CHAPTER 9 THE PAINTERS OF THE RENAISSANCE CLASSICAL (XIV-XV ° S)
Jacques rouveyrol
I. FLORENCE
1. Masaccio (1401-1428)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;.............;;;;;;;;;;;;; The Tribute Christ, index, transfers the action to Saint Peter. This is to pay tribute (what Peter did it right). But where is the money? Peter retired from the fish's mouth, on the left. Jesus could have directly "out of his sleeve," the amount necessary (which it does by placing miraculously in the fish's mouth). But by appointing Peter designates man as the subject of the action . And that's where we sort of medieval thought. Man achieves the status of subject of the action. That is what will constitute the core of thought Renaissance.
2. Donatello (1386 - 1466)
................................ ................................. The Banquet of Herod Perspective perfect scene Banquet. But back to antiquity. The David , below is the first nude statue of scale from ancient Rome and Guattamelata , the first equestrian statue since antiquity.
3. Andrea del Castagno (1420-1457)
....................................... ..................................... The Last Supper
This Supper takes place in a "cube" perfect, like on a theater stage. We are here on earth and something is playing. Something essential: the founding of a religion. For it is in the Supper at the time of the Eucharist is founded the Christian religion: the transition from faith to religion. Evidenced by the core group consists of Jesus, John, Peter and Judas (like the Supper by Leonardo da Vinci). Religion is not faith but the attestation of faith by a number of trappings. The most important thing in Christianity is the Eucharist. It takes a group, a community of believers to adhere to these signs. But a community is constituted only on the exclusion of those who do not adhere. Judas had to be excluded for the Church, the Christian community is founded (Peter and John are two of them, this could be done at least the symbol of this community).
At the same time, it's not for nothing that the Supper is a recurring theme of Renaissance painting. While it is true that we often find it (what could be expected) to the wall of the refectory monasteries, it is mainly the time of passage of divinity to humanity. Again, the man comes to the center of the action. To him to extend the divine action. We are fully entered the era of the human subject.
4. Paolo Uccello (1397-1475)
............................. ............................... The desecration of the Host In this fragment of a long panel, the prospect is perfectly "respected" shot by shot, but not all presented as a succession of "scenes" (theater). And it is this humanist vision of the Renaissance: the world is not the materialization of the Mind of God, but as the "imagined" the Stoics, a théâtresur which man has to play a role.
5. Filippo Lippi (1406-1469)
.............................. ............................. The Banquet of Herod In this Banquet , space is unified by the perspective representation. But time is discontinuous in the center, the dance of Salome, left the beheading of John the Baptist and right presentation of the saint's head on a platter.
6. Ghirlandaio (1449-1494)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;...........;;;;;;;;;;;;;;;;; The Visitation
This work shows that the prospect is not the only way envisioned by the Renaissance figure with depth. Sprawl plans, as decoration on the theater (it is never far away, the theater) can give the illusion, like the veduta Grandfather and grandson of the Louvre, the same author.
7. Botticelli (1444-1510)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;; Venus and Mars asleep
For Christian themes that are still widely practiced, Assistant Renaissance themes of Greek mythology and Latin. These gods and goddesses of these singularly proccupations more "human" than the saints of Christian martyrdom. Climbing Olympus is down to earth. Where is the new issue of representation: the man.
8. Leonardo da Vinci (1452 - 1519)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;; Detailed Sainte Anne, the Virgin and Child 1501
It is his vision for the space it takes refer to understand the importance of the great discoveries of Leonardo da Vinci painting. Space is not a receptacle for his body of abstract and geometric. It is a place, better, a fluid medium which forms that emerge s'individuent, will "dilute" and leave room the formation of other bodies. Consequence: the invention of sfumato.
Thus, the shadow: 1) raises the figure in front of the background, 2) expresses the continuity of figure and ground, 3) finally, "clear" the movement itself springs from which the shape of the bottom The body of the medium which it is only temporary change.
Figure itself emerges from its environment. It is a deformation (forming) of plastic that environment. It can not, so, is cut on the bottom, detach. She "takes" because it is similar in nature (matter) than him. Only the movement gave naissance.L essence lies not in what we see, but in the invisible portion of what we do not see what you see. This is where the sfumato has its place. The form, once invented to give way to show its origin: it belongs in the "middle" of which she was born.
II. ROME
1. Piero della Francesca (1410/20-1492)
.................................................. .................. The Flagellation of Christ
rigorous geometry used by Piero della Francesca in this picture seems to be put to work for an identification. A left off, the Christ tied to the pillar and scourged, when the passion that led him to death. On the right, in the foreground, a young man that the "staging" of the table refers to as the Duke of Urbino. Why? The remote position of Christ is somewhat surprising. But observe: Christ and the young man are exactly equidistant from both sides of the column central symmetrical mirror (as if one, then, was the image of the other). The position of the body, especially of the arms is identical in the two characters. The cap of the neighbor boy and that of the man who turns his back, side Christ, respond. Likewise the shaved right with the cap of the flagellum. However, the Duke of Urbino was assassinated in 1444, just as Christ over 1400 years ago.
symbolism remains. This hidden symbolism that develops in the fifteenth century in the North.
2. Perugino (1448-1523)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;; Handover Saint Pierre
We saw (7th over), the public square, the subject of perspective, is the location of the historia. Just as Supper is the time of passage of the divine to the human (not the present meaning of the Incarnation when Annunciation ) with the foundation of religion, as well, handing wrenches St. Pierre is a passage in which God delegates to the Church the task of issuing his message. As tribute, above, that the man he returns dêtre the subject of the action.
3. Pinturicchio (1454-1513)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;; Jesus among the Doctors 4. Raphael (1483-1520)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;...;;;;;;;; Sainte Catherine
;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ; Pieta
VENICE III
is in the light that recognizes Venice and also painters.
;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; Court (House Husband)
the ceiling, nine more putti hand one-tenth that appears to the trash holding a stick. We shall extend the wand and it's the part that is cut exactly in half diagonally.
one side of this diagonal, curtains (trompe l'oeil) are drawn. On the other, they are left open to explore the Incontro (meeting the so-called "Bozollo" Prince Ludovico Gonzaga with both son and to the right of the Court Scene.
2. Bellini (1429 -1516)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;; Femme au Miroir
Dans ce Miracle de la Croix au Pont du Rialto (1494) l'épisode miraculeux n'est, sur la loggia, à gauche, qu'un détail parmi d'autres bien qu'il soit le sujet et donc l'essentiel du tableau. Le petit chien blanc qui, sur la gondole, fixe le spectateur et qui est très en vogue à l'époque, attire davantage l'attention que la storia proprement dite. Ceci n'est que la traduction picturale d'une conception de l'histoire proprement vénitienne attachée à l'abondance des détails dont la gratuité apparaît comme une garantie d'authenticité the story (this is the way to write the story we find in the nineteenth century in a novel of the Goncourt Manette Salomon). This conception of history will be swept by the humanist conception in the first twenty years of the sixteenth century. In Miracle Newborn (1511) by Titian, for example, there is nothing to overshadow the story of a miracle.
4. Giorgione (1477-1510)
........................ Sleeping Venus (completed by Titian) 1508-1510 Gemäldegalerie, Dresden 5. Titian (1488 / 9 - 1576)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;...;;;;;;;; Sainte Catherine A perfect harmony of colors for this St. Catherine. It was at that perfect harmony of colors, shapes, subjects and their treatment that reaches the "classicism" of the Renaissance with Raphael (see previous chapter The School of Athens and the "synthesis" that manages the Renaissance with Raphael.
5. Michelangelo (1475-1564)
;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ; Pieta
VENICE III
is in the light that recognizes Venice and also painters.
1.Mantegna (1431-1506)
;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; Court (House Husband) 
the ceiling, nine more putti hand one-tenth that appears to the trash holding a stick. We shall extend the wand and it's the part that is cut exactly in half diagonally. 
one side of this diagonal, curtains (trompe l'oeil) are drawn. On the other, they are left open to explore the Incontro (meeting the so-called "Bozollo" Prince Ludovico Gonzaga with both son and to the right of the Court Scene.
2. Bellini (1429 -1516)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;; Femme au Miroir 3. Carpaccio (1455-1525)
Dans ce Miracle de la Croix au Pont du Rialto (1494) l'épisode miraculeux n'est, sur la loggia, à gauche, qu'un détail parmi d'autres bien qu'il soit le sujet et donc l'essentiel du tableau. Le petit chien blanc qui, sur la gondole, fixe le spectateur et qui est très en vogue à l'époque, attire davantage l'attention que la storia proprement dite. Ceci n'est que la traduction picturale d'une conception de l'histoire proprement vénitienne attachée à l'abondance des détails dont la gratuité apparaît comme une garantie d'authenticité the story (this is the way to write the story we find in the nineteenth century in a novel of the Goncourt Manette Salomon). This conception of history will be swept by the humanist conception in the first twenty years of the sixteenth century. In Miracle Newborn (1511) by Titian, for example, there is nothing to overshadow the story of a miracle.
4. Giorgione (1477-1510) 
........................ Sleeping Venus (completed by Titian) 1508-1510 Gemäldegalerie, Dresden 5. Titian (1488 / 9 - 1576)
the Middle Ages, it opposes the virtue to vice, good and evil, spirituality and sensuality. During the Renaissance, the neo-Platonic develops more of a gradation of the sensual to the spiritual, from the sensible to the Idea.
Maybe that depicts love sacred and profane love (1514) Giorgione. As in the case of the two Venus by Botticelli, profane love is what naked while wearing heavenly love.
The Venus Giorgione was in a landscape, that of Titian in an interior. Curiously, the left ends of curtain to his right, not a crease in a straight line but the rigorous transformation in screen. Also, Venus is lying on a mattress on "top" to the floor! And, it seems, in a room that would be at a level lower than where the other characters since walking provides access to the "back room". However, no Italian palace of the time admits that architecture to the ground and it is unlikely that Venus is lying on a mattress to the floor. What does this mean? Simply this: Venus and the palace where the other women are not in the same location (map). There is the place of the palace (the bottom), place the viewer (we are) and ... the plan of the canvas which is the location of Venus
Let. But why this device (which anticipates the "scandal" of Olympia Manet who gave birth to modern art?
The Venus of Giorgione is a picture of marriage. Such arrays are placed in the nuptial chamber, had a duty either to remind them of the conjugal virtues: hope, fidelity, love, or boost the heat the wife or husband. Is it the same with the Titian painting?
The table shows, basically, a chest that is probably a safe under the cover of marriage which is usually painted a naked woman extent. But there are also chests courtesans! As for the dog shown on the right edge of the bed (as will the black cat from Olympia), it is a symbol of fidelity, of course (see The Arnolfini Van Eyck), but just as much a symbol of lust (see Danae and the golden rain of Titian).
But the crucial point lies elsewhere. The composition of the painting the viewer assigns a specific location:
- The screen draws a line which goes to la verticale du sexe que Vénus paraît caresser de sa main.
- Le point de fuite de la perspective du carrelage se trouve sur cette verticale, exactement à hauteur de l'oeil de la jeune femme.
- L'horizontale qui part de l'oeil, passe par ce point (de fuite) se trouve également au niveau de l'oeil de la servante agenouillée, de dos, qui regarde dans le coffre. Cet oeil-là est celui du specteur qui regarde et qui a donc son lieu, contre la toile, au-dessus du sexe de la jeune femme.
Maybe that depicts love sacred and profane love (1514) Giorgione. As in the case of the two Venus by Botticelli, profane love is what naked while wearing heavenly love.
The Venus Giorgione was in a landscape, that of Titian in an interior. Curiously, the left ends of curtain to his right, not a crease in a straight line but the rigorous transformation in screen. Also, Venus is lying on a mattress on "top" to the floor! And, it seems, in a room that would be at a level lower than where the other characters since walking provides access to the "back room". However, no Italian palace of the time admits that architecture to the ground and it is unlikely that Venus is lying on a mattress to the floor. What does this mean? Simply this: Venus and the palace where the other women are not in the same location (map). There is the place of the palace (the bottom), place the viewer (we are) and ... the plan of the canvas which is the location of Venus
Let. But why this device (which anticipates the "scandal" of Olympia Manet who gave birth to modern art?
The Venus of Giorgione is a picture of marriage. Such arrays are placed in the nuptial chamber, had a duty either to remind them of the conjugal virtues: hope, fidelity, love, or boost the heat the wife or husband. Is it the same with the Titian painting?
The table shows, basically, a chest that is probably a safe under the cover of marriage which is usually painted a naked woman extent. But there are also chests courtesans! As for the dog shown on the right edge of the bed (as will the black cat from Olympia), it is a symbol of fidelity, of course (see The Arnolfini Van Eyck), but just as much a symbol of lust (see Danae and the golden rain of Titian).
But the crucial point lies elsewhere. The composition of the painting the viewer assigns a specific location:
- The screen draws a line which goes to la verticale du sexe que Vénus paraît caresser de sa main.
- Le point de fuite de la perspective du carrelage se trouve sur cette verticale, exactement à hauteur de l'oeil de la jeune femme.
- L'horizontale qui part de l'oeil, passe par ce point (de fuite) se trouve également au niveau de l'oeil de la servante agenouillée, de dos, qui regarde dans le coffre. Cet oeil-là est celui du specteur qui regarde et qui a donc son lieu, contre la toile, au-dessus du sexe de la jeune femme.
Une femme éveillée qui regarde le spectateur, qui se touche et invite à toucher sans qu’on puisse faire autre chose que voir : le principe même de la peinture érotique, invented by Titian.
6. Tintoretto (1518-1594)
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;; Mars and Venus discovered by Vulcan
Singular staging than this canvas. Ordinarily, Vulcan, Venus's husband, surprises Mars, his lover in the same layer. He even invented a net to take lovers. Nothing like that here. Mars is hidden under a bed between Vulcan and without seeing him. Venus is the Mirror. A mirror which can be seen as a reflection on his body (as usual, is the reflection of Venus, which is given to see in the mirror). But the most singular is the shield, near the gate that behaves like a mirror, a mirror but very strange since it does not accurately reflect the scene, but, as the shield of Aeneas (by Virgil) appeared the future of Rome, and the shield of the bottom part shows Vulcan significantly more advanced in sexual action that it is preparing, invited by sex and discovers that he contemplates. For once, it's in March to attend the antics of her husband with his mistress!
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;; ;;;;;;;;;;;;;;;;;;;;;;;;;;;; Mars and Venus discovered by Vulcan
Singular staging than this canvas. Ordinarily, Vulcan, Venus's husband, surprises Mars, his lover in the same layer. He even invented a net to take lovers. Nothing like that here. Mars is hidden under a bed between Vulcan and without seeing him. Venus is the Mirror. A mirror which can be seen as a reflection on his body (as usual, is the reflection of Venus, which is given to see in the mirror). But the most singular is the shield, near the gate that behaves like a mirror, a mirror but very strange since it does not accurately reflect the scene, but, as the shield of Aeneas (by Virgil) appeared the future of Rome, and the shield of the bottom part shows Vulcan significantly more advanced in sexual action that it is preparing, invited by sex and discovers that he contemplates. For once, it's in March to attend the antics of her husband with his mistress!
7. Veronese (1528-1588)
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