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Early Renaissance Painting and Sculpture

An art history Prezi on Italian Renaissance Painting and Sculpture highlighting major characteristics and artists of this artistic era. By Michelle Li and Mandy Xiao
by

Michelle Li

on 29 March 2014

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Transcript of Early Renaissance Painting and Sculpture

Early Renaissance in Italy
The Renaissance
Major Painters
Sculpture
Major Characteristics
Focus on technical accuracy
Painting and Sculpture
Summary
Geometric, calm, elegant
Powerful figural form
Strong compositions
International Gothic Style
Majestic luxury & precious colours
Precisely depicted details
Gold ground & halos
Figures were elegant and graceful, but artificial
"Soft style"
Religious theme
Humanism
Classical Antiquity
Classical style
Imitating Ancient Greek and Roman sculpture
Perspective
Medici Patronage
Window to the World
Direct observation
Study the natural of world
Brunelleschi developed linear perspective
Vanishing point
place parallels met
Aerial perspective
Golden Section
Golden Section
A system of ratios
Geometric perspective
Paints
Frescoes
Preparing a Fresco:
artist prepares sketches
wall is smoothed with a layer of wet plaster
composition is laid out by:
Sinopia
Incision
Cartoon

colour is applied directly to wet plaster
must be completed in a single day
Inspired by Ancient Roman art
Humanism
Large and lifelike
Beauty, harmony, proportions of the human figure
Sculptor: Donatello, Filippo Brunelleschi
Sandro Botticelli
Fra Angelico
Donatello
Major Events
Father of Renaissance painting
Huge influence
Frescoes in the Brancacci Chapel
Adoration of the Magi
Gentile da Fabriano
(1423) Tempera on panel. Florence, Galleria degli Uffizi
Panel Painting
Centered on the dignity, beauty, and physical and moral aspects of mankind
Major Elements
Volume
solid figures
geometric spaces
shadow
Narrative
Fresco cycles
Visual communication
Explanation of faith
Mankind
Sobriety
art reflected political order
sober, severe colours and facial expressions
express deeply 'moral' attitudes of Medici
Aims of early Renaissance painting:
Volume
Strength
Monumentality

Humanism
celebrated the creativity, intellect, and discoveries of humankind
Perspective
technical accuracy
shadows to create depth
The Virgin Annunciate
Antonello da Messina (1476) Oil on panel.
St Sebastian
Antonello da Messina (1476) Oil on panel. Dresden, Gemaldegalerie
The Adoration of the Magi Predella of the Pisa Polytych
Masaccio (1426) Tempera on wood panel Berlin, Gemaldegalerie
Observation
One-point perspective
The Annunciation
Filippo Lippi (c.1442) Tempera on panel. Florence, San Lorenzo
The Annunciation
Filippo Lippi (1450) Tempera on panel Munich, Alte Pinakothek
Politics and propaganda
Battle
Historical Painting
Religion
The Battle of San Romano
Paolo Uccello (c.1456) Tempera on Panel London, National Gallery
Preparing a panel:
wood was seasoned and sanded
coated with 'size'
15 layers of gesso
freehand drawing with charcoal
paint is applied
Materials
Tempera
water
egg yolks or whole eggs
a little glue, honey or milk

applied in many transparent layers
smooth, matte finish
long-lasting and colours do not deteriorate
Oil
use oils

deep saturation
colours darken or lose colours over time
Bright, clean pigments
Grinding pure gold into fine powder

Reserved for halos and details
For rich patrons
The Birth of Venus
(1485) Tempera on canvas.
Minerals
BY: Michelle Li & Mandy Xiao
Mrs. Sakhavarz
AWM 2OP
Friday March 28, 2014

Classical style and Renaissance expression
Bronze and marble
Contrapposto technique
Competition for political power
Important patrons of the arts
Commissioned art

Generations of Medici "princes"
Giovanni
Cosimo
Lorenzo
Andrea Mantegna
Masaccio
Figures with solid volume clad in simple draperies

Use shadows and perspective to create depth
Baptism of the Neophytes
Brancacci Chapel
Tribute Money
Masaccio (1424-8) Fresco. Brancacci Chapel
Masaccio
Piero Della Francesca
Painting
Sculpture
Artistic freedom & individualism
Rediscovered ancient Greek and Roman ideals
Humanism
Scientific experimentation
Rebirth and rediscovery
1400s to early 1500s
Art and artist were respected
Florence, Italy
The Birth of Venus
Sandro Botticelli
Tribute Money ------
Masaccio
St Jerome in His Study
Antonello da Messina
(1474) Oil on panel. London, National Gallery
man is the 'measure of all things'
illustrious men
Human figure and contrapposto
Portraits in profile
Dante and Pipo of Ozora
Andrea del Castagno (1449-51) Fresco to panel. Florence, Galleria degli Uffizi
The Urbino Diptych (Portrait of Federico da Montefeltro and Battista Sforza)
Piero della Francesca (1465-72) Tempera on panel. Florence, Galleria degli Uffizi
St Sebastian
Andrea Mantegna (1480) Tempera on Canvas. Paris, Musee de Lourve
The Flagellation
Piero della Francesca (1455) Oil and tempera on panel. Urbino, Galleria Nazionale delle Marche
Madonna of the Shadows
Fra Angelico (1450) Fresco. Florence, Museo di San Marco
Strong emotion
Perspective
The Trinity (1426) Fresco
Expulsion from the Garden of Eden
David
Used one point perspective to create accurate and visually-pleasing forms and spaces
Expressive, dramatic
Classical style, natural poses, graceful
Lifelike, accurate in proportion
Age of discovery, innovation, and art
Classical style: Greek and Roman
Florence- Italy is the birthplace of the Renaissance
Respect for art and artist
Artistic expression and freedom
Gattamelata
(1447–53) Padua, Piazza del Santo
Four main types of sculpture:
narrative relief
statue
tomb
portrait
Ancient Greek
Renaissance
Raising of the Son Theophilus and St Peter Enthroned
Masaccio and Filippino Lippi Fresco. Brancacci Chapel
1401-1428
1420-1492
1400-1455
1445-1510
1431-1516
Oculus in the Ceiling of the Camera degli Sposi
(1465-74) Freso.
illusionism
applied geometry

winged putti
interwoven garlands
The Dead Christ
(1480) Tempera on canvas. Milan, Pinacteca di Brera
Foreshortening
Bold innovator of perspective
Classical antiquity
Lucid, clear visual precision
Workshop in Padua

Court painter of Gonzaga family in Mantua
State portraits
Fresco cycles
The Court of the Gonzagas
(1465-74) Tempera on wall. Mantua, Palazzo Ducale, Camera degli Sposi
Andrea Mantegna
Theoretical approach
Frescoes of the
Story of the True Cross
Solomon and the Queen of Sheba
(1452) Fresco. San Francesco, Arezzo
Filippo Brunelleschi
The church of San Lorenzo
Developed linear perspective
Classical architecture
Corinthian columns
Geometric balance
Harmony
Fra Angelico
Serene religious themes
'Modern' composition
Luxury of late Gothic and geometric volumes of Masaccio
The Annunciation
(1436-40) Tempera on panel.
San Marco Altarpiece
1438-40. Tempera on wood. Museo di San Marco, Florence
Altarpieces and frescoes
For the church and the priory of San Marco
Sharply outlined human figures
Bright, clean colours
The Deposition (The Santa Trinita Altarpiece)
Fra Angelico (1436-40) Tempera on panel. Florence, Muse di San Marco
The Last Judgement
(420–55) Tempera on wood panel.
Primavera
(1477–82) Tempera on wood. Uffizi Gallery, Florence.
Soft, delicate, flowing style
Romantic theme, marriage
Mythological paintings
Mood and emotion
Concept of ideal beauty
Movement
Figures of sculptural roundness and strength
Nudes and semi-nudes
Grace: physical beauty and social attributes
1401-1428
1445-1510
1420-1492
1431-1506
1400-1455
Fra Angelico
Masaccio
Piero Della Francesca
Sandro Botticelli
Andrea Mantegna
Painters
Masaccio
Fra Angelico
Piero della Francesca
Andrea Mantegna
Sandro Botticelli
Calumny Of Apelles
(1477–82) Tempera on wood.
The Adoration of the Magi
Sandro Botticelli (1475) Tempera on panel. Florence, Galleria degli Uffizi
The Delivery of Keys (from the Story of Christ)
Pietro Perugino (1481-2) Fresco. Vatican City, Sistine Chapel
Painting
Madonna of Mercy
(1445-62)
Combined gold elements with space, geometry, light, volume
Poetical expression and mathematical rules
Symmetry
Montefeltro Altarpiece
(1472-4)
Cantoria
Narrative Reliefs
Sculpture
Influence and Connection to Modern Art
Introduced one-point perspective
Artistic expression and freedom
Transition from late Gothic to high Renaissance
Late Gothic style (1423)
Early Renaissance (1426)
High Renaissance (1475)
The Adoration of the Magi
Madonna of the Clouds
(1425-35) Low Relief
Judith and Holofernes
(1455-60) Bronze
Dramatic style
Strong action
David
Donatello
Botticelli
Masaccio
Gentile da Fabriano
1377-1446
Gates of Paradise
Lorenzo Ghiberti
1425-1452
1386-1466
Bronze
Narrative
Low relief
Brancacci Chapel, Santa Maria del Carmine
International Gothic style
Illusionistic using linear perspective
Impressive realism
Deep perspective
Thanks for listening to our presentation!
What were the themes most significant in the early Renaissance?

State the differences of the styles between the paintings and sculptures.

What are some of the perspective devices invented?
Discussion Questions
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