Final Exam Slides

FINALEXAMSLIDES

ArtHistory202

VirginandChildandangels

(stainedglass)(NotreDamedelaBelleVerriere)

DetailofawindowinthechoirofChartresCathedralChartres,France

1170with13thcenturysidepanels

• Purpose:nottoilluminatebuttotransformnaturallightintomysNcalluxnova

• Virgin=beauNful,young,worldly,haloed;notassevereasinTheotokosmosaic

• Lightenteredfromoutsidethroughascreenofstone‐setcoloredglass;differentapproachthanthereflectedlightinByzanNnearchitecture

• AlmostenNrewallisstainedglass(architecturalfactor)heldinplacebyintricatestonearmatureofironbands

• Gothicpassionforluminouscoloredlight=daring/successfulsubtracNonofsuperfluousmaterialbulkjustshortofdestabilizingthestructure(engineeringgenius)

Rosewindowandlancets

(stainedglass)Northtransept,ChartresCathedral

Chartres,France1220

• RoyalmoNfsofyellowcastlesonaredgroundandyellowfleurs‐de‐lisonabluegroundfilltherower’slowerspandrels

• IconographyfitforaqueenenthronedVirginandChildappearintheroundelatcenterofrose

• TwelvepanelscontainimagesofOldTestamentkingsmedievalmoNf(genealogical“treeofJesse”)

• MoresymbolsofChrist’sOldTestamentancestorsaccompanythetradiNonalones,echoingtheroyalgenealogyoftherosebutatalargerscale

• RoseandlancetschangeinhueandintensitywiththehoursturnsolidarchitectureintofloaNngvisionofcelesNalheavens

• AlmostenNrewallisstainedglass(architecturalfactor)heldinplacebyintricatestonearmatureofironbands

• Gothicpassionforluminouscoloredlight=daring/successfulsubtracNonofsuperfluousmaterialbulkjustshortofdestabilizingthestructure(engineeringgenius)

InteriorofAmiensCathedral

RobertdeLuzarches&ThomasdeCormont&RenauddeCormont

Amiens,France1220

• Impressiveheight!

• Designreflectsthebuilders’confidentuseofthecompleteHighGothicstructuralvocabulary

• DesignpermifedthealmostcompletedissoluNonofheavymassesandthickweight‐bearingwalls

• Conceptofself‐sustainingskeletalarchitecturereachedfullmaturity!

• Overalleffectofeffortlessstrength&buoyantlightnessdespitemassivestonearchitecture

Vaults,clerestory,andtriforium,ofthechoirofAmiensCathedral

RobertdeLuzarches&Thomas&RenauddeCormontAmiens,France

1220

• Choirvaultsresembleacanopysuspendedfrombundledmasts

• Sunlightenteringfromtheclerestorycreatestheeffectofbuoyantlightnessnotnormallyassociatedwithstonearchitecture

• COMPAREtoHagiaSophiawithits“floaNngdome”;AmiensisGothiccounterparttoByzanNnium’sHagiaSophia

Interioroftheupperchapel

Sainte‐ChapelleParis,France

1243‐1248

• Extendedthestyleofwall‐dissolvingstained‐glasswindowstoanenNrebuilding

• Chapelisamasterpieceoftheso‐calledRayonnant(radiant)styleoftheHighGothicage

• PreferredstyleoftheroyalParisiancourtofSaintLouis

• Stainedglassaccountsformorethan75%oftheRayonnantGothicstructure!

• SupporNngelementsarehardlymorethanlargemullions,orverNcalstonebars

• Emphasisontheextremeslendernessofthearchitecturalformsandonlinearityingeneral

• Windowsfilterthelightandfilltheinteriorwithanunearthlyrose‐violetatmosphere

VirginandChild(VirginofParis)

Notre‐DameParis,France

Early14thcentury

• BestexampleofthecourtstyleinLateGothicsculpture

• SculptorportrayedMaryinanexaggeratedS‐curveposturetypicalofLateGothicsculpture

• Sheisaworldlyqueeninroyalgarmentsandcrown

• Christchildequallyrichlyalred;infantprince

• Tender,anecdotalcharacterizaNonofmotherandsonrepresentsafurtherhumanizaNonoftheportrayalofreligiousfiguresinGothicsculpture

VirginofJeanned’Evreux

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Figuresbasedongeometricshapes

VillarddeHonnecourtParis,France

1220‐1235

Godasarchitectoftheworld

Paris,France1220‐1230

WestfaçadeofSaint‐Maclou

Rouen,France1500‐1514

• MasterpieceofLateGothicFlamboyantarchitecture

• OrnatetraceryfeaturescurvesandcountercurvesthatformbrifledecoraNvewebsmaskingthebuildingsstructure

• Flamboyant:flamelikeappearanceofitspointedbartracery)

• ChurchisNnycomparedtocathedrals

• Transparencyofthepinnaclesoverthedoorwayspermitsvisitorstoseethecentralrosewindowandtheflyingbufresses

• BewilderingcomplexityofviewsthatisthehallmarkoftheFlamboyantstyle.

TheCastleofLoveandknightsjousNng

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DeathoftheVirgin

Tympanumoflepdoorway,southtransept,StrasbourgCathedral

Strasbourg,France1230

Senseoffiguralbalance

ElementofrealemoNon,meanttoemitsorrow

Madeuseofthesemicircularspace

TriangleofMaryMagdaleneatthebofom,pointstoChristwhoistakinghersoul

Senseofthreedimensionality

ChristholdsdolloftheVirgin,hersoul

AlotofGermansculpture,likethis,emphasizesandexaggeratesforemoNonalresponse

VirginwiththeDeadChrist(RofgenPieta)

Rhineland,Germany1300‐1325

• EmoNonalityevokedfromitsarNsNcstyle

• Tracesofpaint,aswascommononwoodenstatues

• EmaciatedChristhangsinVirgin’sarms

• Virginhasafaceofextremesorrow

• Meanttoevokegreatcompassionintheviewer

• “affectedpiety”presenNngtheviewerwithanexaggeratedemoNon

EkkehardandUta

Statuesinthewestchoir,NaumburgCathedral

Naumburg,Germany1249‐1255

• Benefactorsofthecathedral

• Developmentofsecularfiguresinartvs.thetypicalreligiousones!

• Architecturalcanopieswheretheyarefrom/ruled

• RepresentaNonofalocalhistoryisnewish

• Figurescaughtinamoment,UtaclutchingherrobeasifinmoNon

• Historiatedportrait,despitetheindividualizaNon

Equestrianportrait(BambergRider)

Statueintheeastchoir,BambergCathedral

Bamberg,Germany1235‐1240

SaintFrancisAltarpiece

BonaventuraBerlinghieriSanFrancisco,Pescia,Italy

1235

• ShowsimportanceofthenewFranciscanandDominicanorders

• DocumentsrecenteventsoftheSaint’slife

• Firstknownaltarpiecededicatedtohim

• IdenNfiedbythewhiteropewith3knots(3vows)

• Notexactlyahistoricalportrait;focusisonanintensefigureandthatfigure’sstyle,nottheindividualfeatures

• SaintseenasaSecondChrist(stomatawounds)

• The“manera‐greca”

• ByzanNne:frontal,linear,flatness,halo,gold;icon‐style

• Greekstyle

MadonnaEnthronedwithAngelsandProphets

CimabueSantaTrinita,Florence,Italy

1280‐1290

• UnmistakableinfluenceofGothicsculpture

• ChallengedtheconvenNonsthatdominatedlatemedievalartinpursuitofanewnaturalism(thecloseobservaNonofthenaturalworld;coreofclassicaltradiNon)

• RelianceontheByzanNnemodelsforthecomposiNonandthegoldbackground

• Non‐ByzanNneelements:threedimensionalityoftheMadonna’srobe,thespacethatthethronerecedesinto,overlappingbodiesoftheangels

MadonnaEnthroned

GiofodiBondoneChurchofOgnissanN,Florence,Italy

1310

• TradiNonalgoldbackground

• MarkstheendofmedievalpainNnginItalyandthebeginningofanewnaturalisNcstyle!

• MadonnasitswithinherGothicthronelikeanancientmarblegoddess• Weighty,queenlymother• Aimedtocreateafigureofsubstance,dimensionality,andbulk• SculpturesquefiguresprojecNngintothelightasiftheycouldcastshadows

LamentaNon

GiofodiBondoneArenaChapel,Padua,Italy

1305

Boldlyforeshortenedangels(headonwithbodiesrecedingintothebackground)

GiofoarrangedalmostastageforthemourningcongregaNon,whichisboundedbythesteepdiagonaloftheincline

DramaNcfocalpointatlowerlep(Christnotmerelyinmiddle)

Figuresaresculpturesqueandweighty,butconveymoNonandemoNontoo

Singleeventprovokesintenseresponse

ThefiguresseenfromthebackrepresentdevelopmentawayfromtheByzanNnestyle:emphasizeforeground,aidvisualplacementofintermediatefiguresfartherbackinspace(departurefromtradiNonoffrontality)

ArenaChapel

Padua,Italy1305‐1306

ThefrescoesinthischapelshowGiofo’sartatitsfinest.

GiofoiswidelyregardedasthefirstRenaissancepainter.

Projectedtheillusionofsolidbodiesmovingthroughspaceontoaflatsurface(perspecNve)

TheblueofthevaultedceilingisalsopaintedinthebackgroundsofthenarraNvepanelsbelow;thecolorfuncNonstounifytheenNredecoraNvescheme,andrendersthescenesmorerealisNc

DecoraNveborders,butsimplicityofscenes

SpaNaldepthandbodymassvialightandshade;steptowardschiaroscuro

DramaNcnarraNveswerethemechanismofeducaNngthefaithful

GiofosynthesizeddramaNcnarraNve,holylesson,andtruthtohumanexperienceinavisualidiomofhisowninvenNon

VirginandChildEnthronedwithSaints

DucciodiBuoninsegnaMaestaaltarpiece,Siena,Italy

1308‐1311

• Newaspects• Relaxedthestrictfrontalityofthefigures• Figuresturntoeachotherinquietconvo• Individualizedthefacesofthefoursaintskneelingintheforeground• Sopenedtheusualhardbodyoutlinesanddraperypaferning• CreatedglisteningandshimmeringeffectsoftexNles,complementedbythegoldenhalos

• Gothic• Draperyfallsandcurvesloosely• ShowsdialoguebetweenItalyandnorthernEurope

• ByzanNnetradiNon• Formalityandsymmetry• Figuresandfacialtypesofprincipalangels/saints• Couldnotbetooradicalbecauseitwasaholyobjectinchurch• LimitedexperimentaNon

BetrayalofJesus

DucciodiBuoninsegnaMaestaaltarpiece

1309‐1311

ByzanNneinfluence:goldenbackgroundandrockformaNons

SteptowardshumanizaNonofreligiousfigures:individualacNonsandemoNons

Modeledthefigureswithmass

AnnunciaNonaltarpiece

SimoneMarNniandLippoMemmiSienaCathedral,Siena,Italy

1333Temperaandgoldleafonwood

MarNniwasinstrumentalinthecreaNonoftheInternaNonalStyleElegantshapesRadiantcolorFlowinglineWeightlessfiguresinagolden,spacelessselngAppealedtothearistocraNctasteofopulenteverything

ComplexeNquefeoftheEurochivalriccourtsprobablydictatedthepresentaNon

DespitetheVirgin’smodestyanddiffidenceandthetremendousimportoftheangel’smessage,thescenesubordinatesdramatocourtritual,andstructuralexperimentaNontosurfacesplendor

TheintricatetraceryoftherichlytooledFrenchGothic‐inspiredframeandtheelaboratepunchworkhalosenhancethetacNlemagnificence

PeacefulCity

AmbrogioLorenzelSiena,Italy

1338‐1339

IllusionisNcpanoramaofthebustlingcity

FrescoservedasanallegoryofgoodgovernmentintheSieneserepublic

ReminiscentofthetownscapesofancientRomanmurals

ArNstfondlyobservedlifeofhiscity

City’sarchitecturegavearNstanopportunitytoapplySienesearNsts’rapidlygrowingknowledgeofperspecNve

NaveofSantaMariaNovella

1246‐1470Florence,Italy

ThebasilicatesNfiestothegrowinginfluenceoftheDominicanandFranciscanmendicantordersin13thcenturyFlorence

FlorenNnegovernmentandcontribuNonsfromprivateciNzenssubsidizedthecommissioningofthechurch

ThelargecongregaNonstheseordersafractednecessitatedtheexpansivescaleofthechurch

Smalloculiandmarblestripingalongtheogivalarchespunctuatethenave

Originally,ascreenplacedacrossthenaveseparatedthefriarsfromthelayaudience,buttheChurchofficialsremovedthisscreeninthemid‐16thcenturytoencouragegreaterlayparNcipaNonintheMass

January

LimbourgBrothers

LesTresRichesHuresduDucdeBerry

1413‐1416

Sumptuouspicturesinthebook

CharacterisNcacNviNesofeachmonth

Givesunusualprominensetogenresubjects:increasingintegraNonofreligiousandsecularart

January:NewYearsrecepNonatcourt

Dukeismagnanimoushost;firescreenalmosthalolikebehindhishead;capturespowerofthedukeandhisrelaNonshiptothepeasants

Richnessandextravagance:fooddisplayedontapelandrichtapestryonbackwall

October

LimbourgBrothers

LesTresRichesHueresduDucdeBerry

1413‐1416

Sumptuouspicturesinthebook

CharacterisNcacNviNesofeachmonth

Givesunusualprominensetogenresubjects:increasingintegraNonofreligiousandsecularart

Notrichnessfocus,butpeasantry

Imageryflaferedtheduke’simageofhimselfasacompassionatemaster(peasantdoesn’tlookdisgruntled)

GrowingarNsNcinterestinnaturalismisevident:carefulwaybrothersdepictedthearchitecturaldetailsoftheLouvre,convincingshadowsofpeopleandobjects

CampinsettheAnnunciaNoninaFlemishmerchant’shomeinwhichtheeverydayobjectsrepresentedhavesymbolicsignificance

OilpaintspermifedCampintodepictallthedetailswithlovingfidelity

AprivatecomissionforhouseholddevoNon

IntegraNonofreligiousandsecularconcernsBiblicalscenesthattookplaceinaFlemishhouseReligionwassuchanintegralpartofFlemishlifethatseparaNngthesacredfromthesecularbecamevirtuallyimpossibleThepresentaNoninreligiousartoffamiliarselngsandobjectsstrengthenedthedirectbondthepatronorviewerfeltwithbiblicalfigures

Well‐keptmiddle‐classFlemishhouse

SymbolsoftheVirgin’spurityanddivinemission

Donorportrait:portraitsoftheindividualswhocommissionedtheworkdonorskneelinthegardenandwitnessthemomentouseventVerypopularinthe15thcentury

ManinaRedTurban

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PaidtributetotheprofessionofpainNnginFlandersbydrawingafenNontothevenerabletradiNonofthepainter’scrap

AimofrecordingeverydetailofscenewithlovingfidelitytoopNcalappearance(richfabrics,floorpafern,landscapeinwindow)likevanEyk

ImbuedmuchoftherepresentaNonwithsymbolicsignificanceOxidenNfiesfigurerecordingtheVirgin’sfeaturesasSaintLukeCarvedarmrestoftheVirgin’sbenchdepictsAdam,Eve,andserpent(Maryis

newEveandChristisnewAdamredeeminghumanityfromOriginalSin)

DeposiNon

RogiervanderWeydenLouvain,Belgium

1435OilonWood

CompressedthefiguresandacNonontoashallowstage,imitaNngthelargesculpturedshrinesexpressingmaximumacNonwithinalimitedspace

ResemblesareliefcarvingandnotamerepainNng(crispdrawingandprecisemodelingofforms)

ComposiNonalunityDesolaNnganguishthatmanyfiguresshareSimilarposesofChristandVirginMaryLateralrisingandfallingmovements

HisdepicNonoftheagonyoflossisamongthemostauthenNcinreligiousart

LEFTDepictspatronasdevout,kneelsbentandinprayerRecallsFlemishart Standingwithsaint SharpfocusSaintStephendepictedwiththestoneofhismartyrdomandscripturesfor

clarityofidEnNreimagerenderedingreatdetail;intricatearchitecturalbackground

RIGHTVirginMaryandbabyChristIntegraNonofsecularandsacred(asinotherNorthernEuropeanart)MistressofKingCharlesVIIismodelforMary(personalnarraNvegoingon)

MiraculousDraughtofFish

FromtheAltarpieceofSaintPeterCathedralofSaintPeterGeneva,Switzerland

KondradWitz1444

Oilonwood

PainNngisoneoffirstworksdepicNngaspecificlandscape(LakeGeneva)

Noteworthyforapinter’sskillinrenderingwatereffectsSaintPeter’sbodychangescolorbeneathwater(senseofnaturalism)SkyglazeonslowlymovinglakesurfaceMirroredreflecNonsoffiguresinboatTransparencyofshallowwaterinforegroudn

IntricateGothicforms(elaboratecanopy)

Didnotpaintthefiguresorthebackground

WholedesignisinfluidmoNon(restlesslinethatrunsthroughgarments);draperiesaredesignelementsthatNethefigurestogetherandtotheframework

Lookofpsychicstrainheightensthespiritualityofthefigures

NoindividualelementfuncNonswithouttherest

SaintAnthonyTormentedbyDemons

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SaintAnthonyTormentedbyDemons

MarNnSchongauer

NORTHERNEUROPE

Maindifferencebetweennorthernanditalian:crosshatchingCrossingoverthelinestocreatethesurface,form,andshadowNorthernartcrosshatchingisaboutwhat’sonthesurfaceDifferencebetweenwhatsphysicallybeneath(italian)andsurface(Northern)Italianartwasmoreparallelhatching,focusingontheunderlyingforms

ThestoryofAbrahamandIsaac,withitsthemeofsacrifice,paralleledthemessagecityofficialshadconveyedtoitsinhabitants

Frenchgothicquatrefoilframes

SturdyandvigorousinterpretaNonofthetheme

EmoNonalagitaNon/dramaNcemoNonAbesuddenlysummonedthedreadfulcouragetokillhisson Lungesforward,robesflying ExposingIsaac’sthroattotheknife Flyingangel Dartsin GrabsAbe’sarmtostophim

DemonstrateshisabilitytoobservecarefullyandrepresentfaithfullyallelementsinthenarraNve

Featuresgracefullyposedfiguresthatrecallclassicalstatuary

Isaac’salterhasaRomanacanthusfrieze

AbrahamintypicallyGothicposewithoufhrusthip

Abeseemstocontemplatetheact

Isaac,beauNfullyposedandrendered,recallsGrego‐RomanstatuaryandcouldberegardedasthefirstclassicalnudesinceanNquity

DeepappreciaNonforhumanformMuscularsystemandskeletalstructureinmovement

Classicalreferencesreflecttheincreasinginfluenceofhumanism

SpaNalillusion:rockylandscapeseestoemergefromblankpaneltowardviewer,stronglyforeshortenedangel

RepresentsfourmartyredpatronsaintsofFlorence’ssculptors’guild

RenaissancearNstafempttoliberatestatuaryfromitsarchitecturalselngStandinginnicheSpaNalrecesspermifedanewanddramaNcpossibilityforinterrelaNonshipof

thefiguresSemicirclewiththeirdeepniche,relatedtooneanotherbypostures/gestures,

arrangementofrobesunifiedspaNalcomposiNon

Psychologicalunityconnectsthem

GuildsviewednewmilitarythreatbasopportunitytoperformcivicdutyrallyingfellowFlorenNnes/promoNngtheirownimportanceandposiNon

Rolemodels:placedfaithaboveallelseandwerekilled

DeeprespectforRomanportraitstatues:emoNonalintensity,beardedheads

Interpret/offercommentaryonclassicalmodelsinmannerofhumanistscholarsdealingwithclassicaltexts

ClassicalprincipleofcontrappostointroducedtoEarlyRenaissancesculptureBalancingofweightBodyisnotrigid,butaflexiblestructureDraperyfallsnaturallyandmoveswiththebody

SNrringlimbs,shipingweight,andmobiledraperysuggestimpendingmovementoutofniche!

Warriorstandsdefiantly,readytospringfromhisnichetodefendFlorence,swordpointedatspectator

BodyistautFaceofnervousenergy

GothictradiNonofdepicNngwarriorsaintsonchurchfacades(buthascivicrolehere)

TurningpointinRenaissancesculptureEvenlandscapesinbapNsterycompeNNonrelifsaremodeledformsseen

againstablankbackgroundTookapainterlyapproachtorepresentaNon,creaNnganatmosphericeffectby

usingincisedlinesLandscaperecedesintodistantspacewindowontoaninfinitevista

FlorenNnepainterworkingintheinternaNonalstyle

SuccessfullyblendednaturalisNcdetailswithLateGothicsplendorincolor,costume,andframingornament

ElaborategildedGothicframe

Gorgeoussurfaceandsumptuouslycostumedkings,etcandexoNcanimals

PresentsallpompandceremonyofchivalriceNquefeinascenthatsacncNfiesthearistocracyinpresenceoftheMadonnaandChild

StrikingnaturalisNcdetailsAnimalsfromvarietyofanglesandforeshortenedforms(horseinthree‐

quarterrearview)Kneelingmanremovingspursfromstandingmagusinforeground

NighlmenaNvitywithcentrallightsource,radiantChristPredominantlyconservaNve,butnotoblivoustocontemporarytrends,andblendofnaturalisNcandinvenNveelementswithoutsacrificingGothicornament

TributeMoney

Massacio

Comparison:Giofovs.MassaccioGiofo:useslighNngtocreatefoldsinclothingMassacio:buildsuptheformsmorenaturallywiththelighNngGiofomodelsthemasses,butMassacio’sismorenaturallooking

MassaccioisthegreatinnovatorofpainNng

PerspecNveHeimplementsone‐pointperspecNveOrthogonalsconvergeatthecenter(totherightofChrist’shead)ArNstsareveryawarehowtousethese“orthogonals”

FiguresrecallGiofo’sinsimplegrandeur,butconveygreaterpsychologicalandphysicalcredibility

Lightcomingfromsourceoutsideofpicture

A&Edrivenbyangel’swillandtheirowndespair

Hazybackgroundoffersnolocalebutsuggestsaspacearoundandbeyondthefigures

RepresentaNonalinnovaNonsSharplyslantedlightfromoutsidesourcercreatesdeeprelief(lightsplaced

alongsidedarks)CryfromEvevoicesheranguish

Simplebutwitheloquentmessage

ExampleofapplicaNonofmathemaNcstopictorialorganizaNon

Brunelleschi’snewscienceofperspecNve

Illusionismisbreathtaking

Vanishingpointisatfootofcross,spectatorslookupatTrinityanddownattomb,pullingtwoviewstogether,creaNngillusionofanactualstructurethattransectsthewallsverNcalplane

Raitonalmeausredcoherencethatisresponsiblefortheunityandharmonyofthefresco

Fullymodeledfiguresbathedinlight

PowerfullyconveyedoneoftheentraltenetsofChrisNanfaith:leadfromdespairofdeathtohopeofresurrecNonandeternallife

Brunelleschisolvedproblemofplacingadomeoverthe140‐footwidecrossingofFlorenceCathedralbydesigningathindoubleshellthatwasogivalinsecNon

Heavylanternanchorsthedomeatthetop

EmployedlinearperspecNvetocreatetheillusionofdistance

UsedsculpturalaerialperspecNve,withformsappearinglessdisNnctthedeepertheyareinspace

AnnunciaNon

FraAngelico

LastSupper

AndreadelCastagno

MadonnaandChildwithAngels

FraFilippoLippi1455

Comparison:GiofoMadonnaEnthronedSamebasicsubjectGiofo’sisalargealtarpieceforpublicdevoNonLippi’sisasmalleraltarpieceforpersonaluse

MadonnaispaintedinanillusionisNcframethatshe(andthegoldencushion)breakoutofNaturalism

MoreawarenessofthearNsNcprocess(asopposedtoitsfocusonreligion/power)

BafleofSanRomano?

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EnthronedMadonnaandSaintsAdoredbyFrederico?

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FlagellaNonofChrist?

ChristDeliveringtheKeysoftheKingdomtoSaintPeter?

BirthoftheVirgin

DomenicoGhirlandaioCappelaMaggiore,SantaMariaNovella

Florence,Italy1485‐1490Fresco

AnNquestyles(all’anNcapulliningthewalls)GreatinterestinclassicalsourcesGrotesquedecoraNvepaferns(PompeiianfrescowallpainNng)

EmphasisonfamilyandnotevenontheVirgin

GiovannaTornabuoni

Primavera

SandroBolcelli1482

ZephyrgrabsChloris,whosefeetareontheground,andflowersbloomoutofhermouth,andChlorisgrabsFlora,whoisassociatedwithflowersblooming

UlNmatelyarepresentaNonofspringNmeandthingsblooming

Thechanging;oftheseason,ofpeople,etc.

Venusisatthecenter,lookingout(withFlora)

Cupidblindfoldedisabove(blindlove,needsnosight)

ParadeofspringNmecomingin(liketheancientquote)

3gracesonthelep:dancing;wouldhavebeenfamiliar

BirthofVenus

SandroBolcelli

Lyricalstyle

Graceful,theanNthesisofMichelangelo’sstyle

IntunewiththeclassicalandhumanistlearningattheNme

ThemodestVenuspose;sheisrepresentedclassicallylikethesculpture

David

Donatello1440‐1460

Bronze

RepresentaNonofgreatbiblicalherowhowasJUSTABOYwhenhedefeatedthegiant

FlorenNneslikedthestoryparNcularly,theyfeltliketheDavidoftheotherItaliancity‐statesandpowers

Humbleyouth

David

AndreadelVerrocchio

Davidasmoreofahero

Lookingup

Moreconfidentpose

Bodyandgestureusedtogiveadifferentimpressionofsamesubject

HerculesandAntaeus

AntoniodelPollaiuolo

Purelyclassicalsubjectmafer

ArNstwasagreatstudentofthehumanbody

InterestedincreaNngthemoNonofphysicallyliping

BafleoftheTenNudes

AntoniodelPollaiuolo

MoreofastudythananarraNvestory

“Echorche”–“asifwithoutskin”

InterioroftheCameraPicta

ForeshortenedChrist