Section Five:

 Art in the Age of Humanism:

The Early Renaissance: “The Rebirth of Classicism”

 

Developments of the “Early Renaissance” in Italy and in Northern Europe:

IN255. Santa Trinita' Madonna Enthroned (Maesta'), Cenni di Pepi, called, Cimabue (c.1240 - c 1302), an ancona (one panel altarpiece), tempera on wood, 12’ 7” x 7’ 4,” Galleria Uffizi; Florence, Italy, c. 1260/80-90. *Note the Byzantine influence on this work through the emphasis given to linear abstraction and other Byzantine, abstract stylistic features; as contrasted with the development of representational features in the following illustrated works by Giotto. Giorgio Vasari, the 16th century art historian, considered Giotto to be the first significant Renaissance artist. Contrast with -

IN256. Maesta’ (Madonna Enthroned), Giotto (c. 1267-1337), tempera on wood, 10’ 8” x 6’ 8” 1298.
IN257. Arena Chapel, exterior view, commissioned by Enrico Scrovegni; Padua, Italy, c.,300.
IN258. Arena Chapel, Giotto, interior view, fresco cycles of The Life of the Virgin and The Life of Christ, depicted on the side walls, commissioned by Enrico Scrovegni; Padua, Italy, 1305-10.
IN259. Dream of Joachim, Giotto, from the fresco cycle of The Life of the Virgin, Arena Chapel; Padua, Italy, 1305-10.
IN260. Meeting at the Golden Gate, Giotto," ", showing the parents of the Virgin Mary, Joachim and Anna, greeting each other at the Golden Gate of Jerusalem, Arena Chapel; Padua, Italy, 1305-10.
IN261. Detail of the above.
IN262. Lamination Scene, Giotto, from the fresco cycle of The Life of Christ, Arena Chapel; Padua, Italy, c. 1305.

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*Comparative Differences between Early Renaissance (15th century) Art of Northern Europe and that of Italy:  

NORTHERN EUROPE                        ITALIAN

(I) Media
1. Painting - (binder = linseed oil)	1. Painting - tempera (binder = egg)
2. Sculpture - mostly wood carving	2. Sculpture - mostly bronze & marble
3. Architecture - skeletal structure, (continuation of Gothic)	3. Architecture - wall-bearing structure,   (walls articulated with Classical motifs)

(II)_ Subject Matter, (iconography)
1. Continued emphasis on Biblical subjects.	1. Continued emphasis on Biblical subjects.
2. Introduction of genre and the macabre subjects.	2. Introduction of Greco-Roman, mythological references.
3. The human form shown naked.	3. The human form shown nude = Greco-Roman influence.
4. Emphasis on minute detail and landscape painting.	4. Emphasis on the human anatomy.
5. Individualized portraiture.	5. Idealized portraiture.
6. Symbolic meaning.	6. Allegorical meaning­­

(III) Composition
1. Asymmetrical Placement    (ie. use of dynamic symmetry).	1. Strict Symmetrical Placement.
2. "Resolved," diagonal, compositional lines.	2, Predominance of Vertical and Horizontal compositional lines.
3. Ambiguous Perspective (particularly in Flanders).	3. Unified Perspective. *(Note - developed by Filippo Brunelleschi).
4. Introduction of Atmospheric Perspective.	4. Introduction of Linear Perspective.

(IV) Expression
1. Dynamic Tension.	1. Continuity of expression.
2. Non-directed facial gazes.	2. Communicative facial gazes, (ie. direct eye-contact).

Three most often used types of altarpieces:

(1) ancona - one panel; (2) triptych - three panels hinged together; (3) polyptych - many framed panels as part of one altarpiece:

IN263. Adoration of the Shepherds, Hugo van der Goes (1,436-1,482), Flemish, central panel of the triptych known as, the Portinari Altarpiece, oil on wood, 8’ 3” x 10’, Uffizi Gallery; Florence, Italy, 1476.
IN263a, Adoration of the Shepherds, Hugo van der Goes, central panel.

*Contrast with -

IN265. Merode Altarpiece, Robert Campin, (formerly known as the, Master of Flemalle), tempera and oil on wood, all three panels with central panel, depicting the Annunciation, left side panel showing donors, and right side panel showing St. Joseph. Cloisters, Metropolitan Museum of Art; New York City, c. 1425-28. (Note -Robert Campin may have been the first Renaissance painter to rediscover the technique of oil painting).

IN266. " ", detail showing still life.
IN267. " ", right side panel showing, St. Joseph in His Carpenter Shop, .

Examples of the Art of - Jan van Eyck (active from 1,422, died 1,441):

IN270. Giovanni Arnolfini and His Bride, Jan van Eyck, tempera and oil on wood, 32” x 22”, National Gallery of Art; London, England, 1434.
IN271. Giovanni Arnolfini and His Bride, detail showing the dog in the foreground, (symbol of fidelity).
IN272. Giovanni Arnolfini and His Bride, detail showing the chandelier and the convex mirror in the background with Jan van Eyck’s signature above.

IN278. Ghent Altarpiece, Jan van Eyck, center panel of the polyptych, oil on wood, 7’ 2” x 6’ 5”, Cathedral of St Bravo; Ghent, Belgium, c. 1432.
IN279. The Adoration of the Lamb, lower central panel of the Ghent Altarpiece, reference to Book of Revelation in the New Testament.
IN280. Ghent Altarpiece, showing the altarpiece when closed with depictions of the donors.

Example of the Art of - Rogier van der Weyden (c. 1400 - 1464):

IN281. Deposition, Rogier van der Weyden, oil on wood, Prado; Madrid, Spain, 1435-38.

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(III) Examples of Italian Early Renaissance Art:

The Early Renaissance in Italy began in the city of Florence:

IN284. Cathedral of Florence called, "Santa Maria dei Fiori," (the cathedral proper was largely designed by Arnolfo di Cambio during the late thirteenth century), south side looking west, *photographed by Dr. Robert Prestiano (c).

Examples of the Art of - Filippo Brunelleschi, architect:

IN283. Dome of the Cathedral of Florence, architect, Filippo Brunelleschi, view from the northeast, 1420-36.

IN299. Ospedale degli Innocenti, (“Hospital of the Innocents”), Filippo Brunelleschi, Florence, Italy, 1419-1424.
IN300. Ospedale degli Innocenti, detail of a molding.
IN303. Piazza Santissima Annunciata, (from this view, the Ospedale degli Innocenti is located at the left of the piazza), *photographed by Dr. Robert Prestiano (c).

Examples of the Art of - Michelozzo di Bartolommeo, architect:

IN273. Palazzo Medici, Michelozzo di Bartolommeo; Florence, Italy, 1444, *photographed by Dr. Robert Prestiano (c).

N282a. View of Florence, from Piazzalle Michelangelo, *photographed by Dr. Robert Prestiano (c).

IN285. Cathedral Baptistery, anonymous, Romanesque period; Florence, Italy, 1068-1158 CE.

Example of the Art of - Lorenzo Ghiberti, sculptor:

IN286. Eastern Doors, of the Baptistery; Lorenzo Ghiberti (1378 - 1455), bronze with gold gilding; 1425-1452. (The Doors face the facade of the Cathedral and were called, Doors of Paradise by Michelangelo. They are now universally known by that name. The doors now contain excellent copies of the bronze panels. After being restored from the damage caused by the devastating flood of 1966, the original panels were placed in the Museum of the Cathedral Works; Florence, Italy).
IN287. Story of Jacob and Esau, The Doors of Paradise, c. 1429-37, *photographed by Dr. Robert Prestiano (c).
IN288. Story of Jacob and Esau, detail.

Examples of the Art of - Donatello, sculptor:

IN289. St. Mark, Donatello, marble, 7’ 10”h., (originally, partially painted), Orsanmichele; Florence, Italy, c. 1411-1414.
IN290. St. Mark, closer view.
IN292. David, Donatello, bronze, 62”h, Museo Nazionale del Bargello; Florence, Italy, c. 1444-46.
IN293. David, detail of head.
IN294. David, detail of feet with head of Goliath, *photographed by Dr. Robert Prestiano (c). Contrast with -

IN294b. Mary Magdalen, Donatello, carved wood, partially gilded with gold, 188 cm h., Museum of the Cathedral Works; Florence, Italy, perhaps c. 1453-55. (Note, the Magdalen is not typical of the general idealized stylistic tendency of most Italian Renaissance art. *Though Classicism is evident in most of Donatello's earlier work, such as in the bronze David cited above, Donatello's late style became intensely expressionistic. The Magdalen is one of the best examples of the late style. The Magdalen is also a good example of how art does not have to be beautiful to be uniquely expressive).

IN294c." ", detail.

IN304. Gattamelata, Donatello, Equestrian monument of Erasmo da Narni, gilded bronze on marble plinth; the bronze group is 12’ 2”h; Padua, Italy, c. 1445-1453,

IN305. Gattamelata, view of head. *Contrast with -

IN305a. Bartolommeo Colleoni, Andrea del Verrocchio, (sculptor of Venice), bronze, 13'; near church of San Giovanni e Paolo; Venice, 1483-1488.

Example of the Art of - Paolo Uccello (1397-1475) painter:

IN305b. Battle of San Romano, Paolo Uccello, oil on wood panel, Galleria Uffizi; Florence, Italy, c. 1456. (This is one of three panel paintings commissioned by the influential and powerful Medici family for a room in the Palace in Florence).

IN305c. Battle of San Romano, Paolo Uccello, another of the three panels, National Gallery; London, England, c. 1456.

Examples of the Art of - Masaccio (c. 1401-1428), painter:

IN294a. Tribute Money, Masaccio, (and parts by Masolino); a major scene from the fresco cycle of the Life of St. Peter, Brancacci Chapel, Church of Santa Maria del Carmine; Florence, Italy, c. 1425-1428, before restoration.
IN295. Tribute Money, after restoration, 1980s,
IN296. Tribute Money, closer view of central figures after restoration.
IN297. Tribute Money, left wall of the chapel after restoration.
IN298. Expulsion of Adam and Eve, Brancacci Chapel, after restoration.

IN298a. Trinity Fresco, Masaccio, 20' x 10' 5", fresco on left side aisle wall of the church of Santa Maria Novella; Florence, Italy, 1428.

Examples of the Art of - Sandro Botticelli (c. 1445-1510) painter:

IN281. La Primavera (“Spring”), Sandro Botticelli, tempera on wood with oil glazes; 6’ 8” x 10’ 4”, c. 1482, Uffizi Gallery; Florence.

IN281a. " ", detail.

IN282. Birth of Venus, Sandro Botticelli, tempera on canvas, 5 ’ 9” x 9' 2”, c. 1484-1486, Uffizi Gallery; Florence Italy.

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Examples of the Art of - Andrea Mantegna (c. 1431-1506), painter from Northern Italy:

IN306a. Stanza degli Sposi, Andrea Mantegna, fresco, Ducal Palace; Mantua, Italy, 1465-74.

IN306b. Stanza degli Sposi "oculus," Andrea Mantegna, illusionistic ceiling fresco, Ducal Palace; Mantua, Italy, 1465-74. *This fresco may be considered the origin of the 17thcentury, illustionistic, ceiling painting, known as a quadratura, (see number IN418 in section seven).

IN306d. Stanza degli Sposi "oculus," Andrea Mantegna, closer view.

IN306e. Calvary, Andrea Mantegna, predella panel from San Zeno Altarpiece (now in Louvre; Paris, France; originally commissioned for the altarpiece of the high altar in the Church of San Zeno; Verona, Italy), 1457.

IN306c. Lamentation over the Dead Christ, Andrea Mantegna, Tempera on canvas, 68 x 81 cm., Pinacoteca di Brera; Milan, Italy, c. 1490.