Cimabue. Madonna Entrhoned with Angels and Prophets. Florence, Italy. 1290. Early Italian Renaissance.

Still Byzantine elements, halos, symmetry, gold background, decorative lines. Attempt to create dimension, figures overlapping to create depth. Contains naturalism.

Giotto, Madonna Enthroned. Florence, Early Italian Renaissance 1310

Tempera and gold leaf on wood. First true renaissance painter.  Creates dramatic scenes and figures. Shading and modeling creates dimension in features. Foreshortening and perspective. Byzantine elements such as halos, gold background (lack of background), and heirarchial scaling. Blue robe refers to royalty.

Giotto, Lamentation, Arena Chapel, Italy 1305. Early Renaissance.

Angels are foreshortened. Use of modeling to create dimension. Symbolic references throughout painting. Exploring emotion through expressions. Key figure off-center.  Done in Fresco (wet plaster)

Robert Campin, Merode Altarpice, Early Northern Renaissance, 1428.

Oil on wood, focuses on Mary's Purity. She's sitting on floor displaying her humbleness, no fire/no passion. Fireguard safeguards against lust and passion. Mouse trap to catch satan, also open pot. Lilies are open, reference to purity and resist to lust.  House is like any other Flemish house. Very natural, focus on detail rather than perspective.

Jan van Eyck, Ghent Altarpiece (open), Belgium 1432. Early Northern Renaissance.

Oil on wood. Saint Bavo Cathedral, Introduces realism to painting in the north.  Very fine detail. God is in the center as King of Heaven, Earth, and spirituality/religion. Sacrifice of teh lamb to reference Jesus Christ. Adam and Eve in top corner panel.

Jan van Eyck, Giovanni Arnolfini and His Bride, 1434, Early Northern Renaissance.

Dog represents loyalty and wealth: Dog is alert. Van Eyck is in mirror as notary. Mirror symbolises purity.

Hugo van der Goes, Portinari Altarpiece, 1476, Early Northern Renaissance.

Introduces the world of oil painting from the north to Italy. Displays social relism. Flowers reference Mary's purtiy. Angels represent the priesthood as well as the joys and sorrows of Mary. Highlights and use of lighting, emphasis on fabric, ariel, perspective=Early northern Renaissance. Antichrist depicted and barely visible in background.

Filippo Brunelleschi, Sacrifice of Isaac, Italy, Italian Renaissance 1401.

Competition panel for east doors of the baptistery in Florence, Italy. Gilded bronze. Didn't win the prize.  Commissioned by the baptistery for panel in east doors. Florence was about to be attacked by Milan, but was spared at the last minute by an act of God just as the story of the sacrifice of Isaac.

Lorenzo Ghiberti, Sacrifice of Isaac, competition panel for east doors of the baptistery, Italian Renaissanc. 1401. Gilded Bronze.

Winner of competition. Ghiberti's was cheaper to make and also reflected the new style. It was overall more cohesive and unified, rythmic, harmonious.  It used foreshortening for depth and better use of anatomy. Nudity references heroism instead of sin.

Nanni Di Banco, Four Crowned Saints, Italy, 1410, marble, Italian Renaissance

Commissioned by the Stone Cutter's Guild for niche outside of church.  They refused to fashion a pagan statue for the Emperor or to offer sacrifice to the Roman gods. The Emperor ordered them to be placed alive in lead coffins and thrown into the sea. They were crowned saints for their sacrifice. Contrapposto stance. Very natural as if they are standing there interacting with one another, finely detailed.

Donatello, Gattamelata, Italy, 1445. Italian Renaissance.

General for Florence, involved in civic pride and was loyal to Roman Republic. Resides at the Piazza del Santo.

Gentile da Fabriano, Adoration of the Magi, Italian Renaissance, 1423.

Altarpiece from Strozzi Chapel, Tempera on wood. Gothic references: continuous narrative, rich detailing in fabric, byzantine with use of halos. It is italian renaissance, but artist holds to old style. Natural position of characters, midwives, activities, natural reaction. In a believable setting and landscape.

Massacio, Holy Trinity, Italian Renaissance, 1424, Fresco.

"I was once what you are, and what I am, you also will be." Use of perspective, as certain as mathematics. Space is very Roman. Natural positioning of figures. High realism, Mary invites you to reflect on suffering of Christ, strong use of triangles throughout painting. Fresco.

Masaccio, Tribute Money, Italian Renaissance, 1424.

Brancacci Chapel, Santa Maria del Carmine, Controversy of whether the pope should pay taxes. New composition. Artist didn't have much background or direction to go on. Peter gets tax money from fish's mouth. Natural lighting and use of shadows to create believable scene. Uses different brush stroke for Peter to show aggitation. Wet Fresco.

Michelozzo di Bartlolommeo, East Facade of the Palazzo Medici-Riccardi, Florence Italy, 1445.

To reflect the magnificence of the family.  Chose a humble location. Roman style in texture and use of materials. The bottom of structure was generally open to the public with more security to protect living quaters.

Piero della Francesca, Battista Sforza and Federico da Montefeltro, 1472, oil on wood. Italian Renaissance.

Portraits are new at this time. She is a trphy wife, signs of beauty and purity are attributed to her clothing and style, wealth is also shown through jewelry and attire. His portrait is very realistic, injury depicted. Portraits are new at this time, mimicking the Roman coin. Landscape represents their marriage, his occupation, her wealth, and a number of other things.

1. The focus on humanity and its achievements.

2. a technique of mural painting executed upon freshly laid lime plaster.

3. Foreshortening is a technique to imply dimension and depth to a character or piece.

Linear perspective

Atmospheric perspective

Rustication

1. a depth cue that is related to both relative size and the next depth cue, texture gradient.

2. also called aerial perspective – is the effect you get when far away objects take on the colors of atmospheric haze

3. In classical architecture rustication is an architectural feature that contrasts in texture with the smoothly finished, squared block masonry surfaces called ashlar.

Trompe l'oeil

Contrapposto

Chiaroscuro

1. art technique that uses realistic imagery to create the optical illusion that depicted objects exist in three dimensions

2. used in the visual arts to describe a human figure standing with most of its weight on one foot

3. in art is the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition

2 Early Italian Renaissance (Cimabue, Giotto)

3 Early Northern Renaissance (Campin, Jan van Eyck, Hugo van der Goes)

8 Italian Renaissance (Brunelleschi, Ghiberti, Banco, Donatello, Fabriano, Masaccio, Bartlolommeo, Francesca)

GOOD LUCK