High renaissance italy
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High Renaissance in Italy
Michelangelo, Da Vinci, Raphael,and the Venetian School
Mannerism appears late century…
Italian City States were conquered bySpanish & French invaders.. Venicestayed independent.
High Renaissance flourished in courts ofprinces, dukes & popes… artisticcompetition
High Renaissance Italy….1495-1527 Big Ideas
• Pope Julius II revitalizes the city of Rome• High Renaissance artists try to emulate Roman grandeur
with enormous frescoes, statues, and amazing architecture• Compositions marked by balance, symmetry, and ideal
proportions.. Triangular layout is favored.• Venetian painters take up oil with school of painting with
sophisticated color harmonies• Portraiture reveals likeness of subject PLUS their character
and personality
High Renaissance Italy….Patronage
• Pope Julius II is biggest patron.. Powerful force in Roman andEuropean politics and religion.
• Transformed Rome, a ramshackle medieval town, into an artisticcenter to rival Florence.
• Women were also key patrons, such as Queen Isabella d’Este• St. Peter’s church in Rome is rebuilt, first by Bramante then by
Michelangelo.• Medici still have influence; Michelangelo originally studied sculptures
on one of their estates• Kings and Queens of Europe become patrons of artists such as Da
Vinci and Titian.
High Renaissance Italy….Perspective
• Artists continue to build on Brunelleschi’s work and Albertis, usingarchitectural & atmospheric perspective.
• Raphael’s School of Athens is a masterpiece of architecturalperspective.
• Remember this painting from the early Renaissance?
Stanza della Segnatura, Raphael, Vatican (Fresco view) - Pope’s library
SchoolofAthens
Fresco
Raphael
1510-11
Bramante is bald figure of Euclid
Raphael in extreme right corner
Michelangelo is resting on stone block writing apoem
Overall composition influenced by Da Vinci’slast supper
Raphael continued to work for Julius II’successor, born Giovvanie de Medici
School of Athens, fresco,Vatican
Raphael painted this in PopeJulius II library; Philosophybooks shelved below
Vastness & variety of papallibrary and interests
Buliding behind-Bramante’s planfor St. Peters
Nobility & monumentality offorms
Plato (w/Leonardo’s face)pointing up and Aristotle
flashcard
Small Cowper Madonna, Raphael,Oil on wood panel, 1505 (highRenaissance)
Triangular composition favored inRenaissance
Classical allusions; frequentlypainted holy family
Atmospheric perspective behindMary
Raphael was very young
Clarity of forms, sweet expressions;chiaroscuro renders modeling.
Raphael continuedworking for the next Pope,Leo X (who was a Medicifamily member)…
Pope Leo X with CardinalsGiulio de’ Medici and Luigide’ Rossi
1517
Oil on wood
La Pieta, Michelangelo
Marble, 1500, 6’ tall
St. Peter’s, Vatican,
La Pieta in the round
Pyramidal composition
Monumental
Heavy drapery masksMary’s size as she easilyholds Jesus in here lap
Only work Michelangeloever signed
Shows Mary’s beautyand grief
Michelangelo wasGhirlandaio’s apprentice
Patron French cardinal
“Set free the image fromthe stone”
MichelangeloDavid (flashcard)Medium: MarbleSize: height 17' (5.18 m) without pedestalDate: 1501–04Source/ Museum: Galleria dell’Accademia, FlorenceCommissioned as symbol of Florence, representing Florence asshe faced enemies like FranceFirst colossal nude since ancient worldMuscular, tense, at the readyDavid anticipated challenge of Goliath, great concentration onthe faceSlight contrapposto, little negative spaceMarble, not bronze.. Evoked power of ancient art.. Purity ofexpressionInfluence of Spear Bearer by Polykleitos2 minute video on Michelangelo's David
Close ups of David
Sistine Chapel, Vatican, Rome
Michelangelo, Last Judgment andceiling (45’ x 128’)
Ceiling 1508-12; end wall 1536-41
La Capella Sistina (part 1)
Botticelli and Perugino, Ghirlandio,and Raphael also painted areas ofthe Sistine Chapel (not ceiling)
New popes are elected here
Last Judgment, Sistine Chapel,Michelangelo
1536-41, Vatican, Rome
No cornice divisions like ceiling
Mannerism shown in distortionsof body, elongations,crowded groups
1. Bottom: deadrising/mouth of hell
2. Ascending elect, desc.Sinners, angels
3. Saved around Jesus
4. Lunette: Angels w/cross
Justice shown
Spiraling composition a reactionagainst High Renaissanceharmony; disunity ofchurch from theReformation
Drapery added later
St. Bartholomew modeled oncontemporary critic LOL
Michelangelos’ face in St. Bart’sskin
Moses, Michelangelo, 1513-16, 1542-45,
Commissioned for tomb of Julius II
Never finished (was to be part of a hugeinstallation of sculptures, he was pulled of thisproject to do the Sistine Chapel
Meant to be viewed from below
Horns are mistranslation of Bible; Moses thoughtto have had HORNS coming out of his head,really RAYS (like a halo)
Figure is in awe, heroic body
Inspired by Laocoon
Last Supper, da Vinci, 1495-98,Monastery in Milan, Italy
Experiment with tempera and oilon plaster (FAIL)
Painted for dining hall of amonastery
Linear perspective; orthogonalspoint to Jesus
Groupings of 3
Drama: Jesus says, One of Youwill Betray ME
Judas falls back clutching his bagof coins (bribe to betray Jesus)
Leonardo was a genius, scientist,inventor, and artist who was the 1stmodern mind… because he wantedto observe, not just take the Greeksword for it.
Born illegitimate (bastard), he couldnot study Greek nor Latin, so couldnot read much. Instead he learnedto observe, draw, and document,filing thousands of pages ofsketches of inventions, botanicaland anatomical illustrations.
This is a charcoal for a paintingfrom around 1500.
Da Vinci's Genius
Mona Lisa, Leonardo da Vinci
1503, Louvre, Paris…
21” x 30”
3/4 profile, triangular composition
Sfumato, chiaroscuro used infigure, atmospheric perspective inbackground
Mysterious smile, psychologicalintensity
Lots of mysteries and legendssurround this painting (da Vincicode); recently have discoveredremains of da Vinci’s model
(da Vinci code?)
Da Vinci studied anatomy,dissected cadavers, and wasin reality a scientist.
Vitruvian Man, ink, 1490
He studied and quantifiedhuman proportions with theVitruvian man, based on thework of the Greek scholdVitruvius.
amazon video, go to 24minutes
High Renaissance Italy….Women and the Arts
• Women generally not allowed to study orapprentice, with a few exceptions
• Women were also key patrons, such asQueen Isabella d’Este
• Properzia de’Rossi notable exception -sculptor
• Sofia Anguissola - skilled painter who didmany portraits
Queen Isabella d’Este,by Titian, oil on canvas
Joseph & Potiphar’s Wife
1525, Properzia de’ Rossi
Bologna
Famous woman sculptor;mastered miniaturecarvings such as the LastSupper on a peach pit!
Carving in cathedral ofSan Petronio in Bologna
Only woman included inVasari’s biography
Got over an unhappy loveaffair by carving thispanel, according to Vasari
Rival male sculptor kepther from being paid fairlyfor her work
The Chess Game
1525, Sofia Anguissola
flashcard
Well known portait painter,eventually went to theSpanish court
Well educated in the arts,did portraits but due tohere social status andgender could not sell them
Michelangelo critiquedone of her drawings
Court painter in Spain for20 yers
Rivaled Titian
flashcard
Self-portrait,SofonisbaAnguissola
Oil on cardboard
2.5” x 3.25”
1552
Noli Me Tangere, LaviniaFontana
Oil on canvas
1581
Bologna was center foraccopmlished women painters
She was in her 20s when shepainted scene of Jesusappearing to Mary Magdalenbefore returning to heaven
Tiny figures at tomb inbackground give plunge intodepth and sapce
Mannerist style painting
Venice & the Venetto
• Venice was major naval power• Rich light, pattern, and color inspired by
Byzantium• Oil painting universally preferred on both
wood and canvas• Giorgione & Titian early; later Veronese
and Tintoretto
The Tempest,Giorgione (f. card)
1506 (Venetian School)
Oil on canvas
Studied w/Bellini
Meaning debated
POESIE- paintedpoems, viewersenjoyed trying tounderstand what ishappening
Emerging use of oil inVenice; softer tones
Emerging landscapetradition
Lightning, mysteriousruins in landscapeGypsy girlbreastfeeding baby
Titian was Giogrione’s apprentice. Also studied with Bellini … again poesie, paintedpoem. Are the 2 nudes the musician’s muses? Mythical world plus real world,landscape
Pastoral Concert,Allegory on theInvention ofPastoral Poetry
Titian, VenetianSchool, 1510
Oil on canvas
Louvre
Chiaroscuro, noclear cut edges
Venus of Urbino, Titian, oil on canvas, 1538.
Sensuous painting, skin tones, probably a courtesan, looks directly at viewer, deepspace in picture, flora motif. Dog = faithful, standard for future reclining female nudes
Titian’s later workbecame moreexpressive.
This piece has loosebrushstrokes anddiagonals, finishedin late 1570s inVenice
Pieta
Feast in the House of Levi, Veronese, oil on canvas, 1573 (Venetian school). Originallylast supper, was called before Pope’s Inquisition to question presence of drunks,dwarves, etc. at last supper…. Changed title to another supper instead to avoid beingjailed and tortured. Continued classical perspective and painted for Dominicanmonastery
Last Supper, Tintoretto, 1594, Oil on canvas (Venetto), developed from Titian’s style,mannerist elongated forms, radiant light around Christ and angels, corner view, still lifeon tables and cat - deep chiariscuro… fast painter, Daughter became artist.
MANNERISM INITALY•Intellectually intricate subjects
•Highly skilled techniques
•Beauty for beuaty’s sake
•Elegeant, elongated figures
•Distortionf of formal conventions
Fall of the Giants
Fresco, 1530-32,
Palazzo del Te, Mantua(Mannerist architecture)
Unusual spiraling composition
Giulio Romano
Entombment, Pontormo
Oil & tempera on wood, altarpiecein church in Florence
Mannerist painting with twisted,elongated figures and spiralingcomposition (what’s in center?)
Little background.
High key colors
Yearning
Which are men and which arewomen???
flashcard
Astronomy, or Venus Urania
Bronze gilt, 15” high, 1573
Mannerist sculpture
Assumption of the Virgin,Correggio, fresco, dome inParma Cathedral, Italy, 1530
Spiraling composition againtypical of mannerism
Saints at bottom, thjen Virginescorted to heaven with angels,Christ waits for Mary
Glowing colors prefigures theBaorque
flashcard
Madonna with the long Neck,Parmigianino, oil on wood, 1534-40,Florence
7 feet by 4 feet
Small head, long neck, delicate,graceful gestures
Elongated and detahced limbs
Column perspective looks odd
Pose reminiscent of la Pieta
flashcard
Portrait of a YoungMan, Bronzino, oil onwood, 1540
Mannerist painter.
Captures subject’sphysical appearanceas well as personality.
Bronzino worked forthe Medici as well asPontormo.