Professional Documents
Culture Documents
Architecture of Italy
Architecture of Italy
of
Italy
Exploring the Legacy and Impact of the Art and
Architecture of Italy on Contemporary Society
Unit One will explore how the architecture of the Roman Empire
continues to influence the architecture of today.
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
The Colosseum: Arena Prototype
Basilica: From Meeting Hall to Christian Church
Culminating Activities
Ideas for Further Exploration
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
National Standards
NAVA 1, 3, 4
NS 2, 5
NSS GK 2
NSS WH 4
NM GEO 1, 4
Learning Objectives
Students will learn:
1. How to construct a dome.
2. How to apply terminology of the arch and the dome
3. That the arch and dome are structurally very sound.
4. To appreciate the ancient Roman innovations of the arch, dome, and concrete.
5. That the Roman development of concrete allowed for slower drying times, enabling larger,
more complex structures to be built.
6. That the Pantheon has influenced the look of architecture for the past 500 years.
Materials
Per student:
Worksheet: Parts of the Pantheon
Toothpicks
Modeling Clay
Pipe cleaners
Plastic or metal dish
In general:
Suggested Images
A large utility sponge
Permanent marker
Styrofoam arch (one to demonstrate to
a large group, or several for small
groups of students to explore)
X-acto knife
Concrete and mixing material
Newspaper
cooking spray
Suggested Images
Diagram of an arch
Diagram of a barrel vault
Diagram of cross or groin vault
Diagram of dome
Roman aqueduct
Pantheon, both interior and exterior
Giovanni Paolo Paninis painting of Pantheon interior, c. 1734
Palladios Villa Rotunda
Jeffersons University of Virginia Rotunda
Jeffersons home in Monticello
Examples of domes in your state, region, town
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
The Arch
Keystone
Voussiors
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
Dome
Pediment
Portico
Column
Oculus
Coffers
Architectural Innovations of the Romans: The Arch, the Dome, and Concrete
___________
___________
________
________
____________
___________
Background:
A large numbers of Romans enjoyed watching events such as gladiator fights. This gave rise to the
construction of the circular arena to hold all the spectators while allowing for direct sight of the
action. The Colosseum, while not the only arena built in ancient Rome, was the largest and is
certainly the most well known today.
The Colosseum was ordered by Vespasian and completed in 80 CE under Titus. The Colosseum was
built on the large residence and swimming pool of Nero. It was originally named the Flavian
Amphitheatre, but has been known since the Middle Ages as its present name due to the colossal
statue of Nero that once stood alongside the structure. The Colosseum is set at the southeast end of
the Forum, and was the largest permanent arena, or amphitheatre built in Rome. (Others were built,
though they were temporary ones made from wood.) An amphitheatre means double theatre. It is
an elliptical shape, and is approximately 615 by 510 feet in diameter. It stands approximately 160
high, and has four floors. The first three floors on the faade have eighty arches with columns in the
Doric, Ionic, and Corinthian order (respectively). The top floor had consoles that supported posts
onto which awnings would be stretched to shield the audience from sun and rain.
The Colosseum supported up to 50,000 people, and admission was free. Each class or group had
different sections to sit in the amphitheatre and different entrances to use, reflected in the ticket
needed for admission and the numbered archways to enter. Four arches were restricted to ordinary
citizens and were used by the emperor and his family, the senators, vestal virgins, priest, and
magistrates. The Colosseum was primarily used for gladiator fights, where the fight would be until
death. Often, exotic beasts were added for excitement and thrill of the hunt. According to many
sources, the Colosseum was also able to hold water, flooded for mock naval battles. (Scholars are
divided on that issue, however. Some have concluded that early in the Colosseums history, the arena
was able to be flooded, but after the subterranean floor was divided up into many hidden entrances
for the gladiators, this was no longer possible.)
Other events besides gladiator fights included performances by jugglers, dancers, acrobats, and
parodies of legends. Events were publicized with posters. The savage gladiator events stopped in
404, but public executions continued. From the 6th century up until the 19th century, the Colosseum
fell in disrepair by plundering and neglect. It still stands today, but it suffers from 20th century
pollution.
National Standards
NA VA 1, 3, 4, 5, 6
NS 5
NSS GK 1
NSS WH 9
NM GEO 4
NL ENG 7, 8
Learning Objectives
Students will learn:
1. That todays sports arena has its roots in the Roman arena, such as the Colosseum.
2. That the Colosseum used a ticketing system to let event goers know where to sit.
3. To appreciate the longevity of the Colosseums shape for use in allowing thousands of people
watch an event.
4. That the faade of the Colosseum incorporates the Greek orders in the order of their
appearance.
Materials
Per student:
worksheet The Colosseum VS. the
Modern Sports Arena
graph paper
2- 12 x 18 sheets of white paper
thin Sharpie marker
pencil
eraser
2 x 5 piece of cardstock
paper tube (from paper towels, toilet
paper, gift wrap)
paper
glue
In general:
suggested images
access to computer with color printer
Suggested Images
Colosseum
Your arena:
__________________________
Is it open or
enclosed?
What is the
seating capacity?
What other
functions does it
have?
Note: This lesson addresses the religion of Christianity and requires study of the basilica structure
and its application to churches in the Christian faith today.
Background:
The year was 313 CE. The Emperor Constantine signed the Edict of Milan, which allowed the
tolerance of all religions in the Roman Empire, including Christianity. Soon after, Christianity
became the official religion of the Romans. Christian worship went from clandestine meetings in
homes to avoid persecution to many worshipping together in large groups. A new type of building
needed to be constructed to hold the growing Christian congregations, something other than reusing
the pagan temples. The basilica, which served as a hall for a covered market and courthouse, became
the new building model for worship. The basilica is a rectangular building divided along its long axis
into the nave, the central portion, and side aisles. At one end of the nave is a hemispherical apse.
Once the basilica shape became adapted for the new Christian religion, architects began adding
features. The transept is perpendicular to the nave, and the shape of its crossing the nave resembles
a cross. The narthex is opposite the apse, and is the entrance to the basilica. Arcading, or repeated
arches, were used for the interior side aisles. Clerestory windows, place in the area above the nave,
allowed light to filter in.
National Standards
NA VA 1, 4, 5, 6
NS 5
NM GEO 4
Learning Objectives
Students will learn:
1. That the building plan of many churches today is based on the Roman basilica shape.
2. How to apply terminology associated with the basilica.
3. How to design a new structure based on the basilica shape.
Materials
Per student:
worksheet Roman Basilica
pencil
In general:
suggested images
Suggested Images
Side Aisles
Side Aisles
Nave
Apse
Transept
Transept
Side Aisles
Side Aisles
Nave
Narthex
Materials:
Per Student:
Graph paper
Acetate sheet
Permanent marker
Bristol or tag board
White glue
In General:
Foam core board
Corrugated cardboard
Cardboard tubes
Variety of materials for building
Draw a structure. Before you begin designing, be able to answer these questions:
? What will it be used for? (worship, personal residence, sports arena, government building,
etc.)
? Where will it be located?
? How big will it be? (This may depend on its purpose.)
? What aspects of classical architecture will it incorporate?
Getting started:
1. Create a plan, which shows the layout of each floor, of your structure on the graph paper.
2. Draw the section, which is the vertical cutaway of the interior (like a doll house) on a
sheet of paper.
3. Tape an acetate sheet over the section to draw the elevation, or side view of the exterior,
with permanent markers.
4. From the small plan on graph paper, enlarge it to the scale, or size, you want the model to
be on bristol board.
5. Now begin construction on your classical building. Use any variety of construction
materials such as foam core board, cardboard, modeling clay, papier mache, stiff paper,
etc.
Arch -
Dome -
Arcading -
Vault (type?) -
Concrete -
Column (type?) -
Arena -
Oculus -
Coffers -
Basilica -
Other:
Other:
Mosaics
Romans are well noted for their beautiful and practical mosaics on the floors and
walls of homes and baths, such as the Cave Canem (Beware of Dog) mosaic
used to warn visitors of their family dog in a Roman home. Mosaics are designs
made of bits of tile or glass called tesserae. Today, mosaics are found
everywhere, from public art sculptures such at Watts Towers in Los Angeles to
candleholders found at a local store. Where else can you find mosaics? Create a
mosaic using tile or glass and mortar. Or, for a simpler, more classroom friendly
option, use construction paper tiles.
Roman Frescoes
The Romans decorated their walls with paintings in the form of frescoes. There were four major
styles of frescoes:
simple, little color, copying Greek pictures or those that resemble marble
pictures to resemble architecture, landscapes, and vistas in a trompe loeil fashion
landscapes in background, figures in foreground
Combo style: filled with figures, statuary, landscapes
Where are wall paintings seen in your own community? (Perhaps public art murals?) Create a fresco
based on one of these styles or plan a mural for the wall of the classroom.
Roman Sculptures
The ancient Romans admired Greek statuary so much that they made
reproductions of them. In fact, most of the sculptures we know as Greek are
really Roman copies of Greek originals that have since been lost or destroyed
over time. The Romans did, however, create original portrait sculptures,
capturing the expression and details such as wrinkles of a real face, as opposed
to an idealized Greek appearance. Look at sculptures at your school, local art
museum, and around town. Do the sculptures you see contain these kinds of
details? How is Roman influence noted? Create a clay bust of someone
(yourself?). Try to capture all of the details of the face, including wrinkles and
facial hair.
Roman baths
Roman baths were large, and each had a specific purpose, such as a room for hygiene and a room for
exercise. What does that sound like? Spas and gyms! Compare this relationship further to what was
offered in the Ancient Roman baths vs. what is offered in todays spas and sports complexes. Also
compare the plans and overall architecture of a modern facility with that of the Roman ones. How
are they similar? How are they different?
Graffiti
The word graffiti is a plural derivation from the Latin word graffito, which was derived from the
Greek word graphein meaning to write. Some of the earliest graffiti was found in Pompeii, carved
into the walls of homes and monuments. Subject matter included quotations from literature, insults,
political statements and caricatures, and love declarations.
(Sound familiar?) Today, graffiti continues from its
ancient legacy to evolve into writing by using spray
paint. Graffiti is prevalent in the streets of Rome today,
and can be found on virtually any viaduct or railroad car
in the United States. Examine more of this history and its
evolution to an artform (albeit illegal artform) today. In
Indiana, a great place to see artistic and legal graffiti is in
Broadripple. Which then begs the question, is it really
graffiti if it is legal? Should graffiti be an area of study
given its illegal history in the U.S.? Why is it illegal if it
has been practiced for thousands of years?
Vitruvian Man
Vitruvius was a Roman engineer, architect, and author of De architectura (On Architecture),
which as written c. 27-23 BCE. De architectura was a 10 book treatise on architecture. In these 10
books, Vitruvius wrote clearly and simply on both theoretical and practical applications of
architecture and construction. Vitruvius was rediscovered during the Renaissance and greatly
influenced architects such as Alberti and Palladio (who subsequently wrote their own books on
architecture in the 16th century). He also influenced other Renaissance artists such as Leonardo da
Vinci, who drew the iconic Vitruvian Man in the 16th century based on the proportions of man set
forth by Vitruvius in his books. Vitruvius continued to influence the direction of architecture through
the early 20th century, until modernist values rejected his theories. Read all or some of the books of
De architectura (http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Vitruvius/home.html).
View Leonardos Vitruvian Man and test to see if the proportions Vitruvius wrote of are correct. For
ideas on lesson plans, see the Drexel Math Forum site
(http://mathforum.org/alejandre/frisbie/math/leonardo.html).
Resources
Children/Juvenile/Illustrated Books
Ancient Roman Art
Book to introduce students to Ancient Roman art and architecture.
Susie Hodge. Heinemann Interactive Library, Reed Educational & Professional Publishing; 1998.
Ancient Rome
Well-illustrated book on the architecture and culture of ancient Rome.
Peter Connolly. Text by Andrew Solway. Oxford University Press; 2001.
Ancient Rome: Monuments Past and Present
Descriptions of Roman buildings such as the Forum, the Pantheon, the Colosseum, and St. Peters
with transparency overlays to help reconstruct what the original building looked like.
Romolo Augusto Staccioli. Vision S.R.L. Roma; 2006 (new edition with CD-DVD ROM)
Classical Ingenuity: The Legacy of Greek and Roman Architects, Artists, and Inventors
Activity book focusing on the art and culture of ancient Greece and Rome.
Charles F. Baker and Rosalie F. Baker. Cobblestone Publishing; 1993.
The Colosseum
Cartoguide (English version) resource for the Colosseum.
Text edited by Nunzio Giustozzi. Ministero per i Beni e le Attivit Culturali, Soprintendenza
Archeologica di Roma, mondadori Electa S.p.A., Milan; 2003 (reprint).
Crafts of the Ancient World: The Crafts and Culture of the Romans
Wordy childrens book with limited illustrations, but includes some unique ideas for projects based
on the culture of ancient Rome.
Joann Jovinelly and Jason Netelkos. Rosen Publishing Group, Inc.; 2002.
Masters of Art: The Story of Architecture
Well-illustrated book of architecture through history.
Francesco Milo. Illustrated by Lorenzo Cecchi, Studio Galante, and Andrea Ricciardi. Peter Bedrick
Books. 1999.
Rome Antics
Childrens picture book concerning a pigeon that flies across Rome; drawings are done from a
variety of vantage points providing unusual perspectives of the urban landscape.
David Macaulay. Houghton Mifflin Company. 1997.
Smart Structures: Stadiums and Domes
An in-depth look at the technology and history of stadiums and domes, well-illustrated with
photographs of actual structures and drawings illustrating vocabulary and concepts.
Julie Richards. Minnesota: Smart Apple Media. 2004 (2003 MacMillan Education Australia).
Technology in the Time of Ancient Rome
Well-illustrated book helps to simplify the innovative technology of the ancient Romans.
Robert Snedden. Raintree Steck-Vaughn Company. 1998.
The Colosseum
In-depth look at the Colosseum and its history, well illustrated.
Lesley A. Dutemple. Lerner Publications Company. 2003.
The Pantheon
In-depth look at the Colosseum and its history, well illustrated.
Lesley A. Dutemple. Lerner Publications Company. 2003.
Adults/Older Readers
Classical Architecture: An Introduction to Its Vocabulary and Essentials, With a Select Glossary of
Terms
Well-illustrated resource on the history of architectural styles.
James Stevens Curl. W.W. Norton & Company; 1992, 2001.
Web-sites
Architectural glossary
http://www.usi.edu/artdept/artinindiana/Glossary/glossary.html
Architecture lesson plans, with National Standards
http://www.sanford-artedventures.com/play/arch1/arch_teacher.html
Great Buildings: The Roman Colosseum
http://www.greatbuildings.com/buildings/Roman_Colosseum.html
Create a 3-D model of the Colosseum from Great Buildings
http://www.greatbuildings.com/models/Roman_Colosseum_mod.html
Comprehensive coverage by Andrea and Daniele Pepe and Catherine McElwee of the history and
architecture of the Colosseum
http://www.the-colosseum.net/idx-en.htm
Rome Guide of the Colosseum
http://www.romeguide.it/MONUM/ARCHEOL/colosseum/colosseum.htm
Rome Guide of the Pantheon
http://www.romeguide.it/MONUM/ARCHEOL/pantheon/the_pantheon.htm
Stadiums of the NFL
http://www.stadiumsofnfl.com/
Odyssey Online: Themes of Rome
http://www.carlos.emory.edu/ODYSSEY/ROME/homepg.html
Vitruvius De architectura
http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Vitruvius/home.html
Drexel Math Forum with Leonardo da Vincis Vitruvian Man lesson plans
http://mathforum.org/alejandre/frisbie/math/leonardo.html
Spatial Constructs
Background
Artists during the Renaissance were concerned with representing the idea of space and volume in art.
Space and volume, however, are three-dimensional concepts. How does an artist represent what has
depth on a flat surface, like paper, that only has height and width? To represent architecture and
other geometric masses in a convincing way, linear perspective was developed. To represent the
landscape and other vistas that reach into the distance, aerial or atmospheric perspective was used.
Spatial Constructs
National Standards
NA VA 1, 2, 4, 5, 6
NS 2, 5
NSS WH 6
NM GEO 1, 4
Learning Objectives
Students will learn:
1. How to represent space on a flat surface using linear perspective.
2. How to represent space on a flat surface using atmospheric perspective.
3. How to construct a fresco.
4. That fresco painting is a very durable method due to the chemical bonding of plaster and
pigment.
5. That linear perspective was developed by the Renaissance architect Brunelleschi who wanted
to use mathematical reasoning to depict architectural space on a flat surface.
6. That Leonardo da Vinci observed that in atmospheric perspective, the further in distance
objects are in the landscape, the bluer they become.
7. That objects seem to get smaller and less distinct the further in distance they become.
8. To appreciate the Renaissance innovation of linear and atmospheric perspectives.
9. To appreciate the method of creating a fresco.
Materials
Per student:
ruler
marker
a few sheets of white paper
pencil
watercolor paper
wooden board larger than the water
color paper
paintbrush
pie tin or 5 x 5 piece of wood
nail
vine charcoal
In general:
camera
permanent marker
acetate sheet (overhead transparency)
suggested artworks
masking tape
water containers
paper towel
plaster of Paris
trowel
watercolor or tempera paints
powdered or crushed charcoal
large dry brush
Linear Perspective
Suggested Artworks
Challenge- Draw an exterior scene of buildings or use two-point linear perspective where two
vanishing points are used
Suggested Artworks
Spatial Constructs
Suggested Artworks
Spatial Constructs:
Linear Perspective
Vanishing Point
Horizon Line
Orthogonal
Atmospheric Perspective
The further back into the distance of the landscape, the:
Background
One of the concerns of the Renaissance artist was to represent the natural world in a realistic way.
And one of the primary artists who advocated the study of the natural world was Leonardo da Vinci.
Leonardo da Vinci kept numerous sketchbooks and created thousands of sketches, inventions, and
scientific notations of the world around him. In order to gain knowledge of the world, Leonardo
drew. And in order to be a better artist, Leonardo studied objects. The study of anatomy was also
very important. Leonardo drew from live models and also studied cadavers to determine the correct
skeletal and muscular structures.
Leonardo wrote volumes in his sketchbooks, including descriptive notes and labeling of objects as
well as offering advice for the young artist. He gave this advice for the young painter, A youth
should first learn perspective, then the proportions of all things. Next he should learn from the hand
of a good master, to gain familiarity with fine limbs. then from work done in three dimensions
along with the drawing done from it, then from a good example from nature, and this you must put
into practice. (Leonardo on Painting, p. 197)
In order to create the idea of volume or depth in a figure or an object, artists during the Renaissance
used chiaroscuro, an Italian word meaning light dark. This basically means that artists used value
to model three-dimensional objects on a two-dimensional surface. Study how light hits an object.
Notice that the lighter areas are where the object sticks out towards the light and the darker areas are
where the object is away from the light. (You may need to squint to help notice the distinctions of
values.) Where the object or figure was rounded was rendered in values of gray. This created a
modeled effect, which gave a three-dimensional quality to the object. Look at one of Leonardos
portraits, such as the Mona Lisa. Where are the lightest values (the highlights)? Where are the
darkest areas? How does Leonardo make the figure come alive?
National Standards
NA VA 1, 2, 4, 5, 6
NM GEO 1
Learning Objectives
Students will learn:
1. That keeping a sketchbook helps an artist observe the world around.
2. How to draw an object using chiaroscuro.
3. How to draw a portrait in proportion.
4. That portraiture can reveal more than just the physical appearance of a person.
5. To appreciate the tradition of portraiture.
6. How to draw in silverpoint.
Materials
Per student:
Sketchbook
pencil
Set of pastels or charcoal
Paper for charcoal or pastels
Gessoed board or clay coated Karma
Cover
Suggested Artworks
Leonardo da Vinci, assortment of sketchbook drawings (they number in the hundreds if not
thousands!) including Study for a Mans Head in Profile, c. 1490
Have students keep a sketchbook (can be hand made or purchased) to record the world around them.
Leonardo kept a sketchbook with him always! Sketchbooks are great for taking notes, keeping
record of things seen, providing a creative outlet, practicing your drawing skills, and so on. Create
drawings every day in the sketchbook, even of things that you think are boring. Take notes about
what you see as well. To tie in with biology, sketch an animal being dissected.
Heres a suggested list of subject matter for the sketchbook:
Series of chiaroscuro studies
pillow
Egg
Bag
Ball
Landscape
Pet or animal from life
Hands
Feet
Profile of a person
portrait view
Self-portrait
Individual body parts
Plant
Flowers
Drapery/sheet
Suggested Artworks
All of the suggested artworks were painted in oil paint, a relatively new medium for this time. Oil paints were said to be
discovered in the early 15th century in Flanders. By the 16th century, most artists across Europe were using this new
versatile painting medium. Compare reproductions done in oil (any of the works above) to ones done with tempera or
fresco. (For tempera, see Botticellis Primavera. For fresco, see the segment on fresco in the Spatial Constructs section).
1. Use the sketch of a person from your sketchbook as a starting point or use a live model
(another student in the class or another teacher- how about the principal?)
2. Before you begin your portrait, consider these questions:
?
?
?
?
?
?
Drawing a Portrait
These are basic guidelines for portrait drawing. Adjust as needed!
Head:
Eyes:
?
?
?
?
?
?
Suggested Artworks
Leonardo da Vinci:
o Antique Warrior, c. 1472 (metalpoint)
o Study of Arms and Hands, c. 1474 (silverpoint with chalk)
o Perspective Study for the Background of the Adoration, c. 1481 (pen and ink over
metalpoint)
o Study for the Head of a Girl, c. 1483 (silverpoint)
Background
During the Middle Ages, artists worked in guilds and remained largely anonymous. During the
Renaissance focused on intellectual thought and gifted individuals gained prominence and
importance. The High Renaissance, a period from roughly 1500 to 1525, was a peak of achievement
with artists such as Raphael, Leonardo, and Michelangelo creating magnificent works of art. They
were considered geniuses, and they were respected and commissioned by popes and kings.
Renaissance writers, scientists and artists were interested in excelling in their discipline, advancing
new ideas and also advancing their own status. In the 14th century, Dante wrote in The Inferno,
He who, without Fame, burns his life to waste
leaves no more vestige of himself on the earth than
wind blown smoke, or foam upon the water.
Humanism was a key aspect of the Renaissance. Humanism was a concept which focused on
individual expression, creativity and thought, on straddling the secular with aspects of religion, on
reviving Greek and Roman philosophies, and on scientific implications on man.
Giorgio Vasari was born in 1511 in Arezzo. True to the idea of the Renaissance Man where one
excelled in many areas, Vasari was an artist, architect as well as a writer. Vasari is often credited
with being the first art historian after the first edition of Lives of the Artists appeared in 1550. Vasari
was certainly the first person to write an extensive set of biographies on the major artists of the
Renaissance, beginning with the late medieval masters Cimabue and Giotto who influenced the
direction of art in the Renaissance. According to the introduction in Lives of the Artists, Vasari
conceived the historians primary task to be that of making distinctions among artists by the quality
and style of their works and explaining the evolution of Italian Renaissance art with a theory of its
organic development. He helped to shape who and what were important in Renaissance art; what he
held in high esteem is still regarded highly today.
The concept of the fine arts also arose from this time. The fine arts consist of architecture,
sculpture and painting- all areas highly revered by the people of the Renaissance. During the Middle
Ages, the arts included stained glass, metal work, textiles- all areas that are considered part of the
crafts today. The craft areas were looked down upon during the Renaissance, and were not highly
respected. Consider the connotation of crafts today. What does the word imply?
National Standards
NA VA 4, 5
NSS GK 2
NL ENG 1, 2, 5, 7, 8, 9
Learning Objectives
Students will learn:
1. how to communicate to a given audience by writing an artists biography.
2. how to research and evaluate primary source information.
3. that Vasari is credited with being the first art historian.
4. to appreciate
5. how to obtain information through interviewing.
Materials
Per student:
Worksheet, Importance of Artist
interview sheet
In general:
Giorgio Vasaris book Lives of the
Artists
An assortment of artists books from
the Renaissance
Access to the internet
Access to local artists
Reproductions from Selected Works
Suggested Artworks
Giorgio Vasari, Self-Portrait
Any of the images from the Selected Works (below in table)
Note: Why are there no women artists listed in the Table of Selected Artists? During the
Renaissance, women were not taken as apprentices in the field of art. In some convents, however,
nuns were taught to paint. (For example, the Abbess Plautilla Nelli painted a large fresco in Santa
Maria Novella in Florence.) A challenge for this section is to find the women artists of the
Renaissance!
What goals or intentions do you have when you create your art?
Whats the most interesting or funny thing that happened to you in your studio?
Sketch of work:
Dates
Location
Medium
Description
Selected Works
*Leon
Battista
Alberti
14041472
Genoa
Architecture,
poetry,
writing
c.
13871455
Vicchio
nell
Mugello
Painting
Giovanni
Bellini
ca.
14301516
Venice
Painting
*Botticelli
14451510
Florence
Painting
Bramante
14441514
Urbino
Architecture
and painting
*Brunelleschi
13771446
Florence
Sculpture and
Architecture
*Fra Angelico
Tempietto, San
Pietro in Montorio,
Rome, 1502
13861466
Florence
*Lorenzo
Ghiberti
c.13811455
Florence
Sculpture
*Domenico
Ghirlandaio
c.
14491494
Florence
Painting
*Giorgione
c.
14781510
Venice
Painting
*Giotto
1266/7- Florence
1337
Painting
*Leonardo
da Vinci
14521519
Primarily
Drawing and
Painting
*Donatello
Florence
(Vinci)
Leonardo is the
quintessential Renaissance
Man he was an
accomplished artist,
musician, scientist,
inventor. His Last Supper
is often cited as the first
work of the High
Renaissance.
Pastoral Concert
(Fte champtre),
1508-1509; The
Tempest, c. 1505
*Fra Filippo
Lippi
c.
14061469
Florence
*Mantegna
c.
14311506
Painting
*Masaccio
14011428
Isola di
Carturo
(between
Padua and
Vicenza)
Florence
(San
Giovanni
di
Valdarno)
*Michelangelo
14751564
Florence
Sculpture,
Painting,
Architecture
and Poetry
Michelozzo
13961472
Florence
Architecture
Palladio
15081580
(late
Ren.)
Padua
Architecture
*Paolo
Uccello
13971475
Florence
Painting
Painting
Agony in the
Garden, c. 1459;
The Lamentation
over the Dead
Christ, c. 1490
The Trinity, 1427,
fresco, Santa Maria
Novella, Florence
The Tribute Money,
fresco, Brancacci
Chapel, Florence
The Pieta (1499) in
St. Peters, the
frescoes on the
ceiling of the Sistine
Chapel (1508-1512),
the dome of St.
Peters
Monastery of San
Marco, Florence
San Giorgio
Maggiore, Venice
(1560-1580), Villa
Rotunda, Vicenza
(1566-1571)
*Piero della
Francesca
c.
142092
Tuscany
*Pontormo
14941556
(late
Ren.)
Florence
Painting
*Raphael
14831520
Urbino
Painting
*Luca
Signorelli
c.
14411523
Cortona
Painting
*Titian
c.
1487/9
0-1576
Venice
(Cadore)
Painting
*Giorgio
Vasari
15111574
(late
Ren.)
Florence
(Arezzo)
Architecture,
Painting, and
Writing
*Verrocchio
14351488
Florence
Painting,
Sculpture,
and
Architecture
works. Skilled in
perspective, math, and
geometry.
Baptism of Christ,
1448-50; the series
of frescoes on the
Legend of the True
Cross in the choir of
San Francesco at
Arezzo, c. 14521465
Visitation,1528-29;
Medici villa at
Poggio a Caiano
Numerous
depictions of the
Madonna; the
Raphael rooms at
the Vatican (the
Stanza), especially
the fresco of School
of Athens, 1510-11
Lamentation over
the Dead Christ,
1502; Scourging of
Christ, c. 1480
Religious works,
such as Assumption
of the Virgin, 151618; Mythological
works, such as
Venus of Urbino,
1538
Artist biographies in
the book, Lives of
the Artists; Uffizi in
Florence; Selfportrait painting
Painting The
Baptism of Christ,
1472-75; Sculpture
The Young David,
1473-75
Materials:
Per Student:
Worksheet: Find the Renaissance
Innovations
Pencil
Scissors
Glue
Drawing/painting materials
In General:
Access to a gallery or museum in
your community
Magazines
Reproductions from Selected
Artworks
Suggested Artworks
James Mundie, whose works include alterations to historical artwork to include the unusual
and side show performers. Works include Portrait of a Big-Fingered Boy, 2004 (based on
Botticellis Portrait of a Youth), The Lady with the Two-faced Kitten, 2006 (based on
Leonardos Lady with an Ermine) and The Woman with the Fegee Mermaid, 1999 (based on
Raphaels Girl with a Unicorn)
The numerous parodies and appropriations of Mona Lisa, including Duchamps L.H.O.O.Q
Boteros Mona Lisa, 1977, Vik Munizs Double Mona Lisa after Warhol, and George
Pusenkoffs Mona Lisa Goes Space, 2005.
Bill Viola, The Quintet of the Silent, 2001 (inspired by late medieaval and early Renaissance
Paintings) and The Greeting, 1995 (inspired by Pontormos The Visitation)
Rip Cronk, Venice Beach on the Halfshell, 1989 in Venice Beach, California appropriating
Botticellis Birth of Venus
Anatomical images by Alexander Tsiaras, who has been described as a multimedia da Vinci
Explore your local museum and peruse magazine advertisements- once you become familiar
with paintings of the Renaissance, youll start to see familiar compositions in contemporary
places.
Appropriated Images
When do you see images from the Renaissance today? There are ads for waterfront condominiums in
Florida and for the JCPenny salon which appropriate the composition from Botticellis Birth of
Venus. JCPenneys ad even touts the birth of a new you. The Birth of Venus is also appropriated in
an updated mural in Venice Beach, California. Scour magazine advertisements, watch
commercials on TV, and look for images that are appropriated, or taken, from the Renaissance and
used in popular culture today. How are the images used? What does it mean to incorporate these
images of the past?
Reuse, or appropriate, images from the Renaissance and put in a more current application.
Appropriate your own Renaissance imagery. Use images or composition from any of the works seen
in the unit, but update the subject matter or composition to show a more current context.
Innovation: Chiaroscuro
Briefly describe chiaroscuro:
Innovation: Portraiture
Briefly describe portraiture:
Sculpture
Sculpture was an important part of the art of the Renaissance. One of the
most important sculptors of the Italian Renaissance was Michelangelo who
carved David, The Pieta, and Moses with remarkable, life-like detailing out
of marble. Another early sculptor of the Renaissance was Lorenzo Ghiberti,
who used relief sculpture and spatial construct techniques to create the relief
panels, the Gates of Paradise, on the doors of the Baptistery on the Duomo
in Florence. Create your own sculpture using the subtractive method of
carving using balsa wood, soap, or carving foam.
Glass Blowing
In Venice from the 13th century to today, the art of glass making has been an important part of the
culture for centuries. Venetian glass continues to have an outstanding reputation. In the United
States, Dale Chihuly is a major artist working in glass today. Many communities today have artists
who work in glass or even classes that are offered to the general public. Contact a local glass artist to
provide a demonstration of his or her art.
Printmaking
Johannes Guttenberg invented moveable type in Germany in 1440 allowing books to mass
reproduced for the first time. The printing press resulted and artists, like Albrecht Drer, were able to
create engravings and etchings utilizing the pressure of the press. Study the prints of Renaissance
artists, such as Drer, and create an inspired print.
Resources
Children/Juvenile/Picture Books* highly recommended
A Boy Named Giotto
A fictionalized childrens picture book of how Giotto, the pre-Renaissance artist, came to be a
painter.
Paolo Guarnieri. Illustrated by Bimba Landmann. Translated by Jonathon Galassi.. Farrar Straus
Giroux; 1999 (American edition).
Eyewitness Art: Perspective *
Extremely well-illustrated book focusing on perspective. A great resource to have in discussing the
difficult concept of linear perspective.
Alison Cole. Dorling Kindersley, Inc.; 1992.
Eyewitness Art: The Renaissance *
Well-illustrated book on the Renaissance with a focus on prominent artists and concepts.
Alison Cole. Dorling Kindersley, Inc.; 1994
Famous Artists: Michelangelo
Coverage of the art of Michelangelo with suggestions for activities.
Jen Green. Barrons Educational Series, Inc.; 1994
Famous Artists: Leonardo da Vinci
Coverage of the art of Leonardo da Vinci with suggestions for activities.
Antony Mason. Barrons Educational Series, Inc.; 1994
In the Time of Michelangelo*
Well-illustrated book focusing on the work of Michelangelo, and it also looks at the context of the
time period of the Renaissance as well as what was going on around the world in art.
Anthony Mason. Copper Beech Books (Aladdin Books 2001); 2001.
Introducing Michelangelo
Documents the life and work of Michelangelo.
Robin Richmond. Little, Brown and Company; 1992.
Leonardos Horse
The story of the Sforza horse.
Jean Fritz. Illustrated by Hudson Talbott. G.P. Putnams Sons, 2001.
Masters of Art: Michelangelo*
Well-illustrated book on the life and times of Michelangelo.
Gabriella Di Cagno. Illustrated by Simone Boni and L.R. Galante. Peter Bedrick Books; 1996.
Masters of Art: Leonardo da Vinci*
A comprehensive and well-illustrated look at the art of Leonardo da Vinci put in a contextual view.
Francesca Romei. Illustrated by Sergio and Andrea Ricciardi. Peter Bedrick Books; 2000.
The Neptune Fountain: The Apprenticeship of a Renaissance Sculptor
Set in post-Renaissance Rome, this childrens picture book follows the process of creating a marble
sculpture, experienced through the eyes of an apprentice.
Taylor Morrison. Holiday House; 1997.
Renaissance Art*
Well-illustrated and informative book of the Renaissance, with sections broken into portraits,
landscapes, and religious subject matter.
Nathaniel Harris. Thomson Learning; 1994.
The Sistine Chapel: Its History and Masterpieces*
Well-illustrated book on the creation of the Sistine Chapel Ceiling with informative text on each
panel of Michelangelos fresco.
Vittorio Giudici. Illustrations by L.R. Galante. Peter Bedrick Books; 1998
Treasure Chests: Leonardo da Vinci and the Renaissance *
An interactive kit about one of the prominent artists of the Renaissance with some historical context.
Includes a model of his flying machine, a model of Florences Duomo, a timeline of his life, a before
and after restoration of the Last Supper, a book of Leonardos sketches, a punched cartoon, a
version of Albertis veil, and a small book on the Renaissance.
Andrew Langley. Running Press; 2001.
What Makes a Raphael a Raphael?
An in-depth coverage of the art of Raffaello Sanzio.
Richard Mhlberger. The Metropolitan Museum of Art and Viking; 1993.
Older Readers/Adult Books
Becoming Mona Lisa: From Fine Art to Universal Icon the Incredible Story of the Worlds Most
Famous Painting
A look at the mysteries of the popularity of Mona Lisa.
Donald Sassoon. Harcourt, Inc.; 2001.
Brunelleschis Dome: How a Renaissance Genius Reinvented Architecture
A look at one of the major architects of the Renaissance.
Ross King. Penguin Books; 2001.
The Craftsmans Handbook: The Italian Il Libro dell Arte
A guide to painting methods and other artistic processes written in 15th century Florence.
Cennino dAndrea Cennini. Translated by Daniel V. Thompson, Jr. Dover Publications; 1954
(Originally published by Yale University Press in 1933).
The Feud that Sparked the Renaissance
Chronicles the early 15th century in Florence, when Brunelleschi and Ghiberti were competing for
commissions.
Paul Robert Walker. Harper Collins; 2003.
Florence and the Renaissance
Alain J. Lematre and Erich Lessing. Telleri; 2003.
Leonardo on Painting
An anthology of writings by Leonardo da Vinci with a selection of documents relating to his career
as an artist.
Edited by Martin Kemp. Selected and translated by Martin Kemp and Margaret Walker. Yale
University Press; 1989.