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Renaissance Florence the Invention of a New Art Pdf

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The Early Renaissance in Florence

A woman holding a nude baby boy sits on a blue patterned pillow on the floor in front of a brick red curtain held up by two angels in this vertical painting. The people all have white skin with a green cast, though their cheeks are flushed with pale pink. The woman sits facing us and looks slightly off to our right. She has almond shaped eyes, a straight nose, and her lips are closed. She wears a blue cloak with a white hood over a shell pink dress. Her right arm, on our left, rests in her lap and she supports the baby with her other arm. The baby's nude body is pudgy like a baby's but his face and head are scaled more like an adult. His body turns towards the woman and he reaches up to her neck, and he looks into the distance to our left. Both have flat, plate-like gold halos. The winged angels holding up the red curtain also have halos and they wear blue robes. The curtain falls in gentle folds behind the mother and child, and fabric of the same color underneath the blue pillow on which they sit suggests that the curtain extends onto the floor. A dove, also haloed, floats at the top center of the painting. The gold background around the curtain and behind the angels and dove is painted into an arch over the people, and the upper corners of the panel are dark. A Latin inscription is painted with capital gray letters against a white band along the bottom edge of the panel:

Overview

In fifteenth-century Florence, many people believed themselves to exist living in a new historic period. The term "Renaissance," already coined by the sixteenth century, describes the "rebirth" from the dark ages of intellectual reject that followed the brilliance of ancient civilization. In Italy, particularly, the Renaissance was spurred by a revival of Greek and Roman learning. Works past classical authors, lost to the West for centuries, were rediscovered, and with them a new, humanistic outlook that placed homo and homo achievement at the center of all things.

Brunelleschi, Donatello, and Masaccio

Humanists in Florence styled their city a "new Athens." It was a fiercely mercantile state, struggling to remain contained and committed to republican virtues though controlled in practice by the powerful Medici family. No single factor tin explain the unrivaled artistic flowering information technology experienced in the early 1400s, but the contributions of Brunelleschi in architecture, Donatello in sculpture, and Masaccio in painting changed Western fine art forever. Brunelleschi measured ancient buildings in Rome to understand the harmony of classical proportions and reintroduced such elements of classical architecture as the columned arcade. He applied applied science genius to design the huge dome for the cathedral of Florence and invented the system of one-point perspective (see beneath). Donatello, who accompanied Brunelleschi to Rome, carved some of the outset large-calibration, freestanding statues since artifact. Like those ancient figures, his were sometimes nude. In Florence's Brancacci chapel, Masaccio painted a series of innovative frescoes that used light, coming strongly and consistently from a single direction, to model figures with shadow and give them robust three-dimensionality. He put into practice Brunelleschi's theories nigh how to project depth across a apartment painted surface, employing the lines of painted architecture to create a convincing illusion of space.

Masaccio, Italian, 1401 - 1428, The Madonna of Humility, c. 1423/1424, tempera (?) on panel, Andrew W. Mellon Collection, 1937.1.7

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Two men are situated inside a coral-red building with arched openings that fills the left two-thirds of this composition, and two men are shown in a body of water in a simplified, almost stylized landscape to our right in this horizontal painting. The building recedes sharply into the space of the landscape without seeming to be part of it, and the men seem a little too large in relation to the water, trees, and the building to our left. The men all have pale, cream-colored skin and wear ivory-white robes. The red, arched building spans the entire height of the painting. Inside, a bearded man with a halo sits on a bench facing our right in profile as he holds up his right hand towards the cleanshaven man kneeling in front of him. Short, gold rays emanate from the younger man's shoulders as he looks up towards the older man with his hands tucked into his voluminous sleeves. In the landscape to our right, the two people both have blond hair and halos. One, either a man or a younger boy, seems to kneel in the pool, filling a pitcher with water. He turns to look toward the man standing behind him, who leans over and touches his shoulders. Trees with triangular canopies of dark green leaves have thin, spindly trunks placed regularly across the background with a few on the grassy ground closer to us.

Perspective

Artists and audiences have always perceived pictorial infinite in means that suit their worldview -- their way, literally, of "looking at the earth." In religious painting of the tardily Centre Ages, for case, space seems to open up out from the flick plane. It encompasses the viewer to make him part of the sacred events depicted, bringing him into the same sphere with the holy figures of Jesus, Mary, and the saints.

During the early Renaissance, all the same, as humanism focused attending on human being and human perception, the viewer assumes the active role. Now, instead of projecting outward, space recedes -- with measured regularity -- from the viewer'southward eye into the movie plane. Considering the viewer himself is the point of reference, the illusion of space is more realistic than was always before achieved. Brunelleschi is credited with the "invention" of ane-point perspective, but it was given systematic course a generation later in Leon Battista Alberti's treatise on painting, De pictura, published in 1435. In 1-betoken, also called linear, perspective, all lines converge to a single point in the distance -- the vanishing indicate. Often information technology is possible to run into where the artist has scored these perspective lines into the surface of the painting to serve as guides.

Fra Filippo Lippi, Italian, c. 1406 - 1469, Saint Benedict Orders Saint Maurus to the Rescue of Saint Placidus, c. 1445/1450, tempera on console, Samuel H. Kress Collection, 1952.v.10

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A winged angel with arms crossed kneels across from a young woman sitting and holding a book, both under an archway in a paneled room in this vertical painting. They both have pale, yellow-toned skin, blond hair, and flat, gold halos. They also have golden brown eyes, long, straight noses, smooth cheeks, and their pale, pink lips are closed. To our right, the woman sits in a throne-like chair with her body facing our left. Her head tilts down and she looks down toward the angel under lowered lids. Her hair is pulled back under the neck of the lapis-blue cloak she wears over a crimson-red dress. The dress and cloak are trimmed with gold, and a there is a gold starburst on the cloak over her left shoulder, closer to us. She holds her other hand up near that shoulder with her fingertips brushing her chest. With her other hand, she holds open the pages of a small book in her lap, so her fingers overlap some of the words. The entire inscription would read,

Fifteenth-century viewers of this Annunciation would have recognized not simply its general subject, but also the particular moment Masolino chose to paint. Street preachers gave vivid accounts of Gabriel's bulletin to Mary about Christ's nascence, and audiences would also have seen the Declaration reenacted on its feast day. In Florence, Brunelleschi designed an apparatus to lower an actor portraying Gabriel from the cathedral dome, as immature children dressed every bit angels hung suspended in rigging. Events in the drama took identify in sequence. Mary was kickoff startled at the angel'due south sudden appearance; she reflected on his message and queried Gabriel about her fitness; finally, kneeling, she submitted to God's will. Here Mary'due south downcast eyes and musing gesture—hand resting tentatively on her breast—suggest the 2d, and most often depicted, of these stages: reflection. Equally did actors in the religious plays, artists used gesture and posture to communicate states of mind.

Masolino is best known for his collaboration with Masaccio on the frescoes of the Brancacci chapel in Florence—and for his failure to pursue Masaccio's innovations. Masolino continued to pigment in a fashion that was delicate and ornamental. His colors are flowerlike, his figures elegant but unreal. They do non seem and so much to exist within the painted infinite as to be placed before it. In the ceiling, colorful tiles, a device used by Masaccio to create perspective lines, are merely decorative and leave infinite ambiguous.

Masolino da Panicale, Italian, c. 1383 - 1435 or after, The Annunciation, c. 1423/1424, tempera (and possibly oil glazes) on panel, Andrew W. Mellon Drove, 1937.one.16

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This portrait is amongst the get-go from the Renaissance. During the late Centre Ages, depictions of individual donors had often been included in religious paintings, simply it was not until the early fifteenth century that contained portraits were commissioned. The primeval ones are, similar these, unproblematic—even ascetic—contour views. Very likely, they were influenced by portrait busts and the contour heads on ancient gems and coins, which were avidly collected by Renaissance humanists. The popularity of the independent portrait was spurred by a new focus on the private and an appreciation of individual accomplishments—a new conception of fame.

Probably, the portrait is of Matteo Olivieri—his name appears on the ledge—and was originally paired with ane of his son Michele, who may have commissioned both works. Though painted long after Matteo had died (he left a will in 1365), the portrait depicts a young man, every bit did the portrait of his son, who must have been at least 60-five when the works were painted. Most portraits were probably commissioned as commemorations of the deceased by families who wished to think them in the prime of life. Equally Renaissance art theorist Alberti noted, a portrait "like friendship can make an absent-minded man seem present and a dead ane seem alive."

Florentine 15th Century, Matteo Olivieri (?), 1430s, tempera (and oil?) on console transferred to canvas, Andrew W. Mellon Collection, 1937.one.fifteen

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This console and Saint Francis Receiving the Stigmata are from one of Domenico's major works, a big altarpiece in the church of Santa Lucia de' Magnoli in Florence. They formed office of its predella, the lower tier of small scenes that typically illustrated events in the lives of the saints who appeared in the larger central altar panel above.

Domenico'southward John the Baptist is unusual. Earlier artists had shown him every bit an older, bearded homo with matted pilus and clad in creature skins. Here, though, we see a youthful John at the very moment he is casting off the fine clothes of worldly life for a spiritual being. His graceful figure, nude and modeled like an ancient statue, is one of the first embodiments of the Renaissance preoccupation with the art of ancient Greece and Rome. The figure is convincingly three-dimensional considering the tones Domenico used for his flesh are graduated, ane colour blending continuously into the adjacent. The landscape around the saint, notwithstanding, belongs to an earlier tradition. Its abrupt, stylized forms increase our appreciation for the desolation John is about to comprehend in the stony wilderness; they dramatize his conclusion and give his activeness greater significance.

Domenico Veneziano, Italian, c. 1410 - 1461, Saint John in the Desert, c. 1445/1450, tempera on console, Samuel H. Kress Collection, 1943.4.48

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Dozens of people line up around a shed-like manger and through stone ruins to kneel before a woman and baby, the Virgin Mary and Jesus, at the lower center of this circular painting. All the people have pale white skin. The crowd gathers along a pathway that winds around a rocky mountain at the top middle of the composition. Most of the people are on foot but a few ride horses or camels. The line of people curves around and through an arched opening in a stone ruin to our left. Sitting at the center of the painting, behind Mary and Jesus, the manger is open at the front and has a triangular pitched roof. Some of the people, including the three closest to Mary and Jesus, wear elegant, gold-trimmed clothing. Others wear simple tunics, and several people standing along the ruins in the middle distance wear only white loincloths. Ages of the people range from young and cleanshaven to older and bearded. Their costumes are mostly pale yellow, coral, crimson, shell pink, or sky blue. Some people raise their heads and hands while others hold hands to their chests and close their eyes. Mary wears a pale blue robe over a blush pink dress. The baby is nude and an older man standing nearby wears an apricot-colored robe over a blue tunic. The older man, Mary, and baby have gold halos. A peacock and two other birds stand on the roof of the manger, which shelters an ox, ass, and horses.

An inventory of Lorenzo de' Medici's individual chambers included a circular Adoration—perhaps this one. It was the near valuable painting listed, although ancient cameos and natural wonders such as "unicorn horns" were worth several times more.

The artist named in the inventory was Fra Angelico, but this work is commonly thought to be a collaboration betwixt him and a fellow Florentine, Fra Filippo Lippi. Very likely the painting remained in one of their studios (whose is still debated) for a number of years, receiving desultory attending from several workshop painters. The sweetly angelic Virgin and Kid, the throng of worshipers in the upper right, and the rich rug of plants in the foreground were probably painted by Fra Angelico. Most of the work, all the same, bears the postage stamp of Filippo. His figures are more robust and sharply divers. Compare, for example, the broad confront of Joseph at the right to the Virgin'southward more fragile features.

All elements of the composition—figures, cityscape, mural—spiral in response to the panel's circular shape. This is 1 of the first examples of a tondo, or round painting, which in the 1400s became popular for domestic religious paintings. In the case of the Admiration, the shape may have been suggested past deschi da parto, painted platters used to bring fruit, sweets, and gifts to refresh new mothers later on giving nativity.

Fra Angelico, Italian, c. 1395 - 1455, Fra Filippo Lippi, Italian, c. 1406 - 1469, The Adoration of the Magi, c. 1440/1460, tempera on panel, Samuel H. Kress Collection, 1952.2.2

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Orphaned at a immature age, Filippo Lippi was raised in the Carmelite convent of Santa Maria in Florence, where he would undoubtedly have seen Masaccio and Masolino at piece of work on the frescoes in the Brancacci chapel. He took vows himself, merely proved to exist wholly unsuited to religious life. His name surfaces often in courtroom documents. Tried for embezzlement (fifty-fifty tortured on the rack), he lived openly with a Carmelite nun, Lucretia Buti, who was his model and with whom he had a son—painter Filippino Lippi. His patron Cosimo de' Medici sheltered Filippo in "protective custody" at the Medici palace, hoping to prod him into finishing tardy commissions, but the artist escaped. He was eventually immune to go out his social club and marry Lucretia, but continued to vesture a monk's habit and sign his works Fra ("blood brother") Filippo.

Filippo's Virgin is wistful and slightly melancholy, while the infant'south heavy, almost muscular form recalls Masaccio'due south emphatically three-dimensional figures. Masaccio had used strongly directional light to reveal the form of his figures. Filippo'southward Virgin and child, on the other hand, are bathed in an overall glow that prevents the modeling of the figures from overpowering the graceful and well-defined line of his composition. As Filippo grew older his reliance on line increased and Masaccio's influence lessened.

Fra Filippo Lippi, Italian, c. 1406 - 1469, Madonna and Child, c. 1440, tempera on panel, Samuel H. Kress Collection, 1939.1.290

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This shield shaped painting shows David, a fair-faced, dark eyed young man with curling brown hair, standing astride the severed head of a man with dark hair and swarthy skin. The painting is wider at the top and tapers like a long drinking glass to a narrower base. David holds the end of long red slingshot with his right hand. The slingshot is weighted by a rock and swings behind his body. His sleeveless orange-red garment is cinched at his waist over a long white shirt. Both garments skim David's thighs and his legs and feet are bare. Long, curling brown hair frames the ashen and bloodied upturned face of Goliath at David's feet. A palm-sized stone is embedded in his forehead. The landscape background is made up of gray boulders, a meandering river, and low palm-like trees. Frothy white clouds sweep across an azure blue sky from our left.

The unusual shape of this work is explained by its original use as a parade shield. Its painted scene is exceedingly rare—well-nigh parade shields were decorated with simple coats of arms. It may have been carried in borough or religious processions or have been fabricated as a sign of authority for a denizen-governor.

Images of young David, who overcame seemingly insurmountable odds to kill the giant, were popular in fifteenth-century Florence, the smallest major ability in Italy. The city saw itself threatened by such Goliaths as the pope, the duke of Milan, the rex of Naples, and the doge of Venice. David's paradigm is especially appropriate decoration for a shield since, throughout the Psalms, David'southward poetry echoes the notion of God as his shield: "His truth shall be thy shield and buckler" (Ps. 91.4).

Similar many early on Renaissance artists, Castagno has presented the activeness and its event simultaneously: David holds the loaded sling, but already the head of the slain Goliath lies at his feet. David'south energetic pose, based maybe on an aboriginal statue, creates a potent contour that would have been clear and "legible" every bit the shield was carried. However, the youth's body is well modeled, rounded with calorie-free and shadow to give a convincing likeness of a body in action.

Andrea del Castagno, Italian, earlier 1419 - 1457, David with the Head of Goliath, c. 1450/1455, tempera on leather on wood, Widener Collection, 1942.9.8

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A woman with blond hair dances in the center of a room containing a group of people clustered around a banqueting table to our right with a small, enclosed space occupied by a kneeling man and executioner to our left in this horizontal painting. All the people have pale skin. The ceiling is made up of blue squares encased in a gold grid that recedes to the back, stone wall of the room. The woman's dress seems to be made of fabric that looks vivid royal blue or butter yellow, depending on how the light hits it. Facing our right in profile as she dances, she steps forward onto her left foot, raises her right foot behind her, and holds her right arm aloft. Four men wearing crimson red, pine green, yellow, or bright blue robes or tunics and stockings stand behind the long table set along the wall to our right. A bearded man at the center of the table wears a red hat and fur-lined red robe. He touches his right hand to his chest and holds a knife on the table in his right hand as he looks at the dancing woman. Glasses, dishes, and bowls are arrayed along the table, which is draped with a white tablecloth. A trio of blond, curly-haired, clean-shaven men and a woman with her arms crossed across her chest stand at the far, narrow end of the table, on the other side of the room. Within an alcove at the back of the room, the dancer appears again, kneeling before a seated woman wearing a ruby red dress. The dancer holds or gestures towards a silver plate holding the severed head of a bearded man with brown hair that rests in the seated woman's lap. The left third of the painting is taken up with an enclosure, a tiny room set like a tall, stone box within the larger room. Through an arched opening, a haloed man wearing an ivory colored garment that resembles fur kneels facing us, his head bowed over his hands in prayer. He is the same man as the one beheaded and presented on the plate in the background. A man wearing yellow and blue armor raises a sword over his head, preparing to behead the kneeling man.

A contract for an altarpiece, executed betwixt the artist and the Confraternity of the Purification of the Virgin, gives explicit instructions. The creative person "is obligated to apply himself to this painting so that the said picture will excel, or at to the lowest degree favorably compare with, every skilful picture fabricated thus far past [him]." The appearance of the central department is carefully prescribed: the Virgin is to be flanked by John the Baptist and five other named saints "with all the usual attributes." Gozzoli must also "with his ain hand...pigment at the bottom, that is in the predella...the stories of said saints."

This is one of those predella panels. And here Gozzoli had the freedom to exercise his particular skill as a storyteller. In this one modest painting he has packed three episodes related in Matthew 14:vi–8. At the heart of the painting, we see the twirling figure of Salome, dancing to entertain Herod and his guests, all of whom habiliment fifteenth-century finery. Herod was and then enchanted that he promised Salome whatever she might enquire, and prompted by her female parent, who sought revenge against John, Salome's request was bloody: "Give me the head of John the Baptist." At that place inside an archway at left, the saint kneels to exist beheaded. And at the rear Salome presents the severed head to her female parent.

Benozzo Gozzoli, Italian, c. 1421 - 1497, The Banquet of Herod and the Beheading of Saint John the Baptist, 1461-1462, tempera (?) on console, Samuel H. Kress Collection, 1952.2.three

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On a tiled courtyard between buildings with arches and columns, a winged angel kneels and looks up at a woman standing to our right in this vertical painting. Both people have pale skin, blond hair, and plate-like gold halos at the back of their heads. To our left, the angel wears a silvery-white tunic under a scarlet-red cloak lined with cobalt blue. The wings are fawn brown on the underside, closer to the body, and aquamarine blue on the outside. Gold lines delineate feathers. The angel holds a white lily with two blooms and four buds on a long stem in the hand farther from us, which rests on a bent knee. The other hand is raised in front of the chest. The woman, Mary, stands along the right edge of the painting, her body angled toward the angel. Mary's long, wavy hair falls to her shoulders and she wears a lapis-blue robe with a pine-green lining over a coral-red dress. She holds her right hand, farther from us, to her chest and touches the fabric of her cloak with the other, by her hip. The tip of one red shoe peeks out under her voluminous robe. Between the angel and Mary is a stone-white urn with scrolled handles, holding a bouquet of pink and cream-white roses with dark green foliage. The ground is tiled with squares marbled in pale pink, sky blue, rust red, charcoal gray, and brown. Narrow, ivory-white panels between the tiles create a grid. The buildings around the pair are fog gray, parchment white, shell pink, or coral red, and are trimmed in black, red, or pink. Rows of arches recede into the square behind the angel and woman, ending at a coral-red wall that encloses the courtyard. An arched doorway in that wall opens onto a pathway leading over a small brook and into a hilly forest. A narrow, conical tree outside the courtyard reaches over the wall, into the vibrant blue sky above. A white dove descends from among the few scattered clouds with golden beams projecting towards the woman to our right.

The style of Fra Carnevale, which draws on older artists like Fra Filippo Lippi, also shows evidence of newer trends, especially in his treatment of afar space. Follow the lines of the architecture: the regular rhythm of arcades and arches recedes into the groundwork. The grid formed by the courtyard measures the distance for our middle.

These converging perspective lines pb to a door beyond which we glimpse a lush garden. This is non a random selection of landscape. The creative person has used perspective not simply to create a disarming delineation of space, but to lead us to meet the theological implications of his scene. In reference to her virginity, Mary was often called the hortus conclusus (enclosed garden) and the porta clausa (closed door). Many Annunciations translate these themes with visual images of locked doors and walled gardens. Here instead, the perspective takes us through an open up door into the heavenly garden of Paradise. The Annunciation, because it is the start of Christ'south homo beingness, also heralds the redemption of humankind. The open door underscores the promise of salvation as well as Mary'south part in the Incarnation and as intercessor forthe prayers of men and women.

Fra Carnevale, Italian, active c. 1445 - 1484, The Annunciation, c. 1445/1450, tempera on console, Samuel H. Kress Collection, 1939.1.218

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