Begun 1433 - The Pazzi family erected this chapel as a gift to the Franciscan church of Santa Croce - It served as the monks’ chapter house and is one of the first independent Renaissance central-plan buildings Pendentives: A concave, triangular section of a hemisphere, four of which provide the transition from a square area to the circular base of a covering dome. Although pendentives appear to be hanging (pendant) from the dome, they in fact support it East Facade of the Palazzo Medici-Riccardi - MICHELOZZO DI BARTOLOMMEO - Florence, Italy - The Medici palace, with its combination of dressed and rusticated masonry and classical moldings, draws heavily on ancient Roman architecture, but Michelozzo creatively reinterpreted his models - The Medici palace’s interior court surrounded by a round-arched colonnade was the first of its kind - The austere design clearly reveals Michelozzo’s debt to Brunelleschi Stringcourses: A raised horizontal molding, or band, in masonry. Its principal use is ornamental but it usually reflects interior structure Cornice: The projecting, crowning member of the entablature framing the pediment; also, any crowning projection Palazzo Rucellai - Florence, Italy - LEON BATTISTA ALBERTI and BERNARDO ROSSELLINO - Alberti was an ardent student of classical architecture. By adapting the Roman use of different orders for each story, he created the illusion that the Palazzo Rucellai becomes lighter toward its top West Facade of Santa Maria Novella

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LEON BATTISTA ALBERTI Florence, Italy Alberti’s design for the facade of this Gothic church features a pediment-capped temple front and pilaster framed arcades - Numerical ratios are the basis of the proportions of all parts of the facade The Princely Courts - Although Florentine artists led the way in creating the Renaissance in art and architecture, the arts flourished throughout Italy in the 15th century - Whether the “prince” was a duke, condottiere, or pope, the considerable wealth the heads of these courts possessed, coupled with their desire for recognition, fame, and power, resulted in major art commissions Rome and the Papal States - Christ Delivering the Keys of the Kingdom to Saint Peter - PERUGINO - Sistine Chapel, Vatican, Rome, Italy - Fresco - Painted for the Vatican, this fresco depicts the event on which the papacy bases its authority - The converging lines of the pavement connect the action in the foreground with the background - The Damned Cast into Hell - LUCA SIGNORELLI - San Brizio chapel, Orvieto Cathedral, Orvieto, Italy - Fresco - Few figure compositions of the 15th century have the same psychic impact as Signorelli’s fresco of writhing, foreshortened muscular bodies tortured by demons in Hell Urbino - Under the patronage of Federico da Montefeltro, Urbino, southeast of Florence across the Apennines, became an important center of Renaissance art and culture - Battista Sforza and Federico da Montefeltro - PIERO DELLA FRANCESCA - Oil and Tempera on Wood in Modern Frame - Piero’s portraits of Federico da Montefeltro and his recently deceased wife combine the profile views on Roman coins with the landscape backgrounds of Flemish portraiture - Flagellation - PIERO DELLA FRANCESCA - Oil and Tempera on Wood - In this enigmatic painting, the three unidentified foreground figures appear to be discussing the biblical tragedy taking place in Pilate’s palace, which Piero

rendered in perfect perspective Mantua - Marquis Ludovico Gonzaga (1412–1478) ruled the court of Mantua in northeastern Italy during the mid-15th century - Colossal order: Aka giant order; An architectural design in which the columns or pilasters are two or more stories tall. Also called a giant order - West Facade of Sant’Andrea - LEON BATTISTA ALBERTI - Mantua, Italy - Alberti’s design for Sant’Andrea reflects his study of ancient Roman architecture. Employing a colossal order, the architect combined a triumphal arch and a Roman temple front with pediment - Interior of Sant’Andrea - LEON BATTISTA ALBERTI - Mantua, Italy - For the nave of Sant’Andrea, Alberti abandoned the medieval columnar arcade. The tremendous vaults suggest that Constantine’s Basilica Nova in Rome may have served as a prototype - Interior of the Camera Picta - ANDREA MANTEGNA - Palazzo Ducale, Mantua, Italy - Working for Ludovico Gonzaga, who established Mantua as a great art city, Mantegna produced for the duke’s palace the first completely consistent, illusionistic decoration of an entire room - Trompe l’oeil: French, “fools the eye.” A form of illusionistic painting that aims to deceive viewers into believing they are seeing real objects rather than a representation of those objects - Di sotto in sù: Italian, “from below upward.” A perspective view seen from below - Foreshortened Christ - ANDREA MANTEGNA - Tempera on Canvas - In this work of overwhelming emotional power, Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy...