The Reinassance: Painting
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Transcript of The Reinassance: Painting
THE RENAISSANCE: PAINTING
María Jesús Camposlearningfromhistory.wikispaces.com
HISTORICAL CONTEXT Independent Italian
States Bourgeoisie:
traders, bankers Rome as the centre
of Christianity Patronage
RENAISSANCE: GENERAL CHARACTERISTICS Revival of Classical Greek and
Roman Culture Anthropocentrism: Humans
became the centre of philosophical and artistic reflection
Rationalism and critical thinking: explain the world through science and rational thinking (end of theocentrism)
Importance of knowledge: intellectual curiosity, new techniques
Desire to create order, proportion and harmony.
Use of math and rationality: scale and proportion
CHRONOLOGY Trecento (14th century): evolution and remains
from Gothic style Quattrocento (15th century): harmony and
proportion Cinquecento (16th century): expansion through
Europe Mannerism (from 1530 till the Baroque): dramatic
effects, harmony and proportion are abandoned…
PAINTING
PAINTING
Harmony Realism Idealism and serenity: ideal
beauty, physical and spiritual beauty.
Anthropocentrism: anatomy of the human body. Nudes. The body reflects the feelings.
Balance and proportion: symmetry, piramidal composition.
Peace and pleasure. Optimism
Perspective: to give depth and volumen to scenes, objects and figures.
Perspective in painting: placing the figures in different planes and using landscapes or achitectural features in the most distant ones. Linear Perspective:
arranging the elements on imaginary lines which converge at a vanishing point at the back.
Aerial perspective: blurring the background so it appears further away or using contrasts of light and shadow to créate volumen (chiaroscuro).
New techniques and materials Painting:
Frescoes: walls Tempera: wooden panels Oil technique: cloth canvasses.
Subjects: Religious Classical Antiquity:
mythology (nudes) Portraits Nature, landscapes,
buildings, cities…
PAINTING
CUATROCENTO
MASSACCIO: LA TRINIDAD
MASSACCIO: CAP. BRANCACCI “EL TRIBUTO DE LA MONEDA”
FRA ANGELICO: LA ANUNCIACIÓN
GHIRLANDAIO: RETRATO DE ANCIANO CON SU NIETO
SANDRO BOTTICELLI: LA PRIMAVERA
SANDRO BOTTICELLI: EL NACIMIENTO DE VENUS
BOTTICELLI: ANUNCIACIÓN
PIERO DE LA FRANCESCA: DUQUES DE URBINO
ANDREA MANTEGNA: CRISTO YACENTE
CINQUECENTO
LEONARDO DA VINCI: LA VIRGEN DE LAS ROCAS
LEONARDO: LA GIOCONDA (LOUVRE) / GIOCONDA DEL MUSEO PRADO
LEONARDO, “LA DAMA DEL ARMIÑO”
LEONARDO DA VINCI: LA ÚLTIMA CENA (MILÁN)
LEONARDO: LA ANUNCIACIÓN
MIGUEL ANGEL: LA CAPILLA SIXTINA
RAFAEL: LOS DESPOSORIOS DE LA VIRGEN
RAFAEL: LA ESCUELA DE ATENAS
RAFAEL: EL CARDENAL (MUSEO DEL PRADO) / LA VIRGEN DEL JILGUERO
VENETIAN SCHOOL
GIORGIONE “VENUS DORMIDA”
TIZIANO: VENUS CON EL AMOR Y LA MÚSICA
TIZIANO “ DANAE Y LA LLUVIA DE ORO”
TIZIANO : “CARLOS V EN LA BATALLA DE MÜHLBERG”
TIZIANO: “FELIPE II “ / “CABALLERO DE AZUL”
TINTORETTO “EL LAVATORIO”
VERONÉS “LAS BODAS DE CANÁ”
“LAS BODAS DE CANÁ”DETALLE
REINASSANCE INFLUENCE IN EUROPE:
VAN DER WEYDEN, “EL DESCENDIMIENTO” (GOTHIC-REINASSANCE)
ALBERTO DURERO, “AUTORRETRATO” (CINQUECENTO GERMANY)
ALBERTO DURERO, “LIEBRE” / “ADAN Y EVA”
EL GRECO, “EL EXPOLIO DE CRISTO” (MANIERISMO)
EL GRECO, “EL ENTIERRO DEL CONDE ORGAZ”
EL GRECO, “EL CABALLERO DE LA MANO EN EL PECHO” / “LA DAMA DE ARMIÑO” ¿GRECO?
EL GRECO, “VISTA DE TOLEDO”
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