Teaching AP* Art History
Chapter Guide to Gardner’s 12th Edition
Chapter 21
Humanism and the Allure of Antiquity
15th-Century Italian Art
Lecture Strategies and Key Ideas. This chapter examines the flourishing of a new kind of artistic culture, one based on a fascination with the classical world that was also informed by both Christian fervor and a new humanism. These factors, plus the appearance of individual artistic genius, produced art that is justifiably famous.
An important lesson for students is to understand the development of perspective illusionism; a device experimented with by the Romans and refined 1000 years later during the 15th century in Italy, especially by the artist and architect Brunelleschi. “Depicting Objects in Space” on page 578 is an important read for students.
Teachers might consider dividing this long chapter into three lesson modules: (1) Painting, (2) Sculpture, and (3) Architecture. Thus teacher lectures, illustrated with slides, might consist of three sessions, interspersed with quizzes and a “class activity” such as the one described below.
“AP Exam Tip.” Not to be overlooked in this chapter are the architects and their Renaissance buildings. Students should be able to identify and discuss Brunelleschi's dome and the classical order, rationality and balance found in the Michelozzo and Alberti buildings.
“Heads Up.” This chapter is the first in the text to treat art history as biography. That is, we know not only the trends and movements in the artistic tradition but we can also identify, by name, the artists who were involved. As a result, students are expected to know the artists and their works by name, as well as the context in which the art was made. Some teachers, therefore, have their art history students maintain a listing or index cards with the names and works written and organized and saved. Whatever methods you have your students use, remember that they are indeed responsible for learning the names and significant art produced by the artists in this chapter. (Use the “Key Images” listed below to discern which artists are the most importance for students to know.)
Maps: Students should know the basic geography of Renaissance Italy and teachers should make a map available to them, supplemented by the close-up maps of Florence (Map 21-1) and Rome (Map 22-1). Your school’s social studies department would be a good resource for maps. At the least, students should be able to locate:
RavennaPaduaVeniceFlorence
SiennaPisaRomeMilan
Po RiverArno RiverTiber RiverAlps
Vatican CityMantua
The Saints. Students should familiarize themselves with the Saints whose depictions will be seen in this and following chapters. See page 580.
“Class Activity.” To demonstrate the order and balance that Renaissance architects came to favor, consider having students make a drawing of the façade of Santa Maria Novella (FIG. 21-34 and 21-35). Pass out grid paper to facilitate the drawing and to emphasis the classical, ordered nature of the façade.
Gender and Patronage. This is a good chapter to reinforce the importance that patrons played in art. A good review of patronage during the early Renaissance is found in “Cultivating Culture,” page 575. Here also is a good time for students to be introduced to Giorgio Vasari, whose book
Lives of the Painters, Sculptors and Architects is the source for many of the legends about Renaissance painters. See also the discussion “The Medici as Patrons” on page 591.
Narrative in Art. Perhaps no better subject matter for a student essay on “narrative in art” exists in this chapter beyond that of Massacio’s “Tribute Money” (FIG. 21-10). Students can explain not only the story being shown in the fresco but discuss the revolutionary manner in which the artist handled the monumental wall space with new representational devices.
Human Body in Art. Students might cite Massacio’s “Expulsion of Adam And Eve" (FIG. 21-11) for a discussion of the new emotive power (Eve’s agony) found in Renaissance art, the handling of the space around and behind the figures, and the grounding of the figures, all of which gave the figures real-life weight. Of course, Botticelli’s “Venus” invites a discussion of his handling of the nude female form in a Neo-Platonic manner more reminiscent of a dream than reality. Massacio’s “Dead Christ” (FIG. 21-48)is a powerful and stunning representative piece demonstrating the Renaissance interest in perspective.
2. Key Vocabulary.
Renaissancepatronagehumanism
GattamelataLinear perspectiveaerial perspective
vanishing pointengravingniche
campanilecoffered barrel vault
foreshorteningorgival central-plan
MediciPazziBottega
tondoterracottarustication
di sotto in sutrompe l’oeilpilaster
entablature
3. Key Images from Gardner’s Art Through the Ages. [Image numbers from 12th ed.]
ArtistGardnerSubjectKey Idea
FIG. Number
Brunelleschi21-1Competition panelGothic “loser”
Ghiberti21-2Competition panel“Winner”
Donatello21-3Feast of Herod3-dimensional
Ghiberti21-4 (and p.572)East doors baptistery
Ghiberti21-5Issac and SonsDetail
Di Banco21-6Four Saintsniche sculpture
Donatello21-7Saint Markcontrapposto
Fabriano21-9Adoration of MagiInternational style
Massacio21-10Tribute Moneymonumentality
Massacio21-11ExpulsionEmotive “agony”
Massacio21-12Holy Trinityillusionism
Brunelleschi21-13Florence domedouble-dome
Brunelleschi21-15Santo Spiritoclassical
Brunelleschi21-16Pazzi Chapelcentral-plan
Michelolozzo21-20Medici Palacerusticated, cornice
Uccello21-22Battle San Romano perspective
Donatello21-23Davidclassicism
Verrochio21-24Davidrealism
Pollaiuolo21-25Hercules and Antaeus “action”
Pollaiuolo21-25Battle 10 Nudehuman bodies
Botticelli21-27Birth of VenusNeo-Platonic
Botticelli21-28Portrait of Youth“portraiture”
Donatello21-29GattamelataRenaissance man
Verrochio21-30BartolommeoCommanding man
Ghirlandaio21-31GiovannaPortraiture
Alberti21-34Santa Maria Novella Classicism
Far Angelico21-36AnnunciationPiety
Castagno21-37Last Supperperspective
Lippi21-38Madonnapiety
Della Robbia21-39Madonna tondoterracotta
Perugino21-40Christ Delivery Keys perspective
Alberti21-41Sant’Andreaclassic façade
Mantegna21-46Ceilingdi sotto in su
Mantegna21-48Dead Christ realism/perspective
Francesca21-49Finding Crossperspective
Website(s). A good source of online websites that contains images for all Art History, including pre-historic art, is found at
4. Quizzes, Tests and Study Materials
Be sure to reference the general art resources available for this Gardner book at From here there are online quizzes, a complete study guide, Internet activities, vocabulary flashcards, and more.
Website(s). A good source of online websites that contains images for all Art History, including pre-historic art, is found at
5. Questions: Each chapter of Gardner’s Art Through the Ages textbook has a corresponding quiz and test in the “Instructor’s Manual.” The CD-ROM allows teachers to choose which questions to use and to create and print quizzes and tests.
Essay Questions.
1. Show the "Davids" of Donatello (FIG. 21-23) and of Verrochio (FIG. 21-24).
Question. Identify the artists of these two sculptures. Describe the aesthetic property each possesses that suggests the two Davids are unique from one another.
The dainty figure of Donatello’s young David exhibits the classicism of High Classic Greek art, while the David of Verrochio has a more extreme posture more reminiscent of Hellenism.
2. Show the two equestrian statues of Donatello (FIG. 21-29) and Verrochio (FIG. 21-30)
Question. Identify the art history time period in which these two sculptures were made. Describe the aesthetic properties each possesses that makes one unique from the other.
Students should identify these as 15th –century works. The statue by Donatello shows the strength of its rider through the domination of the human figure atop the horse. The rider has the “Renaissance Man “qualities of individualism and courage. The equestrian statue by Verrochio shows power and authority though its use of violent twists and brute strength.
3.Show: Massacio, "The Holy Trinity With the Virgin" (Fresco, Santa Maria Novella), FIG. 21-12.
Question. Identify the artist of this fresco. What innovations did the artist use to enhance the artistic illusions present in this art? (8 minutes.)
Students should identify Massacio and explain the perspective illusionism used by him to depict space and distance within the painted barrel vault, especially noting his innovative di sotto in su viewpoint.
1