PRESENTATION OFITALIAN RENAISSANCE ART

COURSE TITLE HISTORY OF ART AND DESIGN

 Module code: HAD-111 SUBMITTED TO : Ms. Shamshed Chowdhury

 Lecturer Department of AMMT & FDT

 

Submission Date :- 15/102015

SUBMITTED BY :

24TH BATCH ,GROUP “H”Name ID

Ashraful Amin Shakil 151051048Koushik Sarker 151051049SH Sahim Hasan 151051053Kawsar Omi 151051046

Rassel 151051039

ITALIAN RENAISSANCE ART

Raphael, The Betrothal of the Virgin

Giovanni Bellini, The San Zaccaria Altarpiece

MASACCIO, THE TRIBUTE MONEY FOR THE BRANCACCI, A FRESCO CYCLE THAT HAD GREAT INFLUENCE UPON SUBSEQUENT ARTISTS

Influences :Domenico Ghirlandaio, The Birth of the Virgin Mary, shows the introduction of patron's families into religious cycles.Main article: RenaissanceMain article: Renaissance architectureThe influences upon the development of Renaissance painting Literature, Architecturin Italy are those that also affected

Philosophy, e, Theology, Science, Government and other aspects of society. The following is a summary of points dealt with more fully in the main articles that are cited above.

PhilosophyA number of Classical texts, that had been lost to Western European scholars for centuries, became available. These included Philosophy, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. The resulting interest in Humanist philosophy meant that man's relationship with humanity, the universe and with God was no longer the exclusive province of the Church.

Science and technologySimultaneous with gaining access to the Classical texts, Europe gained access to advanced mathematics which had its provenance in the works of Byzantine and Islamic scholars.

SocietyThe establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, Florence. Cosimo de' Medici set a new standard for patronage of the arts, not associated with the church or monarchy. The serendipitous presence within the region of Florence of certain individuals of artistic genius, most notably Giotto, Masaccio, Brunelleschi, Piero della Francesca, Leonardo da Vinci and Michelangelo, formed an ethos that supported and encouraged many lesser artists to achieve work of extraordinary quality.

Paolo Uccello, The Battle of San Romano, demonstrates the preoccupation with the development of linear perspective, in a secular subject

Themes

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Sandro Botticelli, Primavera, showing a Classical allegory for a private patronMuch painting of the Renaissance period was commissioned by or for the Catholic Church. These works were often of large scale and were frequently cycles painted in fresco of the Life of Christ, the Life of the Virgin or the life of a saint, particularly St. Francis of Assisi. There were also many allegorical paintings on the theme of Salvation and the role of the Church in attaining it. Churches also commissioned altarpieces, which were painted in tempera on panal and later in oil on canvas. Apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the Madonna and Child.

PROTO-RENAISSANCE PAINTING

Duccio di Buoninsegna: Madonna and Child c. 1280 National Gallery, London, is Byzantine in style.

Traditions of 13th-century Tuscan painting

The art of the region of Tuscany in the late 13th century was dominated by two masters of the Byzantine style, Cimabue of Florence and Duccio of Siena. Their commissions were mostly religious paintings, several of them being very large altarpieces showing the Madonna and Child. These two painters, with their contIn these tempera paintings many of the details were rigidly fixed by the subject matter, the precise position of the hands of the Madonna and Christ Child, for example, being dictated by the nature of the blessing that the painting invoked upon the viewer. The angle of the Virgin's head and shoulders, the folds in her veil, and the lines with which her features were defined had all been repeated in countless such paintings. Cimabue and Duccio took steps in the direction of greater naturalism, as did their contemporary, Pietro Cavallini of Rome.[2]emporaries, Guido of Siena, Coppo di Marcovaldo and the mysterious painter upon whose style the school may have been based, the so-called Master of St Bernardino, all worked in a manner that was highly formalised and dependent upon the ancient tradition of icon painting.

GIOTTO

Giotto: The Lamentation, c. 1305, Scrovegni Chapel, foreshadows the Renaissance

GIOTTO, (1266–1337), BY TRADITION A SHEPHERD BOY FROM THE HILLS NORTH OF FLORENCE, BECAME CIMABUE'S APPRENTICE AND EMERGED AS THE MOST OUTSTANDING PAINTER OF HIS TIME.GIOTTO, POSSIBLY INFLUENCED BY PIETRO CAVALLINI AND OTHER ROMAN PAINTERS, DID NOT BASE THE FIGURES HE PAINTED UPON ANY PAINTERLY TRADITION, BUT UPON THE OBSERVATION OF LIFE. UNLIKE THOSE OF HIS BYZANTINE CONTEMPORARIES, GIOTTO'S FIGURES ARE SOLIDLY THREE-DIMENSIONAL; THEY STAND SQUARELY ON THE GROUND, HAVE DISCERNIBLE ANATOMY AND ARE CLOTHED IN GARMENTS WITH WEIGHT AND STRUCTURE. BUT MORE THAN ANYTHING, WHAT SET GIOTTO'S FIGURES APART FROM THOSE OF HIS CONTEMPORARIES ARE THEIR EMOTIONS. IN THE FACES OF GIOTTO'S FIGURES ARE JOY, RAGE, DESPAIR, SHAME, SPITE AND LOVE. THE CYCLE OF FRESCOES OF THE LIFE OF CHRIST AND THE LIFE OF THE VIRGIN THAT HE PAINTED IN THE SCROVEGNI CHAPEL IN PADUA SET A NEW STANDARD FOR NARRATIVE PICTURES. HIS OGNISSANTI MADONNA HANGS IN THE UFFIZI GALLERY, FLORENCE, IN THE SAME ROOM AS CIMABUE'S SANTA TRINITA MADONNA AND DUCCIO'S RUCCELLAI MADONNA WHERE THE STYLISTIC COMPARISONS BETWEEN THE THREE CAN EASILY BE MADE. ONE OF THE FEATURES APPARENT IN GIOTTO'S WORK IS HIS OBSERVATION OF NATURALISTIC PERSPECTIVE. HE IS REGARDED AS THE HERALD OF THE RENAISSANCE.

Giotto's contemporaries

Taddeo Gaddi: Annunciation to the Shepherds (detail), Santa Croce

Giotto's contemporariesGiotto had a number of contemporaries who were either trained and influenced by him, or whose observation of nature had led them in a similar direction. Although several of Giotto's pupils assimilated the direction that his work had taken, none was to become as successful as he. Taddeo Gaddi achieved the first large painting of a night scene in an Annunciation to the Shepherds in the Baroncelli Chapel of the Church of Santa Croce, Florence.The paintings in the Upper Church of the Basilica of St. Francis, Assisi, are examples of naturalistic painting of the period, often ascribed to Giotto himself, but more probably the work of artists surrounding Pietro Cavallini.A late painting by Cimabue in the Lower Church at Assisi, of the Madonna and St. Francis, also clearly shows greater naturalism than his panel paintings and the remains of his earlier frescoes in the upper church.

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Simone Martini: The Annunciation, 1333, Uffizi, is International Gothic in style.

International Gothic

During the later 14th century, International Gothic was the style that dominated Tuscan painting. It can be seen to an extent in the work of Pietro and Ambrogio Lorenzetti, which is marked by a formalized sweetness and grace in the figures, and Late Gothic gracefulness in the draperies. The style is fully developed in the works of Simone Martini and Gentile da Fabriano, which have an elegance and a richness of detail, and an idealised quality not compatible with the starker realities of Giotto's paintings.In the early 15th century, bridging the gap between International Gothic and the Renaissance are the paintings of Fra Angelico, many of which, being altarpieces in tempera, show the Gothic love of elaboration, gold leaf and brilliant colour. It is in his frescoes at his convent of Sant' Marco that Fra Angelico shows himself the artistic disciple of Giotto. These devotional paintings, which adorn the cells and corridors inhabited by the friars, represent episodes from the life of Jesus, many of them being scenes of the Crucifixion. They are starkly simple, restrained in colour and intense in mood as the artist sought to make spiritual revelations a visual reality.

Ghiberti: competition entry for the Baptistry Doors

Ghiberti: The Gates of Paradise

Early Renaissance painting

FLORENCE, 1401THE EARLIEST TRULY RENAISSANCE IMAGES IN FLORENCE DATE FROM THE FIRST YEAR OF THE CENTURY KNOWN IN ITALIAN AS QUATTROCENTO, SYNONYMOUS WITH THE EARLY RENAISSANCE. AT THAT DATE A COMPETITION WAS HELD TO FIND AN ARTIST TO CREATE A PAIR OF BRONZE DOORS FOR THE BAPTISTRY OF ST. JOHN, THE OLDEST REMAINING CHURCH IN THE CITY. THE BAPTISTRY IS A LARGE OCTAGONAL BUILDING IN THE ROMANESQUE STYLE, WHOSE ORIGINS HAD BEEN FORGOTTEN AND WHICH WAS POPULARLY BELIEVED TO DATE FROM ROMAN TIMES. THE INTERIOR OF ITS DOME IS DECORATED WITH AN ENORMOUS MOSAIC FIGURE OF CHRIST IN MAJESTY THOUGHT TO HAVE BEEN DESIGNED BY COPPO DI MARCOVALDO. IT HAS THREE LARGE PORTALS, THE CENTRAL ONE BEING FILLED AT THAT TIME BY A SET OF DOORS CREATED BY ANDREA PISANO EIGHTY YEARS EARLIER.PISANO'S DOORS WERE DIVIDED INTO 28 QUATREFOIL COMPARTMENTS, CONTAINING NARRATIVES SCENES FROM THE LIFE OF JOHN THE BAPTIST. THE COMPETITORS, OF WHICH THERE WERE SEVEN YOUNG ARTISTS, WERE EACH TO DESIGN A BRONZE PANEL OF SIMILAR SHAPE AND SIZE, REPRESENTING THE SACRIFICE OF ISAAC.TWO OF THE PANELS HAVE SURVIVED, THAT BY LORENZO GHIBERTI AND THAT BY BRUNELLESCHI. EACH PANEL SHOWS SOME STRONGLY CLASSICISING MOTIFS INDICATING THE DIRECTION THAT ART AND PHILOSOPHY WERE MOVING, AT THAT TIME. GHIBERTI HAS USED THE NAKED FIGURE OF ISAAC TO CREATE A SMALL SCULPTURE IN THE CLASSICAL STYLE. HE KNEELS ON A TOMB DECORATED WITH ACANTHUS SCROLLS THAT ARE ALSO A REFERENCE TO THE ART OF ANCIENT ROME. IN BRUNELLESCHI'S PANEL, ONE OF THE ADDITIONAL FIGURES INCLUDED IN THE SCENE IS REMINISCENT OF A WELL-KNOWN ROMAN BRONZE FIGURE OF A BOY PULLING A THORN FROM HIS FOOT. BRUNELLESCHI'S CREATION IS CHALLENGING IN ITS DYNAMIC INTENSITY. LESS ELEGANT THAN GHIBERTI'S, IT IS MORE ABOUT HUMAN DRAMA AND IMPENDING TRAGEDY.

Brancacci ChapelMain article: Brancacci ChapelIn 1426 two artists commenced painting a fresco cycle of the Life of St. Peter in the chapel of the Brancacci family, at the Carmelite Church in Florence. They both were called by the name of Tommaso and were nicknamed Masaccio and Masolino, Slovenly Tom and Little Tom.

Development of linear perspective

Paolo Uccello: The Presentation of the Virgin shows his experiments with perspective and light.

The Madonna

Early Renaissance painting in other parts of Italy

Andrea Mantegna in Padua and MantuaOne of the most influential painters of northern Italy was Andrea Mantegna of Padua, who had the good fortune to be in his teen years at the time in which the great Florentine sculptor Donatello was working there. Donatello created the enormous equestrian bronze, the first since the Roman Empire, of the condotiero Gattemelata, still visible on its plinth in the square outside the Basilica of Sant'Antonio. He also worked on the high altar and created a series of bronze panels in which he achieved a remarkable illusion of depth, with perspective in the architectural settings and apparent roundness of the human form all in very shallow relief.

Cosmè Tura in FerraraWhile Mantegna was working for the Gonzagas in Mantua, a very different painter was being employed to design an even more ambitious scheme for the Este family of Ferrara. Cosmè Tura's painting is highly distinctive, both strangely Gothic yet Classicising at the same time. Tura poses Classical figures as if they were saints, surrounds them with luminous symbolic motifs of surreal perfection and clothes them in garments that appear to be crafted out of intricately folded and enamelled copper.

Antonello da Messina:In 1442 Alfonso V of Aragon became ruler of Naples, bringing with him a collection of Flemish paintings and setting up a Humanist Academy. The painter Antonello da Messina seems to have had access to the King's collection, which may have included the works of Jan van Eyck. He seems to have been exposed to Flemish painting at a date earlier than the Florentines, to have quickly seen the potential of oils as a medium and then painted in nothing else. He carried the technique north to Venice with him, where it was soon adopted by Giovanni Bellini and became the favoured medium of the maritime republic where the art of fresco had never been a great success.

RaphaelWith Leonardo da Vinci and Michelangelo, Raphael's name is synonymous with the High Renaissance, although he was younger than Michelangelo by 18 years and Leonardo by almost 30. It cannot be said of him that he greatly advanced the state of painting as his two famous contemporaries did. Rather, his work was the culmination of all the devolopments of the High Renaissance . Raphael had the good luck to be born the son of a painter, so his career path, unlike that of Michelangelo who was the son of minor nobility, was decided without a quarrel. Some years after his father's death he worked in the Umbrian workshop of Perugino, an excellent painter and a superb technician. His first signed and dated painting, executed at the age of 21, is the Betrothal of the Virgin, which immediately reveals its origins in Perugino's Christ giving the Keys to Peter.Raphael was a carefree character who unashamedly drew on the skills of the renowned painters whose lifespans encompassed his. In his works the individual qualities of numerous different painters are drawn together. The rounded forms and luminous colours of Perugino, the lifelike portraiture of Ghirlandaio, the realism and lighting of Leonardo and the powerful draughtsmanship of Michelangelo became unified in the paintings of Raphael. In his short life he executed a number of large altarpieces, an impressive Classical fresco of the sea nymph, Galatea, outstanding portraits with two popes and a famous writer among them, and, while Michelangelo was painting the Sistine Chapel ceiling, a series of wall frescoes in the Vatican chambers nearby, of which the School of Athens is uniquely significant.

Raphael: The School of Athens, commissioned by Pope Julius II to decorate a suite now known as the Raphael Rooms in the Vatican

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