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storia dell'arte moderna - appunti integrali prof Gnocchi
Università degli studi di Firenze storia e tutela dei beni archeologici, artistici, archivistici e librari curriculum beni archeologici 2022
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- Art Evolution & Philosophical Underpinnings: Art transitioned from symbolic to figurative language, reflecting philosophical shifts from Platonism, Plotinianism, Epicureanism, Stoicism, and Skepticism to later forms of realism and idealism.
- Early Florentine Renaissance (15th Century):
- Freud vs. Michelangelo Nudes: Contrasts Freud's inert, material figures with Michelangelo's divine dialogue.
- 1401 Baptistery Door Competition: Brunelleschi emphasizes intellectual geometry (Platonism), while Ghiberti focuses on empirical perception (skepticism).
- Brunelleschi: Known for perspective, geometric architecture (Spedale degli Innocenti, Duomo Dome), linking earthly to divine.
- Donatello: Influenced by Plotinianism, depicts emotional and physical reality (Cristo per Santa Croce, Putto alato, Maddalena penitente).
- Ghiberti: Art reflects sensory perception and doubt (Orsanmichele statues, Porta Est).
- Masaccio: Plotinian vision, interplay of drawing and color, intense emotion (Crocifissione, Brancacci Chapel).
- High Renaissance & Beyond (Late 15th – Early 16th Century):
- Alberti: Theorist of 'Varietas', promoting diverse figurative languages.
- Luca della Robbia: Epicurean form-color principle, emphasizing surface-body integration and friendship (Cantoria, Pazzi Chapel).
- Michelangelo: Platonic contemplation, ideal beauty, grades of reality (Tondo Taddei, Pietà, Sistine Chapel ceiling).
- Leonardo da Vinci: Stoic vision, providence in nature, catalectic attention to detail (Ginevra de Benci, Madonna delle rocce).
- Raffaello: Epicurean grace, internal peace, family love (Ritratti Doni, Stanza della Segnatura).
- 17th Century: Counter-Reformation and Baroque:
- Annibale Carracci: Natural mimesis, clarity, Raphael's form-color (Tele Aldobrandini).
- Caravaggio: Molinist grace, light revealing figures, human will (Vocazione di San Matteo, Cattura di Cristo).
- Bernini: Pindaric/ecstatic style, divine grace, papal power (Sant'Andrea, Baldacchino, Cathedra Petri).
- Borromini: Geometric intellection, ascetic growth, absolute dimension (San Carlo alle Quattro Fontane, Sant'Ivo alla Sapienza).
- Guido Reni: Raphael's form-color, classic models, graceful figures (Atlanta e Ippomene, Aurora).
- Ribera: Plotinian/Augustinian grace, human will, suffering without pain (San Sebastiano).
- 18th Century: Enlightenment and Skepticism:
- Watteau: Skeptical relativism, fleeting moments, fluid brushwork (Imbarco a Citera).
- Chardin: Moral simplicity, still life, rejection of subjective grandeur (Les Ollets, Nature morte).
- Boucher: Relativist, speed, provocative themes.
- Canaletto: Objectivity, optical camera, exact representation.
- David: Idealism, reason, geometric forms, absolute ideas (Giuramento degli Orazi).
- Canova: Classical taste, sincerity, oblique lines, human tenderness (Teseo sul Minotauro, Amore e Psiche).
- 19th Century: Realism and Beyond:
- Courbet: Realism, materiality, inertia, lack of interiority (Autorittrato, Gli spaccapietre).
- Füssli: Sublime, irony, emotional intensity (Teti e Achille, Martha Hess come Silence).
- Flaxman: Idea, purity, clear profiles.
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