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FAH230H1 (72)

Venice and Northern Italy

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Jenny Carson

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FAH230 Week 7: Venice + Northern Italy
-Venice = had no “antiquity”; was founded after the Fall of Rome
-mix of East and N. Europe influences => sometimes Islamic influences
Antonio Gambello and Mauro Codussi, façade of S. Zaccharia, Venice, 2 nd
half of 15 th
-mostly 16th c.
-“rounded lunette” on top -> close to Alberti’s design for Temple Malletesta => but less
-proportion isn’t as consistently applied
Lombardo brothers and Mauro Codussi, façade. Scuola Grande de S. Marco, Venice,
-use of lunettes on roof (v. Venetian)
-contrast btwn Palazzo Medici-Riccardi + Ca’d’Oro
Giovanni and Bartolommeo Bon, with others, the façade of the Ca’d’Oro, Venice, 1421-
-very different from fortress-like building the Medicis had
-Gothic influences -> pointed arches -> due to influence from North
Mauro Codussi, completed by the Lombardo family, façade of the Palazzo Loredan,
completed 1509
-divided into 3 floors each with Corinthian order (half-cilumns on the upper level)
-large windows of Florentine origin
-great sense of proportion and balance
-also quite different from painting in Florence
-influenced by Bellini in Venice and Scuarcione in Padua
-artists rarely worked alone -> usually many assistants to do commissions
-master, apprentices, sometimes for individual skills; sometimes specialization
-apprentices started at early age => relatively expensive training ; learning through
Jacopo Bellini, Madonna of Humility with Donor, c. 1430, panel, Louvre, Paris
-taught by Fabriano
-Madonna of humility (sits on cushion)
-a “flat feel”, lack of proportions, similar to Byzantine icons
-hierarchal scale used to explain Mary and Virgin => predominates landscape and saint
and therefore is a “queen”
-attempt at perspective, foreshortening
-new perception of nature => precise landscape details
-handling of light: afternoon light
-Venetian artists particularly attentive to changing effects of light + different moods
Bellini, Flagellation, from model book, c. 1450, leadpoint on parchment, Louvre, Paris
-free to experiment with drawing
-most of the scenes are from Christian bible, but also drew from everyday life and
classical antiquity
-carefully studied architecture, inscriptions on tombs, coin images
-familiar w/ Alberti’s linear perspective
-“action” happens underneath the loggia => characteristic of Venetian art, where action
tends to be “hidden away” and you have to look for it
-Padua = university town, intellectual center, humanists + scholars’ interest in Classical
Andrea Mantegna, Ovetari Chapel, Eremitani Church, Padua, 1454-1457, Detials. St
James before Herod Agrippa, St. James lead to Execution
-incredible use of composition
-foreshoretening, etc.
-his master had large workshop in Padua which trained many artists
-series of stills from life of St. James
-influenced by classical arch from nearby city of Verona
-dynamism influenced by Donatello
-strong, sculptural feel => v. sharply modelled
-“joke”: young boy wearing classical attire lays out weapon toys that seem to “peak” out
of the painting, following the perspective lines
-master of illusion
St. James lead to Execution
-we seem to be looking up (perspectivewise)
-very bold work bc he plays viewpoint so low, the vanishing point is beneath baseline of
painting, and everything seems to “dominate” the scene
-clothes cling to their body in Donatello’s manner
The Execution of St. James
-another fragmented piece fit together
Mantegna, San Zeno Altarpiece, 1456-59, Verona
-virgin and child standing, placed in a continuous space divided by 3 different panels
-St. Peter, Paul, John, St. Zeno || St. Benedict, John the Baptist
-placed figures in open pavilion supported by piers behind => painted grisaille
medallions there
-point to the interest of his master
-classicizing frame => illusionism of frame that combines painted + actual columns ->
very novel

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FAH230 Week 7 VeniceNorthern ItalyVenicehad no antiquity was founded after the Fall of Romemix of East and N Europe influencessometimes Islamic influences ndthAntonio Gambello and Mauro Codussi faade of S Zaccharia Venice 2 half of 15 cthmostly 16 crounded lunette on topclose to Albertis design for Temple Malletestabut less unityproportion isnt as consistently appliedLombardo brothers and Mauro Codussi faade Scuola Grande de S Marco Venice 148590suse of lunettes on roof v Venetiancontrast btwn Palazzo MediciRiccardiCadOroGiovanni and Bartolommeo Bon with others the faade of the CadOro Venice 142137very different from fortresslike building the Medicis hadGothic influencespointed archesdue to influence from NorthMauro Codussi completed by the Lombardo family faade of the Palazzo Loredan completed 1509divided into 3 floors each with Corinthian order halfcilumns on the upper levellarge windows of Florentine origingreat sense of proportion and balanceVENETIAN PAINTINGalso quite different from painting in Florenceinfluenced by Bellini in Venice and Scuarcione in Padua artists rarely worked aloneusually many assistants to do commissionsmaster apprentices sometimes for individual skills sometimes specializationapprentices started at early agerelatively expensive traininglearning through imitation Jacopo Bellini Madonna of Humility with Donor c 1430 panel Louvre Paristaught by Fabriano Madonna of humility sits on cushiona flat feel lack of proportions similar to Byzantine icons hierarchal scale used to explain Mary and Virginpredominates landscape and saint and therefore is a queenattempt at perspective foreshorteningnew perception of natureprecise landscape details handling of light afternoon light
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