艺术家的交流 15 世纪的意大利由五个行政区域，即米兰公国、威尼斯共和国、佛罗伦萨共和区、罗马教廷和那不勒斯王国及一些小城邦，例如乌比诺 费拉拉、曼图亚、锡耶纳、路卡等共和匡组成。

1. Renaissance （1400-1600） Renaissance is a French word meaning “rebirth,” it is the name given to the period in European history, when the Middle Ages gave way to a “rebirth” of ideals derived from the civilizations of ancient Greece and Rome. Renaissance was actually a slow and evolving process beginning in the 14th and 15th centuries in Italy and moving northward until the late 16th c. A surge of new ideas about the Christian God, the world, knowledge --- as well as the relationship of humans to each of these --- could be seen in literature, art, architecture, and science. Change first appeared in Italy probably because it was at the center of trade routes that allowed economic strength and stability, support for scholarship, broad contact with other cultures, and patronage for the arts.

2. RenaissanceThe Renaissance is marked by a new sense of the individual, what came to be known as “humanism.” Visually, it produced many radical breaks from medieval representations of the world and people. As focus shifted from God to humankind, interest grew in classical models, in which humans were seen as the measure of most things. Returning to classical rules of proportion, Renaissance artists followed rigorous systems of composing pictures to make them balanced, harmonious, timeless, and ideally beautiful. They also developed various tools, such as different types of perspective, as part of their parallel ambition to create more perfect representation of the physical world.

3. 艺术家的交流文艺复兴时期，艺术家们在西欧自由地往来。由于政治上的密切结合，西班牙和荷兰的艺术家交流频繁。德国的艺术家长途跋涉到外国工作，学习新的技法。意大利的艺术家不畏辛劳，倾全力进行艺术创作。艺术家们的交流，使艺术的语汇成为共通的语言，各地的君主和教士纷纷将目标锁定在艺术家身上。 达芬奇和安德烈西·芬奇和安德烈西·德·萨托为法国宫廷工作，丢勒留在威尼斯，提香应查理五世（罗马帝国的皇帝）之邀来到奥格兹堡。统智者视艺如同是他们获取政治权力聪明的聘礼。稳定扩张的贸易，让文化和艺术上的革新在15世纪得以散播。接着，印刷术的发明，使人文主义者的思想的传播更加快速。艺术家的交流文艺复兴时期，艺术家们在西欧自由地往来。由于政治上的密切结合，西班牙和荷兰的艺术家交流频繁。德国的艺术家长途跋涉到外国工作，学习新的技法。意大利的艺术家不畏辛劳，倾全力进行艺术创作。艺术家们的交流，使艺术的语汇成为共通的语言，各地的君主和教士纷纷将目标锁定在艺术家身上。 达芬奇和安德烈西·芬奇和安德烈西·德·萨托为法国宫廷工作，丢勒留在威尼斯，提香应查理五世（罗马帝国的皇帝）之邀来到奥格兹堡。统智者视艺如同是他们获取政治权力聪明的聘礼。稳定扩张的贸易，让文化和艺术上的革新在15世纪得以散播。接着，印刷术的发明，使人文主义者的思想的传播更加快速。

4. 艺术家的交流15世纪的意大利由五个行政区域，即米兰公国、威尼斯共和国、佛罗伦萨共和区、罗马教廷和那不勒斯王国及一些小城邦，例如乌比诺 费拉拉、曼图亚、锡耶纳、路卡等共和匡组成。

5. 人文主义人文主义是近代的称谓，主要是指文艺复兴时期的思想家、学者和文学家对后世产生的深厚影响，他们被称为人文主义者。身处文艺复兴热潮的这些人精通古希腊、罗马时代的文学和哲学，并重新诠释，或者以更深入的角度来探讨。人文主义着重视古迹，提倡以人为中心，持一种现实主义的世界观，这些都有违中世纪的神秘主义。 这种价值观也影响文艺复兴时期的艺术家，他们颂扬人体的形态美，重新向世人展示裸体的、表现人性的远古宗教人物和事件。当时意大利著名的人文主义思想家有萨卢塔蒂（1331-1406）、米兰德拉（1463-1494）、和罗伦佐（1449-1492）、他们在佛罗伦萨创建了柏拉图学院。费奇诺（1433-1499）则试着将古典哲学和基督教教义结合在一起。

6. 古迹的再生15世纪中期，文艺复兴迈向全盛时期。在皇族和富有家族赞助艺术、文学及宗教的影响下，尤其是罗马教廷的支持，加速了艺术发展的脚步。罗马当地拥有丰富的古迹遗产，从15世纪开始就让艺术家们无法抵挡它的魅力。当时对古代文物的欣赏风潮，也为文艺复兴加注不少原动力，其中以古罗马文化的影响最大。古罗马的艺术、文学和生活方式成为经典，对满心向往的意大利人来说，即使不能超越，也要向这个时代看齐。 公元15、16世纪间在罗马出土的古典艺术作品给文艺复兴时期的艺术家不少灵感。例如建筑师在设计时，参考《阿波罗》这种古典而优美的人体比例，这种比例是人体最完美的表现。安东尼乌斯和法斯提纳寺庙的圆柱理念，后来融入基督教教堂的建筑虚计中。古代建筑的石块和幸存在罗马纪念碑的遗迹，譬如马克森提斯大教堂的遗迹，都成为后世建筑的参考。古迹的再生15世纪中期，文艺复兴迈向全盛时期。在皇族和富有家族赞助艺术、文学及宗教的影响下，尤其是罗马教廷的支持，加速了艺术发展的脚步。罗马当地拥有丰富的古迹遗产，从15世纪开始就让艺术家们无法抵挡它的魅力。当时对古代文物的欣赏风潮，也为文艺复兴加注不少原动力，其中以古罗马文化的影响最大。古罗马的艺术、文学和生活方式成为经典，对满心向往的意大利人来说，即使不能超越，也要向这个时代看齐。 公元15、16世纪间在罗马出土的古典艺术作品给文艺复兴时期的艺术家不少灵感。例如建筑师在设计时，参考《阿波罗》这种古典而优美的人体比例，这种比例是人体最完美的表现。安东尼乌斯和法斯提纳寺庙的圆柱理念，后来融入基督教教堂的建筑虚计中。古代建筑的石块和幸存在罗马纪念碑的遗迹，譬如马克森提斯大教堂的遗迹，都成为后世建筑的参考。

7. This panel, together with that made by Lorenzo Ghiberti, both depicting the sacrifice of Isaac. They are the famous trial pieces presented in a competition for the right to construct the door of the Baptistry. The lyrical elegance of Ghiberti's version undoubtedly expresses more coherently the famous Biblical episode. Ghiberti won the competition. Filippo BRUNELLESCHI, (1377-1446) Sacrifice of Isaac, 1401. Bronze relief. Museo Nazionale del Bargello, Florence

8. GHIBERTI, Lorenzo (1378-1455, Firenze)Sacrifice of Isaac 1401. Bronze reliefMuseo Nazionale del Bargello, Florence       

10. The theme is the life of Christ in 20 scenes with the 8 lower panels containing the Evangelists and Fathers of the Church. As these doors were kept shut, except on feast days, the scenes read from the bottom across both wings. The first panels executed reveal that Ghiberti tried to harmonize his compositions with the Gothic quatrefoil. The slender, lyrical figures approximate those of International Gothic painters like Lorenzo Monaco and Gentile da Fabriano. Their draperies establish patterns of fluid elegance which contribute a rhythmic unity to the design. As his work progressed, his compositions became more complex and his forms began to fight with the quatrefoil. Since he included ever more ambitious architectural and geometrical elements, his compositions evolved towards the new rectilinear Renaissance format. Lorenzo Ghiberti: North Doors (Life of Christ), 1403-24Gilded bronze, 457 x 251 cm, Baptistry, Florence

11. Lorenzo Ghiberti: Pilate Washing His Hands, 1403-24Gilded bronzeBaptistry, Florenceone of the 20 scenes from the life of Christ.

12. Lorenzo Ghiberti: Last Supper, 1403-24. Gilded bronze, 39 x 39 cm. Baptistry, Florence

13. Lorenzo Ghiberti: Eastern Door of the Baptistry, 1425-52. Bronze with gilding, height %06 cm, width 287 cm (frame), Baptistry, Florence This is the masterpiece of Ghiberti, who worked on it for 27 years, lavishing on it all the richness of his imagination, combined with a fine sense of composition and profound knowledge of the modeler's art. Michelangelo defined the door as fit to be the "gate of Paradise". The door has ten panels depicting Biblical scenes. At the centre of the door at left is the self-portrait of Ghiberti. The door's original gilding has recently been recovered from beneath the patina formed over the centuries. It was badly damaged by Florence's flood in 1966 when the waters of the Arno reached a height of more than 180 cm. After restoration it was moved to the museum of the Cathedral and substituted by a copy.

14. The Story of Joseph (Joseph Sold into Slavery), c. 1435, Bronze, Baptistry, Florence, 80 x 80 cm. In the Story of Joseph a huge crowd takes part in the main action before the circular building which forms the background, yet despite the number of actors the scene combines coherence and unity with delicate, sinous charm, but the new interest in a perspective setting imparts a new logic and new order. The panel is showing clearly the brilliant modeling technique and perfect perspective, so that the figures stand out against the architectural background and the work seems almost a painting in bronze.

15. Ghiberti, LorenzoMeeting of King Solomon and the Queen of Sheba; detail of panel from "Gates of Paradise" (East Portals), Baptistery, Florence, original 1425-1452

16. Isaac Sends Isaiah to Hunt (panel from the eastern door),1425-52. Bronze, Baptistry, Florence

17. Isaac Sends Isaiah to Hunt (panel from the eastern door),1425-52. Bronze, Baptistry, Florence

18. The panel depicts the Creation of Adam and Eve, the Fall and the Expulsion from the Paradise.

19. Panel from the eastern door, 1425-52. Bronze, 80 x 80 cm, Baptistry, Florence

20. At the centre of the door at left can be found the self-portrait of Ghiberti. Already on the north door of the Baptistry Ghiberti had introduced a self-portrait among the tiny heads in high relief at the corners of each plaque. He did it once again later, on the Door of Paradise. In the earlier portrait on the north door, his face is still young and not particularly individualized, still very much subservient to antique models. Here, however, the depiction is entirely realistic, and Ghiberti portrays himself as the intellectual with prominent facial features and wrinkled brow.

21. Orsanmichele 位于佛罗伦萨中心的欧山米奇里教堂，原本是一处谷物交易市场，后来改建为教堂，在外墙上设有14个大型壁龛（长方形建筑，长边各4尊像，短边各3尊像，）。当时议会规定每个城市的工商业行会都要捐赠当地守护神的雕像，放入其中一个壁龛中。结果汇集了当时最著名的雕刻大师的作品。

22. Orsanmichele, Florence. The present structure was begun in 1337 to be a larger grain market than the original. In 1380 the two upper floors were added to store grain for emergencies, and Simone Talenti closed the arcades of the ground floor to transform it into a church. The building is square in plan, and there are still, on the ground floor, the 13th century arches that formed the loggia. On the exterior of the chapel marble tabernacles were built to host statues of the patron saints of the Guilds, who commissioned the greatest artists of the period. Particularly famous are Ghiberti's St. John the Baptist, 1414-16; Verrocchio's St. Thomas, 1464-83; Nanni di Banco's Four Crowned Martyrs, 1408; the copy of Donatello's St. George, 1416. Inside the church is the imposing Tabernacle by Andrea Orcagna, painstakingly built and decorated in flamboyant Gothic style between 1355 and 1359.

23. Andrea Orcagna Tabernacle, 1350-1360. Marble, lapis lazuli, gold and glass inlay. Orsanmichele, Florence Orcagna - a painter, sculptor and architect - was commissioned to execute the only significant, large-scale sculpture of the time in Florence, the mammoth tabernacle for Orsanmichele. This Gothic marble structure, rather like a miniature church, was a religious and civic edifice built to house Bernardo Daddi's repainting of a lost image of the Virgin and Child. Hexagonal reliefs of the virtues and octagonal reliefs of the Life of the Virgin alternate on its base. The programme culminates in the large relief on the back, the Dormition and Assumption of the Virgin, where the work is signed and dated 1359.

24. Orcagna: Dormition and Assumption of the Virgin, On the back of the tabernacle, 1359. Marble, lapis lazuli, gold and glass inlay, Orsanmichele, Florence

25. Lorenzo Ghiberti: St John the Baptist,1412-16. Bronze, 254 cm, Orsanmichele, Florence. Ghiberti entered the Or San Michele arena in 1412 with the first bronze and his first large-scale figure. The work, cast in one piece, was so difficult to execute that the guild stipulated it be undertaken at the sculptor's risk. Although St John appears to epitomize the International Gothic style, his scroll is inscribed with what is thought to be an early example of humanist script.

26. Nanni di Banco 《四 位受冕的殉道者》 Quattro Santi CoronatiNiche group from the façade of Or San Michele, Florence. ca.1408/10-1411/14

27. Nanni di Banco, Quattro Santi Coronati: predella relief showing sculptors' workshop. ca.1408/10-1411/14

28. DonatelloSt. Mark [replica figure in situ, south façade of the Orsanmichele, Florence, original ca.1411-1413, Florence, Italy.

29. DonatelloSt. Markoriginal ca.1411-1413

30. DonatelloSt. George Tabernacle (originally for the Orsanmichele, Florence)ca.1415-1417. Bargello, Florence, Italy.

31. Donatello, St. George Tabernacle: detail, predella relief of St. George and the Dragon, ca.1415-1417

32. DonatelloSt. George Tabernacle (originally for the Orsanmichele, Florence)ca.1415-1417. Bargello, Florence, Italy.

33. Tombstone of Bishop Giovanni Pecci1426Marble, 247 x 88 cmCathedral, Siena

34. Herod's Banquet1427Bronze, 60 x 60 cmBaptistry, Siena

35. Crucifixion, c. 1465Bronze, 93 x 70 cmMuseo Nazionale del Bargello, Florence

36. Entombment, 1465, Bronze, This is one of the panels of the pulpit on the left side of the church of San Lorenzo, Florence

37. DonatelloSt. John the Evangelistca.1408-1415 Museo dell’ Opera del Duomo, Florence, Italy. It was originally installed on the façade of the Florence Cathedral. In 1587 the St John, along with the other Evangelists, was removed from the facade and placed inside the Cathedral, whence it was finally moved to its present place in the Museum of the Opera del Duomo.

38. DonatelloBearded Prophetc. 1418. Marble, height: 194 cmMuseo dell'Opera del Duomo, Florence Both were made for the façade of the Florence Cathedral Prophet with Scrollc. 1418Marble, height: 195 cmMuseo dell'Opera del Duomo, Florence

39. DonatelloProphet (Habakkuk, also called "Lo Zuccone“, originally for the Duomo, Florence Cathedral), 1423-1425. Museo dell’ Opera del Duomo, Florence, Italy. the Campanile in Florence

40. DonatelloProphet (Habakkuk, also called "Lo Zuccone")1423-1425

41. DonatelloDavid [rear view]ca. 1440. BArgello, Florence, Italy.

42. Donatello, David: detail of base showing head of Goliath, ca. 1440

43. David, 1409Marble, h: 191 cmMuseo Nazionale del Bargello, Florence

44. DonatelloMary Magdalene1454-1455. Museo dell’ Opera del Duomo, Florence, Italy.

45. DonatelloGattamelata (equestrian portrait statue of Erasmo di Narni)1445-1453

46. Equestrian Statue of Gattamelata (detail)1447-50Bronze, 340 x 390 cmPiazza del Santo, Padua

47. Equestrian Statue of Gattamelata (detail)1447-50Bronze, 340 x 390 cmPiazza del Santo, Padua

48. Filippo Brunelleschi, façade of the Ospedale degli Innocenti (the Foundling Hospital), Piazza della S. Annunziata, Florence, 1419-1434. This was the first expression of Brunelleschi's own architectural principles. This, which was the first hospital for foundling children in the world was built at the expense of Brunelleschi's own Guild, that of the Silk Merchants and Goldsmiths. From the point of view of architecture the important part of this building is the outside loggia, since the hospital itself was completed by Brunelleschi's followers when he himself, in 1425, was far too busy with the dome of the Cathedral to attend to anything else.

49. FilippoBrunelleschi, Ospedale degli Innocenti (Foundling Hosptial), Florence, exterior, detail of arcade, W. portico. ca.1419-1424 A.D

50. Brunelleschi The loggia consists of a series of round arches, with a horizontal element above them, and a vault, consisting of small domes carried on the columns of the loggia and on corbels on the surface of the hospital wall.