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Chapter Seventeen

Chapter Seventeen. Renaissance Artists. “The eye , which is called the window of the soul, is the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature.” Leonardo da Vinci. Early Renaissance (1400-1490)

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Chapter Seventeen

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  1. Chapter Seventeen Renaissance Artists

  2. “The eye, which is called the window of the soul, is the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature.” • Leonardo da Vinci

  3. Early Renaissance (1400-1490) Florence: the Medici • High Renaissance (1490-1530) Rome: the Pope

  4. http://portal.chaminade-stl.com/Portals/87/renaissance%20italy.jpghttp://portal.chaminade-stl.com/Portals/87/renaissance%20italy.jpg

  5. Early Renaissance • 1. patronage • 2. the artist as hero and genius • 3. the revival of the classical nude

  6. New Techniques of Spatial Illusionism

  7. Perspective • Filippo Brunelleschi developed the laws of perspective. • Masaccio was among the first to use Brunelleschi's rules to achieve the illusion of perspective in his paintings. • Leon Battista Alberti theorized the method in the bookOn Painting

  8. Definition • Perspective in art is a method of graphically depicting three-dimensional objects and spatial relationships in two-dimensional planes. • The illusion of depth in a painting, drawing, or graphic is created using the perspective method. • Perspective is based on elementary laws of optics: objects in the distance appear smaller and less distinct than objects that are near.

  9. http://www.getty.edu/art/exhibitions/geometry/images/linear_perspective.jpghttp://www.getty.edu/art/exhibitions/geometry/images/linear_perspective.jpg

  10. Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, ca. 1426-1427.

  11. http://www.nexusjournal.com/images_number1/Talbot20.gif

  12. Basic principles of linear perspective. http://mh1.xplana.com/imagevault/upload/d5c59e51fe4d99d1ac9e.jpg

  13. http://www2.evansville.edu/studiochalkboard/ap-aerial.html

  14. Aerial or atmospheric interference with visual perception causes loss of contrast, detail and sharp focus. The effect, which Leonardo called "the perspective of disappearance," tends to make objects seem to take on a blue-gray middle value as they increase in distance. This effect is used by film makers to give the illusion of great depth, but can be used to great effect by painters and draughtsmen. The illustration above shows loss of color saturation, contrast, and detail as the cubes fall further away from the viewer. • http://www2.evansville.edu/studiochalkboard/ap-aerial.html

  15. Aerial Perspective

  16. Aerial Perspective

  17. Masaccio, The Tribute of Money, ca. 1425. http://www.wga.hu/art/m/masaccio/brancacc/tribute/tribute.jpg

  18. Chiaroscuro • The arrangement or treatment of the light and dark parts in a pictorial work of art

  19. Intarsia • Mosaics made of pieces of inlaid wood

  20. Ghiberti, Baptistery of San Giovanni, FlorenceSolomon and the Queen of Sheba: Relief from the Doors of Paradise, 1425–52 http://www.bluffton.edu/~sullivanm/italy/florence/ghibertiparadise/0118solomon.jpg

  21. http://www.bluffton.edu/~sullivanm/italy/florence/ghibertiparadise/0123doors.jpghttp://www.bluffton.edu/~sullivanm/italy/florence/ghibertiparadise/0123doors.jpg

  22. Leonardo da Vinci

  23. More haze Some haze The Virgin of the Rocks A feeling of distance

  24. The Last Supper

  25. Mona Lisa (La Gioconda)

  26. The Venetian School • Giovanni Bellini (c. 1430-1516) • Giorgione (c. 1478-1510) • Titian (c. 1490-1576)

  27. The Venetian School • Characteristics • Their art reflected the luxurious life of Venice. • Their aim was to appeal to the senses, not the mind.

  28. Giorgione, Pastoral Concert

  29. masterful blends colors Titian, Venus of Urbino

  30. Raphael composition: • Clarity • Harmony • Unity of design

  31. Raphael, Alba Madonna Circle triangle Trapezoid

  32. Raphael, the School of Athens

  33. RAPHAEL. The Disputa. 1509

  34. Michelangelo, Sistine Chapel ceiling

  35. Painted between 1508 to 1512 • Nine scenes from the Book of Genesis • Seven Old Testament prophets • Five sibyls, as well as four corners and eight triangular areas also containing scenes.

  36. Creation of Adam • God and Man • Equal in size and muscular grace • The moment of fulfillment sought by Adam • Potential divinity of humankind

  37. Michelangelo, the Last Judgment, 1536

  38. Nude vs. Naked • “A naked body has to be seen as an object in order to become a nude.” • “Nakedness reveals itself. Nudity is placed on display.” • (John Berger, Ways of Seeing, 1972)

  39. In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man. Everything is addressed to him. Everything must appear to be the result of his being there. It is for him that the figures have assumed their nudity. But he, by definition, is a stranger—with his clothes still on. • (John Berger, Ways of Seeing, 1972)

  40. http://www.loudounsymphony.org/image/birth-of-venus-lg.jpg

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