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LECTURE chapter 21 part 2 BRUNELLESCHI santo spirito ground plan shows the modular space he has created with the columns the width of the nave is half the height of the nave one to four mathematical square spacing with the square the columns and nave create these mathematical proportions were done purposely he believed god was about rationality uses leafy capitals round arches plain columns first architect to revive the classical greek style from antiquity MICHELOZZO DI BATOLOMMEO palazzo medici riccadi in florence began in 1444 renaissance house was a place of business and place of living rich poor you had business on ground floor the family lived upstairs the third story is where the latrine was along with the kitchen and such where the cooks were servants from low to high the texture of the stones change within each bottom heavy thick rugged stones protected your money middle smooth stones told family was smooth high barely see the stones to show you didn t want them to think about overhang keeps people beneath on the bench dry cosimo de medici was a major patron of the arts along with this building every italian house follows the pattern of having the core of the building open this created a court yard their private space where the noise of the street is not a distraction very functional family turns inward santa maria novella florence dominican church inside is the painting by MASACCIO MASACCIO holy trinity 1427 painted to look like there is a chapel punched into the wall jesus on cross mary and joseph held up by god the father skeleton on coffin at bottom of work i once was what you are you will become what i am reminds us of our death and mortality which is a memento mori white collar on god is the holy trinity in the form of a dove rendered in one point perspective earliest surviving painting to show the use of one point perspective architecture portrayed is classical like in the santo spirito friends with brunelleschi so using the style that he uses Mantua place Marquis Ludovico Gonzaga ruler wants to bring the new classical style to his court to modernize his city MANTEGNA camera degli sposi 1474 ducal palace mantua parts of walls look like leather looks lie whole world is beyond leather hangings uses perspective system to make it seem like there is world behind walls wife is trying to hear what is going on between her husband and other man daughter is asking mom for apple a lot going on court dog is looking at you suspiciously son was made into a cardinal so sends group of people to meet him on his way home ceiling painting first time vertical perspective is used looks like it is open to sky di sotto in su from below upwards people are looking down at you plants are overhead angels holding apple to drop on you girl is brushing hair some have heads stuck in one has freer of heights won t look down and is dead christ 1490 1500 his feet are a lot smaller than they should be smaller than head which is not peeing right seems to grow from feet this is reverse perspective LEON BATTISTA ALBERTI most sophisticated individual of his time architect theoretician musician cryptographer painter secretary to pope emperor and many others had two degrees wrote a lot of books and knew latin fluently author of on painting de pictura 1435 one of the best things he is remembered for dedicated to his friend brunelleschi in dedication talks about importance of antiquity first to celebrate achievements of their day to be as good as ancient the first theoretical treatise on what is beautiful in art also the first written description of who to make an image in one point romans big deal perspective his ideas influence future paintings palazzo rucellai florence 1452 1470 never finished planned to expand onto another building his stones are not as busy as michelozzo di bartolomeo s horizontal pilasters join the three series together pilasters also frame an opening influenced by the colosseum vitruvius wrote de architectura of caesar s time which alberti read doric supports structures ionic is decorative corinthian is most decorative used for interior alberti does his columns doric ionic corinthian just like in the colosseum sant andrea ludovico of mantua sends alberti to remodel the building everyone that is important sees this building alberti likes to use roman building types on structures reflects roman temple and roman triumphal arch as it is built in interior is a commentary to brunelleschi s interior rounded arch ceiling rather than square alberti doesn t have any columns like brunelleschi did he didn t include these because he wanted to unify the entire space this model of church design is used for the next years like the st peter s rome of rome s basilica of constantine 310 has impacted his idea to have that arch at the the 1600s altar lorenzo de medici behind the scenes ruler of florence 1469 1492 managed to make things very stable in florence crude politician period of tremendous innovation ANTONIO POLLAIUOLO hercules and antaeus 1475 not a christian subject but a pagan one drawn from greek mythology portraying greek myths again small scale sculpture reasons why important 1 mythological sybject 2 true sculpture in the round makes you want to see multiple sides to understand their push and pull you have to turn on it hercules has to kill antaeus oracle says the only way to kill antaeus is to take him from his mother answer in sculpture is seen as he is holding him of the ground from mother earth battle of ten nudes 1465 print making intaglio process print making referring to engraving not relief steel burin cuts into copper plate wipe plate with ink it gets in grooves wipe ink off you make print all this work seems to be doing is advertising pollaiuolo skill proud of way to render human body accurately first known artist to have performed dissections in order to render anatomy accurately big deal believe he did anatomy dissections to get it correct everyone is attacking each other bowman is the only one not killed signature is right beside it to show he has followed this anatomy out print making allows for the rapid spread of ideas PIERO DEALL FRANCESCA portrait of the duchess and duke of urbino basttista sforza and ferico da montefeltro 1472 portraiture the rise of the individual always show from the side in italy profile seems to be preferred style because it forms a barrier but still see status status is the emphasis of profile view he is wearing a hat and vest to show he is leader


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KSU ARTH 22007 - BRUNELLESCHI

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