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MPC 103 (65)

Early Renaissance Art

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Ryerson University
Combined Media
MPC 103
Iain Cameron

FILIPPO BRUNELLESCHI LINEAR PERSPECTIVE -Creates a more intense experience of space, fixed viewpoint. VANISHING POINT, ORTHOGONALS, TRANSVERSALS. LEON BATTISTAALBERTI 1435: DE PICTURA -Set systematic rules for linear perspective MASSACIO: -First utilized linear perspective. Holy Trinity, Santa Maria Novella, Florence, Italy. ca. 1428 -Imitation of three dimensional space -Barrel vaulting in image sourced directly fromAntiquity -Vanishing point at the viewer's level -The fake tomb (skeleton) at the bottom of painting: Statement “I was what you are and what I am you shall be.” Making a connection with human mortality. There is no escaping death. -Donors unknown. -Brancacci Chapel, S. Maria del Carmine, Florence. Fresco. Chapel attached to a church. To the top right there is a window, natural light incorporated into the paintings. -The Tribute Money: Looks back to the gothic forms of storytelling. Vanishing point is X's head. Makes use of atmospheric perspective: Diminishing the clarity of forms as they recede. This gives a highly convincing rendition of 3D space. Three parts of the story within the same frame: Continuous narrative. Massacio attempts to portray halos in linear perspective. Comparison ofAdam & Eve's: Masolino & Massacio -Masolino's is almost late gothic. -Massacio's represents human emotions of anguish & shame. Elements of classical ideal for inspiration of the human form. -Baptism of the Neophytes. Figure in the foreground, emphasis on musculature. Represents the antique. St. Peter giving Alms to the poor. Mathematical perspective employed. Buildings have a single vanishing point. -Distribution of theAlms, and the Death ofAnanias. -DONATELLO: Saint Mark, or San Michele, Florence, Italy, 1411-1413. One of the most influential artists of the Renaissance. Employed linear perspective in sculpture. -Church of Orsanmichele, Florence. 1337-80. Abreakthrough for Donatello. -1415-17: St. George Chivalric hero in a Xtian context. Decisive and energetic look on the face of the sculpture. The relief on the sculpture of St. George fighting the dragon. Perhaps the first linear perspective in a relief sculpture. -David, late 1420s-late 1450s. Classical love of the human form. David & Goliath, right vs might. Smaller entity beating a larger opponent. David is wearing a Florentine hat. First free-standing bronze nude since antiquity. Contrapossto. -Gattamelata, Piazza del Santo, Padua, Italy. 1445-1450 : Condotiery (Mercenary). Highly ambitious large bronze statue. Probably inspired by the Equestrian Statue of MarcusAurelius. Energized horse. Very authoritative figure. Hardened warrior. Standing on three points. -Mary Magdalene, 1455. Sunken hollow eyes, advanced age. Naked, covered by her hair. Wood with polychromy and gold. -FRAANGELICO (c.1395-1455). -Transfiguration: c.1440-45. -Largest single body of renaissance art that exists in one place. -Convento di San Marco -Annunciation:Where the monks gathered to say a prayer to the virgin Mary. Blending of spirituality and
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