Sandro Botticelli
Birth of Venus, mid 1480s
Primavera, early 1480s
“I wear myself out trying to render the orange trees so that they're not stiff but like those I saw by Botticelli in Florence. It's a dream that won't come true.”
~Berthe Morisot
#florentinerenaissance #florentineschool #arthistory
Two brilliant glazed terracotta masters of the Italian Renaissance, Luca Della Robbia and his nephew Andrea Della Robbia:
Luca: Virgin and Child in a Niche, 1460
Andrea: Prudence (detail), 1475.
#glazedterracotta #renaissancemasters #florentinerenaissance #sculpture #arthistory
bronze relief depicting the biblical story of the sacrifice of Isaac with God, Abraham, Isaac, and animals
bronze relief depicting the biblical story of the sacrifice of Isaac with God, Abraham, Isaac, and animals
Sacrifice of Isaac, 1401
1. Bruneleschi
2. Ghiberti
Entered to competition for contract of 20 panels for the Florence cathedral’s baptistry north doors.
Ghiberti won & spent 24 yrs completing them.
Bruneleschi engineered the cathedral’s famous dome.
#arthistory #sculpture #florentinerenaissance
This beautiful image is set against a background with a niche containing objects referring to the sitter’s refined tastes and character. The jewel with the dragon, two pearls and a ruby, which forms a set with the pendent hanging from a silk cord around her neck, refers to her public life. This dragon brooch is balanced on the other side by a prayer book and string of coral rosary beads which emphasize her piety. In between them is a cartellino with part of an epigram by Martial (XXXII) entitled To a Portrait of Antonius Primus and the date underneath. It reads: “Art, if only you could reproduce the character and the spirit. There would be no finer portrait in the world”. This is a classic example of the Florentine Quattrocento portrait in which the sitter poses upright, in profile, with arms in repose and hands joined. In the face and body, the features and proportions are idealized including lines that create the slender neck and body and in her expressionless and perfect features. The ideal beauty used to depict Giovanna Tornabuoni is based on theoretical principles and examples taken from classical antiquity, which the artist then combined with her real features. Ghirlandaio also depicted her in one of the frescoes executed in the chancel of the Basilica of Santa Maria Novella in Florence, commissioned by Giovanna’s father-in-law and painted between 1486 and 1490. In these frescoes, Giovanna occupies an important position in the episode of The Visitation at the head of a line of three figures. Although depicted full-length, her pose, dress and accessories are the same as in this panel. Giovanna degli Albizzi, born Dec 18, 1468, married Lorenzo Tornabuoni on Jun 15, 1486. She died two years later, on Oct 7, 1488, during childbirth. This painting hung in the Tornabuoni family palace in Florence before a embarking through a series of owners from the 17th century until 1935 when it entered the Thyssen-Bornemisza collection from the Morgan Library in New York.
Retrato de Giovanna degli Albizzi Tornabuoni by Domenico Ghirlandaio (Italian) - Mixed media on panel / 1489 - 1490 - Museo Nacional Thyssen-Bornemisza (Madrid, Spain) #womeninart #art #DomenicoGhirlandaio #Ghirlandaio #womensart #portraitofawoman #ItalianArt #FlorentineRenaissance #RenaissanceArt
