3. Why does the Renaissance Occur? Rediscovery of Classical Greece and Rome Dante’s publication of the Divine Comedy in the Italian vulgate Guttenberg’s invention of the printing press

4. What effect does it have? Development of artistic formulas Study of optics-single point perspective, three- dimensional techniques Emphasis on human anatomy and proportion Commemoration of the individual Greater exploration of those capabilities- engineering

5. Agnolo Bronzino, Portrait of Eleanor of Toledo and her Son, Giovanni de Medici, Florence, 1544-45

6. Filippo Brunelleschi, Florence Cathedral Dome, 1420- 36

7. Lantern Cupola Drum

8. Baptistery of Saint John

9. Filippo Brunelleschi, Sacrifice of Isaac, 1401-02 Lorenzo Ghiberti, Sacrifice of Isaac, 1401-02

10. use of the Classical nude as a model-1st since antiquity Interest in depth-fore, middle, and background Foreshortening of figures Very emotionally charged representation of the story Contest shows a new concept of religious art commissions

12. Andrea Pisano, Life of John the Baptist, South Doors, Baptistery of San Giovanni, Florence, 1330-36

13. Ghiberti, Gates of Paradise, 1424-52 Gilded panels of Old Testament scenes Flat grounds and backdrops are abandoned in favor of spatial illusion

16. Ghiberti, Gates of Paradise Detail, 1424-52 Increasing interest in Linear perspective and spatial arrangement of objects Single-point perspective, orthogonal converge toward a vanishing point Developing study of optics Classical setting

17. Donatello, David, 1428-32 Commissioned and owned by the Medici family for their courtyard symbol of Florence-represents their history as the smaller victor over larger city-states first freestanding male nude bronze since antiquity Highly idealized state of nudity- youthful and androgynous

18. Polykleitos, Doryphoros, 450 BC Greece

19. Massaccio, Holy Trinity, 1428 Monumental use of one-point perspective: coffered barrel vault Structures composition in triangular form Focus on mortality and salvation “I was once what you are, and what I am you will become”

21. Massaccio, Tribute Money, 1427 Brancacci Chapel, Santa Maria del Carmine Gesture suggests emotion Illusion of depth: one point perspective, color saturation, chiaroscuro

22. Sandro Botticelli, Birth of Venus, 1482

23. Aphrodite of Melos, 150 BCE Aphrodite of Knidos, 350 BCE

24. Bernardo Rossellino, Tomb of Leonardo Bruni, 1445-50 Leonardo Bruni, Humanist scholar and chancellor of Florence from 1427- 44 Iconography places the figure in classical Rome- One single Christian element-Virgin and Child in the tondo Glorification of an individual-was given a state funeral in the ancient Roman customs Revives the Roman virtues of honoring human achievement

25. Leon Battista Alberti, Sant’Andrea, Mantua, Italy, 1470 Commissioned by the Marquis of Mantua Housed a relic of the Blood of Christ Regulations: 1. must accommodate masses of pilgrims 2. must allow visitors to see the altar at mass 3. Must be cost effective Set up on a system of proportions-the module-basic unit of measurement

26. Incorporates two elements from antiquity: triumphal arch and temple pediment Coffered, barrel-vaulted arch on facade

27. Andrea Mantegna, Ceiling of the Camera degli Sposi, 1474 Image is perceived “di sotto in su”-seen from beneath Foreshortened putti in oculus “Trempe l’oeil” painting: “fools the eye” Reminiscent of Classical Roman interiors

28. Second style wall painting, Roman, 2nd- 3rd century ad

29. Perugino, Christ delivering the Keys of the Kingdom to St. Peter, 1481-83

31. Piero della Francesca, Portraits of Battista Sforza and Federico da Montefeltro, Florence, ca. 1474

33. The 15 th century in Northern Europe

34. Paintings of Several Parts! TriptychPolyptych

35. Jan (and Hubert) Van Eyck, Ghent Altarpiece Flanders, 1432

40. Jodocus Byd and Isabel Borluut

42. Atmospheric Perspective Atmospheric interference with visual perception causes loss of contrast, detail and sharp focus. It tends to make objects seem to take on a blue-gray color as they move farther away.

43. Jan van Eyck, Man in a Red Turban, Flemish, 1433 Oil vs. Tempera

44. Robert Campin, The Merode Altarpiece, Flanders, 1425-28

48. Jan van Eyck, Giovanni Arnolfini and His Bride, Flanders, 1434

52. Claus Sluter, Well of Moses, Dijon, France, 1395-1406

53. Jean Fouquet, Étienne Chevalier and Saint Stephen, Melun Altarpiece, France, ca. 1450

54. Limbourg Brothers, Les Tres Riches Heures du Jean, Duc de Berry, France, 1411-16 The Very Rich Hours of John, the Duke of Berry February

56. Apr. May

57. Oct. Nov.

58. Martin Schongauer, St. Anthony Tormented by Demons, Germany, 1480-90 Engraving Printmaking

59. Antonio del Pollaiuolo, Battle of the Ten Nudes, Florence, 1465

60. Printmaking -- Woodcut The design is cut into a wood block leaving the raised surfaces to be inked and print.

61. Printmaking -- Engraving Lines are cut into a copper plate with a burin. Ink is forced down into the grooves and the surface is wiped clean. It is then run through a press.