Part One

At the end of the Medieval period art moved from this to this Giotto’s “Meeting at the Golden Gate”

…it soon spread to Venice and Rome FLORENCE VENICE ROME

“Gaul Killing Himself and His Wife” Roman copy of a 3rd century BC statue, Pergamum Museo Nazionale, Rome “Bust of Cicero,” marble, Museo Capitolino, Rome

Roman Aqueduct The Pantheon, 125 AD, Rome

The Parthenon Comparison of Greek Columns: Doric, Ionic and Corinthian

“Laocoon and his Sons,” B.C., white marble, Vatican Museum Roman reproduction of Myron’s “Discobolus,” 2 nd Century CE, Glptothek, Munich

Leonardo, “Interior of a Skull,” from his notebooks

More of Leonardo’s anatomical studies from his notebooks

Sebastian Munster’s map of the new world, c. 1571

More anatomical studies from Leonardo’s notebooks…

Nicholas Copernicus A telescope similar to Galileo’s

Galileo Galilei facing the Roman Inquisition, Cristiano Banti, 1857 In his Dialogue on the Two Chief World Systems, Galileo supports the Copernican theory that the earth is not the center of the universe, but rather one of several planets revolving around the sun

Martin Luther nails his 95 Theses to the door of Wittenburg Cathedral protesting corruption in the Catholic Church and sparking the Reformation.

Leonardo’s “Vitruvian Man”

What did this new focus on humanity mean for artists? It meant a new confidence in artists, who emerged from the medieval guilds to become “stars” in their own rights. Durer Giorgione Rembrandt

It meant new subject matter, as the newly emerged merchant classes looked for public displays of their power, Indeed, patrons like the very wealthy Medici family in Florence attracted artists, poets, philosophers, musicians and architects to their court, creating a cultural “perfect storm.” In this climate, an artist could develop new ideas very quickly. Verocchio, Portrait Bust of Lorenzo de Medici, tereacotta Medici Palace, by Bartolomeo

In Italy Greek and Roman art, architecture and knowledge were rediscovered after being lost during the Middle Ages. “Augustus of Primaporta,” early 1 st century CE, marble

“Gaul Killing Himself and His Wife” Roman copy of a 3rd century BC statue, Pergamum Museo Nazionale, Rome “Bust of Cicero,” marble, Museo Capitolino, Rome

Roman Aqueduct The Pantheon, 125 AD, Rome

The Parthenon Comparison of Greek Columns: Doric, Ionic and Corinthian

As well, the newly re-discovered classical mythology gave them new stories to interpret and use symbolically Jupiter (as an Artist), Mercury and Virtue, by Dosso Dossi, 1524

Leonardo, “The Last Supper,” 1452 – 1519, oil/tempera emulsion on plaster, Santa Maria delle Grazie, Milan

Masolino, “St. Peter Healing a Cripple and the Raising of Tabitha”,1425. Piero della Francesca, “View of an Ideal City", 1470

Caravaggio, “Supper at Emmaus,” 1681, oil on canvas, National Gallery, London CHIAROSCURO: (“key-arrow- SKEWR-o”) is a technique for modeling forms in painting using light and dark and having lighter parts seem to emerge from lighter areas – it gives the illusion of rounded, sculptural relief on a flat surface.

Rembrandt van Rjin, “The Anatomy Lesson of Dr. Nicholaes Tulp,” 1632, oil on canvas, Mauritshuis, the Hague

Caravaggio. St. Jerome. c Oil on canvas. Galleria Borghese, Rome, Italy

Caravaggio, “Judith Beheading Holofernes” oil on canvas (145 × 195 cm) ca. 1599, Galleria Nazionale d'Arte Antica, Rome

Raphael’s use of geometric composition is clearly evident in his “Shool of Athens,” , Vatican City