Brunelleschi, Sacrifice of Isaac, gilt bronze, Italian Early Renaissance

Quatrefoil- French gothic Frame

Ghiberti, sarafice of Isaac, gilt bronze, Italian Early Renaissance

Angel is forshortened

Won the compition

Ghiberti, Jacob and Esau panel and full view, “Gates of Paradise”/East Doors, Baptistery, Cathedral of Florence,

     Italy, gilt bronze, Italian Early Renaissance [c.1435]          patron:  Cathedral Works Board

 one‑point linear perspective, horizon line, transversals, orthogonals, vanishing point

Masaccio, Holy Trinity, Santa Maria Novella, Florence, Italy, fresco, Italian Early Renaissance [1428]

Vanishing point under christs feet- one point linear perspective

Masaccio, Expulsion from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy,

fresco, Italian Early Renaissance [c.1427] 

photo‑montage diagramming giornate of Masaccio’s Expulsion from Eden

patron:  Brancacci family

giornate- one working session

fresco scco - painting on dry plaster

buon fresco- watercolors are applied to plaster when it is still wet

intonaco- fresh wet plaster

arriccio- priming plaster layer

Brunelleschi, Dome, Cathedral of Florence, Italy, Italian Early Renaissance [1420‑1436]

     patron:  Cathedral Works Board/Wool Merchants Guild

herringbone- interlacing brick pattern

employs pointed arch principle and ribbed vault. The dome is "double shelled"

Donatello, St. Mark, marble, Orsanmichele, Florence, Italy, Italian Early Renaissance [c.1411-1413]

patron:  Linen Drapers Guild        

contrapposto, in-the-round

 niche statue : a recess in a wall especially for a statue

Botticelli, Birth of Venus, tempera on canvas, Italian Early Renaissance [c.1482]     patron:  Medici family

Fra Filippo Lippi, Madonna and Child with Angels, tempera on wood, Italian Early Renaissance [c. 1445]

 Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter,, Sistine Chapel, Vatican, Rome, Italy,

    fresco, Italian Early Renaissance [c.1482]      patron:  Pope Sixtus IV

diagram of 1‑point linear perspective of Perugino’s Christ Delivering the Keys of the Kingdom to Saint Peter

Mantegna, Dead Christ, tempera on canvas, Early Italian Renaissance, [ca. 1501]   TERM: foreshortening

Van Eyck, Arnolfini Marriage Portrait, oil on wood panel, Northern European Renaissance [1434]

oil painting technique                         

iconography: The use or study of images or symbols in visual arts.

triptych- 3 paneled alter piece

Campin, Annunciation Triptych, Merode Altarpiece, oil on wood panel, Northern European Renaissance

                      [c.1425‑1430]

Bosch, Garden of Earthly Delights Triptych, oil on wood panel, Northern European Renaissance

[1505‑1510]   Creation in the Garden of Eden, left;  Garden of Earthly Delights, center; Hell, right

Limbourg Brothers, Les Tres Riches Heures du Duc de Berry, tempera and ink on vellum, Northern European Renaissance [1413-1416]                    TERMS: Book of Hours, vellum-Fine parchment made originally from the skin of a calf.

Grunwald, Crucifixion, Isenheim Altarpiece, chapel of Hospital of Saint Anthony, Germany, oil on panel,

Northern European Renaissance [1510-1515]

Durer, The Fall of Man (Adam and Eve), engraving, Northern European Renaissance [1504]

TERMS: engraving, etching- A print made from an engraved plate, block, or other surface.

Holbein the Younger, The French Ambassadors, oil and tempera on panel, Northern European Renaissance

 [1533]

skull represents mortality, 2 ambassadors represent secular and non secular

Van Hemessen, Self-Portrait, oil on panel, Northern European Renaissance [1548]

Leonardo, Virgin of the Rocks, oil on wood panel, Italian High Renaissance [c.1484]   sfumato-

 The technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms.

Leonardo, Last Supper, Refectory, Santa Maria delle Grazie, Milan, Italy, fresco, Italian High

Renaissance [c.1498‑1499]

diagram of 1‑point linear perspective of Leonardo’s Last Supper

vanishing point-Jesus

3 windows- holy trinity

Raphael, Philosophy (School of Athens), Stanza della Segnatura, Vatican, Rome, fresco, Italian

     High Renaissance, 1509- 1511

Michelangelo, David, marble, Italian High Renaissance [1501‑1504]

      patron:  Cathedral Works Board of Florence

original, intended location:  atop Florence Cathedral; selected 1504 location, entrance, City Hall of Florence

      marble block—il Gigante/“the Giant”

vita activa and vita contemplativa

Used a running bow drill

Bramante, Tempietto, San Pietro in Montorio, Rome, Italy, Italian High Renaissance [1502‑1511]

templetto-little temple

Isabella of Spain commissioned

Bramante, design for new St. Peter’s, Rome, Italy, Italian High Renaissance [1506]

      patron:  Pope Julius II.   Bramante’s plan and Caradosso medallion showing design

      central or centralized, Greek cross plan        

Michelangelo, Ceiling, Sistine Chapel, Vatican, Rome, Italy, fresco, Italian High Renaissance, 1508‑1512

Patron:  Pope Julius II

·      special difficulties: enormity of surface (45 X 128' = 5,760 sq. ft.), vault curvature, lighting,

      physical constraints, ceiling height 65 ft.

illustration of ceiling layout and full view of ceiling:  subject matter, composition, and style:

lunettes, spandrels, pendentives

temptation and expulsion detail

program: ancestry of christ

Creation of Adam, detail, ceiling, Sistine Chapel, Vatican, Rome, Italy, fresco

Michelangelo, Last Judgement, altar wall, Sistine Chapel, Vatican, Rome, Italy, fresco,

     Mannerism  [1534‑1541]

Michelangelo, Dome, St. Peter’s, Vatican, Rome, Italy, Mannerism [1546‑1564]

 Palladio, Villa Rotunda, Vicenza, Italy, Mannerism,[1566-1570]

Parmigianino, Madonna with the Long Neck, oil on panel, Mannerism [c.1534]

El Greco, The Burial of Count Orgaz, oil on canvas, Mannerism [1586]

Bologna, Abduction of the Sabine Women, marble, Mannerism [1583]

Caravaggio, Conversion of St. Paul, oil on canvas, Italian Baroque  [1600‑1602]

            TERMS: chiaroscuro vs. tenebroso, tenebrism- dramatic illuminating, like a spotlight

Caravaggio, The Calling of St. Matthew, oil on canvas, Italian Baroque  [c.1598‑1602]

Carracci, Loves of the Gods, ceiling, gallery of Palazzo Farnese, Rome, Italy, fresco, Italian Baroque

    [1597-1601]

Pozzo, Glorification of Saint Ignatius, ceiling, Sant’Ignazio, Rome, Itally, fresco, Italian Baroque

     [1691-1694]

Bernini, David, marble, Italian Baroque [1623‑1624]                 patron:  Cardinal Borghese

Bernini, Ecstasy of St. Teresa, within Cornaro Chapel [Santa Maria della Vittoria], Rome, Italy,

marble, gilded bronze, stucco, and fresco, Italian Baroque [1645‑1652]

            patron:  Cornaro family

*  Velazquez, Las Meninas, oil on canvas, Spanish Baroque [1656]

Poussin, Et in Arcadia Ego/Arcadia Shepherds, oil on canvas, French Baroque, 1655]

implied line of sight

Palace of Versailles, Versailles, France, French Baroque [1669- early 1700s]

     Patron: King Louis XIV

Rubens, Elevation of the Cross, oil on wood panel, Flemish Baroque, 1610

Rembrandt, Militia Company of Captain Frans Banning Cocq (known as Night Watch)

        oil on canvas, Dutch Baroque, 1642