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Artist Gentile de Fabriano
Date 1423
Title Adoration of the Magi
Medium Tempera on panel (80" by 111")
Period Style Label Nonclassical Renaissance (no linear perspective [atmospheric instead], etc.)
Function Altarpiece at Sta. Trinita, Florence
Purpose Demonstrate Strazzi's wealth and dedication to the Church
Patron Pala Strozzi, wealthy banker
Audience Churchgoers
Symbolism or Symbolic and Ritual aspects – 3 wise men=3 stages of life, gift of Magi=gift of painting to church, gold (precious, light) frankinsence (incense in church- painting activates activities going on in church) and myrrh (burial purposes)
Content blue was expensive (lapus lazuli imported from Afghanistan) as was red (cinnabar imported from China) so demonstrates wealth, foreground outpush, crowded and busy, atmospheric perspective
Other/Any information framing considered more labor intensive, demonstrates Northern influence in the detail and emotion used, lacks classical style |
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Artist Masaccio and Lippi
Date 1462-82
Title Branacci
Medium Frescoes
Period Style Label Renaissance
Function Chapel for Churh of Carmelites
Purpose Show wealth etc.
Patron Felice Baracacci
Audience Anyone who goes to the church, in Florence
Symbolism or Symbolic and Ritual aspects – Life of Saint. Peter, Matt 17:24-27 (Christ and St. Peter have to pay a fine to enter a town, St. Peter protests, Jesus says that b/c they live in this world they have to play by the rules. Find money in fish's mouth)=Florence instituted Catesto (controversial proportional income tax)
Content
Other/Any information fig leaves painted on to Adam and Eve in 17th C. Restored in 1980s (paid for by Olivetti), restored by Umberto Baldini and Ornella Casazza, closed during restoration. After restoration: $25 to see the chapel, loss of detail (scrub off detail as well as dirt),raises issues related to restoration: is this okay? who owns major works of art? |
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Artist Masaccio
Date 1425
Title Holy Trinity
Medium Fresco
Period Style Label Renaissance, Classical influence (columns, linear perspective, etc.)
Function displayed in Dominican church of Santa Maria Novella, in Florence
Purpose meant as a focal point, bring viewers "into" the scene
Patron Unknown
Audience Anyone who goes to the church, in Florence
Symbolism or Symbolic and Ritual aspects –
Content
Other/Any information |
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Artist Fra. Angelico
Date 1438-48
Title Annunciation
Medium Fresco
Period Style Label Renaissance
Function Decorate monastery cell
Purpose Monk's pray to it
Patron Unknown
Audience Monks at Monatery of St. Marco
Symbolism or Symbolic and Ritual aspects – Monks would wake up every 2 hours to pray and pray every 3 hours during the day, change cells every day so they do not get attached to any particular fresco; each one represents another scene in the life of Christ
Content - Devout monk in background meant to be imitated, Mary as slender young girl and looks otherworldly
Other/Any information |
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Artist Fillipo Lippi
Date 1445
Title Annunciation
Medium Freco
Period Style Label Renaissance, Classical influence (columns, linear perspective, etc.)
Function Altarpiece
Purpose displayed in Nicolo Martelli's chapel in the Medici church at San Lorenzo (Martelli=associate at Medici bank with chapel in their church, supporter of Medici who paid for conservation of Saint Lorenzo)
Patron Nicolo Martelli
Audience Anyone who goes to the church, in Florence
Symbolism or Symbolic and Ritual aspects Closed garden=Mary's virginity
Content Luke 1:26-39 Virgin reading Hebrew scripture (prophecy), extra angels from Apocraphyl gospels (Mary saw angels all the time), gives Mary emotional gestures, paints entrance into picture so viewer becomes part of the picture's space w/ angel inviting you into the work
Other/Any information |
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Artist Paolo Uccello
Date 1435-1460
Title Battle of San Romano
Medium 3 Panels, egg tempera/oil
Function
Period Style Label Northern Renassiance
Purpose show off money, Florence pride and family's role in the battle
Patron Slimbeni Family
Audience
Symbolism or Symbolic and Ritual aspects
Content atmospheric rather than linear perspective except some orthagonal perspective at the bottom, demonstrating the chaos of war; shows the destruction of war with dead horses and men
Other/Any information |
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Artist Antonio del Pollaiuolo
Date 1470s
Title Hercules and Antaeus
Medium Tempera on wood, 17 x 12 cm
Function:Home display for the Medici
Period Style Label Early Renassiance
Purpose express virtue and strength
Patron Medici family
Audience only the Medici- their private home
Symbolism or Symbolic and Ritual aspects Hercules as forerunner of Jesus
Content Hercules--> 12 labors. Has to fight giant Antaneous, as he keeps throwing him on the ground he gets stronger because the Earth is his mother (because he is a giant); Medici is Hercules, representing strength and virtue
Other/Any information because this was the early Renassiance, classical mythology was not yet accepted and could only be found in private pieces like this, which attempted to combine it with Christian message making it part of artistic vocabulary from 1470s on |
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Artist Sandro Boticelli (1445-1510)
Date 1480s
Title Hercules and Antaeus
Medium Tempera/oil on canvas, BIG painting
Function:Home display for the Medici
Period Style Label Early Renassiance
Purpose Decoration
Patron Medici
Audience Medici
Symbolism or Symbolic and Ritual aspects Neoplatonic allegory for the Medici; transformation of subject
Content Venus on seashell from Ovid's metamorphasis created from foam of ocean, waves take her to Kethera, lands nad is greeted by times of the day. Venus is the ideal of Renassiance beauty (pale skin, light blue/green eyes, strawberry blonde hair, high forehead (intelligence) almond eyes, long neck)
Other/Any information |
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