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THE ITALIAN RENAISSANCE, culture, image, image, image, image, image, image…

- - - - fled Constantinople after its conquest by the Turks
      - brought classical works
    - - on the Italian peninsula
      - discovery of new archaeological remains
  - - - Classical Greek
      - Roman
- - - - harmony
      - proportion
    - - Brunelleschi
      - Alberti
    - - Ghiberti
      - Donatello
    - - Masaccio
      - Fra Angelico
      - Boticelli
  - - - Leonardo da Vinci
      - Michelangelo
      - Raphael Sanzio
    - - in Venice
      - by painters such as Giorgione and Titian
      - spread throughout Europe.
  - - - Florentines
        
        Bronzino
        
        Pontormo
      - Venetians
        
        Tintoretto
        
        Veronese
    - - Cellini
      - Giambologna
- - - - Urban palaces
      - town halls
      - squares
      - hospitals
      - libraries
      - theatres
      - rural villas
    - - increased wealth of the burgeoisie
    - - open spaces
        
        can be seen in public squares
      - proportion
        
        buildings are symmetrical and the different parts are evenly distributed, had harmony between horizontal and vertical elements
      - simplicity
        
        not many decorative features
  - - - circular plan
        
        Tempietto di San Pietro (Bramante)
      - square plan
        
        Villa La Rotonda (Andrea Palladio)
      - shape of a Greek cross
        
        Saint Peter's Basilica (Bramante)
    - - façade of the Basilica Santa Maria Novella
    - - entablatures (horizontal parts above the columns)
      - classical capitals
    - - church of San Lorenzo in Florence (Brunellesch)
    - - Saint Peter's Basilica in Rome (by Michelangelo)
      - Florence Cathedral (by Brunelleschi)
- - - - nude subject
      - interested in the anatomy of the human body
      - examples
        
        Venuses by Giorgione and Titian
        
        paintings in the Sistine Chapel and the statue of David by Michelangelo
    - - aimed to portray an ideal beauty
      - artists
        
        Michelangelo differed from the others because he portrayed intense emotions in his works.
      - painters and sculptors tried to reflect reality
    - - Michelangelo broke it by introducing imbalance in his works
      - figures portrayed in proportion
      - often used a pyramidal composition
      - studied the elements of a scene and arranged them symmetrically
  - - - ancient techniques
        
        tempera on wooden panels
        
        frescoes on walls
      - new oil technique
        
        mix oil with mineral pigments
        
        on cloth canvasses
    - - Reliefs replaced by freestanding sculptures
      - expensive materials: marble (frecuently)
      - freestanding sculptures
        
        contemplated from all angles
        
        three dimensional representations
  - - - increase in demand from nobles, clergy and the upper bourgeoisie
      - equestrian portraits also popular
    - - mythological themes adopted
      - from Classical Antiquity
    - - substituted gold backgrounds of Gothic artists
      - became the defining feature of all compositions
      - portrayed with enormous
        
        detail
        
        accuracy
  - - - revolutionary new technique, perspective
      - enable to give depth and volume to scenes, objects and figures
      - in sculpture, perspective was achieved by creating reliefs with various depths
        
        the Gates of Paradise by Lorenzo Ghiberti
    - - patron who commissioned this work was a member of the Medici family
      - painted by the Florentine Sandro Botticelli (end of 15th century)
        
        inspiration from classical mythology (the birth of Venus)
        
        Vuenus
        
        Roman goddess of love, beauty and marriage
      - the tempera technique
      - clear symmetry and the nude
    - - linear perspective, arrange elements on imaginary lines which converge at a vanishing point at the back
      - by placing figures in different planes and putting landscapes or architectural features in the most distant one