Gardner Ch 21

• Ghiberti
• The Sacrifice of Isaac
• 1401-02

• Ghiberti
• The Gates of Paradise
• East Doors, Florence Baptistry, Florence
• 1425-52

• linear perspective
• aerial perspective
• bronze
• classical
• representing 3-D on 2-D

• Brunelleschi
• Dome of Florence Cathedral
• 1417-36

• Brunelleschi
• The Sacrifice of Isaac
• 1401-1402

• Donatello
• St. Mark
• Orsanmichele, Florence
• 1411-13

• Masaccio
• The Tribute Money
• Brancacci chapel, Florence
• c. 1425

• Masaccio
• The Holy Trinity
• Santa Maria Novella, Florence
• 1428

• Michelozzo di Bartolommeo
• Palazzo Medici-Riccardi, Florence
• begun 1444

• Verrocchio
• Bartolommeo Colleoni
• c. 1483-88

• Piero della Francesca
• Battista Sforza and Federico da Montefeltro
• 1472-73

• Alberti
• Church of Sant'Andrea, Mantua
• c. 1470

• Sandro Botticelli
• The Birth of Venus
• c. 1482

all parallel lines or surface edges converge on one, two, or 3 vanishing points locagted with reference to the eye level of the viewer and associated objects are rendered smaller the farther from the viewer they are intended to seem.

• Latin: "reminder of death"
• in painting, a reminder of human mortality, usually represented by a skull

the use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight

• Italian: "day"
• the section of plaster that a fresco painter expects to complete in one session

the disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called "weight shift" because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other.

semicylindrical in cross-section, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space.

a sunken panel, often ornamental

in drawing or painting, the treatment and use of light and dark, esp the gradations of light that produce the effect of modeling

The Prince 1513

• French: "fools the eye"
• a form of illusionistic painting that aims to deceive viewers into believing they ar eseeing real objects rather than a representation of those objects

Oration on the Dignity of Man

In the Renaissance an emphasis on education and on expanding knowledge (esp of classical antiquity), the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty

a technique of painting usin gpigment mixed with egg yolk, glue, or casein; also, the medium itself

• painting on lime plaster, either dry (fresco secco) or wet (true or buon fresco).
• Wet: pigments are mixed with water and become chemically bound to the freshly laid lime plaster