Ch 21 painting part 2 Mid-late 1400s in Italy

2 Figure DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490. Fresco, 24’4” x14’9”. Originally we see it in A contemporary Home…. Now we see it in a SPECIFIC contemporary home… What does it say about the patrons and their home?

3 Figure DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza Collection, Madrid. The re-emergence of An interest in the portrait In this time- Related to the new interest In the Renaissance viewer’s Experience as a subjective One---- The glorification of the “period eye” Here: profile view and objects Show a family’s status and wealth…

A Man with His Grandchild Ghirlandaio Influenced by Flemish painting seen in Italy in the 1450s….

5 Figure SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence. A pagan theme But Botticelli Knows how to Draw the Audience in.. Here the Venus is meant to reference the part of her dual nature that governs universal love….a more spiritual and extraterrestrial version of Venus…here –she Becomes synonymous with the Virgin Mary… This work surprisingly Survives his spiritual Crisis….

6 Figure PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”. Sistine wall fresco…Christ gives the keys to heaven directly to Saint Peter – Showing the inheritance of the sight it is painted upon…illustrates Alberti’s ideal city…perfect Balance in composition and city design….

8 Figure LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide.

Figure PIERO DELLA FRANCESCA, Flagellation of Christ, ca Oil and tempera on wood, 1’ 11 1/8” X 2’ 8 ¼”. Galleria Nazionale delle Marche, Urbino. 9 Foreshortening Measured forms Perfect geometry Strong volumes Classical forms Cool rational expressions Engaging the viewer….

10 Figure PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca. 1472–1474. Oil on wood, 8’ 2” x 5’ 7”. Pinacoteca di Brera, Milan. Here…the patron is Shown in the presence Of the miracle…symbols And depth of space Engage the viewer in the Story…and glorify The patron at the same time

11 Figure LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed 1470, begun A Medieval church Transformed into a temple… Glorified as it houses the Blood of Jesus.. Alberti designs it to be larger Than the original… -Combines: Roman triumphal arch Classical temple front pediment pilasters

12 Figure LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

13 Figure LEON BATTISTA ALBERTI, interior of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470, begun Colossal size and unity will Influence architecture for centuries Inspired by the ruins of Ancient Rome…

14 Figure ANDREA MANTEGNA, Foreshortened Christ, ca Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera, Milan. Here-alterations To the foreshortening Allow the viewer A more intimate Experience with the Scene…

15 Figure ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

16 Figure ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in diameter. Extraordinary Foreshortening In a honeymoon Suite….another Inside joke between The viewer/patron/ Artist… We are all aware, Despite the illusionism That it is a constructed World di sotto in su… (seen from directly below)

TIME TO TRAVEL THROUGH TIME! TO THE TIME OF….PICASSO

Picasso: Distorting the actual world of form….

Picasso: A Genius with something to say…

Picasso Connection through time… Boticelli’s “Venus”