Proto-Renaissance for describing the 14 th century indicates its importance in laying down the foundation for subsequent centuries.

The Renaissance 1

The Renaissance The 15 th century in Italy witnessed the flourishing of a significantly new and expanded artistic culture. For this reason, art historians and others often refer to this century as the Early Renaissance (meaning rebirth ). Despite the public s fascination with Italian Renaissance art of the 15 th and 16 th centuries, this rebirth had its roots in the 14 th century. The designation Proto-Renaissance for describing the 14 th century indicates its importance in laying down the foundation for subsequent centuries. Several factors contributed to the rise of Renaissance culture Among them: The spread of Humanism Political and Economic fluctuations throughout Italy A fortunate abundance of artistic talent From: GARDNER S Art Through The Ages 2

The Renaissance Italian Renaissance Proto-Renaissance 1400 s High Renaissance / 1600 s 1300 s Early Renaissance Mannerism 1500 s Baroque (14 th Century) (15 th Century) (16 th Century) (17 th Century) (192-337) Northern Renaissance 3

Map: Italy During the Renaissance Florence 4

Florence Firenze 5

Proto-Renaissance: Duccio: Madonna and Child Enthroned with Saints, 1308 1311 (Maesta Altarpiece, Siena Cathedral) (Tempera on wood panel, 7 X 13 ) 6

http://www.iconsexplained.com/iec/byz_about_byzantine_icons.htm vocab: icon iconoclasm halo symbolism 7 7

icon (from the Greek eikones) are sacred images representing the saints, Christ, and the Virgin, as well as narrative scenes such as Christ's Crucifixion. While today the term is most closely associated with wooden panel painting, in Byzantium icons could be crafted in all media, including marble, ivory, ceramic, gemstone, precious metal, enamel, textile, fresco, and mosaic. In Byzantine theology, the contemplation of icons allowed the viewer direct communication with the sacred figure(s) represented, and through icons an individual's prayers were addressed directly to the petitioned saint or holy figure. Miraculous healings and good fortune were among the requests. pendants triptichs - 3 panels - opened and closed, thereby activating them pole / frame - carried into battle fresco / mosaic often copied: acheiropoieta - icons ʻnot made by human handsʼ - miraculously created The Icon of the Virgin Hodegetria http://www.metmuseum.org/toah/hd/icon/hd_icon.htm 8 8

"You are not to make for yourselves an idol, or any likeness of what is in heaven above, or on earth below, or in the water under the earth. Exodus 20:4 Iconoclasm literally means "image breaking" and refers to a recurring historical impulse to break or destroy images for religious or political reasons. For example, in ancient Egypt, the carved visages of some pharaohs were obliterated by their successors; during the French Revolution, images of kings were defaced. In the Byzantine world, Iconoclasm refers to a theological debate involving both the Byzantine church and state. The controversy spanned roughly a century, during the years 726 87 and 815 43. In these decades, imperial legislation barred the production and use of figural images; simultaneously, the cross was promoted as the most acceptable decorative form for Byzantine churches. Archaeological evidence suggests that in certain regions of Byzantium, including Constantinople and Nicaea, existing icons were destroyed or plastered over. Very few early Byzantine icons survived the Iconoclastic period. The Iconoclastic debate centered on the appropriate use of icons in religious veneration, and the precise relationship between the sacred personage and his/her image. Fear that the viewer misdirected his/her veneration toward the image rather than to the holy person represented in the image lay at the heart of this controversy. 9 9

Everything shown in an icon is symbolic: For example, the ears (and eyes) of our Lord Jesus Christ are large and his mouth is small. This signifies that he hears everything but that he only speaks words of holy wisdom. An icon is a Window into Heaven. Icons have profound spiritual meaning. Icons lack a third dimension of depth because they represent beyond what the eye can see (i.e. heaven) Icon painters are called - they are part painter and part theologian. 10 10

Proto-Renaissance: Simone Martini: Annunciation, 1333 (Tempera and gold leaf on wood) ~ 10 1 X 8 8 ¾ {Uffizi, Florence} 11

The altarpiece was executed between 1329 and 1333 for the chapel of Saint Ansano of the Cathedral in Siena by Simone Martini and his brother-in-law Lippo Memmi, to whom are attributed the two lateral figures: Saint Ansano - patron of Siena - and Saint Giulitta. On the gold background the figures of the Angel Gabriel and the Virgin enhance the Gothic line, without narrative details: just the central pot with lilies, symbolizing Mary's purity, and the olive branch. The golden relief inscription starting from the Angel's mouth contains the beginning words of the Annunciation. 12

Proto-Renaissance: Giotto: Madonna Enthroned, c. 1310, Tempera on Wood (10 8 X 6 8 ) (Uffizi, Florence) 13

Proto-Renaissance: Giotto: The Mourning of Christ, 1305 (Italian, Early-Renaissance) (6 6 ¾ X 6 ¾ ) (Scrovegni Chapel, Padua) 14

Early-Renaissance: Donatello: c.1417 Freestanding bronze sculpture: St. George & Relief panel: St. George Slaying the Dragon Church of Or San Michele, Florence The earliest surviving use of linear perspective is in Donatello's St. George and the Dragon relief (c. 1417, Florence, Or San Michele). Of the sculptors that looked towards Classical models, Donatello, like Brunelleschi with his architecture, was the one that most clearly understood the underlying spirit of Classicism. 15

Donatello: Maiden from St. George and the Dragon 16

Horizon Line / Eye Level Donatello: Maiden from St. George and the Dragon 16

anishing Point Horizon Line / Eye Level Donatello: Maiden from St. George and the Dragon 16

anishing Point Horizon Line / Eye Level Perspective Lines Donatello: Maiden from St. George and the Dragon 16

Pioneering Perspective 17

Pioneering Perspective Like the other sculpture in the niches at Orsanmichele, St. George was commissioned by a guild (the Corazzai--the Armorer's guild) and depicts its patron saint. The marble original (now in the Bargello) was replaced in later centuries with this bronze copy. There is some irony in this, for as H. W. Janson notes, "the armorers, as a lesser guild, were not permitted to have a bronze statue in their tabernacle" (26). The original work probably displayed bronze military equipment, such as a helmet (there are drill holes in the original head) and weapons (a lance or sword in the cavity of the right hand which has a clenched grip--now holding nothing). As further evidence, the St. George depicted in the relief below is fully armored. While not as emotional as some of Donatello's works, St. George, in spite of his young delicate face, has a slightly furrowed brow, an alert and intense gaze (as if anticipating danger), and a selfassured and rigid stance. St. George killing the Dragon; the Maiden wrings her hands in fear: The relief at the base of the tabernacle depicts St. George slaying the dragon. It is noteworthy because of its new relief style, the so-called relievo schiacciato, misleadingly translated as "flattened relief." Instead of a flat relief background out of which figures and details emerge, here deep space is depicted through optical qualities in the carving which emphasize light and shadow. This kind of pictorial relief gives a sense of atmospheric perspective and the illusion of depth. The architecture behind the maiden is probably not in correct geometrical perspective. Donatello does, however, convey a sense of distance nonetheless. Note, for example, the low relief trees in the background, and the Dragon. 17

Early-Renaissance: Masaccio, The Holy Trinity c. 1428 {Church of Santa Maria Novella, Florence} 18

Masaccio: The Holy Trinity Brunelleschi also seems to have made the earliest experiments in single point linear perspective and may have advised Masaccio in its possibilities for constructing a rationally ordered picture space. Certainly the fictive architecture in Masaccio's Trinity (c. 1428, Florence, Sta Maria Novella) is Brunelleschian. (Nail in the wall) Viewer s Eye Level / Horizon Line HL / EL 19

Medium: fresco Detail: Patron as St. John 20

Detail: Patron as Mary 21

Early-Renaissance: Donatello: David, c. 1428-1430 Bronze, (5 2 ¼ high) {Bargello Museum} 22

Early-Renaissance: Donatello: David, c. 1428-1430 Bronze, (5 2 ¼ high) {Bargello Museum} *First Nude since the Classical 22

Donatello: Early Renaissance Master 23 23

Florence Cathedral: Duomo: Santa Maria del Fiore, 1296-1462 (Italian Renaissance) Cathedral: Di Cambio, Cupola (dome): Brunelleschi, Campanille (bell tower): Giotto 24

Duomo: Façade 25

Duomo: Cutaway View 26

Duomo: Plan Cupola: Cutaway 27

Fillipo Brunelleschi: 1420-36 28

Duomo: Cupola Cieling (interior) 29

Duomo: View from atop the Cupola, City of Florence [Thearle Photo] 33

If you go to Florence... NO When you go to Florence... Natalie Affinito Class of 2009 34 34

If you go to Florence... NO When you go to Florence... Mariah Schlegel Class of 2012 35 35

Giotto: Campanille (Bell Tower) Designed 1334 36

Duomo: Baptistery 37

Baptistery: Ceiling 38

Baptistery: Mosaic Hell 39

Early-Renaissance: Ghiberti: North Doors, The Life of Christ, Baptistery 40

Early-Renaissance: Ghiberti: North Doors, The Life of Christ, Baptistery Detail: Lorenzo Ghiberti: The Annunciation 1404-24, gilded bronze individual reliefs, inside the molding: 20 ½ x 17 ¾" 40

Early-Renaissance: Ghiberti: North Doors, The Life of Christ, Baptistery http://www.bluffton.edu/~sullivanm/ghibertinorth/ghibertinorth.html Detail: Lorenzo Ghiberti: The Annunciation 1404-24, gilded bronze individual reliefs, inside the molding: 20 ½ x 17 ¾" 40

Early-Renaissance: Ghiberti: Pilate Washing His Hands, North Doors, Baptistery 41

A Competition: Baptistery Doors 42

A Competition: Baptistery Doors The history of the Early Renaissance in art begins with a competition in 1401 for a design for the East doors of the Florence baptistery. Artists and public alike considered this commission particularly prestigious because of the intended placement of the doors on the baptistery s East side, facing the cathedral entrance. Even at this early date, many of the traits that characterized Renaissance art were evident these include: The development of a new pictorial illusionism Patronage as both a civic imperative and personal promotion The esteem increasingly accorded artists (individual celebrity) The Sacrifice of Isaac (Pg. 592) This Biblical event centers on God s order to Abraham that he sacrifice his son Isaac as a demonstration of Abraham s devotion to God. Just as Abraham is about to comply, an angel intervenes and stops him from plunging the knife into his son s throat. (Both artists use the same French Gothic quatrefoil frames) 42

Early-Renaissance: Brunelleschi: Sacrifice of Isaac, 1401 02 Gilded bronze relief, 1 9 X 1 5 {Bargello Museum} [gilded] 43

Early-Renaissance: Ghiberti: Sacrifice of Isaac, 1401 02 Gilded bronze relief, 1 9 X 1 5 {Bargello Museum} 44

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and the winner is: 46

and the winner is: Early-Renaissance: Lorenzo Ghiberti: The Gates of Paradise, East Baptistery Doors 1425-52 46

Story of Joseph 47

Cain and Abel 48

Detail: Creation 49

Biblical Figure 50

Ghiberti: Self Portrait Biblical Figure 50

Early-Renaissance: Palazzo Vecchio 1336-80 ( The Old Palace ) Overlooking the Piazza della Signoria 52

Early-Renaissance: Palazzo Vecchio 1336-80 ( The Old Palace ) Overlooking the Piazza della Signoria ( Il Biancone Statue of Neptune) 52

Early-Renaissance: Palazzo Vecchio 1336-80 ( The Old Palace ) Overlooking the Piazza della Signoria ( Il Biancone Statue of Neptune) (Michelangelo s David ) 52

Early-Renaissance: Uffizi Gallery 53

Arial View Early-Renaissance: Uffizi Gallery 53

Front View from Arno River Early-Renaissance: Uffizi Gallery 54 (Torture Chambers / Walkways) 54

Portrait Street Artists set up shop outside the corridor of the Uffizi Early-Renaissance: Uffizi Gallery 55 55

Interior of the Uffizi Galleries Early-Renaissance: Uffizi Gallery 56 56

Early-Renaissance: Verrocchio: David, c. 1465-1470 Bronze, (~4 1 ½ high) {Bargello} 57

Details: David and Goliath 58

Early-Renaissance: Verrocchio: Bartolomeo Colleoni Equestrian Portrait 1483-88 59

Early-Renaissance: uca Della Robbia: Madonna and Child, c. 1455 1460 Or San Michele, Florence, Italy Terra cotta with polychrome glaze, Diameter: ~ 6 60

Early-Renaissance: Andrea Mantegna: St. James on the Way to Execution, c.1455 Padua, Italy Fresco: 10 9 wide *(WWII: largely destroyed in 1944) [martyr] 61

Early-Renaissance: Andrea Mantegna: The Dead Christ, c. 1501 (Tempera on canvas) 62

West Side!!! Tupac (2pac) Shakur, West Side 1489-90 (tempera on panel 41x31cm) National Gallery of Art, Washington DC (1445-1510) REN LIFE 63

Early-Renaissance: Sandro Botticelli, Portrait of Young Man (Self Portrait?) 1489-90 (tempera on panel 41x31cm) {National Gallery of Art, Washington DC} 1445-1510 64

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Early-Renaissance: Boticcelli: La Primavera, ("Allegory of Spring ) 1482 Tempera on panel {Uffizi Gallery} 66

Early-Renaissance: Boticcelli: Birth of Venus, 1485 {Uffizi Gallery} 67

Early-Renaissance: Ponte Vecchio, (The Old Bridge) 1345 Arno River 68

Godfathers of the Renaissance 69

Florence, The Medici, and Humanism: Florence in the 15 th century was one of the most important cultural and commercial centers in Europe. The wealth of its ruling Medici family was based above all on banking and commerce. Cosimo de Medici (1389-1464) was the sole heir to an enormous fortune, and by greatly expanding his father s banking business, he became one of the richest men of his age. Although the city state of Florence was nominally a republic, power in fact lay in the hand of just a few influential families, notably the Medici a class of cultivated art patrons was also required if the aura of power was to be maintained. Cosimo the Elder, who had learned Greek, encouraged the study of ancient texts and founded extensive libraries. In doing so, he made a decisive contribution to the cultural and intellectual movement known as humanism. 70

Early-Renaissance: Verrocchio: Lorenzo the Magnificent, (Lorenzo de Medici) It was believed that classical culture was superior to contemporary culture, and that its perfection could be matched only through imitation. Florence s cultural highpoint was reached during the rule of Lorenzo de Medici (1449-1492), the grandson of Cosimo. His activities as a statesman, scholar, and poet created a cultural climate that allowed other members of the upper classes to become leading patrons. The result was a flowering of art, literature, and scholarship that even contemporaries referred to as the Golden Age. The patronage of the Medici gave a huge impetus to the study of classical literature and art; without this, Michelangelo s early work would not be possible. 71 71

Turmoil: Flight from Florence 72

Turmoil: Flight from Florence After Lorenzo de Medici s death in 1492, his son Piero came to power. Piero, however, was not able to counter the increasing influence of the fanatical Dominican monk Girolamo Savonarola, nor to prevent an invasion by French troops under Charles VIII in 1494. He was finally driven from the city by an incensed populace. As a favorite of the Medici, Michelangelo was also in danger. Shortly before the outbreak of unrest, the 19 year old artist fled from his home town. Savonarola and his followers were coming to power and they were strongly opposed to any ostentation, particularly in the arts. (Savonarola was subsequently executed in 1498) Michelangelo embarked on his first journey to Rome the city in which he was to spend a large part of his life. 72