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AP Poll
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Inaugural AP polls
Div I/FBS football
1936
Div I/FCS football
1978
Div I men's basketball
1948–49
Div I women's basketball
1976–77
Current AP polls
FBS football
2018 season
FCS football
2018 season
Div I men's basketball
2018–19 season
Div I women's basketball
2017–18 season
The Associated Press (AP Poll) provides weekly rankings of the top 25 NCAA teams in one of three Division I college sports: football, men's basketball and women's basketball. The rankings are compiled by polling 65 sportswriters and broadcasters from across the nation.[1] Each voter provides his own ranking of the top 25 teams, and the individual rankings are then combined to produce the national ranking by giving a team 25 points for a first place vote, 24 for a second place vote, and so on down to 1 point for a twenty-fifth place vote. Ballots of the voting members in the AP Poll are made public.[2]
Contents
1 College football
1.1 History
1.2 No. 1 vs. No. 2
1.3 AP Poll inclusion in the BCS
1.4 Final AP football polls
1.5 Other media football polls
2 College basketball
2.1 Men's basketball
2.2 Women's basketball
3 NFL football
4 See also
5 References
6 External links
College football[edit]
The football poll is released Sundays at 2pm Eastern time during the football season, unless ranked teams have not finished their games.
History[edit]
The AP college football poll has a long history. The news media began running their own polls of sports writers to determine who was, by popular opinion, the best football team in the country at the end of the season. One of the earliest such polls was the AP College Football Poll, first run in 1934.[3] In 1935, AP sports editor Alan J. Gould declared a three way tie for national champion in football between Minnesota, Princeton, and Southern Methodist. Minnesota fans protested, and a number of Gould's colleagues led by Charles "Cy" Sherman suggested he create a poll of sports editors instead of only using his own list, and the next year the poll was born.[4] It has run continuously from 1936.[5]
Due to the long-standing historical ties between individual college football conferences and high-paying bowl games like the Rose Bowl and Orange Bowl, the NCAA had not held a tournament or championship game to determine the champion of what is now the highest division, NCAA Division I, Football Bowl Subdivision (the Division I, Football Championship Subdivision and lower divisions do hold championship tournaments). As a result, the public and the media began to acknowledge the leading vote-getter in the final AP Poll as the national champion for that season.
While the AP Poll currently lists the Top 25 teams in the nation, from 1936 to 1961 the wire service only ranked 20 teams. From 1962 to 1967 only 10 teams were recognized. From 1968 to 1988, the AP again resumed its Top 20 before expanding to the current 25 teams in 1989.
The AP began conducting a preseason poll starting in 1950.[6][7]
At the end of the 1947 season the AP released an unofficial post-bowl poll which differed from the regular season final poll.[8] Until the 1968 college football season, the final AP poll of the season was released following the end of the regular season, with the lone exception of the 1965 season. In 1964, Alabama was named the national champion in the final AP Poll following the completion of the regular season, but lost in the Orange Bowl to Texas, leaving Arkansas as the only undefeated, untied team after the Razorbacks defeated Nebraska in the Cotton Bowl Classic. In 1965, the AP's decision to wait to crown its champion paid handsomely, as top-ranked Michigan State lost to UCLA in the Rose Bowl, number two Arkansas lost to LSU in the Cotton Bowl Classic, and fourth-ranked Alabama defeated third-ranked Nebraska in the Orange Bowl, vaulting the Crimson Tide to the top of the AP's final poll (Michigan State was named national champion in the final UPI Coaches Poll, which did not conduct a post-bowl poll).
Beginning in the 1968 season, the post bowl game poll became permanent and the AP championship reflected the bowl game results. The UPI did not follow suit with the coaches' poll until the 1974 season.
No. 1 vs. No. 2[edit]
As of the completion of the 2015 season the number one ranked team has faced the number two ranked team 50 times since the inception of the AP Poll in 1936.[9] The number one team has a record of 28–20–2 against the number two team.[9]
No. 1 vs. No. 2 games
Light blue indicates bowl game
Season
No. 1
Result
No. 2
Site
Event
1943 Notre Dame 35–12 Michigan Michigan Stadium • Ann Arbor, MI 1943 Michigan–Notre Dame football rivalry game
1943 Notre Dame 14–13 Iowa Pre-Flight Notre Dame Stadium • Notre Dame, IN
1944 Army 23–7 Navy Baltimore Stadium • Baltimore, MD 1944 Army–Navy Game
1945 Army 48–0 Notre Dame Yankee Stadium • New York, NY 1945 Army–Notre Dame football rivalry game
1945 Army 32-13 Navy Philadelphia Municipal Stadium • Philadelphia, PA 1945 Army–Navy Game
1946 Army 0–0 Notre Dame Yankee Stadium • New York, NY 1946 Army vs. Notre Dame football game
1962 USC 42–37 Wisconsin Rose Bowl Stadium • Pasadena, CA 1963 Rose Bowl
1963 Oklahoma 7–28 Texas Cotton Bowl • Dallas, TX 1963 Red River Shootout game
1963 Texas 28–6 Navy Cotton Bowl • Dallas, TX 1964 Cotton Bowl Classic
1966 Notre Dame 10–10 Michigan State Spartan Stadium • East Lansing, MI 1966 Notre Dame vs. Michigan State football game
1968 Purdue 37–22 Notre Dame Notre Dame Stadium • Notre Dame, IN 1968 Shillelagh Trophy game
1968 Ohio State 27–16 USC Rose Bowl Stadium • Pasadena, CA 1969 Rose Bowl
1969 Texas 15–14 Arkansas Razorback Stadium • Fayetteville, AR 1969 Texas vs. Arkansas football game
1971 Nebraska 35–31 Oklahoma Oklahoma Memorial Stadium • Norman, OK 1971 Nebraska vs. Oklahoma football game
1971 Nebraska 38–6 Alabama Miami Orange Bowl • Miami, FL 1972 Orange Bowl
1978 Penn State 7–14 Alabama Louisiana Superdome • New Orleans, LA 1979 Sugar Bowl
1981 USC 28–24 Oklahoma Los Angeles Coliseum • Los Angeles
1982 Georgia 23–27 Penn State Louisiana Superdome • New Orleans, LA 1983 Sugar Bowl
1985 Iowa 12–10 Michigan Kinnick Stadium • Iowa City, IA
1986 Oklahoma 16–28 Miami Miami Orange Bowl • Miami, FL
1986 Miami 10–14 Penn State Sun Devil Stadium • Tempe, AZ 1987 Fiesta Bowl
1987 Nebraska 7–17 Oklahoma Memorial Stadium • Lincoln, NE 1987 Nebraska–Oklahoma football rivalry game
1987 Oklahoma 14–20 Miami Miami Orange Bowl • Miami, FL 1988 Orange Bowl
1988 Notre Dame 27–10 USC Los Angeles Coliseum • Los Angeles 1988 Jeweled Shillelagh game
1989 Notre Dame 24–19 Michigan Michigan Stadium • Ann Arbor, MI 1989 Michigan–Notre Dame football rivalry game
1991 Florida State 16–17 Miami Doak Campbell Stadium • Tallahassee, FL 1991 Miami vs. Florida State football game
1992 Miami 13–34 Alabama Louisiana Superdome • New Orleans, LA 1993 Sugar Bowl
1993 Florida State 24–31 Notre Dame Notre Dame Stadium • Notre Dame, IN 1993 Florida State vs. Notre Dame football game
1993 Florida State 18–16 Nebraska Miami Orange Bowl • Miami, FL 1994 Orange Bowl
1995 Nebraska 62–24 Florida Sun Devil Stadium • Tempe, AZ 1996 Fiesta Bowl
1996 Florida 21–24 Florida State Doak Campbell Stadium • Tallahassee, FL 1996 Florida–Florida State football rivalry game
1998 Tennessee 23–16 Florida State Sun Devil Stadium • Tempe, AZ 1999 Fiesta Bowl
1999 Florida State 46–29 Virginia Tech Louisiana Superdome • New Orleans, LA 2000 Sugar Bowl
2002 Miami 24–31 2OT Ohio State Sun Devil Stadium • Tempe, AZ 2003 Fiesta Bowl
2004 USC 55–19 Oklahoma Pro Player Stadium • Miami Gardens, FL 2005 Orange Bowl
2005 USC 38–41 Texas Rose Bowl Stadium • Pasadena, CA 2006 Rose Bowl
2006 Ohio State 24–7 Texas Darrell K Royal – Texas Memorial Stadium • Austin, TX
2006 Ohio State 42–39 Michigan Ohio Stadium • Columbus, OH 2006 Michigan vs. Ohio State football game
2006 Ohio State 14–41 Florida University of Phoenix Stadium • Glendale, AZ 2007 BCS National Championship Game
2007 Ohio State 24–38 LSU Louisiana Superdome • New Orleans, LA 2008 BCS National Championship Game
2008 Alabama 20–31 Florida Georgia Dome • Atlanta, GA 2008 SEC Championship Game
2008 Florida 24–14 Oklahoma Sun Life Stadium • Miami Gardens, FL 2009 BCS National Championship Game
2009 Florida 13–32 Alabama Georgia Dome • Atlanta, GA 2009 SEC Championship Game
2009 Alabama 37–21 Texas Rose Bowl Stadium • Pasadena, CA 2010 BCS National Championship Game
2010 Auburn 22–19 Oregon University of Phoenix Stadium • Glendale, AZ 2011 BCS National Championship Game
2011 LSU 9–6 OT Alabama Bryant–Denny Stadium • Tuscaloosa, AL 2011 LSU vs. Alabama football game
2011 LSU 0–21 Alabama Mercedes-Benz Superdome • New Orleans, LA 2012 BCS National Championship Game
2012 Notre Dame 14–42 Alabama Sun Life Stadium • Miami Gardens, FL 2013 BCS National Championship Game
2013 Florida State 34–31 Auburn Rose Bowl · Pasadena, CA 2014 BCS National Championship Game
2015 Clemson 40–45 Alabama University of Phoenix Stadium · Glendale, AZ 2016 College Football Playoff National Championship
AP Poll inclusion in the BCS[edit]
In 1997, the Bowl Championship Series (BCS) was developed to try to unify the poll results by picking two teams for a "real" national championship game. For the first several years the AP Poll factored in the determination of the BCS rankings, along with other factors including the Coaches Poll and computer-based polls. Because of a series of controversies surrounding the BCS, the AP demanded in December, 2004, that its poll no longer be used in the BCS rankings,[10] and so the 2004–2005 season was the last season that the AP Poll was used for this purpose.
In the 2003 season the BCS system broke down when the final BCS standings ranked the University of Southern California (USC) at No. 3 while the two human polls in the system had ranked USC at No. 1. As a result, USC did not play in the BCS' designated national championship game. After defeating another highly ranked team, Michigan, in its final game, the AP Poll kept USC at No. 1 while the Coaches Poll was contractually obligated to select the winner of the BCS game, Louisiana State University (LSU), as the No. 1 team. The resulting split national title was the very problem that the BCS was created to solve, and has been widely considered an embarrassment.[11]
In 2004, a new controversy erupted at the end of the season when Auburn and Utah, who both finished the regular season 12–0, were left out of the BCS title game in favor of Oklahoma who also was 12–0 and had won decisively over Colorado in the Big 12 Championship game. USC went on to a win easily over Oklahoma in the Orange Bowl while Auburn and Utah both won their bowl games, leaving three undefeated teams at the end of the season. Also, in that same year, Texas made up late ground on California (Cal) in the BCS standings and as a result grabbed a high-payout, at-large spot in the Rose Bowl. Previous to that poll, Cal had been ranked ahead of Texas in both human polls and the BCS poll. Going into their final game, the Golden Bears were made aware that while margin of victory did not affect computer rankings, it did affect human polls and just eight voters changing their vote could affect the final standings.[12] Both teams won their game that week, but the Texas coach, Mack Brown, had made a public effort to lobby for his team to be moved higher in the ranking. When the human polls were released, Texas remained behind Cal, but it had closed the gap enough so that the BCS poll (which determines placement) placed Texas above Cal, angering both Cal and its conference, the Pac-10.[13] The final poll positions had been unchanged with Cal at No. 4 AP, No. 4 coaches, and No. 6 computers polls and Texas at No. 6 AP, No. 5 coaches, and No. 4 computer polls.[13] The AP Poll voters were caught in the middle because their vote changes were automatically made public, while the votes of the Coaches poll were kept confidential. Although there had been a more substantial shift in the votes of the Coaches Poll, the only clear targets for the ire of fanatical fans were the voters in the AP Poll. While officials from both Cal and the Pac-10 called for the coaches' votes to be made public, the overtures were turned down and did little to solve the problem of AP voters. Cal went on to lose to Texas Tech in the Holiday Bowl. Texas defeated Michigan in the Rose Bowl.
Many members of the press who voted in the AP Poll were upset by the controversy and, at the behest of its members, the AP asked that its poll no longer be used in the BCS rankings. The 2004 season was the last season that the AP Poll was used in the BCS rankings, it was replaced in the BCS equation by the newly created Harris Interactive College Football Poll.[14]
Final AP football polls[edit]
Main article: AP National Championship Trophy
Other media football polls[edit]
The AP Poll is not the only college football poll. The other major poll is the Coaches Poll, which has been sponsored by several organizations: the United Press (1950–1957), the United Press International (1958–1990), USA Today (1991–present), CNN (1991–1996), and ESPN (1997–2005). Having two major polls has led to numerous "split" national titles, where the two polls disagreed on the No. 1 team. This has occurred on eleven different occasions (1954, 1957, 1965, 1970, 1973, 1974, 1978, 1990, 1991, 1997, 2003).
College basketball[edit]
In Division I men's and women's college basketball, the AP Poll is largely just a tool to compare schools throughout the season and spark debate, as it has no bearing on postseason play. Generally, all top 25 teams in the poll are invited to the men's and women's NCAA basketball tournament, also known as March Madness. The poll is usually released every Monday and voters' ballots are made public.[15]
Men's basketball[edit]
For rankings from the most recent season, see 2017–18 NCAA Division I men's basketball rankings § AP Poll.
The AP began compiling a ranking of the top 20 college men's basketball teams during the 1948–1949 season. It has issued this poll continuously since the 1950–1951 season. As of January 2018, UCLA and Duke are tied for the most appearances atop the rankings at 134 times.[16]
Women's basketball[edit]
For rankings from the most recent season, see 2017–18 NCAA Division I women's basketball rankings § AP Poll.
The women's basketball poll began during the 1976–1977 season, and was initially compiled by Mel Greenberg and published by The Philadelphia Inquirer. At first, it was a poll of coaches conducted via telephone, where coaches identified top teams and a list of the Top 20 team was produced. The initial list of coaches did not include Pat Summitt, who asked to join the group, not to improve her rankings, but because of the lack of media coverage, Summitt believed it would be a good way to stay on top of who the top teams were outside of her own schedule.[17] The contributors continued to be coaches until 1994, when the AP took over administration of the poll from Greenberg, and switched to a panel of writers.[18] In 1994, Tennessee started out as No. 1 in the polls with Connecticut at No. 4. After losses by the No. 2 and No. 3 teams, Tennessee and Connecticut were ranked No. 1 and No. 2, headed into a showdown, scheduled as a special event on Martin Luther King day, the only women's basketball game scheduled on that day. Because of the unusual circumstances, the decision was made to hold off the AP voting for one day, to ensure it would be after the game. Connecticut won the game, and moved into first place in the AP poll, published on Tuesday for the only time. (Connecticut went on to complete an undefeated season.)[19] Over the history of the poll, over 255 coaches have had a team represented in polls.[20]
NFL football[edit]
Beginning in 2012, the AP began issuing a weekly pro football ranking, the AP Pro32 rankings.[21]
See also[edit]
College football portal
2016 NCAA Division I FBS football rankings
Bowl Championship Series
Coaches' Poll
College football national championships in NCAA Division I FBS
Dickinson System
Game of the Century (college football)
Grantland Rice Award
Harris Interactive College Football Poll
List of college football teams by weekly appearances atop AP Poll
List of NCAA college football rankings
Mythical national championship
NAIA Coach's Poll
References[edit]
Jump up ^ Associated Press voters 2013 retrieved 2 January 2014 Archived 15 May 2013 at the Wayback Machine.
Jump up ^ "AP College Poll Voters [Football]". Associated Press. Archived from the original on February 25, 2009.
Jump up ^ "November 15, 1934 AP Football Poll". College Poll Archive – Historical College Football and Basketball Polls and Rankings. 1934-11-15. Archived from the original on November 10, 2014. Retrieved 2014-06-09.
Jump up ^ Halberstam, David. Breaking news: how the Associated Press has covered war, peace, and everything else. Princeton Architectural Press, 2007. p150-151
Jump up ^ "1936 Final Football Polls". College Poll Archive – Historical College Football and Basketball Polls and Rankings. Archived from the original on October 13, 2014. Retrieved 2014-06-09.
Jump up ^ Ellis, Zac (2013-08-17). "AP Poll: Alabama, Ohio State headline first preseason rankings". Campus Union - SI.com. Retrieved 2014-06-09.
Jump up ^ "5 things to know about the AP preseason poll - TimesDaily: College". 18 August 2013. Archived from the original on 18 August 2013. Retrieved 1 August 2018.
Jump up ^ The official final AP poll, taken before the bowls, had Notre Dame No. 1 (107 first place votes) and Michigan No. 2 (25 first place votes). Michigan won the Rose Bowl 49–0 over USC while Notre Dame did not play in a bowl game. Detroit Free Press sports editor Lyall Smith arranged a post-bowl AP poll with only Michigan or Notre Dame as choices. Michigan won that poll 266–119. Kyrk, John. Natural Enemies. pp. 142–7. ISBN 1-58979-090-1.
^ Jump up to: a b AP No. 1 vs. No. 2 games. Associated Press, August 13, 2008
Jump up ^ AP Removes Its Poll From BCS, ncaasports.com, Dec. 22, 2004, Accessed June 6, 2006.
Jump up ^ Tim Layden, Embarrassing moments in College Football (#10), SportsIllustrated.com, Aug. 2, 2006 , Accessed Aug. 2, 2006.
Jump up ^ Kelly Whiteside = California bears burden of making point that it's BCS-worthy. USA TODAY, November 29, 2004
^ Jump up to: a b * "2004 BCS Standings, BCS Rankings" (PDF). The National Football Foundation and College Hall of Fame, Inc. Archived from the original (PDF) on 2008-09-10. Retrieved 2007-12-14.
Jump up ^ BCS Replaces AP Poll, ncaasports.com, July 12, 2005, Accessed June 6, 2006.
Jump up ^ "AP College Poll Voters [Men's Basketball]". College Poll Tracker.
Jump up ^ "Total AP Men's BB Poll Appearances Summary - College Poll Archive - Historical College Football and Basketball Polls and Rankings". collegepollarchive.com. Retrieved 1 August 2018.
Jump up ^ Greenberg, Mel. ""The stare" may have been Summitt's trademark, but it did not define her true personality". FullCourt.com. Retrieved 8 Nov 2012.
Jump up ^ "Mel Greenberg Class of 2004/2005 – Sports Writer". Philadelphia Jewish Sports Hall of Fame. Retrieved 1 Oct 2017.
Jump up ^ Mel Greenberg, Mel. "Guru's College Special: How A Previous NHL Lockout Enhanced WBB To UConn's Benefit". Womhoops Guru. Retrieved 8 Nov 2012.
Jump up ^ Greenberg, Mel. "Guru's College Report: Associated Press Preseason Poll Trivia". Womhoops Guru. Retrieved 8 Nov 2012.
Jump up ^ Wilner, Barry (31 July 2012). "Packers top first-ever AP Pro32 rankings". The Washington Times. Retrieved 31 July 2012.
External links[edit]
The Associated Press Top 25 College Football Poll at The Associated Press
The Associated Press Top 25 Men's College Basketball Poll at The Associated Press
Index AP Ballot Information by Voter and Team for Football/Men's Basketball
AP Football Poll voters
AP Men's Basketball Poll voters
Archive of all AP weekly polls for football and men's/women's basketball
List of all Final AP football Poll results and champions

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Renaissance art
From Wikipedia, the free encyclopedia
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See also: Renaissance architecture
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The Ghent Altarpiece: The Adoration of the Mystic Lamb (interior view), painted 1432 by van Eyck
Titian, Sacred and Profane Love, c. 1513 – 1514
Piero della Francesca, The Baptism of Christ, (c. 1450) (National Gallery, London).
Renaissance art is the painting, sculpture and decorative arts of the period of European history, emerging as a distinct style in Italy in about 1400, in parallel with developments which occurred in philosophy, literature, music, and science. Renaissance art, perceived as the noblest of ancient traditions, took as its foundation the art of Classical antiquity, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Renaissance art, with Renaissance Humanist philosophy, spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. Renaissance art marks the transition of Europe from the medieval period to the Early Modern age.
Sandro Botticelli, The Birth of Venus, c. 1485. Uffizi, Florence
In many parts of Europe, Early Renaissance art was created in parallel with Late Medieval art.
The influences upon the development of Renaissance men and women in the early 15th century are those that also affected Philosophy, Literature, Architecture, Theology, Science, Government, and other aspects of society. The following list presents a summary, dealt with more fully in the main articles that are cited above.
Classical texts, lost to European scholars for centuries, became available. These included Philosophy, Prose, Poetry, Drama, Science, a thesis on the Arts, and Early Christian Theology.
Simultaneously, Europe gained access to advanced mathematics which had its provenance in the works of Islamic scholars.
The advent of movable type printing in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broad public.
The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, Florence.
Cosimo de' Medici set a new standard for patronage of the arts, not associated with the church or monarchy.
Humanist philosophy meant that man's relationship with humanity, the universe and with God was no longer the exclusive province of the Church.
A revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. The revival of a style of architecture based on classical precedents inspired a corresponding classicism in painting and sculpture, which manifested itself as early as the 1420s in the paintings of Masaccio and Uccello.
The improvement of oil paint and developments in oil-painting technique by Dutch artists such as Jan van Eyck, Rogier van der Weyden and Hugo van der Goes led to its adoption in Italy from about 1475 and had ultimately lasting effects on painting practices, worldwide.
The serendipitous presence within the region of Florence in the early 15th century of certain individuals of artistic genius, most notably Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos out of which sprang the great masters of the High Renaissance, as well as supporting and encouraging many lesser artists to achieve work of extraordinary quality.[1]
A similar heritage of artistic achievement occurred in Venice through the talented Bellini family, their influential in-law Mantegna, Giorgione, Titian and Tintoretto.[1][2][3]
The publication of two treatises by Leone Battista Alberti, De Pitura (On Painting), 1435, and De re aedificatoria (Ten Books on Architecture), 1452.
Contents
1 History
1.1 Proto-Renaissance in Italy, 1280–1400
1.2 Early Netherlandish art, 1400–1525
1.3 Early Renaissance in Italy, 1400–1479
1.4 Early Renaissance in France, 1375–1528
1.5 High Renaissance in Italy, 1475–1525
1.6 German Renaissance art
2 Britain
3 Themes and symbolism
4 Techniques
5 Italian artists
6 Artists of the Low Countries
7 German artists
8 French artists
9 Spanish artists
10 Croatian artists
11 Works
12 Major collections
13 See also
14 References
15 External links
History[edit]
Proto-Renaissance in Italy, 1280–1400[edit]
Giotto: The Lamentation, c. 1305, Scrovegni Chapel, foreshadows the Renaissance.
Main article: Italian Renaissance painting
In Italy in the late 13th and early 14th centuries, the sculpture of Nicola Pisano and his son Giovanni Pisano, working at Pisa, Siena and Pistoia shows markedly classicising tendencies, probably influenced by the familiarity of these artists with ancient Roman sarcophagi. Their masterpieces are the pulpits of the Baptistery and Cathedral of Pisa.
Contemporary with Giovanni Pisano, the Florentine painter Giotto developed a manner of figurative painting that was unprecedentedly naturalistic, three-dimensional, lifelike and classicist, when compared with that of his contemporaries and teacher Cimabue. Giotto, whose greatest work is the cycle of the Life of Christ at the Arena Chapel in Padua, was seen by the 16th century biographer Giorgio Vasari as "rescuing and restoring art" from the "crude, traditional, Byzantine style" prevalent in Italy in the 13th century.
Early Netherlandish art, 1400–1525[edit]
Main article: Early Netherlandish painting
Rogier van der Weyden, The Descent from the Cross (c. 1435), oil on oak panel, 220 cm × 262 cm (87 in × 103 in). Museo del Prado, Madrid
The painters of the Low Countries at this period included Jan van Eyck, his brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden and Hugo van der Goes. Their painting developed independently of Early Italian Renaissance painting, and without the influence of a deliberate and conscious striving to revive antiquity. The style of painting grew directly out of the Medieval arts of tempera painting, stained glass and book illumination. The media used was oil paint, which had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the depiction of tonal variations and texture, so facilitating the observation of nature in great detail.
The Netherlandish painters did not approach the creation of a picture through a framework of linear perspective and correct proportion. They maintained a Medieval view of hierarchical proportion and religious symbolism, while delighting in a realistic treatment of material elements, both natural and man-made. Jan van Eyck, with his brother Hubert painted The Altarpiece of the Mystical Lamb. It is probable that Antonello da Messina became familiar with Van Eyck's work, while in Naples or Sicily. In 1475, Hugo van der Goes' Portinari Altarpiece arrived in Florence where it was to have a profound influence on many painters, most immediately Domenico Ghirlandaio who painted an altarpiece imitating its elements.
Early Renaissance in Italy, 1400–1479[edit]
Donatello, David (1440s?) Museo Nazionale del Bargello.
Main article: Italian Renaissance painting
Although both the Pisanos and Giotto had students and followers, the first truly Renaissance artists were not to emerge in Florence until 1401 with the competition to sculpt a set of bronze doors of the Baptistery of Florence Cathedral which drew entries from seven young sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, most famous as the architect of the dome of Florence Cathedral and the Church of San Lorenzo, created a number of sculptural works, including a lifesized Crucifix in Santa Maria Novella, renowned for its naturalism. His studies of perspective are thought to have influenced the painter Masaccio. Donatello became renowned as the greatest sculptor of the Early Renaissance, his masterpieces being his Humanist and unusually erotic statue of David, one of the icons of the Florentine republic, and his great monument to Gattamelata, the first large equestrian bronze to be created since Roman times.
The contemporary of Donatello, Masaccio, was the painterly descendant of Giotto, furthering the trend towards solidity of form and naturalism of face and gesture that he had begun a century earlier. Masaccio completed several panel paintings but is best known for the fresco cycle that he began in the Brancacci Chapel with the older artist Masolino and which had profound influence on later painters, including Michelangelo. Masaccio's developments were carried forward in the paintings of Fra Angelico, particularly in his frescos at the Convent of San Marco in Florence.
The treatment of the elements of perspective and light in painting was of particular concern to 15th-century Florentine painters. Uccello was so obsessed with trying to achieve an appearance of perspective that, according to Vasari, it disturbed his sleep. His solutions can be seen in his masterpiece, the Battle of San Romano. Piero della Francesca made systematic and scientific studies of both light and linear perspective, the results of which can be seen in his fresco cycle of The History of the True Cross in San Francesco, Arezzo.
In Naples, the painter Antonello da Messina began using oil paints for portraits and religious paintings at a date that preceded other Italian painters, possibly about 1450. He carried this technique north and influenced the painters of Venice. One of the most significant painters of Northern Italy was Andrea Mantegna, who decorated the interior of a room, the Camera degli Sposi for his patron Ludovico Gonzaga, setting portraits of the family and court into an illusionistic architectural space.
The end of the Early Renaissance in Italian art is marked, like its beginning, by a particular commission that drew artists together, this time in cooperation rather than competition. Pope Sixtus IV had rebuilt the Papal Chapel, named the Sistine Chapel in his honour, and commissioned a group of artists, Sandro Botticelli, Pietro Perugino, Domenico Ghirlandaio and Cosimo Rosselli to decorate its wall with fresco cycles depicting the Life of Christ and the Life of Moses. In the sixteen large paintings, the artists, although each working in his individual style, agreed on principals of format, and utilised the techniques of lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation that had been carried to a high point in the large Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.
Early Renaissance in France, 1375–1528[edit]
The artists of France, (including duchies such as Burgundy) were often associated with courts, providing illuminated manuscripts and portraits for the nobility as well as devotional paintings and altarpieces. Among the most famous were the Limbourg brothers, Flemish illuminators and creators of the Très Riches Heures du Duc de Berry. Jean Fouquet, painter of the royal court, visited Italy in 1437 and reflects the influence of Florentine painters such as Paolo Uccello. Although best known for his portraits such as that of Charles VII of France Fouquet also created illuminations, and is thought to be the inventor of the portrait miniature. There were a number of artists at this date who painted famed altarpieces, that are stylistically quite distinct from both the Italian and the Flemish. These include two enigmatic figures, Enguerrand Quarton to whom is ascribed the Pieta of Villeneuve-lès-Avignon, and Jean Hey, otherwise known as "the Master of Moulins" after his most famous work, the Moulins Altarpiece. In these works realism and close observation of the human figure, emotions and lighting are combined with a Medieval formality, which includes gilt backgrounds.
High Renaissance in Italy, 1475–1525[edit]
Main article: High Renaissance
Michelangelo, (c. 1511) The Creation of Adam, from the Sistine Chapel ceiling
The "universal genius" Leonardo da Vinci was to further perfect the aspects of pictorial art (lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation) that had preoccupied artists of the Early Renaissance, in a lifetime of studying and meticulously recording his observations of the natural world. His adoption of oil paint as his primary media meant that he could depict light and its effects on the landscape and objects more naturally and with greater dramatic effect than had ever been done before, as demonstrated in the Mona Lisa. His dissection of cadavers carried forward the understanding of skeletal and muscular anatomy, as seen in the unfinished St Jerome. His depiction of human emotion in The Last Supper set the benchmark for religious painting.
The art of Leonardo's younger contemporary Michelangelo took a very different direction. Michelangelo, in neither his painting nor his sculpture demonstrates any interest in the observation of any natural object except the human body. He perfected his technique in depicting it, while in his early twenties, by the creation of the enormous marble statue of David and the group the Pieta, in St Peter's Basilica, Rome. He then set about an exploration of the expressive possibilities of the human anatomy. His commission by Pope Julius II to paint the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative composition, which was to have profound effect on every subsequent generation of European artists[4].
Standing alongside Leonardo and Michelangelo as the third great painter of the High Renaissance was the younger Raphael, who in a short life span painted a great number of lifelike and engaging portraits, including those of Pope Julius II and his successor Pope Leo X, and numerous portrayals of the Madonna and Christ Child, including the Sistine Madonna.
In Northern Italy the High Renaissance represented by the religious paintings of Giovanni Bellini which include several large altarpieces of a type known as "Sacred Conversation" which show a group of saints around the enthroned Madonna. His contemporary Giorgione left a small number of enigmatic works, including The Tempest, the subject of which has remained a matter of speculation. The earliest works of Titian date from the era of the High Renaissance, including a massive altarpiece The Assumption of the Virgin which combines human action and drama with spectacular colour and atmosphere.
German Renaissance art[edit]
Lucas Cranach the Elder, Apollo and Diana.
Main article: German Renaissance
German Renaissance art falls into the broader category of the Renaissance in Northern Europe, also known as the Northern Renaissance. Renaissance influences began to appear in German art in the 15th century, but this trend was not widespread. Gardner's Art Through the Ages identifies Michael Pacher, a painter and sculptor, as the first German artist whose work begins to show Italian Renaissance influences. According to that source, Pacher's painting, St. Wolfgang Forces the Devil to Hold His Prayerbook (c.1481), is Late Gothic in style, but also shows the influence of the Italian artist, Mantegna.[5] Artisans, such as engravers, became more concerned with aesthetics rather than just perfecting their craft. Germany had master engravers, such as Martin Schongauer, who did metal engravings in the late 1400s. Gardner relates this mastery of the graphic arts to advances in printing which occurred in Germany, and says that metal engraving began to replace the woodcut during the Renaissance.[6] However, some artists, such as Albrecht Dürer, continued to do woodcuts. Both Gardner and Russell describe the fine quality of Dürer's woodcuts, with Russell stating, in The World of Dürer, that Dürer "elevated them into high works of art."[7]
In the 1500s, Renaissance art in Germany became more common as, according to Gardner, "The art of northern Europe during the sixteenth century is characterized by a sudden awareness of the advances made by the Italian Renaissance and by a desire to assimilate this new style as rapidly as possible."[8] One of the best known practitioners of German Renaissance art was Albrecht Dürer (1471–1528). Dürer's fascination with classical ideas led him to Italy to study art. Both Gardner and Russell recognized the importance of Durer's contribution to German art in bringing Italian Renaissance styles and ideas to Germany.[7][9] Russell calls this "Opening the Gothic windows of German art,"[7] while Gardner calls it Dürer's "life mission."[9] Importantly, as Gardner points out, Dürer "was the first northern artist who fully understood the basic aims of the southern Renaissance,"[9] although his style did not always reflect that. The same source says that Hans Holbein the Younger (1497–1543) successfully assimilated Italian ideas while also keeping "northern traditions of close realism."[10] This is contrasted against Dürer's tendency to work in "his own native German style"[9] instead of combining German and Italian styles. Other important artists of the German Renaissance were Grünewald, Albrecht Altdorfer, and Lucas Cranach the Elder.[11]
Hieronymus Bosch was a painter of the Netherlands, who employed the type of fanciful forms that were often utilized to decorate borders and letters in illuminated manuscripts, combining plant and animal forms with architectonic ones. When taken from the context of the illumination and peopled with humans, these forms give Bosch's paintings a surreal quality which have no parallel in the work of any other Renaissance painter. His masterpiece is the triptych The Garden of Earthly Delights.
Britain[edit]
Britain was very late to late to develop a Renaissance style and most artists of the Tudor court were imported foreigners, usually from the Low countries, including Hans Holbein the Younger, who died in England. One exception was the portrait miniature, which artists including Nicholas Hilliard developed into a distinct genre, well before it became popular in the rest of Europe. Renaissance art in Scotland was similarly dependent on imported artists, and largely restricted to the court.
Themes and symbolism[edit]
Sandro Botticelli, Magnificat Madonna, 1480–81, tempera on panel, Uffizi, Florence
Renaissance artists painted a wide variety of themes. Religious altarpieces, fresco cycles, and small works for private devotion were very popular. For inspiration, painters in both Italy and northern Europe frequently turned to Jacobus de Voragine's Golden Legend (1260), a highly influential source book for the lives of saints that had already had a strong influence on Medieval artists. The rebirth of classical antiquity and Renaissance humanism also resulted in many Mythological and history paintings. Ovidian stories, for example, were very popular. Decorative ornament, often used in painted architectural elements, was especially influenced by classical Roman motifs.
Techniques[edit]
the use of proportion – The first major treatment of the painting as a window into space appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized later, by Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more realistic presentation of art, it moved Renaissance painters into composing more paintings.
foreshortening – The term foreshortening refers to the artistic effect of shortening lines in a drawing so as to create an illusion of depth.
sfumato – The term sfumato was coined by Italian Renaissance artist, Leonardo da Vinci, and refers to a fine art painting technique of blurring or softening of sharp outlines by subtle and gradual blending of one tone into another through the use of thin glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare meaning to evaporate or to fade out. The Latin origin is fumare, to smoke.
chiaroscuro – The term chiaroscuro refers to the fine art painting modeling effect of using a strong contrast between light and dark to give the illusion of depth or three-dimensionality. This comes from the Italian words meaning light (chiaro) and dark (scuro), a technique which came into wide use in the Baroque Period.
Italian artists[edit]
Renaissance
"The School of Athens", Raphael, 1509–1511
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Main article: Italian Renaissance painting
Leone Battista Alberti (1404–1472)
Fra Angelico (c. 1395 – 1455)
Biagio d'Antonio (1446 – 1 June 1516)
Giotto di Bondone (1267–1337)
Donatello (c. 1386 – December 13, 1466)
Leonardo da Vinci (15 April 1452 – 2 May 1519)
Michelangelo (6 March 1475 – 18 February 1564)
Raphael (April 6 or March 28, 1483 – April 6, 1520)
Sandro Botticelli (c. 1445 – May 17, 1510)
Masaccio (December 21, 1401 – 1428)
Domenico Veneziano (c. 1410 – May 15, 1461)
Filippo Lippi (c. 1406 – 8 October 1469)
Andrea del Castagno (c. 1421 – 19 August 1457)
Piero di Cosimo (2 January 1462 – 12 April 1522)
Paolo Uccello (1397 – 10 December 1475)
Antonello da Messina (c. 1430 – February 1479)
Pisanello (c. 1395 – c. 1455)
Andrea Mantegna (c. 1431 – September 13, 1506)
Luca Signorelli (c. 1445 – 16 October 1523)
Alessio Baldovinetti (14 October 1425 – 29 August 1499)
Piero della Francesca (c. 1415 – 12 October 1492)
Masolino (c. 1383 – c. 1447)
Titian (c. 1488/1490 – 27 August 1576)
Andrea del Verrocchio (c. 1435 – 1488)
Domenico Ghirlandaio (1449 – 11 January 1494)
Benozzo Gozzoli (c. 1421 – 1497)
Carlo Crivelli (c. 1435 – c. 1495)
Marco Cardisco (c. 1486 – c. 1542)
Pietro Negroni (c. 1505 – c. 1565)
Artists of the Low Countries[edit]
Main articles: Early Netherlandish painting for 15th-century artists, Dutch and Flemish Renaissance painting for 16th-century artists
Jean Bellegambe (c. 1470 – 1535)
Hieronymus Bosch (c. 1450 – 1516)
Dirk Bouts (1415 – 6 May 1475)
Robert Campin (c. 1380 – 1444)
Petrus Christus (1410/1420–1472)
Jacques Daret
Gerard David (c. 1455 – 1523)
Hubert van Eyck (1366?–1426)
Jan van Eyck (1385?–1440?)
Geertgen tot Sint Jans
Hugo van der Goes
Adriaen Isenbrant (c. 1490 – 1551)
Limbourg brothers
Quentin Matsys (1466–1530)
Hans Memling (c. 1430 – 1494)
Joachim Patinir
Rogier van der Weyden (Rogier de la Pasture)
"The Ghent Altarpiece: The Adoration of the Lamb" (interior view) painted 1432 by Jan van Eyck.
German artists[edit]
Albrecht Altdorfer (c. 1480–1538)
Hans Baldung (c. 1480 – 1545), Alsatian
Leonhard Beck (c. 1480 – 1542)
Barthel Bruyn the Elder (1493 – 1555)
Hans Burgkmair (1473 – 1531)
Lucas Cranach the Elder (1472 – 1553)
Lucas Cranach the Younger (1515 – 1586)
Albrecht Dürer (1471 – 1528)
Conrad Faber von Kreuznach (c. 1500 – c. 1553)
Matthias Grünewald (c. 1470 – 1528)
Hans Holbein the Elder (c. 1460 – 1524)
Hans Holbein the Younger (c. 1497 – 1543)
Ambrosius Holbein (1494 – 1519)
Jerg Ratgeb (c. 1480 – 1526)
Wilhelm Stetter (1487 – 1552), Alsatian
French artists[edit]
Jean Fouquet (1420–1481)
Jean Clouet (1480–1541)
François Clouet (c. 1510 – 22 December 1572)
Barthélemy d'Eyck (c. 1420 – after 1470)
Nicolas Froment (c. 1435 – c. 1486)
Jean Hey (formerly known as the Master of Moulins) (ca. 1475 – ca. 1505)
Simon Marmion (c. 1425 – 24/25 December 1489)
Enguerrand Quarton (c. 1410 – c. 1466)
Spanish artists[edit]
Bartolomé Bermejo
Pedro Berruguete
Ayne Bru
Juan de Flandes
Luis de Morales
Jaume Huguet
Paolo da San Leocadio
Alonso Sánchez Coello
El Greco
Murillo
Croatian artists[edit]
Francesco Laurana(c. 1430 – 12? March 1502)
Giorgio da Sebenico (c. 1410 – 10 October 1475)
Niccolò di Giovanni Fiorentino
Andrea Alessi (1425–1505)
Nicholas of Ragusa (1460? – 1517)
Giovanni Dalmata (c. 1440 – c. 1514)
Andrea Schiavone (c. 1510/1515–1563)
Works[edit]
Ghent Altarpiece, by Hubert and Jan van Eyck
The Arnolfini Portrait, by Jan van Eyck
The Werl Triptych, by Robert Campin
The Portinari Triptych, by Hugo van der Goes
The Descent from the Cross, by Rogier van der Weyden
Flagellation of Christ, by Piero della Francesca
Spring, by Sandro Botticelli
Lamentation of Christ, by Mantegna
The Last Supper, by Leonardo da Vinci
The School of Athens, by Raphael
Sistine Chapel ceiling, by Michelangelo
Equestrian Portrait of Charles V, by Titian
Isenheim Altarpiece, by Matthias Grünewald
Melencolia I, by Albrecht Dürer
The Ambassadors, by Hans Holbein the Younger
Melun Diptych, by Jean Fouquet
Saint Vincent Panels, by Nuno Gonçalves
Major collections[edit]
General Collections:
National Gallery, London
Louvre, Paris
National Gallery of Art, Washington
Gemäldegalerie, Berlin
Metropolitan Museum of Art, New York City
National Art Museum of Azerbaijan, Baku
Netherlandish:
Musee Communal des Beaux-Arts, Bruges, Belgium
Groeningemuseum, Bruges, Belgium
Museo del Prado, Madrid, Spain – for works of Hieronymus Bosch
Italian:
Uffizi, Florence
French:
Château d'Écouen (National museum of the Renaissance), Écouen, France
See also[edit]
Danube school
History of painting
International Gothic
Lives of the Most Excellent Painters, Sculptors, and Architects
References[edit]
^ Jump up to: a b Frederick Hartt, A History of Italian Renaissance Art, (1970)
Jump up ^ Michael Baxandall, Painting and Experience in Fifteenth Century Italy, (1974)
Jump up ^ Margaret Aston, The Fifteenth Century, the Prospect of Europe, (1979)
Jump up ^ https://www.laetitiana.co.uk/2014/07/introduction-to-renaissance-movement.html
Jump up ^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. p. 555. ISBN 0-15-503753-6.
Jump up ^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 555–556. ISBN 0-15-503753-6.
^ Jump up to: a b c Russell, Francis (1967). The World of Dürer. Time Life Books, Time Inc. p. 9.
Jump up ^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. pp. 556–557. ISBN 0-15-503753-6.
^ Jump up to: a b c d Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. p. 561. ISBN 0-15-503753-6.
Jump up ^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. p. 564. ISBN 0-15-503753-6.
Jump up ^ Gardner, Helen; De la Croix, Horst; Tansey, Richard G (1975). "The Renaissance in Northern Europe". Art Through the Ages (6th ed.). New York: Harcourt Brace Jovanovich. p. 557. ISBN 0-15-503753-6.
External links[edit]
art portal
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Wikimedia Commons has media related to Renaissance paintings.
The Early Renaissance
"Limited Freedom", Marica Hall, Berfrois, 2 March 2011.
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BNE: XX525340
LCCN: sh85007860
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