Early Renaissance Art & Architecture

Early Renaissance

• Linear or Central Perspective is a mathematical technique developed during the Renaissance
• It enables the creation of realistic three-dimensional depth on a flat surface

Definition of Perspective

• This system includes a vanishing point located on the horizon line
• Parallel lines (orthogonals) converge at the vanishing point

Filippo Brunelleschi (1377-1446)

• Brunelleschi was an architect and engineer who revolutionized linear perspective
• His perspective experiments shaped Renaissance architecture and painting
• He Showcased mathematical perspective using a wooden tablet to depict the Baptistery of Florence

Santa Maria del Fiore (Florence Cathedral Dome, 1420-1436)

• The Florence Cathedral Dome one of the Renaissance's greatest architectural achievements
• Brunelleschi created a double-shell dome with a self-supporting structure
• He used a herringbone (spina di pesce) masonry system with spiral brick arrangements for weight distribution efficiently
• The dome harmoniously integrates Gothic cathedral elements interacting with Giotto's Bell Tower and The Florence Baptistery

Masaccio (1401-1428)

• Masaccio first painter to apply Brunelleschi's perspective techniques to painting
• Chiaroscuro use added volume and realism

The Holy Trinity (1425-1427, Santa Maria Novella, Florence)

• This was the first painting known to apply linear perspective based on Brunelleschi's discoveries
• It Contains perfectly traced vanishing lines leading to a central vanishing point
• The work Creates an illusion of depth, an effect known as sfondato
• It Introduced Renaissance realism into religious art, breaking away from medieval flat compositions

Donatello (1386-1466)

• Donatello pioneered perspective use in shallow relief sculpture
• He Developed Stiacciato technique, creating depth illusion using only a few centimeters of relief

Herod's Banquet (c. 1425-1427, Siena Baptistery)

• Masterpiece of perspective relief sculpture
• Stiacciato is used to create depth in the sculpture
• Foreground figures in high relief fade into shallower relief to reinforce the illusion of space from the background
• The Two-tone floor decoration aligns with vanishing lines to guide the viewer's perspective
• A three-dimensional illusion achieved with minimal depth

MIDDLE RENAISSANCE I

• The Middle Renaissance saw a revival of classical architectural and artistic elements
• There was an emphasis on harmony, proportion, and symmetry, inspired by ancient Roman and Greek styles
• Architecture became important in the 1400s for noble families displaying wealth and power

Leon Battista Alberti (1406-1472)

• Alberti was born into a powerful Florentine family exiled to Liguria for political reasons
• He embodied the Renaissance humanist intellectual, active in painting, sculpture, architecture, and theoretical writing
• He wrote art and architectural treatises blending Florentine tradition with classical principles and focused on perspective depth

Church of Santa Maria Novella (Florence, 1439)

• Commissioned by the Rucellai family, Alberti integrated Renaissance principles within the Gothic structure
• A religious facade in Renaissance architecture, based on geometric order featuring: Black-and-white marble inlays, Rucellai emblems, A tympanum with a sun motif, Architectural volutes framing the upper section
• It served as a statement of Rucellai's political and social prestige

Tempio Malatestiano (Rimini, 1447)

• Commissioned by Sigismondo Malatesta, ruler of Rimini, transforming a Gothic Franciscan church into a structure evoking Roman grandeur, inspired by the Arch of Augustus in Rimini
• It features columns half-embedded in walls and circular framing
• It Creates perspective depth although the facade remained unfinished due to Malatesta's political decline

Piero della Francesca (1413-1492)

• A key Italian Renaissance figure trained in Florence
• He Mastered light, luminous tones, mathematics, and perspective geometry; authored treatises on mathematics and perspective.

Madonna of Mercy

• This was Created for the polyptych of Misericordia Church in San Sepolcro, and modernized traditional Madonna of Mercy iconography with Renaissance techniques
• The Virgin's mantle symmetrically opens, covering a group of solemn devotees
• The face is an idealized oval, has a column form

Baptism of Christ

• Christ in Central figure: Christ is receiving baptism from John the Baptist, a dove emits golden rays, and a nude figure depicts Christ before baptism
• Flemish influences appear in Meticulous landscape details and Intricate coloristic treatment Uses geometrical simplifications: The three figures on the left, represent Byzantine religious figures
• The city of Jerusalem based on Borgo San Sepolcro's landscape

The Flagellation (1469, Urbino)

• Commissioned by Duke Federico da Montefeltro balancing perspective geometry and classical monumentalism
• The composition divides into the Foreground with three male figures and identities debated, also Background with Christ being flagellated

Possible interpretation:

• Christ symbolizes Constantinople under Ottoman siege
• Pontius Pilate represents the Byzantine emperor
• the three figures represent figures at Council of Ferrara-Florence (1438-1439)
• The mathematical structure enhances spatial depth: the horizon is set low
• Composition is divided by an architectural column in the background

MIDDLE RENAISSANCE II

Andrea Mantegna (1430-1506)

• Mantegna was key in bringing Renaissance artistic innovations to Northern Italy and trained in Padua under Francesco Squarcione
• Mantegna artworks show comprehension of classical imagery, influenced by his studies in philosophy, philology, and science at the Studio Padovano
• He was one of the earliest artists to popularize engravings, which allowed his works to spread across Italy
• He employed techniques like woodblock printing and calcography

Dead Christ (c. 1457-1506)

• Ludovico Gonzaga invited Mantegna to Mantua as court painter
• The Dead Christ was created for the artist's personal devotion
• Features include: Foreshortened view of Christ's dead body lying on a stone slab, and cold, muted colors heighten intensity
• The narrow framing immerses the viewer in the scene, and mourners' faces are partially cut off by canvas edges

The Bridal Chamber (Camera Picta) (1465-1474)

• A Renaissance fresco painting located in the northeastern tower of St. George's Castle in Mantua
• Originally a state chamber and Ludovico Gonzaga's private bedroom
• Depicts two frescoes: Court Scene shows Ludovico Gonzaga news of son election as cardinal in 1461
• The Meeting Scene shows Francesco Gonzaga's visit to Mantua in 1472, was granted the title of St. Andrew
• The walls and ceiling were painted to create a realistic illusion
• The Trompe-l'œil (illusionistic perspective) makes the chamber appear like a loggia

Antonello da Messina (1430-1479)

• Credited introducing Flemish oil painting techniques to Italy
• Trained in Naples under Colantonio, travelled frequently, and absorbed geometric perspective techniques with monumental compositions

Saint Jerome in His Study (1474-1475)

• Perfect perspective used through an arched window frames Saint Jerome the composition
• The majolica-tiled floor is painted in perspective, resembling Jan van Eyck's Madonna of Chancellor Rolin
• Demonstrates realistic lighting effects.
• Saint Jerome depicted as a scholarly humanist, surrounded by books.

The Annunciata (1476, Venice)

• Creation during time in Venice, show artistic maturity
• Includes Innovative composition with the The angel delivering the Annunciation is not visible, shifting the focus to Mary's reaction
• Mary hand gestures convey hesitation and awe, and the scene is viewed from the angel's perspective adding intimacy
• It Reflects Piero della Francesca's influence, Balances geometry, Suspended atmosphere, and Softly diffused lighting

Saint Sebastian (c. 1476-1477)

• Part of a triptych for the church of San Giuliano in Venice is A fusion of styles from Mantegna and Piero della Francesca
• Includes Perspective composition, Geometric background architecture, and Soft Venetian light gives the painting its ethereal quality
• The Saint stands centrally, serving as the median axis of the composition
• His expression contrasts with the agony of his martyrdom and Inspired by classical sculptures and features the Roman Forum with exaggerated features
• Antonello's version places Sebastian in a mystical, timeless space, highlighting his spiritual transcendence

FLEMISH ART

Jan van Eyck: A Master of Northern Renaissance

• Van Eyck included innovations in Oil Painting Created coatings that enhanced luminosity and depth, achieved photorealistic effects centuries before Dutch Masters, despite newly explored perspective in ItalyHe spent time in Early Life & Background
• Born before 1390 in Maaseik, near modern-day Tilburg and died in Bruges in 1441 where he excelled and Inspired European artists to form Flemish School

Role at Philip the Good's Court:

• He was sent to Portugal secured a marriage alliance, and he Painted a portrait of Isabella of Portugal, Philip's future wife, settled in Bruges around 1430

Major Works & Techniques:

• Made Portraits as well as "Madonna with Canon van der Paele" reflects Flemish realism and oil techniques
• Created the Arnolfini Portrait (1434) of Giovanni Arnolfini and his wife, and it became one of the most important works of art
• He was called The Father of Oil Painting because he perfected the use of oil paints His techniques influenced art for centuries

Arnolfini Portrait

• Painted by Jan van Eyck around 1434, and created the best example of Early Netherlandish art which consists of showing detail and vibrant textures including sophisticated light

Subjects & Composition:

• Showcases Giovanni di Nicolao Arnolfini, a wealthy merchant, and his presumed wife in interior and the figures are centrally placed in intimacy

Symbolic Elements:

• The Convex Mirror Dominates the back wall, reflects onlookers or additional figures
• The Candle symbolizes the presence of God

Interpretations & Themes:

• Paintings are a record of marriage and a show of contracts, reflecting family morals
• The precise details and use of a convex mirror illustrate innovative techniques of realism

Cultural & Historical Context:

• Reveals rise of prominence of merchant class in 15th-century Northern Europe showing art celebrated both personal and civic identity
• It highlights the importance of documenting social rituals

ARTISTS IN RENAISSANCE COURT:

• Guilds Influenced both social and political aspects of life and membership was mandatory
• Court Artists (Monarchies) worked directly for a prince
• They focused more on personal and political glorification of the ruler and virtue

Major Renaissance Artists & Works

Jacopo della Quercia → Tomb of Ilaria del Carretto

• This Combines Gothic delicacy with early Renaissance elements and placed in the Chapel of Saint Lucia, now the Cathedral of Lucca's sacristy

Beato Angelico → Annunciation & Holy Conversation

• Angelico made the Holy Conversation (1438-1440), the composition showing Flemish influences

Paolo Uccello → Battle of San Romano:

• Uccello trained in Ghiberti the scene depicts the 1432 battle between Florence and Siena, part of a cycle for the Bartolini family

Giovanni Bellini → Pesaro Altarpiece:

• Bellini Made the creation in 1475 for San Francesco Church, Pesaro includes harmonious blend of humanism and classicism.

Andrea del Verrocchio → Baptism of Christ:

• Painted in 1475 for the Florentine monastery of San Salvi
• Shows Piero del Pollaiolo's influence on fabrics

Test your knowledge of Early Renaissance art and architecture with these questions. Topics covered include architectural features of the Tempio Malatestiano, artistic techniques used by Renaissance artists like Leon Battista Alberti and Piero della Francesca.