Trinity College Art History 102

1. Trinity College Art History 102

Chapter 16
Italy, 1400 to 1500
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2. Renaissance Florence

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3.

Florence, Baptistery of San Giovanni, 1059-1150

4.

Baptistery North Doors 1400-24

5. Figure 16-2 FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402.

Figure 16-2 FILIPPO
BRUNELLESCHI, Sacrifice of Isaac,
competition panel for east doors,
baptistery, Florence, Italy, 1401–
1402. Gilded bronze, 1’ 9” x 1’ 5”.
Museo Nazionale del Bargello,
Florence.
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6.

7. Figure 16-3 LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors, baptistery, Florence, Italy, 1401–1402.

Figure 16-3 LORENZO
GHIBERTI, Sacrifice of Isaac,
competition panel for east doors,
baptistery, Florence, Italy, 1401–
1402. Gilded bronze relief, 1’ 9” x
1’ 5”. Museo Nazionale del
Bargello, Florence.
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9.

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11.

Orsanmichele, Florence 1336-1404

12. Figure 16-5 DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411–1413. Marble, 7’ 9” high. Modern copy in exterior

niche.
Original sculpture in museum on second floor of Or San Michele,
Florence.
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13.

Donatello St. Mark, Orsanmichele, 141113

14. Polykleitos, Doryphoros (Spear-bearer), c. 450-440 BC

15.

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16.

Nike Fastening her Sandal, Temple of
Athena Nike, c. 410 BC

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18.

Donatello St. Mark, detail

19.

Doryphoros, detail

20.

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21.

Nanni di Banco, Quattro Santi Coronati,
Orsanmichele, 1408-14

22.

23. Figure 16-10 LORENZO GHIBERTI, east doors (Gates of Paradise), baptistery, Florence, Italy, 1425–1452. Gilded bronze, 17’ high.

Modern copy, ca. 1980. Original panels in
Museo dell’Opera del Duomo, Florence.
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24.

Ghiberti, East Doors,
Story of Isaac and his
Sons, 1425-52

25. Figure 16-8 DONATELLO, Feast of Herod, panel on the baptismal font of Siena Cathedral, Siena, Italy, 1423–1427. Gilded bronze ,

1’ 11 1/2 ” x 1’ 11 1/2”.
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26.

Masaccio, Brancacci chapel, left wall

27.

Masaccio, Brancacci chapel, right wall

28.

Masolino, Temptation of Adam and
Eve

29.

30. Figure 16-19 MASACCIO, Expulsion of Adam and Eve from Eden, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca.

1424–1427. Fresco, 7’ x 2’
11”.
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32.

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33.

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34. Figure 16-18 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x

19’ 7 1/8”.
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35.

36.

37.

38. Figure 16-18 MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine, Florence, Italy, ca. 1427. Fresco, 8’ 4 1/8” x

19’ 7 1/8”.
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39.

Masolino, St. Peter Healing a Lame Man, Brancacci chapel

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41.

42. Figure 16-20 MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1424–1427. Fresco, 21’ 10’ 5/8” x 10’ 4 3/4”.

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43.

Nardo di Cione, Trinity with
Saints, 1365

44.

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45.

Florence, panorama with the Duomo

46.

Pantheon, Rome, c. 118-29

47.

Pantheon, interior, by
Giovanni Paolo Pannini, 1747

48. Figure 16-30 FILIPPO BRUNELLLESCHI, cutaway view of the dome of Florence Cathedral, Florence, Italy, 1420-1436 ( after Piero

Sanpaolesi).
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49.

Santo Spirito, Florence, facade

50. Figure 16-32 FILIPPO BRUNELLESCHI, early plan (left) and plan as constructed (right) of Santo Spirito, Florence, Italy,

designed 1434–1436; begun 1446.
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51. Figure 16-31 FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–1436; begun

Figure 16-31 FILIPPO BRUNELLESCHI, interior of Santo Spirito (looking northeast), Florence, Italy, designed 1434–
1436; begun ca. 1436.
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52. Figure 16-33 FILIPPO BRUNELLESCHI, facade of the Pazzi Chapel, Santa Croce, Florence, Italy, begun ca. 1440.

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53. Figure 16-34 FILIPPO BRUNELLESCHI, plan of the Pazzi Chapel, Santa Croce, Florence, Italy designed ca. 1423, begun 1442.

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54. Figure 16-35 FILIPPO BRUNELLESCHI, interior of the Pazzi Chapel (looking northeast), Santa Croce, Florence, Italy, designed

ca.1423,
begun 1442, with glazed terracotta roundels by
Luca della Robbia.
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55. Figure 16-39 LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1456–1470.

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56.

57. Figure 16-44 LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

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58. Figure 5-14 Elevations of the Doric and Ionic orders.

Compare Doric and Ionic Orders
Figure 5-14 Elevations of the Doric and Ionic orders.
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59. Figure 7-6 Roman concrete construction. (a) barrel vault, (b) groin vault, (c) fenestrated sequence of groin vaults, (d)

hemispherical dome with oculus (John Burge).
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60. Colosseum, Rome, c. 70-80

61.

Pantheon, Rome, c. 118-29

62.

Rome, Arch of Constantine, c. 315

63. Figure 16-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

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64. Figure 16-46 LEON BATTISTA ALBERTI, interior of Sant’Andrea (looking northeast), Mantua, Italy, designed 1470, begun 1472.

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65.

Masolino, St. Peter Healing a Lame Man, Brancacci chapel

66. Figure 16-36 MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

Figure 16-36 MICHELOZZO DI
BARTOLOMMEO, facade of the Palazzo MediciRiccardi, Florence, Italy, begun 1445.
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67. Figure 16-37 MICHELOZZO DI BARTOLOMMEO, interior court of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

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68. Figure 16-38 LEON BATTISTA ALBERTI BERNARDO ROSSELLINO, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.

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69. Colosseum, Rome, c. 70-80

70. Figure 16-17 GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Strozzi Chapel, Santa Trinità, Florence, Italy, 1423.

Tempera on wood, approx. 9’
11” x 9’ 3”. Galleria degli
Uffizi, Florence.
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73.

74. Figure 16-21 FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco, 7’ 1” x 10’ 6”.

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75. Figure 16-28 SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi,

Florence.
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76. Figure 16-25 DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza

Collection, Madrid.
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77. Figure 16-24 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.

Fresco, 24’ 4” x 14’ 9”.
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78. Figure 16-14 ANTONIO DEL POLLAIUOLO, Hercules and Antaeus, ca. 1470–1475. Bronze, 1' 6” high with base. Museo Nazionale del

Bargello, Florence.
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80.

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81. Figure 16-12 DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high. Museo Nazionale del Bargello, Florence.

First free-standing nude statue since
antiquity. Notice the contrapposto
Nudity used to portray a Biblical hero
rather than as an allegory for
sinfulness (Medieval mentality).
Figure 16-12 DONATELLO, David, late 1440–1460. Bronze, 5’ 2 1/4” high.
Museo Nazionale del Bargello, Florence.
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82. Figure 16-13 ANDREA DEL VERROCCHIO, David, ca. 1465–1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello, Florence.

Figure 16-13 ANDREA DEL VERROCCHIO, David, ca. 1465–
1470. Bronze, 4’ 1 1/2” high. Museo Nazionale del Bargello,
Florence.
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83. Pollaiullo – Interest in Human Anatomy

• Hercules and Antaeus – study of the musculature of struggling
human form
• Battle of the Ten Nudes – one of earliest known engravings, ecorche –
muscles look so defined that it looks as if they lack skin
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84. Figure 16-29 ANTONIO DEL POLLAIUOLO, Battle of the Ten Nudes, ca. 1465. Engraving. 1 3 1/8” x 1’ 11 1/4”. Metropolitan Museum

of Art, New York (bequest of Joseph Pulitzer, 1917).
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85. Rise of Portraiture

• Understand the social, religious, and political influences of
15th-century Italian art
• Discuss the various roles of commemorative portraits
• Identify various artists of the period and their stylistic
accomplishments
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86. Figure 16-15 DONATELLO, Gattamelata (equestrian statue of Erasmo da Narni), Piazza del Santo, Padua, Italy, ca. 1445–1450.

Bronze, 12’ 2” high.
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87. Figure 16-16 ANDREA DEL VERROCCHIO, Bartolommeo Colleoni (equestrian statue), Campo dei Santi Giovanni e Paolo, Venice, Italy,

ca. 1481–
1496. Bronze, 13’ high.
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88. Figure 16-25 DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza

Collection, Madrid.
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89. Figure 16-24 DOMENICO GHIRLANDAIO, Birth of the Virgin, Cappella Maggiore, Santa Maria Novella, Florence, Italy, 1485–1490.

Fresco, 24’ 4” x 14’ 9”.
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90. Figure 16-38 LEON BATTISTA ALBERTI BERNARDO ROSSELLINO, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.

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91. Figure 16-39 LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1456–1470.

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92. Figure 16-21 FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1438–1447. Fresco, 7’ 1” x 10’ 6”.

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93. Figure 16-22 ANDREA DEL CASTAGNO, Last Supper, the refectory, convent of Sant’Apollonia, Florence, Italy, 1447. Fresco, 15’ 5”

x 32’.
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94. Figure 16-23 FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, 2’ 11 1/2”. x 2’ 1”. Galleria degli

Uffizi, Florence.
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95. Figure 16-40 PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy,

1481–
1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.
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96. Figure 16-44 LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

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97. Figure 16-45 LEON BATTISTA ALBERTI, plan of Sant’Andrea, Mantua, Italy, designed 1470, begun 1472.

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98. Figure 16-47 ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

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99. Figure 16-48 ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in

diameter.
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100. Figure 16-49 ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera,

Milan.
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101. Figure 16-42 PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), ca.

1472–1474. Oil on
wood, 8’ 2” x 5’ 7”. Pinacoteca di Brera, Milan.
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102. Figure 16-43 PIERO DELLA FRANCESCA, Flagellation of Christ, ca. 1455-1465. Oil and tempera on wood, 1’ 11 1/8” X 2’ 8 ¼”.

Galleria Nazionale delle Marche, Urbino.
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103. Figure 16-41 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco,

Figure 16-41 LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–
1504. Fresco, 23’ wide.
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