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Principles of the Renaissance
• Imitation of nature
• To surpass classical models in quality
• Rationality and empirical knowledge
• Reconciling these other goals with Christianity
Principles of the Renaissance
Imitation of nature
– Giotto’s study of live models, animals, etc
– Realistic human anatomy and proportion
– Development of linear perspective
– Atmospheric perspective
– Contrapposto figures in sculpture and painting
Giotto diBondone, Arena or ScrovegniChapel(1305–1306)
Padua, Italy Each scene approx. 6’ 5" × 6’.
Principles of the Renaissance
To surpass classical models in quality
– Ad fontes – back to Antique sources in texts and
rediscovery of artworks
– Revival of Humanism as a philosophy placing
interest of humans as focus of life
– Embrace of nude male figure in art
– Return to Classical orders in architecture
MichelangeloSistine Chapel Ceiling (1511-12)
“Temptation and Expulsion”
Hagesandros, Polydoros, and Athenodoros of Rhodes.
Laocoön and His Sons. Probably the original of 1st century BCE or
a Roman copy of the 1st century CE. Height 8’.
22-09
Michelangelo
David
(1501-03)
22-17
Raphael, School of Athens (1509-11)Stanza della Segnatura, Vatican, Rome
http://www.mlahanas.de/Greeks/SchoolAthens.htm
Principles of the Renaissance
Rationality and empirical knowledge
– Realistic human anatomy and proportion
– Development of linear perspective
– Sophisticated compositions often idealized or
emphasizing interaction between figures
– Embrace of symmetry and proportion in design
– Technical innovations in materials (bronze, oil
paints), new theories and writing about art
(Vasari, Alberti, Durer)
Giotto (1303-6) and Leonardo (1490)
Raphael, Sistine Madonna (1512) Giotto, Ognissanti Madonna (1310)
Principles of the Renaissance
Christianity as major theme
– Subjects include Saints, Biblical characters
– Religious commissions for churches, chapels
– Reconciling religion with Classical ideals
(Ancient Greeks and Romans came before
Christianity)
Andrea Mantegna,
Saint Sebastian (1460)
Donatello, Saint Mark (1415)
Florence, Italy
Contrapposto
Iconography
22-09
Michelangelo
David
(1501-03)
Pietrodella Francesca,
The Annunciation (1455)
Left: Masaccio. Trinity with the Virgin, St. John the
Evangelist, and Donors. Florence, Italy.
Fresco. 1425–1428. 21' × 10’ 5”.
Top: Workshop of Peter Hemmel von Andlau.
The Trinity with the Virgin, Saints John the
Evangelist, Stephen and Lawrence and a Donor
German, 1479. Oil on panel. 31 7/16” x 55 3/16”
Masaccio, Tribute Money fresco in Brancacci Chapel (1425-28) Sainta Maria del Carmine,
Florence, Italy
Continuous narration: Apostle Peter shown in three separate moments in unified composition
One-point perspective
Jan van Eyck. Double Portrait of a Giovanni Arnolfini and His Wife.
1434. 33 × 22 1/2”.
Jan van Eyck. Man in a Red Turban. 1433. 13 1/8 × 10 1/4”.
Rogier van der Weyden, Annunciation (1435-40) Flemish, oil on panel
Bruegel (the Elder), Peasant Wedding (1565)
Bruegel (the Elder), Netherlandish Proverbs (1559)
Vitruvian Man (1487)Leonardo da Vinci
Self-portrait (1514)
Leonardo da Vinci
Virgin of the
Rocks (1490)
Key terms for Leonardo:
•Sfumato
• Chiaroscuro
Leonardo da Vinci
Mona Lisa(1503-06)
