1. The Renaissance

2. Toward the Renaissance
Renewed interest in Classical texts
New artistic realism
Attention to the world of nature
St. Francis of Assisi
New growth in economics/trade
Florentine banking and commerce

3. Renaissance and Mannerism in Italy
Renaissance – from the French, means rebirth – a term that covers a period of art from approximately 1400 – 1600 when artists returned to the classical ideals and themes of the ancient Greeks and Romans
The Medici family in Florence, Sforza family in Milan and the Popes in Rome brought about the causes for the Renaissance with their wealth and power.

4. Renaissance and Mannerism in Italy
Johann Gutenberg Prints the Gutenberg Bible. Gutenberg is credited with the invention of the printing press in Europe, and ushers in the age of printed books, making literature more accessible to all Europeans
1492 – Discovery of America by Colombus; Expulsion of the Jews and Arabs from Spain allows for intellectual movement elsewhere in Europe
The ascension of Pope Julius II begins the Roman Golden Age, during which the city and Papacy both prosper. Julius II reverses the trend of moral degradation in the Papacy and takes great steps in the rebuilding of Rome
1513 – Niccolo Machiavelli publishes The Prince, a work of political philosophy which contains the tenets – “the ends justify the means” and “it is better to be feared than loved to be a good ruler”
Martin Luther posts his 95 Theses on the door of a church in Wittenburg, Germany, igniting a movement which provokes an enormous split in the Roman Catholic Church

5. The Character of the Renaissance
When was the Renaissance?
Jules Michelet
Jakob Burkhardt
Charles Homer Haskins
Renaissance characteristics
Artist as individual seeking fame
Humanism as outgrowth of Classical learning
Advancement of self and society through intellectual efforts

6. Women and the Renaissance
Humanist education
Aristocratic families
Families who saw education as priority
Rise of printing / accessibility of books
Woman writers
Upper-class culture
Convent life
Women criticized for not following traditional societal roles

7. Two Styles of Humanism: Niccolò Machiavelli (1469-1527)
The Prince
Secular study of political theory
Inspired by Republican Rome
Realistic pragmatism
Success in governing is key to power
Wisdom and ruthlessness
Christianity’s role in politics is disastrous
“The end justifies the means”

8. Two Styles of Humanism: Desiderius Erasmus (1466-1536)
Wandering scholar, author
Christian Humanism
Classical learning + Christian living
The Praise of Folly (1509)
Attacked religious corruption
Sweeping social criticism
Outsold only by the Bible in the 16th century

9. Music in the 15th Century Guillaume Dufay (c. 1400-1474)
Secularization of the motet, Chanson masses
Synthesis of secular and religious
Johannes Ockeghem (c )
Classical balance of intellect and emotion
Music in Medici Florence
No Classical models
Platonic and Aristotelian significance
Frittola, canto carnascialesco

10. The First Phase: Masaccio, Ghiberti, and Brunelleschi
Florentine “representative” government
Arti, senior guilds
Wool trade – beginning of Middle Class
Banking, banking families
Stable monetary system – The Florin
Revolutionary Florentine art
Renaissance

11. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

12. For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

13. Filippo Brunelleschi Sacrifice of Isaac Florence, Italy
gilded bronze relief 1 ft. 9 in. x 1 ft. 5 in.
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

14. Lorenzi Ghiberti Sacrifice of Isaac Florence, Italy
gilded bronze relief 1 ft. 9 in. x 1 ft. 5 in.
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

15. Renaissance Art Dome of Florence Cathedral 1420 – 1436 Florence, Italy
Artist: Filippo Brunelleschi
This was the first domed building since the Romans
Brunelleschi built it using ribbing rather than scaffolding, built in 2 layers

16. Renaissance Art – Dome Design

17. Renaissance Art Sant’ Andrea 1470 Mantua, Italy
Artist: Leon Battista Alberti
Combined design of an ancient temple with a Roman triumphal arch – a tribute to the classical ideal – symmetrical completely

18. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

19. Pazzi, Chapel, Santa Croce Florence, Italy
Filippo Brunelleschi
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
Exact symmetry in style marks this work
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

20. Pazzi, Chapel, Santa Croce Florence, Italy
Filippo Brunelleschi
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
Interior rondels by the Della Robbia brothers
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

21. Renaissance Art Santa Maria Novella 1470 Florence, Italy
Artist: Leon Battista Alberti
Alberti invented the pendentives on the sides of churches – no purpose other than decoration
Again symmetrical

22. Renaissance Art Palazzo Medici – Riccardi 1445 – 1452; 1517
Florence, Italy
Artists: Michelozzo di Bartolommeo ( ), Michelangelo (1517 – 1st floor windows)
Placement of windows is equidistant
Exterior is plain to disguise the extravagance inside
Medici did not want to seem overly powerful or rich to others on the outside

23. Michelozzo di Bartolommeo Palazzo Medici-Riccardi Florence, Italy
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
Michelozzo di Bartolommeo
Palazzo Medici-Riccardi
Florence, Italy
begun 1444
Interior much more heavily decorated

24. Paolo Uccello Battle of San Romano Florence, Italy
ca tempera on wood approximately 6 ft. x 10 ft. 5 in.
First to use linear perspective
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

25. Renaissance Art Gates of Paradise (East Door) 1425 – 1452
Florence, Italy
Artist: Ghiberti
Gold gilded bronze
Michelangelo gave them their nickname
Doors shine and show amazing linear perspective

26. 12.8 Lorenzo Ghiberti, East Doors (“Gates of Paradise”) of the Baptistery of the Cathedral of Florence, 1425–1452. Gilt bronze relief, 17´ (5.18 m) high. Modern copy, c Original panels in Museo del Opera del Duomo, Florence, Italy//© Alinari/Art Resource, NY

27. Renaissance Art Creation of Adam and Eve 1425 – 1452 Florence, Italy
Artist: Ghiberti
Close up of one panel to show perspective and depth

28. Renaissance Art Feast of Herod 1423 – 1427 Siena, Italy
Artist: Donatello
Gilded bronze relief
Perspective created by the use of the space – each layer seems to go further back into the palace of Herod

29. Renaissance Art David 1425 – 1430 Florence, Italy Artist: Donatello
First nude since antiquity
Stone is still in sling despite Goliath’s head being beneath David’s foot
Showing a scene of both before and after

30. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

31. 12. 15 Donatello, David, c. 1428–1432. Bronze, 5´21⁄2˝ (1. 58 m) high
12.15 Donatello, David, c. 1428–1432. Bronze, 5´21⁄2˝ (1.58 m) high. Museo Nazionale del Bargello, Florence, Italy//© Erich Lessing/Art Resource, NY

32. Renaissance Art Mary Magdalene 1453 – 1455 Florence, Italy
Artist: Donatello
Carved wood – to show more detailed emotions
Her hair serves as her clothing, even the belt

33. Andrea del Verrocchio David Florence, Italy
ca bronze approximately 4 ft. 1 1/2 in. high
David became a symbol of the city of Florence – the little Republic overcoming the giant of the Church
Verocchio was DaVinci’s teacher
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

34. Renaissance Art The Tribute Money 1428 Florence, Italy
Artist: Masaccio
1st painting to use true perspective
Shows a Biblical tale
Lines converge behind Christ’s head

35. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

36. Renaissance Art Trinity 1427 Florence, Italy Artist: Masaccio
Architecture in painting adds the depth
Donors are shown as individuals including faults

37. 12.3 Masaccio, The Holy Trinity, c Fresco, 21´101⁄2˝ x 10´5˝ (6.66 x 3.19 m). Santa Maria Novella, Florence, Italy//© Erich Lessing/Art Resource, NY

38. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

39. 12. 5 Masaccio, Expulsion of Adam and Eve from Eden, c. 1425
12.5 Masaccio, Expulsion of Adam and Eve from Eden, c Fresco, 7´1⁄4˝ x 2´11˝ (2.14 x .90 m). Brancacci Chapel, Santa Maria del Carmine, Florence, Italy//© Erich Lessing Art Resource, NY

40. A Man with His Grandchild
Domenico Ghirlandaio
A Man with His Grandchild
ca oil and tempera on wood 24 3/8 in. x 18 1/8 in.
Like the Romans, the Renaissance showed people as they really looked and the gods or religious figures as ideal perfect versions of humans
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

41. Renaissance Art
Battista Sforza (left) and Federico da Montefeltro (right)
1472 – 1473
Florence, Italy
Artist: Piero della Francesca
Profile portraits were favored in the early Renaissance
Realistic portrayal of people including their faults (like the Romans did)
Elegant and regal in appearance over the landscape – painted after her death

42. Renaissance Art The Annunciation 1438 – 1445 Florence, Italy
Artist: Fra Angelico
3 dimensional perspective is obtained by using architectural details
Set in the monastery itself rather than ancient Israel
Arms crossed in reference to Christ’s death and a sign of respect

43. Madonna and Child with Angels
Fra Filippo Lippi
Madonna and Child with Angels
ca tempera on wood approximately 3 ft. x 2 ft. 1 in.
Teacher of Botticelli – you can see how much influence he had on his student here
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

44. Renaissance Art Primavera 1482 Florence, Italy Artist: Botticelli
An allegory of Spring
Return to pagan themes
Taken from classical writers
Not a landscape painter – his backgrounds are more like stage curtains

45. Renaissance Art Birth of Venus 1484 -1486 Florence, Italy
Artist: Botticelli
Another pagan theme
Painted for same patron as Primavera for his private home
These are large painting 6 x 10 feet
The return of the nude to painting is seen here as well
Birth of Venus = Birth of the Soul
Venus = Mary

46. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

47. Slide concept by Anthony F
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

48. Or San Michele, Florence, Italy
Luca della Robbia
Madonna and Child
Or San Michele, Florence, Italy
ca terracotta with polychrome glaze diameter approximately 6 ft.
The Della Robbia family all excelled at
Ceramic works
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

49. High Renaissance

50. Andrea Mantegna Dead Christ
ca tempera on canvas 2 ft. 2 3/4 in. x 2 ft. 7 7/8 in.
A masterpiece in perspective and realism
Slide concept by Anthony F. D'Ascoli FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.