Quattrocento Masters: Architecture, Sculpture, and Painting in 15th-Century Italy
The Quattrocento: Italian Renaissance Art (15th Century)
The Quattrocento (15th Century) was the period when Italy developed a new art form, drawing heavily on the classical heritage of the past.
Renaissance Architecture: Principles and Style
Order, proportion, symmetry, and the unit will be the foundations of Renaissance architecture.
Architectural Characteristics
- Structural Elements: The use of classical orders: Doric, Ionic, Corinthian, Tuscan, and Composite.
- Vaulting and Ceilings: The arch, coffered ceilings, barrel vaults, groined vaults, and the half-dome were widely utilized.
- Facades: Dominated by the horizontal. Wall decoration includes rustication (ashlar blocks) and a preference for sgraffito. Straight lines are favored over curves.
- Interiors: Decorated with classical motifs, such as *a candelieri*, grotesques, and *putti*.
- Plans: Temples show great mathematical perfection, including both centralized plans and the basilica or Greek cross plan.
- Materials and Types: Materials used are brick, ashlar, and masonry coated with marble. Building types are varied, including churches, civic buildings, palaces, and villas for nobles and the bourgeoisie.
Filippo Brunelleschi (1377–1446)
Brunelleschi is one of the authors who marked a break with the Gothic style, ushering in the new Renaissance style. He introduced the laws of proportion, volume, and perspective derived from the classics, dominated by straight lines and cubic volumes.
His most famous work is the Dome of the Cathedral of Santa Maria del Fiore in Florence. Other works include the Church of San Lorenzo, the Church of the Holy Spirit, and the Pazzi Chapel.
Leon Battista Alberti (c. 1404–1472)
Alberti is the quintessential classical architect. He brought the concept of order and proportion to his buildings, often superimposing classical orders on his edifices. Alberti was the perfect humanist prototype, possessing knowledge of theater, music, law, painting, and architecture.
He wrote several treatises on art and architecture: De re aedificatoria, De Pictura, and De Statua. His major works are the Church of Sant’Andrea and the Palazzo Rucellai.
Quattrocento Sculpture
Sculptural Characteristics
- Naturalism: Sculpture sought similarity between the work and the model, thus opposing Medieval mysticism and symbolism.
- Theme: The main theme was the nude human form, emphasizing the study of anatomy.
- Independence: Sculpture gained independence from architecture, allowing for the development of figures in the round.
- Perspective: The application of perspective increased the realism of the works when properly proportioned.
- Diversification: Themes included religious, allegorical, and mythological subjects. The portrait bust gained importance alongside the full-body portrait.
Donatello (1386–1466)
Donatello was the greatest sculptor of the 15th century. The characteristics of his sculpture are determined by a strong realism, naturalism, and great expressive strength. He achieved a perfect mastery of human anatomy, enabling him to represent the human being in all stages: childhood, adolescence, maturity, and old age.
He utilized the stiacciato technique (shallow relief) in which the planes of the composition are flattened to create perspective.
His important sculptures are the David, St. George, and the equestrian statue of the condottiero, the Gattamelata. Aside from portrait sculptures in the round, he also created:
- Habakkuk: Represents man in the final stage of life.
- Cantoria: The choir loft of the Florence Cathedral.
Quattrocento Painting
Painting Characteristics
- Realism and Anatomy: Naturalism and realism, with great interest in the study of human anatomy, leading to the conquest of idealized beauty.
- Perspective: Use of perspective to represent three dimensions on a two-dimensional plane.
- Drawing: Importance of *disegno* (drawing/design).
- Light: Light defines planes and unifies the atmosphere; Renaissance light illuminates equally and uniformly.
- Mediums: Still used tempera (on panel) and fresco (mural/wall). Oil painting (on canvas) was introduced.
- Themes: Religious themes (frescoes in temples) remained central. The portrait was introduced, resulting from the cult of man and the bourgeois desire for immortality.
The main Quattrocento painters are Masaccio, Fra Angelico, and Botticelli.
Masaccio (1401–1428)
Masaccio is considered the initiator of Renaissance painting. The origins of his painting must be sought directly in the work of Giotto, although Masaccio’s figures are monumental, robust, sculptural, and heavy. His most representative works are the frescoes in the Church of Santa Maria Novella and the Brancacci Chapel. He influenced Michelangelo, emphasizing volume and introducing classical architecture into his settings.
Fra Angelico (c. 1395–1455)
Active in the first half of the 15th century, Fra Angelico maintained the Gothic tradition, seen in the use of gold backgrounds and the delicacy of his figures. He placed figures in architectural settings, allowing for perfect perspective, unlike Masaccio. His color palette is richer. His most representative work is The Annunciation, where light illuminates equally and symbolizes the divine presence.
Sandro Botticelli (1445–1510)
Active in the second half of the 15th century, Botticelli stands out for his profane (secular) paintings. He is considered the painter who marks the end of the Quattrocento and the start of the Cinquecento style. His technique highlights the quality of the drawing, curved lines, and the feeling of grace and harmony he transmits. He was the first Renaissance artist to recreate mythological themes, also painting religious and allegorical subjects. Landscape plays an important role and is treated with great detail. Among his works are The Birth of Venus and Primavera (Spring).