Art 4424-Midterm-Domenico del Ghirlandaio

Art 4424-Midterm-Domenico del Ghirlandaio - F. Domenico del...

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F. Domenico del Ghirlandaio (Domenico Bigordi; 1449-94) son of the garland maker used to be regarded as unimaginative prosaic no science, poetry, extravagance, bizarre arch realist a clear-eyed representation of the real world teacher of Michelangelo 1. * Last Supper (fresco, refectory of the convent of Ognissanti, Florence), 1480 group behind long table fresco painted on wall of refectory (dining room) frescoes of the Last Supper are a common theme for refectory walls, tradition, so can relate own dinner with that of Christ’s figures are over life size, 30 feet long Ognissanti convent, no one lives there anymore not the first of its kind *compare with Andrea del Castagno , Last Supper , 1450 iconography is the same o young John o Judas is isolated o table in rectangular space o floor this is the way it is done lighting sensitivity to architecture, takes into account the space: playful suggestion of real space his approach is good sense descriptive realism: the table cloth was ironed, pattern and folds 1
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sense of accuracy in the setting promotes feeling of realism, but not real movement much more individualized groupings 2. Decoration of the Sassetti Chapel, church of Sta. Trinita (Florence), 1483-86: Zucker Special church is in a prominent location in town Sassetti Chapel is one of the major projects of Italian art for this period good condition covered with frescoes patron: Francesco Sassetti member of elite circle around the Medici family general manager of Medici banks close friend of Lorenzo Medici on the sides of the altar are Mr. and Mrs. Sassetti, wife is Nera o on the walls are their tombs sculpted out of porphyry main subject is the nativity sides and up: scenes from the life of St. Frances o one of the main saints of Italy o real life, popular, rejuvenation o within death years, massive amounts of Franciscans o San Francisco 5 sons, 5 daughters right hand man of Lorenzo Medici patronage was usually centered in church of Maria Novella but it was of the Dominican order and they would not permit a Franciscan saint chapel in their church, 2
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(a)* Nativity and Adoration of the Shepherds (panel painting; altarpiece of the chapel) beautifully framed painting that stands at rear of altar and belongs to a separate world donors on the sides are kneeling in perpetual adoration Mary and shepherds also kneel two different media come into play: two different worlds/realms, window to past and present 1. painting: shiny, bright 2. frescoes: dull, light an actual visitor would kneel and that would create another level of reality *compare with Lippi’s Vision of St. Bernard , 1485-90 o similar: size, format, frames, technique, Classical architecture, Latin inscriptions, belongs to same sculpture o relation with image and text: “Mary adored the one which she had born” o one donor in right hand corner
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This note was uploaded on 03/26/2009 for the course ART 4424 taught by Professor M.zucker during the Spring '08 term at LSU.

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Art 4424-Midterm-Domenico del Ghirlandaio - F. Domenico del...

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