Renaissance: The Beginning of Modern Painting. The Top Four Breakthroughs Oil on Stretched Canvas – A greater range of colors with smooth gradations of.

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Presentation transcript:

Renaissance: The Beginning of Modern Painting

The Top Four Breakthroughs Oil on Stretched Canvas – A greater range of colors with smooth gradations of tone permitted painters to represent textures and simulate 3D form. Perspective – Linear perspective: created optical effect of objects receding in the distance through lines that appear to converge at a single point (vanishing point). Invented by Brunelleschi. – Atmospheric perspective – Reduce size (foreshortening) or mute colors

The Top Four Breakthroughs Use of light and shadow – Chiaroscuro (light/dark): technique for modeling forms in painting by which lighter parts seem to emerge from darker areas, producing the illusion of rounded, sculptural relief on a flat surface. Pyramid Configuration – Symmetrical composition builds to a climax at the center (more 3D than past techniques).

Masaccio Founder of Early Renaissance painting “Masaccio made his figures stand upon their feet” Master of perspective and his use of a single, constant source of light casting accurate shadows.

Masaccio Tribute Money ca fresco 8 ft. 1 in. x 19 ft. 7 in.

Masaccio Expulsion of Adam and Eve from Eden Brancacci Chapel, Santa Maria del Carmine, Florence, Italy ca fresco 7 ft. x 2 ft. 11 in.

Masaccio Holy Trinity Santa Maria Novella, Florence, Italy ca fresco 21 ft. x 10 ft. 5 in.

Masaccio Holy Trinity Santa Maria Novella, Florence, Italy ca fresco 21 ft. x 10 ft. 5 in.

Masaccio Holy Trinity Santa Maria Novella, Florence, Italy ca fresco 21 ft. x 10 ft. 5 in.

Masaccio Holy Trinity Santa Maria Novella, Florence, Italy ca fresco 21 ft. x 10 ft. 5 in.

Homework Read and take notes on pages (Mantegna) Due Friday

Donatello Uses contrapposto (what is this again?) Sculpted/draped figures realistically with a sense of their underlying skeletal structure. “David” was the first life-size, freestanding nude sculpture since the Classical period.

Donatello David ca bronze 5 ft. 2 1/4 in. high

Journal #: compare/contrast

Andrea del Verrocchio David ca bronze approximately 4 ft. 1 1/2 in. high

-history/art-history renaissance-in- italy-and-the-north/florence-1/v/casting- bronze-indirect-lost-wax

Donatello Saint Mark Or San Michele, Florence, Italy marble figure 7 ft. 9 in. high

Donatello Saint Mark Or San Michele, Florence, Italy marble figure 7 ft. 9 in. high

Donatello prophet figure (Zuccone) Florence Cathedral, Florence, Italy marble figure 6 ft. 5 in. high

Fra Filippo Lippi

Lippi Madonna and Child with Two Angels Uffizi Gallery, Florence Tempera on Panel 36 in. x 25 in.

Madonna-Italian for “My Lady”

Mantegna

Andrea Mantegna Camera degli Sposi Palazzo Ducale, Mantua, Italy 1474 fresco

Andrea Mantegna Camera degli Sposi ceiling Palazzo Ducale, Mantua, Italy 1474 fresco 8 ft. 9 in. diameter

Andrea Mantegna Camera degli Sposi ceiling Palazzo Ducale, Mantua, Italy 1474 fresco 8 ft. 9 in. diameter

Andrea Mantegna Saint James Lead to Martyrdom Ovetari Chapel, Church of the Eremitani, Padua, Italy ca fresco 10 ft. 9 in. wide

Andrea Mantegna Dead Christ ca tempera on canvas 2 ft. 2 3/4 in. x 2 ft. 7 7/8 in.