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Course
Renaissance
Institution
PEARSON (PEARSON)
Booklet of plans and summaries of renaissance artworks for history of art a level as well as context of the renaissance including works (paintings, sculptures and architecture) from Florence, Rome and Venice featuring some by Michelangelo, Brunelleschi and Bellini…
Masaccio’s Holy Trinity 1427 FLORENCE
One-point linear perspective:
vanishing point different levels at base painting - 2 stairs 2 worked with Brunelleschi - successful
at the base of patrons Bertos and Mrs Lenzi, kneel - lead to renaissance architect - helped him
cross the base of the cross, (focal point) - guides apply 1-point linear perspective,
the viewers eye to Christ on the cross - eye geometry, mathematics
level to the viewer.
figures proportionate in scale to the classical The trinity - complex religious
accurately architecture - relate perfectly to the space understanding - mirrored by complexity
proportioned. they occupy. of one-point linear perspective + use of
geometry for the trinity.
trompe l’oeil barrel vaulting in the architecture used tool Vasari - ‘hole in the wall’ - division
technique. to create perspective - divided in squares between the heavenly realm and mortal
with rosettes -create depth through scale earth.
diminution + foreshortening.
Antiquity:
Naturalism Bertos unidealized - long, crooked nose, antique sculptures - detail in robes and
jowells, enlarged nostrils, wrinkled skin autonomy = novel treatment to make
Christ’s autonomy - abdomen, face, and torso them more solid/robust
novel treatment to make them more
solid/robust
Classical coffered barrel-vaulted triumphal arch revival of Greco-Roman architecture -
architecture embellished with giant Corinthian pilasters Vitruvius '10 books on architecture'
served as an architect’s manual and
explored why buildings look the way
they do
phycological Marys accusatory expression revival of antiquity - more interest in
realism the appreciation of the human spirit
and hence rise in portraiture was also
due
Composition Golden ratio in triumphal arch and height of ‘Golden ratio’ discovered by ancient
the columns with the rest of the arch Greeks and reintroduced in renaissance
Compositional circle encircles God head and
Christ’s naval
triangle composition connects lenzis and trinity
1 points linear different levels at base painting - 2 stairs 2 Book by Pliny 'historia naturalis' which
perspective patrons Bertos and Mrs Lenzi, kneel - lead to was an encyclopaedia where he wrote
the base of the cross, (focal point) - guides the about the great Greek artists of
viewers eye to Christ on the cross - eye level to antiquity - celebrated naturalism
the viewer.
Social/cultural/political influences:
naturalism Berto – unidealized long, crooked nose, jowells, Plini’s Historia Naturalis
enlarged nostrils, wrinkled skin. And extreme
autonomic detail in Christ’s abdomen, face, and
torso.
,1-point linear orthogonal lines lead to vanishing point of the Brunelleschi - a vital, technological
perspective trinity, Christ’s head, a dove to symbolise the development of the renaissance.
holy spirit and God.
classical coffered barrel-vaulted triumphal arch The renaissance was the re-birth of
architecture embellished with giant Corinthian pilasters - antiquity and Greco-Roman culture, as
Christ's triumph over death. seen in architecture, there was a revival
of the triumphal arch for example the
Pazzi Chaple in Florence.
phycological Mary accusatory angry expression Donatello (sculptor) interested in
realism of capturing phycological realism of the
humanism figures.
composition - triumphal arch + height of the columns with 'Golden Section/ratio' discovered by
'Golden rest of the arch. The trajectory of the arch ancient Greeks and evident throughout
Section/ratio.' continues through Christ's naval + encircles nature. Masaccio uses mathematics to
trinity with Gods head at the circle and the create harmony and symbolise heaven.
compositional triangle connects the lenzis with The compositional triangle is
God - their faith is entering them into the reminiscent of the trinity.
realms in heaven.
, Da Fabriano’s Strozzi Altarpiece 1423 FLORENCE
Patronage:
format Continuous narrative of biblical story of Strozzi owned the second most successful
Jesus’ birth and king Herod. bank in Florence
framed by gold frame - breaks the story
down into 3 lunettes – expense = Strozzi
family’s wealth.
colours/ gold - make the kings stand out + Blue most expensive pigments in 14th century -
materials connotations of wealth. Mary in blue - lapis luli, stone sourced from Afghanistan. Gold
religiously symbolic and expensive. - luminous effect, three kings stand out -
commissioned for Santa Trinata Chapel and
viewed by candlelight.
religious frame filled with entourage as they banking - 7 deadly sins at the time -charging
subject follow the three kings to Jesus -crowd is ‘usuary’ = greedy for money. To avoid charges
made up of varied figures, clothing, Strozzi commissioned to rid of sins + buy place
colour, and range of gestures - more in heaven. Also adhering to Aristotle’s
realistic + displays Da Fabrinos Nichomachiean ethics - required patrons to
imaginary and creative skill. give to their city in accordance to their wealth.
courtly scenes e.g hunting with horses -
Strozzi and the wealthy were
accustomed to.
iconography hidden references of Strozzi family - the crescent moon = strozzi family’s pride - central
bridle of the right horse is decorated feature on their coat of arms. The falcon =
with crescent moons and a falcon in the ‘strozzieri’ was Tuscan for ‘falconer’
centre held by a figure identified as Palla
Strozzi.
materiality/ egg tempura piece + golden objects in The adoration of the Magi - only biblical
process the piece modelled with plaster + passage that shines positive light on wealth -
covered in gold leaf = solid gold + adds common scene for successful bankers to justify
texture to the piece. E.g bridals of the their wealth and sins.
horses, kings’ crowns - emphasising
wealth of the patronage.
International gothic:
lively The frame is filled with an entourage Usury /Nichomachean ethics
treatment as they follow the three kings’ journey
religious to Jesus upon his birth while
subject matter encountering King Herod. The crowd
is made up of varied figures, clothing,
, and colours.
presentation grand gold frame breaks the story typical features of international gothic
down into 3 parts – lunettes (top) and altarpieces
predellas (base), unified by a gilded
wooden frame of gold leaf.
materials gold characterizes three kinds - makes lapis lazuli
them stand out + wealth +
international gothic style reenforced
use of lapis lazuli blue for Mary.
figures elegant - elongated them, e.g Mary is Da Fabriano clearly focuses more on their grace
unnaturally thinner and taller. subtle rather than the academic, autonomically
modelling of many of the figures faces accuracy - characteristic of the international
and all figures’ movements are gothic style
carefully observed.
detail In the entourage - variety in pattern The international gothic style dominant in great
and colour in clothing - rich patterns courts of Europe - appropriate to the royal
as seen by the broadcasted robes of upper class. Hence images associated with
the magi in the foreground. courtliness, wealthy nobility, chivalry. The
chivalric aspect of the painting is part of the
international gothic style and relevant to
Strozzi’s wealth.
Materials:
Gold Demonstrates wealth of strozzi family Strozzi family 2 largest bank in Florence – usury
Gold Compositionally guides viewers' eye
around narrative
Lappiz lazuli Identifies Mary Nichomechean ethics – giving to city
Very expensive material
Plaster Builds up elements of painting to give
impression of solid gold
Egg tempura Shows skill of gentile da Fabiano – Cross hatching to create effective tonal
demands quick work - allowed him to modelling
achieve tonal modelling of face with
tiny brushstrokes and layers of paint
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