THE RENAISSANCE: PAINTING

María Jesús Camposlearningfromhistory.wikispaces.com

HISTORICAL CONTEXT Independent Italian

States Bourgeoisie:

traders, bankers Rome as the centre

of Christianity Patronage

RENAISSANCE: GENERAL CHARACTERISTICS Revival of Classical Greek and

Roman Culture Anthropocentrism: Humans

became the centre of philosophical and artistic reflection

Rationalism and critical thinking: explain the world through science and rational thinking (end of theocentrism)

Importance of knowledge: intellectual curiosity, new techniques

Desire to create order, proportion and harmony.

Use of math and rationality: scale and proportion

CHRONOLOGY Trecento (14th century): evolution and remains

from Gothic style Quattrocento (15th century): harmony and

proportion Cinquecento (16th century): expansion through

Europe Mannerism (from 1530 till the Baroque): dramatic

effects, harmony and proportion are abandoned…

PAINTING

PAINTING

Harmony Realism Idealism and serenity: ideal

beauty, physical and spiritual beauty.

Anthropocentrism: anatomy of the human body. Nudes. The body reflects the feelings.

Balance and proportion: symmetry, piramidal composition.

Peace and pleasure. Optimism

Perspective: to give depth and volumen to scenes, objects and figures.

Perspective in painting: placing the figures in different planes and using landscapes or achitectural features in the most distant ones. Linear Perspective:

arranging the elements on imaginary lines which converge at a vanishing point at the back.

Aerial perspective: blurring the background so it appears further away or using contrasts of light and shadow to créate volumen (chiaroscuro).

New techniques and materials Painting:

Frescoes: walls Tempera: wooden panels Oil technique: cloth canvasses.

Subjects: Religious Classical Antiquity:

mythology (nudes) Portraits Nature, landscapes,

buildings, cities…

PAINTING

CUATROCENTO

MASSACCIO: LA TRINIDAD

MASSACCIO: CAP. BRANCACCI “EL TRIBUTO DE LA MONEDA”

FRA ANGELICO: LA ANUNCIACIÓN

GHIRLANDAIO: RETRATO DE ANCIANO CON SU NIETO

SANDRO BOTTICELLI: LA PRIMAVERA

SANDRO BOTTICELLI: EL NACIMIENTO DE VENUS

BOTTICELLI: ANUNCIACIÓN

PIERO DE LA FRANCESCA: DUQUES DE URBINO

ANDREA MANTEGNA: CRISTO YACENTE

CINQUECENTO

LEONARDO DA VINCI: LA VIRGEN DE LAS ROCAS

LEONARDO: LA GIOCONDA (LOUVRE) / GIOCONDA DEL MUSEO PRADO

LEONARDO, “LA DAMA DEL ARMIÑO”

LEONARDO DA VINCI: LA ÚLTIMA CENA (MILÁN)

LEONARDO: LA ANUNCIACIÓN

MIGUEL ANGEL: LA CAPILLA SIXTINA

RAFAEL: LOS DESPOSORIOS DE LA VIRGEN

RAFAEL: LA ESCUELA DE ATENAS

RAFAEL: EL CARDENAL (MUSEO DEL PRADO) / LA VIRGEN DEL JILGUERO

VENETIAN SCHOOL

GIORGIONE “VENUS DORMIDA”

TIZIANO: VENUS CON EL AMOR Y LA MÚSICA

TIZIANO “ DANAE Y LA LLUVIA DE ORO”

TIZIANO : “CARLOS V EN LA BATALLA DE MÜHLBERG”

TIZIANO: “FELIPE II “ / “CABALLERO DE AZUL”

TINTORETTO “EL LAVATORIO”

VERONÉS “LAS BODAS DE CANÁ”

“LAS BODAS DE CANÁ”DETALLE

REINASSANCE INFLUENCE IN EUROPE:

VAN DER WEYDEN, “EL DESCENDIMIENTO” (GOTHIC-REINASSANCE)

ALBERTO DURERO, “AUTORRETRATO” (CINQUECENTO GERMANY)

ALBERTO DURERO, “LIEBRE” / “ADAN Y EVA”

EL GRECO, “EL EXPOLIO DE CRISTO” (MANIERISMO)

EL GRECO, “EL ENTIERRO DEL CONDE ORGAZ”

EL GRECO, “EL CABALLERO DE LA MANO EN EL PECHO” / “LA DAMA DE ARMIÑO” ¿GRECO?

EL GRECO, “VISTA DE TOLEDO”

Developed by María Jesús CamposChusteacherwikiteacher