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THE RENAISSANCE
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THE EARLY RENAISSANCE
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EXTERIOR OF BAPTISTRY
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DUOMODUOMO
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THE BAPTISTRY DOORS n LORENZO GHIBERTI n 1435 n EACH PANEL – 21 X 17 n NATIONAL MUSEUM, FLORENCE
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DETAIL OF BAPTISTRY DOOR
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THE MADONNA IN MAJESTY n CIMABUE n 1285 – 1286 n UFFIZI GALLERY, FLORENCE
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MADONNA & CHILD ENTHRONED n GIOTTO n 1305 – 1310 n UFFIZI GALLERY, FLORENCE
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THE MADONNA AND CHILD n Masaccio n 1426 n Tempera on panel n 24.5 x 18 cm n Uffizi, Florence
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THE EXPULSION OF ADAM AND EVE n Masaccio n 1426-1428 n Fresco n 208 x 88 cm n Brancacci Chapel, Florence
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Brancacci Chapel Masaccio
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DAVID n DONATELLO n 1430-1432 n 62 1/4” n NATIONAL MUSEUM, FLORENCE
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DETAIL OF DAVID
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MAGDALEN n DONATELLO n 1454-1455 n 6’2” n BAPTISTRY, FLORENCE
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MAGDALEN-DETAIL
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RESURRECTION n Piero della Francesca n 1463-1465 n Mural in fresco n 225 x 200 cm n Pinacoteca Comunale, Sansepolcro
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Perspective and geometry figure both prominently and subtly in all Piero's works. He liked to organize large, plain masses of color in patterns which suggest an underlying geometrical scheme. That gives his paintings the unfinished look which moderns like. There are always large areas of white or near-white in his works, the skies are big, light and sunny, and this pleasing radiance, combined with the absence of meticulous clutter, makes his paintings enormously attractive to our eyes. All this was carefully considered and deliberate We see that Piero was fond of the square format. Here's another example, for this painting is essentially square, being about 10% higher than it is wide.
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n Stillness: The square format, as we've seen before, gives a mood of overall stillness. This static quality is enhanced by locating Christ exactly on center. Arnheim says that Christ's frontal symmetry makes him look like a statue. Christ is static but the guards appear restless. Their tilted heads are a perfect foil for the riveting head of Christ. n Vertical Zones: The central vertical divides the scene with Winter on left, summer on right. The rebirth of nature is here probably a symbol for rebirth of Christ. n Horizontal Zones: Similarly, the painting is divided into three horizontal bands. Christ occupies the middle band, his head and shoulders reaching into the upper band of sky. His figure unites earth and the heaven. The guards are in the zone below the line marked by Christ's foot.
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THE FLAGELLATION n Piero della Francesca n 1455 n Oil and tempera on panel n 58.4 x 81.5 cm n Galleria Nazionale delle Marche, Urbino
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In his finest work, the wonderfully light and sparkling Flagellation in the Ducal Palace, Urbino, Christ and his tormentors have been pushed into the background, while three unrelated figures, who are not even watching the scourging, dominate the scene.Flagellation "No picture could exude a more pronounced air of geometric control and no painting was ever more scrupulously planned."
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Geometry of The Flagellation The diagonal AE of that square passes through the V, vanishing point of perspective. Further, in square ATVK we see that arc KT from A cuts the diagonal at Christ's head, F, halfway up the painting. Thus Christ's head is at the center of the original square ASED.
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THE LATE RENAISSANCE
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Annunciation n Da VinciUffizi Gallery n 1472-147598 x 217 cm
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Perspective n Da Vinci: Annunciation
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THE LAST SUPPER n LEONARDO DA VINCI n FLORENTINE n 1495-1498 n 181 X 346 1/2” n MILAN
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LAST SUPPER-RESTORED
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First to depict acting as real people Greatest ex. Of one point perspective – all lines to Jesus head Looking across the picture from left to right: Bartholomew, James Minor and Andrew form a group of three. All are aghast, Andrew to the point of holding his hands up in a "stop!" gesture. Judas, Peter and John form the next group of three. Judas, you will note, has his face in shadow and is clutching a small bag (of silver?). Peter is visibly angry and a feminine-looking John seems about to swoon. Christ is the calm in the midst of the storm. Thomas, James Major and Philip are next. Thomas is clearly agitated, James Major stunned and Philip seems to be seeking clarification. Matthew, Thaddeus and Simon comprise the last group of three figures. It appears that, when a situation turns ugly, Simon is the "go to" guy for explanations.
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Castagno 1445-50 Architecture has a strangely oppressive effect on the figures B/c perspective was devised before diners painted
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MONA LISA n LEONARDO DA VINCI n FLORENTINE n 1503-1505 n 30 1/4 X 21” n THE LOUVRE, PARIS http://library.thinkquest.org/1 3681/data/link2.htm
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THE VIRGIN OF THE ROCKS n Leonardo Da Vinci n 1503-1506 n 6 x 4 ft n National Gallery, London The sfumato (haze) creates a sense of peculiar warmth and intimacy-more of a poetic vision
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THE VIRGIN OF THE ROCKS n Leonardo Da Vinci n 1483-1486 n Oil on panel n 199 x 122 cm n Louvre, Paris
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n The Da Vinci Code, written by the American novelist Dan Brown, it is claimed the earlier Louvre version contained hidden symbolism which contradicted orthodox Christian belief, The Da Vinci CodeDan Brown – notably the fact that Jesus is shown praying to John rather than the other way round – (the novel implies that the baby at the left must be Jesus rather than John, because he is with the Madonna). – It is also claimed that the Virgin appears to be holding an invisible head and that – Gabriel appears to be "slicing the neck" with his finger. For this reason the painting was rejected by the Church, and a second, more orthodox, version was painted.
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London Paris
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Vitruvian Man (Man of Perfect Proportions) – Leonardo Da Vinci – 1492 – Pen and Ink – Accademia, Venice – 13 ½ x 9 ½
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Other Example of Da Vinci’s Notebook Flying MachineWalk on Water
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THE ASSUMPTION OF THE VIRGIN n Correggio n 1525 n Fresco n Parma Cathedral, Parma, Italy
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SISTINE CHAPEL
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CEILING OF THE SISTINE CHAPEL n MICHELANGELO n FLORENTINE n 1508-1512 n THE VATICAN, ROME
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AncestorsProphetsGenesis ScenesProphetsAncestors Death of Haman Jonah and the Whale Moses & Brass Serpeant JeremiahSeparation of light from darkness Libica Solomon Creation of Sun, Moon, and Planets Jesse PersicaSeparation of Land from Water Daniel Roboam Creation of Adam Asa EzekielCreation of EveCumaea Ozias Temptation and Expulsion Ezekias ErythraeaSacrifice of NoahIsaih Zorobabel The Flood Josiah JoelDrunkeness of NoahDelphic Sibyl David & Goliath Zachariah Juidith & HoloPhernes
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THE CREATION OF ADAM
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FALL OF MAN
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EXPULSION
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DELPHIC SIBYL
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THE LAST JUDGMENT n MICHELANGELO n 1535-1544 n ALTAR WALL, SISTINE CHAPEL, VATICAN CITY
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THE LAST JUDGMENT DETAIL- CHRIST
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THE LAST JUDGMENT- DETAILS
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THE LAST JUDGMENT- FLAYED SKIN DETAIL
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DAVID n MICHELANGELO n 1501-1504 n 161” n ACCADEMIA, FLORENCE
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DIVAD
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PIETA n MICHELANGELO n 1498-1499 n 68 X 76” n ST PETER’S, n Vatican City
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PIETA-DETAIL
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Moses Michelangelo 1508-16 and 1542-45, marble height 7 ft 8 ½ San Pietro in Vincoli, Rome. This sculpture is at the base of Pope Julius II's mausoleum. [Detail of the head of Moses. Moses's horns derive from a long tradition in which horns were symbolic of divinity in Near Eastern and Nordic cultures.]baseheadsymbolic cultures
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THE DYING SLAVE n Michelangelo n 1513-1515 n 7’6 n Louvre
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THE REBELLIOUS SLAVE n Michelangelo n 1513-1515 n 7 5/8 ft n Louvre
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THE ASSUMPTION OF THE VIRGIN n TITIAN n VENETIAN n 1516-1518 n 269 X 140” n VENICE
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RAPE OF EUROPA n Titian n 1559-1562 n Oil on canvas n 185 x 205 cm n Isabella Stewart Gardner Museum, Boston
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SCHOOL OF ATHENS n RAPHAEL n URBINO n 1509-1511 n THE VATICAN PALACE, ROME
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SOCRATES n PLATO & ARISTOTLE ZENOEPICURUS
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RAPHAEL EUCLID ZOROASTER & PTOLEMY PYTHOGARUS
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SISTINE MADONNA n Raphael n 1513 – 1514 n Oil on panel n Dresden Gallery, Dresden, Germany
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In the Mother's arms is the Divine Child, with those strange, far- away-looking eyes that casual visitors so little understand— eyes that even in babyhood seem reading the future, and beginning to see the greatness of the world's sorrow. Kneeling on one side, below them, is St. Sixtus, the nearest perfect of all pictures of strong and venerable age that was ever painted; on the other side Santa Barbara, only less beautiful than the Virgin, is kneeling, with eyes turned from the glory too bright for mortals to look upon. At the bottom of the canvas are the two cherub faces which for centuries have been ideals of innocence and loveliness. The background is of fleecy clouds, and peering out of the clouds are angel faces. It has been said that Raphael never painted anything exactly as it was, but always idealized whatever he touched.
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St. Jerome Punishing the Heretic Sabinian n Raphael n Italian n 1503 n NC Museum of Art
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BIRTH OF VENUS n SANDRO BOTTICELLI n 1485 n 68 X 109 IN n UFFIZI GALLERY, FLORENCE
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ALLEGORY OF SPRING (LA PRIMAVERA) n Sandro Botticelli n 1477-1478 n 10’4 x 6’9 n Uffizi, Florence
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The Adoration of the Child n Sandro Botticelli n 1500 n NC Museum of Art
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The Assumption of the Virgin n Lodovico Caracci n Italian n about 1586-7 n NC Museum of Art
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Madonna and Child in a Landscape n Giovanni Battista Cima da Conegliano n Italian, n about 1496-99
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The Northern Renaissance
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ARNOLFINI WEDDING PORTRAIT n Jan Van Eyck n 1434 n Oil on wood n 31 ¼ x 23 1/s in n National Gallery, London
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Frame is inset with 10 miniature medallions depicting scenes from life of Christ. Includes VanEyck’s self portrait and another man
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All seeing eye of God Taking place on holy ground faithfulness
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ERASMUS n Hans Holbein the Younger n 1523 n 43 x 33 cm n Louvre
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The Last Supper n Hans Holbein the Younger n 1524-1525 n Limewood n 115 x 97 cm n Kunstmuseum, Öffentliche Kunstsammlung, Basle
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PEASANT WEDDING n Pieter Bruegel the Elder n 1568 n Oil on wood n 45 x 64 ½ in n Kunsthistorisches Museum, Vienna
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Not PHeasant Wedding
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PEASANT DANCE n Pieter Bruegel the Elder n 1568 n Oil on oak panel n 114 x 164 cm n Kunshtistorishes Museum Wien, Vienna
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Self Portrait at Twenty-Seven n Albrecht Durer n 1498 n Oil on wood n 20 ½ x 16 n Prado Museum, Madrid
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Self-Portrait at 28 n Albrecht Durer n 1500
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The Adoration of the Magi n Albrecht Durer n 1504 n Uffizi, Florence
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