Worksheet #21

Second half of the 15^th Century: Italian

          Botticelli began painting portraits in the ¾ view rather  than the traditional profile view.  It was said that Italian patrons had preferred the profile so as not to give too much information about their “character.”  The same could be said of the equestrian statues that Donatello and Verrocchio created.

v   The same types of differences appear in the equestrian statues by both Donatello and Verrocchio.  Look at the two images (21-29 & 21-30) and describe at least two major differences. 

v   The paintings of Domenico Ghirlandaio express his times to perfection. Using the painting, Birth of the Virgin, (21-32) explain what this statement means.  (include any references to social/political ideals as well as religious)

FLORENCE

          Because of the high value placed on theory, art and architecture had to have an intellectual basis to achieve honor and dignity.  With the newly rediscovered treatise by Vitruvius on Roman architecture, Alberti advocated a system of ideal proportions.  Because of his argument regarding the misuse of the column to support a wall, the medieval arcade was disposed of for centuries.  Alberti’s design for Palazzo Rucellai in Florence (21-33) incorporates a design of flat pilasters on each level using a combination of columns.

o        How effective is it? 

o        Whose work contributed to Alberti’s understanding of architecture? 

o        Using 21-35, review how Alberti uses mathematical proportion in designing the new façade for Santa Maria Novella. 

o        Fra Angelico’s painting Annunciation (21-36) reflects his simple and humble character. Explain.

v      Fra Filippo Lippi uses line probably better than most artists of his time.  Using Madonna and Child with Angels (21-38), explain his technique. 

Teacher: Fra Filippo Lippi                                  Student: Sandro Botticelli

               firm pure outline                                               master of line

               light shading                                                    decorative and  linear    

               use of real models and landscapes

v   What discovery of technique by Lucca della Robbia led to the ability of every person to have a personal sculpted image of the Madonna and Child (or any other religious images)? 

v   In looking at the work of Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter, (21-40) describe how he interprets the subject.  How has he created a composition which reflects the science of perspective? 

MANTUA  (Major Patron ________________________________________________)

v   What features on and in Alberti’s Sant Andrea (21-40 & 42) will be the “prototype” for many architectural designs throughout the rest of the Renaissance? 

v   Define: Trompe l’oeil 

v   Define: Di sotto in su 

v   Using Mantegna’s work on the ceiling of the Camera degli Sposi (Room of the Newlyweds) (21-61) tell how he uses trompe l’oeil and di sotto in su.  

URBINO  Major Patron: _________________________________________________

Piero Della Francesca was interested in the exact and lucid structures defined by mathematics.  Explain this statement. 

v     List the stylistic and scientific developments in painting during the 15^th century.

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v    Describe the theme style and technique of Signorelli’s Damned Cast Into Hell, (fig. 21-58).