Art in the Renaissance - PowerPoint PPT Presentation


PPT – Art in the Renaissance PowerPoint presentation | free to download - id: f01c-NmYxM


The Adobe Flash plugin is needed to view this content

Get the plugin now

View by Category
About This Presentation

Art in the Renaissance


Art in the Renaissance. Dates to Remember. 1400 Several Seignories are established ... The aesthetic element in art has begun to recede before the intellectual; and ... – PowerPoint PPT presentation

Number of Views:118
Avg rating:3.0/5.0
Slides: 14
Provided by: Informatio4
Learn more at:
Tags: art | renaissance


Write a Comment
User Comments (0)
Transcript and Presenter's Notes

Title: Art in the Renaissance

Art in the Renaissance
Dates to Remember
  • 1400 Several Seignories are established
  • 1401 The Sforzas in Milan
  • 1420 Brunelleschi studies Linear Perspective
  • 1434 The Medici in Florence
  • 1455 Gutenbergs printing press the Bible
  • 1469 Lorenzo de Medici in Florence
  • 1492 Discovery of America
  • 1494 Charles VIII in Italy
  • 1494 Michelangelos Pietà

  • Leonardo paints The Last Supper
  • 1517 Martin Luthers 94 theses
  • 1519 Leonardo dies
  • 1519 Charles V of Spain crowned emperor
  • 1525 Cortés destroys the Aztecs
  • 1527 The sack of Rome (Charles V)
  • 1532 Francisco Pissarro conquers the Inca empire
  • 1534 The Anglican Schism(Henry VIII)
  • 1537 Cosimo I Duke of Tuscany

  • 1541 Calvinism
  • 1542 The Church
    institutes the
  • 1545-1564 The
    Council of Trent
    and the Catholic

  • The whole history of painting may be strung on
    this single thread - the effort to reconstitute
    impressions, first the dramatic impressions and
    then the sensuous. A summary and symbolic
    representation of things is all that at first is
    demanded the point is to describe something
    pictorially and recall peoples names and
    actions. It is a characteristic of archaic
    painting to be discursive and symbolic each
    figure is treated separately and stuck side by
    side with the others upon a golden background.
    The painter is here smothered in the recorder, in
    the annalist only those perceptions are allowed
    to stand which have individual names or chronicle
    facts mentioned in the story. But vision is more
    sensuous and rich than report, if art is only
    able to hold vision in suspense and make it
    explicit. When painting is still at this stage,
    and is employed on hieroglyphics, it may reach
    the maximum of decorative splendor. Whatever
    sensuous glow finer representations may later
    acquire will be not sensuous merely, but poetical.

  • Illustrations are nevertheless an intellectual
    function that diverges altogether from decoration
    and even, in the narrowest sense of the word,
    from art for the essence of illustration lies
    neither in use nor in beauty. The illustrators
    impulse is to reproduce and describe given
    objects. He wishes in the first place to force
    observers - overlooking all logical scruples - to
    call his work by name of its subject matter and
    then he wishes to inform them further, through
    his representation, and to teach them to
    apprehend the real object as, in its natural
    existence, it might never have been apprehended.
    His first task is to translate the object
    faithfully into his special medium his second
    task, somewhat more ambitious, is to penetrate
    into the object during that process of
    translation that this translation may become at
    the same time analytical and imaginative, in that
    it signals the objects structure and emphasizes
    its ideal suggestions. In such reproduction both
    hand and mind are called upon to construct and
    build a new apparition but here construction has
    ceased to be chiefly decorative or absolute in
    order to become representative. The aesthetic
    element in art has begun to recede before the
    intellectual and sensuous effects, while of
    course retained and still studied, seem to be
    impressed into the service of ideas.
  • George
    Santayana, The Life of Reason (1905)

  • From religious to profane art
  • Art changes content
  • From craftsman to artist creative identity
  • Geographic, technical, scientific discoveries
    new trust in science, reason and experience
  • The discovery of perspective new ways of
    expressing space
  • Human body as the image of divine symmetry and

  • Http//
  • Http//
  • The first great innovator, Masaccio (San Giovanni
    Valdarno, 1401-Rome 1428)
  • Greatest Work Fresco of the Cappella Brancacci
    (Church of the Carmine, Florence 1424-5)
  • The commission to illustrate Adam and Eves Fall
    from Eden, the Life of Christ and San Peters
  • New way to treat religious episodes
  • Giottos expressive power is visible
  • Use of chiaroscuro to define forms
  • San Peter appears 3 times in the upper and twice
    in the lower fresco. The environment is defined
    by perspective
  • The figures are located in a realistic space

(No Transcript)
  • The forms are modeled by chiaroscuro
  • He respects reality and does not embellish
  • Figures are full of humanity, simplicity of the
  • Value is given more to the dignity than to beauty
  • The visual values are essentially plastic, the
    chiaroscuro emphasizes the volume of the figures.
  • Perspective is used to cast the figures in a
    tridimensional space
  • The solemnity of the gestures is emphasized
  • The simplicity of painting without unnecessary
  • A sense of religious profundity exalts man both
    as responsible for his own Fall as for his
  • Masaccios realism is an affirmation of humanity

Filippo Brunelleschi (1377-1446)
  • Florentine architect and sculptor. Studies Greek
    and Roman architecture. Creates works based on
    mathematical and proportional symmetries
  • In Brunelleschi the edifices speak an essential,
    harmonious and classical language. The
    overpowering decorative emphasis of the
    late-gothic masters is abandoned
  • In the Spitale degli innocenti he revives the
    Roman arches
  • In the Cupola of Santa Maria del Fiore (1420-36),
    he equals the diameter of the Roman Pantheon
  • The Cupola provided formidable technical
    difficulties a)
    builds without scaffolding
    builds an internal and external shell and a
    staircase in between c) the external
    nervatures are purely ornamental
    d) uses over 4 million small
    terracotta tiles for easy maintenance
    e) leaves no drafts
    of the structure
  • When completed, the Duomo becomes the symbolic
    center of Florence

Filippo Brunelleschi
  • A conventional way to represent space
  • The objective is to order the view and to select
    a focal point
  • The space in which we live is not orderly, our
    motion changes our position and perspective
  • Medieval artists had represented space in an
    intuitive way, or they had eliminated it (gold
    backgroundspiritual, heavenly dimension)
  • Renaissance rationality represents divinity in a
    human setting
  • The central perspective is the most common,
    allowed a symmetrical representation and a
    central vision (closer to the observer)