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- St. George
- Artist: Donatello
- Era: 15th Century Italian Renaissance, 1415-1417
- Location: Florence, Italy
- Techniques:
- marble
- idealistic young man
- individualized portraiture
- patron saint of England
- bold firmness
- erect intense concentrated poses
- light turn of torso
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- Mary Magdalene
- Artist: Donatello
- Era: 15th Century Italian Renaissance
- Location: Florence, Italy
- Techniques:
- emotional expression
- carved of wood with a sheen
- Mary is a emaciated vacant-eyed hermit clothed only by her hair
- she is aged and has led a sinful life - she is typically beautiful
- sunken cheeks and eyes
- soul is going to be revitalized in afterlife
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- David
- Artist: Donatello
- Era: 15th Century Italian Renaissance, 1420-1450
- Location: Florence, Italy
- Techniques:
- bronze sculpture
- first free standing nude sculpture since Antiquity
- he is a symbol of the Florentine love of liberty
- message is that Medici are responsible for Florence's prosperity and freedom
- Goliath is the personification of Milan
- one side is tense and one is relaxed
- boots and hat allude to Mercury
- weight shift and s-curve of body
- high surface patina - high play of light and shadow
- sculpture in the round
- discovery of self
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- David
- Artist: Verrocchio
- Era: 15th Century Italian Renaissance, 1465-1470
- Techniques:
- bronze statue
- Medici commissioned
- sturdy young apprentice
- leather doublet
- stands with pride
- more realistic sense of accomplishment
- easy balance
- thin, adolescent musculature
- defined veins
- new psychology of the brash and confident young David
- contraposta
- high surface patina
- play of light and shadow
- sculpture in the round
- sword and elbow sharply break through the closed sculpture
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- Hercules and Antaeus
- Artist: Pollaiuolo
- Era: 15th Century Italian Renaissance, 1475
- Techniques:
- Medici commission
- Humanist imagery
- figures have stress and strain to create violent action
- pagan subject matter
- nervous movement
- emotional expressiveness (Antaeus is screaming but Hercules is calm)
- linear mobility (planes)
- spatial complexity (planes)
- dramatic immediacy
- each line creates a different plane
- figures interlock in a coil that is about to be released
- flickering play of light and dark
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- Gattamelata
- Artist: Donatello
- Era: 15th Century Italian Renaissance, 1445-1450
- Location: Piaza Del Santo, Padua
- Techniques:
- bronze statue
- equestrian statue of Erasmo da Narni
- outdoors
- commissioned by city officials - the first the rival of the Marcus Aurelius Equestrian Statue
- horse's foot is raised but resting on an orb for balance
- horse is like a plow horse because it is so muscular
- Erasmo is in a high seated position
- represents strength and unlimited power
- his face is set in a dauntless resolution, unshakeable will
- male Renaissance individual - intelligent, courageous, ambitious, and humble
- a man who can advance in society due to his own will
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- Bartolommeo Colleoni
- Artist: Verrocchio
- Era: 15th Century Italian Renaissance, 1483-1488
- Location: Campo Dei Santi Giovanni & Paolo, Italy
- Techniques:
- bronze statue
- commissioned by Colleoni
- he is animated in surveying the square
- horse is in an arching stride
- horse has a powerful neck
- horse's foot is raised as if on parade
- Colleoni has anger and rage
- shifts weight in sturrup that violent twists body
- savage and merciless military leader
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- Dome of the Florence Cathedral
- Artist: Brunelleschi
- Era: 15th Century Italian Renaissance, 1420-1436
- Location: Florence, Italy
- Techniques:
- semicircular dome based on an ellips
- first two-shelled dome
- 24 interior ribs and 8 exterior ribs
- lantern sits on top of dome pushes all the ribs down and holds them in place
- pointed arch section
- no longer needs buttressing
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- Santo Spirito
- Artist: Brunelleschi
- Era: 15th Century Italian Renaissance, 1436
- Location: Florence, Italy
- Techniques:
- little chapels on outer edge
- had to have three portals
- 2 side aisles
- one to four ratio
- nave is twice as tall as it is wide
- flat nave ceiling
- rounded arches
- columns separate nave from aisle- floor accentuates model system
- shallow saucer-like dome inside vaults of aisles
- cold church not warm and inviting - mathematical precision
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- Pazzi Chapel
- Artist: Brunelleschi
- Era: 15th Century Italian Renaissance, 1440
- Location: Sta. Croce, Florence, Italy
- Techniques:
- inside courtyard attached to main cathedral
- facade might have been done by someone else
- narthex is influenced by Roman triumphal arhces but isn't mathematically correct
- circular module system
- square and rectangular bays
- all white interior with pietra serena (grayish-brown) ornamentation - two tones creates balance and symmetry
- ring of windows in dome creates halo effect
- two archways that are opposite
- two shallow barrel vaults opposite with tympanums that match archways
- medallions above each window and smaller arches
- medallions are glazed terra cotta relief
- four evangelists in domes - oendeive
- 12 apostles on pilaster framed panels
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- Palazzo Medici-Riccardi
- Artist: Bartolommeo
- Era: 15t Century Italian Renaissance, begun in 1445
- Location: Florence, Italy
- Techniques:
- Medici originally commissioned it
- bought by Riccardis and they double the facade
- simple, massive, and solid
- heavy cornice line
- fortress with a lid
- focus on three registers with decreasing heights
- hand cut stone
- bottom level is roughest and top is finest - optical illusion to make building look more graceful
- rounded relieving arches above windows
- open colonnaded courtyard
- inspired by Colosseum - three types of columns vs three types of stones
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- Palazzo Rucellai
- Artist: Alberti
- Era: 15th Century Italian Renaissance, 1450-1470
- Location: Florence, Italy
- Techniques:
- three levels of piers up building, flattened versions of colomns
- Tuscan capitals on bottom, second level are ionic flutes mixed with acanthus leaves, top level is corinthean
- heavy cornice on top
- rectangular flat structures, two dimensional quality, rhythm
- all stones are equal and refined- rapid rhythm across piece
- piers put emphasis on verticality
- pilasters are the piers but they don't project from the wall
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- West Facade of Sta. Maria Novella
- Artist: Alberti
- Era: 15th Century Italian Renaissance, 1458-1470
- Location: Florence, Italy
- Techniques:
- modification of Gothic cathedral
- temple front facade
- height and width are equal, but top and bottom are separated because top is more rounded
- two demensional qualities with geometric shapes
- niches in front wall held tombs
- pilasters flatten the space and create divisions of space
- columns around the openings function similarly to jamb statues
- scroll design on upper half connects the bottom and the top
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- San Francesco
- Artist: Alberti
- Era: 15th Century Italian Renaissance, 1451
- Location: Rimini
- Techniques:
- shell over a pre-existing building
- love of Classical learning
- Neo-Pagan style of architecture for Christianity
- shrine for scholars and Alberti's mistress
- monumental triumphal Roman arch influence
- three recessed arches
- rounded elements - reduced medallions also from Roman triumphal arches
- used piers down side with a tomb in between each one
- columns on facade to allude to Roman triumphal arches
- flat entablature projects sharply - projects out above columns to create rhythm
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