Chapter 20 16th century art in italy
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Chapter 20: 16th Century Art in Italy
AP Art History
Magister Ricard
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The High Renaissance
Renaissance in Italy
High Renaissan
ce
Venice 16th
Century
Rome 16th Century
Early Renaissan
ce
Florence 15th
Century
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The High Renaissance Venice and Florence remain important centers
but Rome dominates the 16th Century One of the major building projects of the era
was the construction of the new St. Peter’s Cathedral
Most influential artists of the period are Leonardo da Vinci, Michelangelo, Raphael, Bramante, and Titian
They elevated the prestige of artists from mere artisans to creative, unique, geniuses (Durer’s dream realized)
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The High Renaissance
Art in Italy in the Early 16th Century
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Leonardo da Vinci Born in 1452 in Vinci, a small village near Florence Apprentice to Verocchio Left Florence in 1482 to work for Duke of Milan 1495 painted Last Supper in refectory of Santa Maria
delle Grazie Painting was meant to be extension of dining room Linear perspective converges on Jesus Three windows extend space, symbolize Holy Trinity Depicts moment Jesus reveals “One of you shall betray
me” Judas is cloaked in the shadows Used an experimental medium of oil; preferred to work
using a slower method than normal fresco painting; medium was a failure with much deteriation
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Leonardo da Vinci When the French claim Milan, Leonardo
returns to Florence (1500) Produces a large drawing (cartoon) which was
never painted Features Mary sitting on knee of her mother,
Anne, while Christ child reaches out toward cousin John the Baptist
Uses strong contrast of light and dark (chiaroscuro)
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Leonardo da Vinci The Mona Lisa’s identity is much debated May have been Lisa Gherardini, La Gioconda Pyramidal form does not stop at upper torso but
extends to half figure No jewelry, plain, silhouetted against desolate,
mysterious landscape Applied a smoky haze using a thin varnish creating
sfumato (“smokiness”) Utilized the medium of oil to its full potential, build on
chiaroscuro for voluminous modeling One of first works intended to be framed and hung Used entertainment to amuse subject and create the
enigmatic smile and gaze captured in image
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Leonardo da Vinci Inspired by the writings and theories of Roman
architect Vitruvius Was an applied theory of man represented by
way of geometry Vitruvius – man is proportional, harmonious, 8
heads high Adapted these ideas into a diagram for the
ideal male figure Man is as wide as he is tall (square) The circumference measuring from his navel
outward will be the extent of his arms and legs (circle)
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Raphael Arrived in Florence from Urbino in 1505 Studied in Perugia under Perugino Early work has tilt of heads in paintings, even-
keeled mood found in his subjects Uses clear even light in his work to imitate
outside light In background is a church from Urbino which
may have been designed by Bramante
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Raphael Commissioned by Pope Julius II to paint
several rooms (stanze) In Stanza della Segnatura painted 4 branches
of knowledge – Religion, Philosophy, Poetry, and Law
Uses a trompe l’oeil – a trick of the eye – to create the two dimensional illusion
Linear perspective converges on Plato (Ideals) and Aristotle (Empiricism/Materialism)
Included are other artists as the models for the subjects: Leonardo (Plato), Michelangelo (Heraclitus), Raphael stares out at the viewer
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Michelangelo Buonarroti Favored sculpture as the best medium for expression of
the natural world (Leonardo favored painting); considered himself always a sculptor first
Art was an inner calling, not a profession Worked in the workshop of Ghirlandaio Studied Massacio’s Brancacci Chapel Studied the Medici’s private sculpture collection In 1497 was commissioned to sculpt a marble pieta which
was hailed as the first great sculpture of the High Renaissance
Selected the marble from the famous quarry in Carrara; form needed to be set free from the marble medium
When returned to Florence in 1501, would receive the commission to sculpt “il mostro” into David
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Michelangelo Buonarroti “I’m not a painter” Although contracts in Florence remained, was
brought to Rome by Pope Julius II to create his tomb
Tomb was stopped in 1508 so that work on Sistine Chapel could begin
Considered himself a sculptor, but was commanded by pope to paint the ceiling
Used trompe l’oeil for ceiling, short pilasters supported by putti
Within the frame are figures from the Old Testament - featuring heroes of nude men (ignudi) – and sibyls
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Michelangelo Buonarroti As the building project for St. Peter’s went on,
Pope Julius II diverted funds from not only the Sistine Chapel, but also the original commission for his tomb
Planned by Michelangelo was a massive freestanding structure with more than 40 statues
Reductions lead to a scaled down “tomb” which never saw the pope buried and plagued Michelangelo for over 40 years
Moses is one of the original designs for the tomb and features many characteristics typical of Michelangelo’s sculpture
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Michelangelo Buonarroti Leo X (Giovanni di Medici, son of Lorenzo the
Magnificent) succeeded as pope in 1513 Selected Michelangelo to design many
projects including New Sacristry in San Lorenzo, Florence
(Left) tomb of Giuliano de’Medici seated on sarcophagus with personifications of Night and Day – Active Life
(Right) tomb of Lorenzo with personifications of Dawn and Dusk – Contemplative Life
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Bramante Like Brunelleschi and Alberti, carefully studied
ancient Roman architecture Left Milan in 1499 (like Leonardo) and headed
for Rome The Tempietto (little temple) constructed in
concentric circles (compare to a tholos temple or central-plan)
Math was used to create harmony, distance between columns is four times their diameter
A drum supports a hemispheric dome, inspiring the New St. Peter’s construction (compare to Washington, DC Capitol Building)
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Antonio da Sangallo and Michelangelo Started by da Sangallo, the Palazzo Farnese
(Rome) was constructed using Renaissance architectural principals
Heavy rustication of blocks on first floor around central entrance
Piano nobile (2nd floor) featured a balcony where the public could be addressed; had cartouche above the balcony; contains alternates of arched and triangular pediments with Corinthian columns
3rd floor completed by Michelangelo; features triangular pediments and a cornice was added
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St. Peter’s Cathedral, Rome Old St. Peter’s constructed by Constantine to honor the
apostle St. Peter – the first bishop of Rome (and first pope)
Pope Julius II (1506) decided to renovate the cathedral due to disrepair
Originally, Bramante was commissioned, who sought to use a central-plan to replace the basilica-plan with a dome
Pope Julius II dies in 1513, Bramante in 1514 Raphael, Antonio da Sangallo move towards a Latin
cross design Michelangelo (1546) returns design to Greek cross,
central plan, which was completed after his death in 1590 by Giocomo della Porta (see soon)
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Giulio Romano In Mantua, architecture was not quite as
“serious” Used the classical architectural elements
playfully, to create kind of a visual humor with dropping triglyphs
Used trompe l’oeil to create a “falling room” where the subject matter is the gods defeating the giants (compare to Camera Picta of Andrea Mantegna)
Precursor to Mannerism
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Titian The deaths of Giorgione (1510) and Raphael (1520 –
only 37!) left a vacuum Worked mostly in and around Venice Painted religious altar pieces, voluptuous female nudes,
and portraits of important leaders of the 16th century Defeat of Turks in 1502 lead to a commission for a
votive piece dedicated to the victory Masterful use of light and shadow Asymmetrical setting with huge columns St. Peter is central figure (blue and yellow) while Virgin
and Child are on a high throne with surrounding saints Composition is built on diagonals, not on vertical and
horizontal grid
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Art in the Counter Reformation
16th Century Art in Italy
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Counter Reformation Shaken by the reforms of Martin Luther
(Lutheran) and John Calvin (Calvinism), the Protestant reforms challenged the authority of the pope
Counter-Reformation was launched by Catholic Church
Michelangelo was brought back to Rome to paint the Last Judgment by Pope Paul III in 1534
Michelangelo created a pessimistic view of the Last Judgment; Christ was stern shown condemning souls
Demons torture the damned; survivors narrowly escape
Salvation must be earned – defiant of Martin Luther’s teaching that salvation can be given by faith alone
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Mannerism
16th Century Art in Italy
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Art in Venice and the Veneto
16th Century Art in Italy
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