ARHI 2300 1st Edition Lecture 26Outline of Last Lecture I. Renaissance HistoryII. The Lives of the Most Imminent Painters, Sculptors, and ArchitectsIII. The Sacrifice of IsaacOutline of Current LectureI. The Temptation and The ExpulsionII. Raising of the Son of TheophilusIII. The Holy TrinityCurrent LectureI. The Temptation and The Expulsion from the Brancacci Chapel, Masolino, Italian Renaissance a. Buon fresco (6ft 9 inches x 2 ft. 10 inches)b. Petrine cycle to honor family members (shows life cycle of St. Peter) i. St. Peter was a patron Saint of Rome; John the Baptist was the paron saintof FlorenceThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.c. Shows original sin (reason for the coming of the Christ) and the expulsion from the garden of Edend. Buon fresco (wet fresco)- blue paint around Adam is not mixed right e. Expulsion: Masaccio creates more facial expressionsi. More dramatic use of darkness/light 1. Gives the body weight, volume, and definition. They cast shadows and seem weighed down.f. Temptation: Masolino is more idealized; more contrapposto. Feet hang in space, don’t cast shadow (not weighted down in sin yetg. Use dark in light metaphorically (dark= in the dark; light=in the harsh world)II. Raising of the Son of Theophilus, Masaccioa. Peter prayed and raised Theophilus’ son from the deadb. Masaccio put himself and Masolino in the painting, along with Brunellesci i. Artists are becoming respected enough to do this c. At this time, Brunellesci was discovering linear perspective (helps locate forms in space)III. Holy Trinity, Masaccio, Italian Renaissance 1424-27a. Create a painting that will fool your eye into thinking there’s a private chapel in here (using linear perspective) b. Skeleton with inscription: “I was once what you are, and what I am you will become”i. Confronted with human mortalityc. Donor portraits: Lenzi and Lenzi’s wifed. Virgin Mary and St. John the Evangelist (figures by the cross)e. God the father, the Holy Spirit (dove) and God the son (Jesus Christ)f. Linear perspective- horizon line (skeleton is at eye level; above is God)g. Vanishing point- established anywhere on the horizon linei. Here, it is dead center (symmetrical composition) h. Orthogonals- diagonal lines that move from your vanishing point to the edges of the image. This is where you locate the formsi. Here, the top of the heads line up with orthogonalsii. Your eye follows these lines i. Mary’s eyes point in different directions (always seem to be following you); the upraised hand draws our attention to her son to implicate the
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