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renaissance art II


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brunelleschi, florence cathedral dome. 1417-1436
a medival bulding storng horizontals, a baptistery something of stability in articulation of features. vertices under control. clerestory is restrictive. dome--brunalleschi collaborated in exectuing trinity with massacio. the pantheon dome competed with this dome. this was a gothic reply to the panteon's dome--through rib vaulting, used to cover an enormous space, as ribs support structure.

church of San Lorenzo, Florence. ca. 1421-28
interior--way more horizontal than vertical now. a flat roof with no vaults, series of arcades. revical of antiquity of early christianity.

Orsanmichelle, paris. Quattro Coronati.
meant to look roman, characterized by the facade...

a detail
series of figures--sculptors working on their work. meant to look roman, contraposto.

donatello, gattamelata. 1447-53.
attributes 15th century life shown leading troups into battle. has a lot of reality presence. rigged eyebrows and jawline.

he is extremely realistic, features wise, extremely roman
very realistic and ideal.

church of Sant Andrea. , mantua 1470.
relics associated with it, sacred. new means to commemorate it. not waht he intended, masked it. a pediment, combo of a triumphal arch and a pediment. nave leads all the way to alter, no lateral naves.

plan of sant andrea, mantua 1470
nave leads all teh way to the alter, no lateral naves. notion of salvatoin. cahpeels in laterals. layout meant to suggest order.

tempio malatestianop, rimini, ca 1450.
c. 1450..made the church into a temple of himself. hubrus associated with it. a gothic strucrture encased by exterior. roman arch is teh inspiration of his temple, has much resonance to christian church. a tomb, missing huge hemispherical dome. the blind arch seires have a purpose, meant to have corpses plafced inside.

the plan
the plan has a lot of resemblance to the chuirch paln. naves are blocked into units-mini chapels. exterioroi side has blind arches.

interior of san andrea, 1470. mantua.
17th and 18th century interior. basic structure--enormous s ale of unified space. about integration of horizontal and vertical, like the dome of the pantheon.

Primavera! Botticelli, 1478.
the emblem of the renaissance. identified as venus in teh cneter, flora to the right, nymph to the right, the three graces on the left. cupidon top, mercury on teh left. shallow idyllic space, fantasy existing in mind's eye. contemplation of sophisticated court. decorative surface. gestures-venus is inviting.. absence of textures-ideal.

The birth of venus, c 1480=1485
pomona-goddess of vegetation
ideal nude outline, return to medival.
waves are two diomensional. reflects neoplatonism, everythin on earth is a poor refle tion of a higher reality. an allegory of birth, beauty, fertilization of matter and divinity., creating something of higher beauty.

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