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The Changing Status of Artists in the Italian Renaissance 1400 – 1500
Part 1: Contracts and Conditions of TradePublic ExpectationsGesture
The Italian Renaissance
The
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The Italian Renaissance - Timeline
1350 1400 1450 1500 1550
Italy
England
Tomb of Black Prince 1376
Peasants Revolt1381
Wars of the Roses 1455 - 1485 Tudor Dynasty 1485 - 1601
Mary Rose sinks 1545Wilton Dyptich 1399
Lorenzetti 1342
Medici Dynasty 1434 - 1492
Sack of Rome 1527
Hampton Court 1514
Sistine Ceiling 1512
Leonardo VM 1488David 1504
Bodiam Castle 1385
Masaccio 1428
Botticelli 1486
Brunelleschi’s Dome 1436
Kings College Chapel 1460
Agincourt 1415
The Italian Renaissance
• Italian city states – small, independent, competitive and rich• The wealth of the city states is based on commerce, not
land-ownership. • Several generations of merchant and mercenary princes
foster a culture of new learning and intellectual accomplishment - ‘humanism’• The Church retains huge authority and importance in all
aspects of public and private life•Most art is public, sacred art, made for a mixture of
spiritual, political and social reasons• The commissioning of artworks demonstrates the power of
rulers, civic pride and proclaims the wealth, culture and virtue of the community
The Italian Renaissance
“...and never having found any memorial of the masters, and many times not even what date (their works of art) were made. I cannot but marvel at the lack of sophistication and little desire for glory of the men of that age.”
Giorgio Vasari, Lives of the Artists, Florence , 1550
Domenico GhirlandaioThe Adoration of the Magi, Spedale degli Innocenti, Florence,1488
Contracts and Conditions of Trade
Antonio VenezianoVirgin and Child, Florence?, c. 1380
Contracts and Conditions of Trade
Sandro BotticelliThe Virgin and Child, Bardi Chapel, S. Spirito, Florence,1485
Contracts and Conditions of Trade
Piero della FrancescaMadonna della Misericordia, San Sepulcro, Florence,1445- 62
Contracts and Conditions of Trade
Skill and Difference
Skill and Difference
Sandro Botticelli, The Punishment of Korah,Sistine Chapel, Rome, c.1483
Skill and Difference
Domenico Ghirlandaio, The Calling of Peter and Andrew,Sistine Chapel, Rome, c.1483
Skill and Difference
Pietro Perugino, Moses Leaving to Egypt,Sistine Chapel, Rome, c.1483 *
Simone Martini and Lippo MemmiAnnunciation with Saints, Siena Cathedral, 1333
Public Expectations
Public Expectations
Fra Filippo LippiThe Annunciation, Florence, c.1460
Public Expectations
Sandro BotticelliThe Annunciation, Florence, c.1490
Public Expectations
The Function of Sacred Art
Master of the Barbarini PanelsThe Annunciation, Florence, c.1460
Alesso BalovinettiThe Annunciation, Florence, c.1460
Public Expectations
Domenico VenezianoThe Annunciation, Florence, c.1445
Public Expectations
The Function of Sacred Art
Antonello de MessinaVirgin Annunciate, Sicily, c.1473
Carlo CrivelliThe Annunciation with St Emidius, SS. Annunziata in Ascoli, c.1486
Public Expectations
*
Istorie
In 1435 Leon Battista Alberti wrote a hugely influential treatise callled ‘On Painting’ (De Pittura).
Alberti argued that artists should be ‘as learned as possible in all the Liberal Arts’ .
He therefore emphasised the inclusion of mathematical and rhetorical ideas, derived from Roman authors, in painting.
Narrative paintings with figures were called Istorie
Ambrogio LorenzettiPresentation in the Temple, Siena Cathedral,1343
‘Istorie’
Antonio Masaccio, Raising of the Son of Theophilus, and St.Peter Enthroned, Branacci Chapel, Florence1427
‘Istorie’
Pietro Perugino,Lamentation over the Dead Christ, Convent of Santa Chiara, Florence, 1495
Sarcophagus with the Triumph of Dionysus and the Four Seasons. Roman, Late Imperial, c. C.E. 260-270.
‘Istorie’
Apollo, Athena and the Muses, Imperial Roman sarcophagus, 1st-2nd c. CE. Woburn Abbey, Bedfordshire ,
Andrea Mantegna, The Family of Ludovico Gonzaga, Duke of Manuta, Castle of Mantua, c.1470
Pietro Perugino,Lamentation over the Dead Christ, Convent of Santa Chiara, Florence, 1495
Pinturicchio,The Return of Odyssus, 1509
The Language of Gesture
The Language of Gesture
Affirmation: Lift your arm gently...so that the back of the hand faces the beholderDemonstration: A thing one has seen may be noted by opening the palm of the hand in that directionGrief: pressing the breast with the palm of the handShame: Covering the eyes with the fingers
Antonio Masaccio, Adam and Eve Expelled from the Garden of Eden, Branacci Chapel, Florence1427
The Language of Gesture
The Language of Gesture
“When thou spekest of a solenpne mater to stande vp ryghte with lytell mevynge of thy body, but poyntnge it with thy fore finger.And when thou spekyst of any cruell mater or yreful cause to bende thy fyst and shake thyn arm.And whan thou spekyst of any heuenly or godly thynges to loke vp and pointe towards the skye with thy finger.And whan thou spekest of any gentilnes, myldeness or humylyte, to ley thy hands upon thy breste.And whan thou spekest of any holy mater or devocyon to holde vp thy hands.”
The Mirror of the World, London, 1527
Fra Angelico,The Coronation of the Virgin, Convento di San Marco, Florence, 1445
The Language of Gesture
Pietro Perugino, Christ Giving St. Peter the Keys,Sistine Chapel, Rome, c.1483
The Language of Gesture
The Language of Gesture
Michelangelo, God Creating Adam, Sistine Chapel, Rome, 1512
The Language of Gesture
Jacobus de Cessolis, Queen’s Bishop’s Pawn (the Innkeeper), from The Book of the Game of Chess, 1493
The Language of Gesture
Pinturicchio,St Anthony Abbot and St Paul the Hernit, Vatican, 1494
The Language of Gesture
Domenico GhirlandaioThe Adoration of the Magi, Spedale degli Innocenti, Florence,1488
The Language of Gesture