Art History II

By smiles3834
  • Period: 1000 BCE to

    Fresco Painting

    Fresco is Italian for a method of mural painting with water-based pigments on freshly applied plaster, usually on wall surfaces. The colours, which are made by grinding dry-powder pigments in pure water, dry and set with the plaster to become a permanent part of the wall. It is the oldest known painting medium, surviving in the prehistoric cave mural decorations and perfected in 16th-century Italy in the buon’ fresco method. p419, 447
  • 1200

    Late Medieval Italy (1200-1400) - 13 & 14th century

    The last phase Medieval Italy art. Marked by Italo-Byzantine style (both gothic & newly revived classical naturalism). Regarded as the beginning/rebirth of Renaissance (Greco-roman naturalism)
  • 1266

    Giotto di Bondone

    Naturalist, master of fresco, regarded as 1st Renaissance painter (late Medieval Italy, 13th century). His frescos adorn the interior of the Arna Chapel in Padua
  • Period: 1301 to 1400

    Tempera

    During the 14th century (1301-1400), egg was the material of choice. Tempera painting uses pigment mixed with egg yolk and glue (pg. 439).
  • 1305

    Giotto, "Lamentation" - 1305

    Giotto Di Bondone, Lamentation, Arena Chapel, Padua, Italy. Painted in several sections, each corresponding to one painting session known as giornata. Artis employing the buon fresco technique must complete each section before the plaster dries.
  • Period: 1400 to 1425

    Early Renaissance Italy (Early 15th Century)

    1400-1425: Ghiberti wins New Doors for Florence Competition;
    Nanni di Banco & Donatello create statues for Or San Michele; Masaccio advances Giotto's naturalism in the Brancacci chapel; Brunelleschi develops linear perspective (e.g., Dome of Florence Cathedral).
  • 1410

    Nanni di Banco: Four Crowned Martyrs, Florence (fig. 16-4)

    Nanni di Banco: Four Crowned Martyrs, Florence, Early Italian Renaissance, Early 15th century (1410-1414), marble - The life-sized sculpture represents 4 martyred patron saints of Florence's stone & woodworker's guild. It's an early example of liberating the statue from the architecture.
  • 1410

    Oil Painting Reinvented (1410) by Jan Van Eyck

    In the 14th century, Cennino Cennini presented a painting procedure integrating tempera painting covered by light oily layers. The technique of oil painting, still used today with few technical modifications, was invented or re-invented in Europe around 1410 by Jan van Eyck (1390 -1441).
  • 1420

    Brunelleschi: Dome of Florence Cathedral, Italian (Fig. 14-19)

    Brunelleschi: Dome of Florence Cathedral, Italian, Early Italian Renaissance, early 15th century (1420-1436).
  • 1423

    Gentile da Fabriano: Adoration of the Magi(fig. 16-17)

    Gentile da Fabriano: Adoration of the Magi, Early Italian Renaissance, early 15th century, (International Gothic Style) tempera and gold on wood. (1423) | During the late 14th century, egg was the material of choice. Tempera painting uses pigment mixed with egg yolk and glue (pg. 439).
  • 1424

    Mosaccio: The Trinity, Santa Maria Novella, Florence (fig. 16-20)

    Mosaccio: The Trinity, Santa Maria Novella, Florence, Early Italian Renaissance, early 15th century, fresco (1424-1427); pioneering example of math application & linear perspective. (Above) Barrel-vaulted Romanesque-like-chapel. (Below) The Virgin Mary and St. John L to R of the crucified Christ. (Note: Mary appears older in her true age at the time of Christ's death.) From behind God supports Christ's arms on the cross. His blood runs down.
  • 1424

    Masaccio: The Tribute Money, Brancacci Chapel (fig. 16-18))

    Masaccio: The Tribute Money, Brancacci Chapel, Florence, Early Italian Renaissance, early 15th century (1424-1427), fresco
  • 1438

    Fra Angelico: Annunciation, Monastery of San Marco (fig. 16-21)

    Fra Angelico: Annunciation, Monastery of San Marco, Florence, Early Italian Renaissance, mid 15th century, fresco (1438-1447). Painted for Dominican monks of San Marco, in a simple and direct (no shadows); a style befitting a Monastery, where it is placed at the top of stairs leading to the friars' sleeping cells. The Scene: announcement by archangel, Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus.
  • 1440

    Donatello: David (fig. 16-11)

    Donatello: David, Early Italian Renaissance, early 15th century (1440-1460), bronze - From the Medici palace, Florence, Italy. Donatello's "David" represents the Renaissance revival of the free-standing nude statue. In contrast, nudity was rare in medieval art, only to appear in biblical-based settings. With "David" Donatello, re-invented the classical nude. Ironically, his subject wasn't a Greek God, but rather the biblical slayer, Goliath who was the symbol of the Florentine Republic.
  • 1445

    Michelozzo di Bartolommeo: Palazzo Medici-Recardi, Florence (fig. 16-35)

    Michelozzo di Bartolommeo: Palazzo Medici-Recardi, Florence, Early Italian Renaissance, early 15th century (1445). The Medici Palace is a combination of dressed and rusticated masonry and classical moldings; draws on ancient Roman architecture, with reinterpreted models. Heavey rustication (rough & unfinished masonry accentuates strength. Dressed masonry (ie., smooth finished) ashlar blocks are on the 2nd level and top levels), making it appear lighter as the eye moves upward.
  • 1447

    Andrea Del Castagno: The Last Supper, monastery of Sant' Apollonia (fig. 16-22)

    Andrea Del Castagno: The Last Supper, monastery of Sant' Apollonia, Florence, Early Italian Renaissance, 15th century (1447), fresco. Resided on the wall of a nuns' dining room. Scene: Reflects flawed linear perspective (3D illusion) seen in the ceiling and the roof. Judas lists isolated, while Jesus and the disciples are seated horizontally along the table.
  • 1472

    Piero Della Francesca: Double Portrait of Battista Sforza and Federico da Montefeltro, Early Italian Renaissance, late 15th century, oil and tempera on panel (fig. 16-43)

    Piero Della Francesca: Double Portrait of Battista Sforza and Federico da Montefeltro, Early Italian Renaissance, late 15th century, oil and tempera on panel (1472-1474). Scene: Federico da Montefeltro and his deceased wife combine the profile views on Roman coins with landscape backgrounds. A traditional profile was not possible because of Montefeltro's deformities. But the effect of him facing left locks his eyes with his lady, suggesting they share a bond that transcends death.
  • 1477

    Giovanni Bellini: Sant Francis in the Wilderness, Venetian (fig.16-40)

    Giovanni Bellini: Saint Francis in the Wilderness, Venetian, Early Italian Renaissance, oil, and tempera on wood, 15th century (1477-1479). Mixing tempera and oil, Bellini depicted Saint Francis (founder of the Franciscan order) communing with God in a landscape filled with references to the crucifixion and to Moses. In the 1470's he came in contact with the new oil painting technique. Giovanni also established the Venetian High Renaissance School of painting.
  • 1481

    Pietro Perugino, The Delivery of the Keys, from the Sistine Chapel, wall of the nave, Rome (fig. 16-41)

    Pietro Perugino, The Delivery of the Keys, from the Sistine Chapel, wall of the nave, Rome, Early Italian Renaissance, late 15th century, fresco (1481-1483). Commissioned by Pope Sixtus IV to paint the Sistine Chapel in the Vatican, to glorify the papacy itself. Scene: Christ delivers keys of the Kingdom to St. Peter.
  • 1484

    Botticelli: The Birth of Venus (Fig. 16-1)

    Botticelli: The Birth of Venus, Early Italian Renaissance, lat 15th century, tempera on canvas (1484-1486). Botticelli revives theme of female nude as physical and spiritual beauty. Scene: Based on a poem/Greek myth, Zephyrus blows Venus toward Cyprus; Venus rides in a Cockleshell; greeted by Pamona.
  • 1485

    Ghirlandaio: The Birth of the Virgin, Sat Maria Novella (fig. 16-26)

    Ghirlandaio: The Birth of the Virgin, Santa Maria Novella, Early Italian Renaissance, late 15th century, fresco (1485-1490). Scene: Mary's mother reclines, while midwives prepare the infant's bath. (Left) is the solemn procession of women led by (Ludovica, Tornabuoni's only daughter) symbolic of her place in Florentine society; painting is clear, spatially arranged, with statuesque figures in rational order and logical relations amongst them and the objects.