15th Century Italian Art

The Early Renaissance – 15th Century Italy • • • • • • • • • • • • • •

Or San Michele = Guild Church in Florence Quatrefoil = 4 leaf Giangaleazzo Visconti = Military general from Milan Foreshortened* Gilded = Covered with Gold Contrapposto* Goliath = Philistine adversary of David Caduceus Oculus* Condottiere = Hired military man Giovanni Tornabuoni Brancacci Chapel Chiaroscuro* Lake Galilee

• • • • • • • •

Trinity = God the Father, God the Son, and God the Holy Ghost are 3 people yet the same 1 God. Epitaph Memento Mori* Golgotha = Place of the Skulls; this was where Christ was Crucified Giorgio Vasari = First Renaissance Art Historian Girolamo Savonarola* Bonfire of the Vanities* Archangels = Michael, Raphael, Uriel, and Gabriel

*Pay attention to these words in your reading and in lecture as they are significant and important.

Exam questions may come from anywhere in the chapter and the lecture.

Images from your textbook are identified with the Image number, I advise you to fill in the name, artist, date, material, and artistic period BEFORE you come to class.

Salome presenting the head of St. John to Herodias, Panel South Doors, San Giovanni Baptistery

Andrea Pisano, South Doors, 1330-36, Proto-Renaissance, San Giovanni Baptistery, Florence, Gilded Bronze

Fig. 16-2

Fig. 16-3

Ghiberti, Annunciation, North Doors, 1404-1424, Early Renaissance, Gilded Bronze

Fig. 16-9

Ghiberti, Creation, Temptation, Expulsion, Panel East Doors, San Giovanni Baptistery, 1425-1452, Early Renaissance, Gilded Bronze

Ghiberti, Story of Abraham, Panel East Doors, San Giovanni Baptistery, 1425-1452, Early Renaissance, Gilded Bronze

Fig. 16-4

Fig. 16-12

Fig. 16-13

Fig. 16-1

Fig. 16-29

Fig. 16-48

Fig. 16-49

Piero della Francesca, Enthroned Madonna and Saints Adored by Federico da Montefeltro (Brera Altarpiece), 1472-1474, Early Renaissance, Oil on Panel

Fig. 16-16

Fig. 16-19

Masolino, Temptation, from Brancacci Chapel, Santa Maria del Carmine, 1425, Early Renaissance Fresco

Fig. 16-20

Fig. 16-21

Fig. 16-22

Fig. 16-24

Fig. 16-23

Fig. 16-42