Urbino‚ better known simply as Raphael‚ was an Italian painter and architect of the High Renaissance‚ celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci‚ he forms the traditional trinity of great masters of that period. Raphael was born on April 6 or March 28‚ 1483 in the small but artistically significant Central Italian city of Urbino in the Marche region‚ where his father Giovanni Santi was a court painter to the Duke. His father
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21 HUMANISM AND THE ALLURE OF ANTIQUITY FIFTEENTH-CENTURY ITALIAN ART TEXT PAGES 572-611 1. List three tenants that underlay Italian Humanism: a. b. c. 2. What fifteenth-century German invention facilitated the distribution of books and the knowledge they contained? 3. What was the basis of the wealth of the Medici family? 4. List four roles played by the arts in 15th century Italian princely courts. a. b. c. d. FLORENCE 1. Name the two finalists for the commission
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Period: Early Renaissance (1200-1400) Characteristics: Heavy symbolism as well as extreme detail‚ vibrant‚ rich colors‚ religious scenes Location: Italy Characterized by: Everyday life‚ religious like byzantine‚ architecture Romanesque w/ gothic ornamentation • Nicolo Pisano o Pulpit (1260) • Highly detailed-classical • Nicola (Giovanni son) Pisano o The Annunciation ‚ Nativity‚ Admiration of the Shepherds (1270) • Plaza and Cathedral of Florence (1290) o Very Romanesque piazza w/
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and inventive ideas began to spread and gain influence. Gradually‚ this decreased the dominance previously held by the Catholic Church. c) Describe the way Jesus is presented in this time period. Provide key features of his image human/divine/trinity Characteristics (for maximum marks please provide specific examples of Jesus displaying such characteristics) In this time period‚ Jesus was most represented to be man. Artists continually emphasized the humanity of Christ and the n
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The Thirteenth Century • Early 14th Century and late 16th Century • New kind of collaboration between artists and patrons‚ religious civic institutions and between the perceived relationship of past to present. • Emphasis on the potential of the human being‚ power of a liberal classical education to produce a well rounded individual. • Rivalry between Siena and Florence • Guilds associations of workers that set standards of work and prices and protected the rights of workers and their families
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window structure or indeed of any variation on the plain‚ smooth surface of the underlying background.17 Some earlier works attributed to Leonardo‚ the Madonna Litta‚ the Benois Madonna (both Hermitage‚ St. Petersburg)‚ and the Madonna with the Carnation (Alte Pinakothek‚ Munich)‚ all have a window behind the figure; thus the absence of a window in the background of the Cecilia Gallerani raises the question “why?”. The following section will be divided into two parts: why did Leonardo include a
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diagonal‚ shirtless men’s muscles ripple as they struggle to lift the weight of the burden of Christ’s’ cross‚ their arms and bodies stretching past the canvas and bursting into the viewer’s space. Although many triptych altarpieces often involve three separate scenes as seen in the Mérode Triptych‚ Rubens The Raising of the Cross‚ has a unified narrative across all three panels. By making the scene (i.e. the raising of the cross) unified across all three panels‚ Rubens adheres to the clarity and intelligibility
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58. Church of Sainte-Foy 59. Bayeux Tapestries 60. Chartres Cathedral 61. Dedication Page with Blanche of Castile and King Louis IX from a Bible moralisee 62. Rottgen Pieta 63. Arena Chapel at Padua 64. Golden Haggadah 65. Alhabra Palace 66. Merode Altarpiece 67. Pazzi Chapel 68. The Arnolfini
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public audience‚ most likely common churchgoers. Because it was meant for the general public‚ who were often more likely than not uneducated and unable to read‚ it was important for images to be easily recognizable and meaningful. Works intended for altarpieces or in religious contexts were not meant to be icons for worship but rather reminders of important information or to prompt an action for worship or prayer. (Baxandall‚ 40-43). It is for this reason that artists of the time refer to common use of
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Current Section Figures from Hartt: Figure- 8.2 Artist- Gentile da Fabriano Title- Strozzi Altarpiece‚ Adoration of the Magi Date- 1423 Medium- tempera on panel Location- Sacristy of Sta. Trinita‚ Florence. Now: Uffizi Gallery‚ Florence. Physical concerns‚ iconography‚ patronage (context and function)‚ perspective‚ etc- This was commissioned by Palla Strozzi for his family burial chapel. The Adoration of the Magi marks the moment when the infant Christ was first shown to the Gentiles.
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