1. Quizzle #2 Today
(every other seat
and
utter silence)

2. Italian Renaissance Art
of the
Fifteenth Century

3. FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. 3

4. LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence. 4

5. 1401
Ghiberti *
Brunelleschi

6. NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy, ca. 1410–1416 Marble, figures 6’high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele. 6

7. DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413
DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of Or San Michele, Florence. 7

9. Donatello, St. George, Or San Michele,c1415, marble, 6’10”, Bargello Mus., Florence

10. Donatello, St. George, Or San Michele,c1415, marble, 6’10”, Bargello Mus., Florence

12. Donatello, St. George slaying dragon, Or San Michele, c1415, marble, Bargello Mus., Florence

13. DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427. Gilded bronze , 1’ 11 1/2 ” x 1’ 11 1/2”. 13

14. Brunelleschi’s invention of linear or mathematical one-point perspective, c1417-22

15. LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 17’ high. Modern copy, ca Original panels in Museo dell’Opera del Duomo, Florence. 15

16. LORENZO GHIBERTI, Isaac and His Sons (detail of FIG
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG ), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence. 16

17. LORENZO GHIBERTI, Isaac and His Sons (detail of FIG
LORENZO GHIBERTI, Isaac and His Sons (detail of FIG ), (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

18. First free-standing nude statue since antiquity
First free-standing nude statue since antiquity. Notice the contrapposto
Nudity used to portray a Biblical hero rather than as an allegory for sinfulness (Medieval mentality).
DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence. 18

19. ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high
ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence. 19

20. ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca. 1470–1475
ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca. 1470–1475. Bronze, 1' 6” high with base. Museo Nazionale del Bargello, Florence. 20

21. DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450. Bronze, 12’ 2” high. 21

22. Equestrian statue of Marcus Aurelius, Rome, bronze, c175 CE
Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 CE. Bronze, approx. 11’ 6” high. Musei Capitolini, Rome.
Equestrian statue of Marcus Aurelius, Rome, bronze, c175 CE

23. Donatello, Gattamelata, head, c1450 CE

24. Julius Caesar , bronze head, Roman, 1st c., BCE

25. Donatello, Mary Magdalen, 1450’s, 6’1”, wood, Duomo Mus., Florence

26. ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy, ca. 1481–1496. Bronze, 13’ high. 26

27. GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Strozzi Chapel, Santa Trinità, Florence, Italy, Tempera on wood, approx. 9’ 11” x 9’ 3”. Galleria degli Uffizi, Florence. 27

30. Brancacci Chapel, Santa Maria del Carmine, Florence

31. MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca Fresco, 8’ 4 1/8” x 19’ 7 1/8”. 31

32. Eve has the “modest Venus” pose.
Notice that Adam’s and Eve’s body types and poses are derivative of ancient Roman statuary.
Compare Masaccio’s Adam to Jan van Eyck’s Adam from the Ghent Altarpiece.
Eve has the “modest Venus” pose.
MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1424–1427. Fresco, 7’ x 2’ 11”. 32

33. Notice symmetry created by the pyramidal composition.
Notice the significance of the donors (Renaissance interest in the individual), classical architecture, and the memento mori at the base.
MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”. 33