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Andrew Holbert

Chapter 16: Renaissance and Baroque Europe

Giotto di Bondone. Lamentation.
Scrovegni Chapel, Paula, Italy. c. 1305.
a. Depicted physical as well as spiritual reality
b. Figures shown as individuals within a shallow, stagelike space
c. Portray personal feelings of grief not seen in medieval art
d. Reinventor of naturalistic painting

Masaccio.
The Holy Trinity.
Santa Maria Novella, Florence. 1425.
a. First painting based on the systematic use of linear perspective
b. Used perspective to construct an illusion of figures in three-dimensional space
c. Figures are clothed nudes with garments draped like real fabric

Donatello.
David. c. 1425-1430.
Bronze
a. Less idolized and more naturalistic
b. Portray the biblical shepherd
c. Clothing the boy’s body only in hat and boots
d. Created his bronze David as a private commission for Cosimo de Medici, for courtyard of the Medici palace

Donatello.
Mary Magdalen. c. 1455.
Wood, partially gilded.
a. Haggard and withdrawn
b. Forcefully expensive figure of old age and repentance
c. Chose painted wood
d. Favorite medium of northern Gothic Sculptors

Sandro Botticelli.
Birth of Venus. c. 1480.
Tempera on canvas.
a. First painting of an almost life-size nude since antiquity
b. Roman goddess of love just after she was born from the sea
c. Being blown to shore by a couple symbolizing wind
d. Not fully three-dimensional

Leonardo da Vinci.
The Infant in the Womb. c. 1510.
Pen and ink.
a. Could serve as an example in one of today’s medical textbooks
b. First to give a clear description of the camera obscura
c. Captures light images in much the same way as the human eye

Leonardo da Vinci.
Mona Lisa. c. 1503-1506.
Oil on wood.
a. One of his favorite paintings
b. Mysterious mood evoked by the faint smile
c. Rich, luminous surface was achieved through the application of glazes
a..