Graphic Art in Germany: the Development of Printmaking

1. Graphic Art in Germany: the Development of Printmaking

2. MICHEL WOLGEMUT (German), "Tarvisium," page from the so-called Nuremberg Chronicle, 1493. Woodcut, approx. 1’2” x 9”

3. Woodcut - relief printmaking process

4. Engraving hatching & cross-hatching technique probably invented by Schongauer MARTIN SCHONGAUER (German ca. 1430-1491), Saint Anthony Tormented by Demons, ca. 1480–1490. Engraving, approx. 1’ 1" x 11". Metropolitan Museum of Art, New York

5. Intaglioprinting is what is used for U.S. currency. The process begins with an engraving, both of the portrait and of the fine line detail surrounding the bill. This is painstakingly produced by a master engraver on steel plates. These plates are the actual plates used during the printing process. Ink is applied to the plates. The plates are then wiped clean, leaving only ink in the grooves. Paper is pressed to the plate with enormous pressure by a printing press, transferring the ink to the paper. The pressure causes the paper to be embossed with the ink, giving the ink a raised feel that other printing techniques cannot duplicate. Albrecht Durer, Adam and Eve, engraving, 1504, 9 3/4 x 7 1/2 in

6. Humanism and the Allure of Antiquity: 15th Century Italian Art

7. Renaissance Florence

8. French Gothic Quatrefoil frame FILIPPO BRUNELLESCHI (Italian), Sacrifice of Isaac, competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence.

9. LORENZO GHIBERTI (Italian 1378-1455), Sacrifice of Isaac, winning competition panel for east doors, baptistery of Florence Cathedral, Florence, Italy, 1401–1402. Gilded bronze relief, 1’ 9” x 1’ 5”. Museo Nazionale del Bargello, Florence.

10. Compare Ghiberti’s Sacrifice of Isaac ( left) with Brunelleschi’s (right). Which one won the competition? Which one is more active and naturalistic?

11. Ghiberti’s self portrait On the “Gates of Paradise” LORENZO GHIBERTI, second pair of doors (“Gates of Paradise”), baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 17’ high. Modern copy, ca. 1980. Original panels in Museo dell’Opera del Duomo, Florence.

12. LORENZO GHIBERTI, Isaac and His Sons, east doors (“Gates of Paradise”), baptistery, Florence Cathedral, Florence, Italy, 1425–1452. Gilded bronze relief, approx. 2’ 7 1/2” x 2’ 7 1/2”. Museo dell’Opera del Duomo, Florence.

13. DONATELLO (Italian ca.1386-1466), Feast of Herod, from the baptismal font of Siena Cathedral, Siena, Italy, ca. 1425. Gilded bronze relief, approx. 1’ 11” x 1’ 11”. The picture as a window on the world - Perspectival illusionism, the “rationalization of sight.” “Mathematical truth and formal beauty conjoined in the minds of Renaissance artists.”

14. Roman portrait of Emperor Macrinus. 3rd C C.E. NANNI DI BANCO (1380-1421), Four Crowned Saints, San Michele, Florence, Italy, ca. 1408–1414. Marble, figures approx. life-size. Modern copy in exterior niche. Original sculpture in museum on second floor of San Michele.

15. San Michele, Florence Italy, street view showing Renaissance sculptures of patron saints of Florentine guilds

16. Compare (left) 13th century statues from the façade of Reims (Gothic) Cathedral in France, with (right) Nanni di Banco’s early 15th century Renaissance architectural sculpture, San Michele, Florence. Does the Nanni show more interaction among the figures?

17. POLYKLEITOS Doryphoros, Greek, ca.450-40 B.C., marble, life size, source of contrapposto (weight shift) DONATELLO, Saint Mark, San Michele, Florence, Italy, 1411–1413. Marble, approx. 7’ 9” high. Modern copy in exterior niche. Original sculpture in museum on second floor of San Michele.

18. Detail: note expressionism of face and body DONATELLO, Prophet Habbakuk (Zuccone), from the campanile of Florence Cathedral, Florence, Italy, 1423–1425. Marble, approx. 6’ 5” high. Museo dell’Opera del Duomo, Florence.

19. Compare the expressive realism of (left) Donatello’s Prophet Habbakuk with (right) ancient Roman portrait sculpture of Cato the Elder

20. MASACCIO (1401-1428, 27 years), Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 1” x 19’ 7”. What “tricks” of illusion are evident in this fresco?

21. Detail from Masaccio’s Tribute Money, 1427 Compare Masaccio and Giotto Detail of Betrayal of Christ, fresco by Giotto, c. 1305–06; in the Arena Chapel, Padua, Italy

22. Tourists studying Masaccio’s frescos in Santa Maria del Carmine, Florence

23. Compare Adam & Eve from 1432 Ghent Altarpiece by Jan Van Eyck in oil paint with fresco by Masaccio (right) MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1425. Fresco, 7’ x 2’ 11”.

24. Masaccio’s Expulsion of Adam and Eve (1425-6) before and after restoration in the 1980s

25. “The works made before his [Masaccio’s] day can be said to be painted, while his are living, real, and natural.” - Vasari, Lives of the Most Eminent Painters, Sculptors, and Architects, 1550 Perspectival scheme MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428. Fresco, 21’ x 10’ 5”.

26. Brunelleschi’s (losing) competition panel for the doors of cathedral Baptistery, 1401-2 FILIPPO BRUNELLESCHI, dome of Florence Cathedral (view from the south), Florence, Italy, 1420–1436.

27. Compare the Pantheon, Rome (left and center) begun in 27 BCE, completely rebuilt c.118–128 CE, with (right) the Florence Cathedral with Brunelleschi’s dome, 1420-1436

28. Interior of Florence Cathedral showing imposing (140 ft) width beneath the dome, and (right) cutaway view of dome by Brunelleschi

29. Cutaway view of dome of Florence Cathedral

30. Images of ancient Roman Pantheon in cross section FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440. Compare with Pantheon, Roman architectural source, above

31. FILIPPO BRUNELLESCHI, plan of the Pazzi Chapel, Santa Croce, Florence, Italy.

32. Glazed terracotta medallions represent the Four Evangelists and 12 Apostles. FILIPPO BRUNELLESCHI, interior of the Pazzi Chapel (view facing northeast), Santa Croce, Florence, Italy, begun ca. 1440.

33. Compare heavy ancient Roman Cornices that were Michelozzo’s model MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

34. MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

35. Perspective study by Uccello PAOLO UCCELLO, Battle of San Romano, ca. 1455. Tempera on wood, approx. 6’ x 10’ 5”. National Gallery, London.

36. Praxiteles, Hermes and Infant Dionysus, Marble, Greek 4th century DONATELLO, David, late 1420s – late 1450s. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence, the Palazzo Medici courtyard. First freestanding nude since antiquity. David was the symbol of the Florentine Republic. Contrapposto. Compare Praxiteles and Donatello

37. SANDRO BOTTICELLI (1444-1510), Birth of Venus, ca. 1482. Tempera on canvas, approx. 5’ 8” x 9’ 1”. Galleria degli Uffizi, Florence.

38. SANDRO BOTTICELLI, Portrait of a Youth, early 1480s. Tempera on panel, 1’ 4” x 1’. National Gallery of Art, Washington (Andrew W. Mellon Collection).

39. FRA ANGELICO (c.1400-1455), Annunciation, San Marco, Florence, Italy, ca. 1440–1445. Fresco, 7’ 1” x 10’ 6”. Inscription reads: “As you venerate, while passing before it, this figure of the intact Virgin, beware lest you omit to say a Hail Mary.”

40. Compare frescos: (top), GHIRLANDAIO Birth of the Virgin, 1485–1490. (below) FRA ANGELICO, Annunciation, 1440-45

41. FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, approx. 3’ x 2’ 1”. Galleria degli Uffizi, Florence.

42. Compare the degree of humanization of the Madonna since Giotto, the “father of Western painting.” What caused the difference? GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence. FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, approx. 3’ x 2’ 1”. Galleria degli Uffizi, Florence.

43. PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”. Know meaning & spelling of terms: “linear perspective,” “atmospheric perspective”

44. Old Saint Peter’s Basilica, Rome, built by the first Christian emperor, Constantine, over the Roman Circus of Nero, begun in 324 CE. Building of the “new” Saint Peter’s began in the mid-15th century and was completed in 1615 Arch of Constantine, Rome, stone, c. 84' w x 24' d x 69' h, late Empire period, 312-315 A.D.

45. Geometric symmetry Leon Batista Alberti, west facade of Sant’ Andrea, Mantua, Italy, designed ca. 1470. combined Roman triumphal arch and temple front. Facade disregards the dimensions of the church behind it. Primary value was purely visual proportion and relationship with the small square in front.

46. Leon Battista Alberti, Interior hall of Sant’ Andrea, Mantua, Italy, designed without the traditional side aisles of the traditional Christian basilica plan. This break with tradition was extremely influential in late Renaissance and Baroque church design.

47. Andrea Mantegna, interior of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale, Mantua, Italy, 1474. Fresco. Commissioned by Ludovico Gonzaga

48. Comparison for Mantegna’s Camera degli Sposi: Roman frescos from Pompeii, Italy, 1st century CE, preserved because of the eruption of nearby Vesuvius volcano in 79 CE

49. Trompe l’oeil (deceives the eye) Andrea Mantegna, ceiling of the Camera degli Sposi (Room of the Newlyweds), Palazzo Ducale,Mantua, Italy, 1474. Fresco, 8’ 9” in diameter. The first to create a view from below.

50. ANDREA MANTEGNA, Saint James Led to Martyrdom, Ovetari Chapel, Church of the Eremitani (largely destroyed, l944), Padua, Italy, ca. 1455. Fresco, 10’ 9” wide.