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Lecture

Jan 20th, 2014.docx

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Department
Art History
Course
ARTH 2550
Professor
Sally Hickson
Semester
Winter

Description
Italian Renaissance Art 01/20/2014 Jan 20 , 2014 One point perspective Two point perspective Three point perspective Used a mirror A grid of proportions Everything is now towards realism System of newness and copying The nave of the church of San Lorenzo coincides with the drawing that Brunelleschi had made. Filippo Brunelleschi, Old Sacristy, 1418­1428, San Lorenzo, Florence Pendentive – triangles at the corners of the church Byzantine Exercise in pure geometry Perspective and architecture Semi­circular dome Divided into twelve pieces The apostles Defined cube to the net areas and finally the dome Centralized space Brunelleschi, Santa Maria degli angeli, Florence, begun 1434 The plan is round Centralized plan Perfect geometry The idea is that the circle is a perfect geometric form Systemized sort of control Tug of war between the lack of control an free will The preeminent painter Gentile Da Fabriano, Adoration Of The Magi (Srozzi Altarpiece) Appeal to rich patrons Identify with the three kings Iconography in terms of relation to themselves Gothic and renaissance influence Various episodes, the sighting of the star, journey to Jerusalem, Bethlehem Elaborate moving from the background to the foreground to worship the birth of Christ No expense spared – framework and gold leaf Elongated figures, weightless, limited movement Commissioning happens to get a certain distinct style Compressed, limited space Naturalistic and artificial elements Masaccio, Madonna Enthroned from the Pisa Polyptych, panel, 1426, London, National Gallery Many panels – poly and tych Shadows – consistent light source Color modeling Naturalistic with Vi
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