Renaissance1430-1620

The Late Renaissance1520-1620

Reformation Elizabethan 1517-1550 1545-1620

Chronology

Late RenaissanceThe Late Renaissance or Mannerist Period: 1520-1620

During this period, the power struggles unleashed by the Reformation and the conflicts between France and Spain for colonial dominance led to religious wars and a general cultural and spiritual malaise in all of Europe. Today, art historians use the term Mannerism to describe this period of political crisis, cynicism, and loss of faith.

• saw the decline of Italian dominance and the spread of Renaissance ideas to France, Spain, and England,

• is considered as an age of ambiguity, contradictions, and self-conscious personal expression,

• is represented in the visual arts mainly through painting, in the later works of Raphael and in the work of Francesco-Mazzola Parmigianino and Agnolo Bronzino. The late architecture of Michelangelo also contains Mannerist elements.

Mannerist Period & Style

• The Age of Crisis, Loss of Faith and Political Cynicism.

• SHIFT from: unity, balance and logicto: personal invention, self-conscious stylization and bizarre fantasy

• Bartering be damned – money (anything can be bought for a price)

• Chivalry be damned – cynicism and political realism

• Erasmus: “When did avarice reign more largely and less punished?”

• Machiavellian: political expediency is placed above morality• the use of craft and deceit to maintain the authority and carry out the policies of a ruler is described

• The “new” supernatural: witchcraft – leading to the Inquisition

• Mannerism as a movement emerged about the same time as the classical Renaissance, but its adherents, mostly painters, rejected the idealized nature of classicism and concerned themselves with beauty for its own sake, elegance, and personal expression. Individualism.

Italian Architecture

Villa Rotunda (1550)In Venice by Palladio

Classical Renaissance

Temple Front Bisymmetrical w/ 2:3 Proportions… insistent on the use of exact mathematical formula.

Laurentian Library (1559)In Florence by Michelangelo Defiance of the conventional use of the classical orders

Distortion of classical proportion

Overall horizontal except vestibule

Villa Barbaro (1528)In Rome by Palladio Painting by Veronese (1560)

Not stone – brick and stucco; Not marble – terra cotta

Trompe l'oeil frescoes

Italian Furniture By J.B. Da Vignola (1565) Farnese Table (grand center table): recalling the Roman grotesque tradition

French Architecture

Louvre (1546-61)In Paris by Lescot (mathematician)

Cour Carré – balanced symmetrical

• Corinthian engaged columns

• Round arches

• Triangular and round pediments

• Sculptural relief (French Gothic)

Gallery of François I at Fontainebleau (1539) by Francesco Primatticio

Chåteaux: elegant rural palaces

Geometric and realistic proportions

Strapwork: a type of ornamentation imitating pierced and interlaced straps or bands, usually forming a geometric pattern.

School of Fontainebleau: the integration of the arts of woodworking, stucco relief and fresco painting combined to create a very complex but graceful interior design.

Sculpted figures are integrated into the moldings and cornices. Their elongated proportions and small heads are a characteristic of the Mannerist approach.

Putti : cherubic infant, often shown winged.

Grotesques: ornamentation in which natural forms and monstrous figures are intertwined in bizarre or fanciful combinations

French Furniture 16th century

Dresser: Caryatid supports

Bedroom of Anne of Austria at Fontainebleau

EnglishArchitecture

Wollaton (1580)In Nottingham by Robert Smythson

Classical model of symmetry and balance

Gothic Influence

Wollaton (1580)In Nottingham by Robert Smythson

Hammer beam ceiling: consists of a series of trusses, repeated at intervals, and its object is to transmit the weight and thrust of the roof as low as possible in the supporting wall

Keep: the inner stronghold of the castle

Turret(s): a small tower at an angle of a building… frequently beginning some distance above the ground

Little Moreton Hall (c. 1570)Cheshire

Half Timbering: exposed timber framework …filled with “Wattle and Daub”

Highly Irregular – Perpendicular Style

Oriel window: bay window

Gable: the triangular upper part of a wall between the sloping ends of a pitched roof

Hardwick Hall (1590-1597)In Derbyshire by Robert Smythson

Mullion Window: Vertical /structural support for window.

Muntin: Sash or glazing (supporting) bar… holding the glass panes together.

Crenellations

^ Shakespeare's BirthplaceStratford on Avon

> Anne Hathaway's cottage

English Furniture 16th century

Draw Table: oversized bulbous leg

Marquetry: inlaid work of variously colored woods or other materials (mainly in furniture)

Parquetry: mosaic work of wood used for floors, wainscoting, etc

Teatro Olimpico (1584)Vicenza, Italy by Palladio

Scaena frons

“Academic" theatreoldest surviving Renaissance playhouse

Vitruvian proportions

ManneristDress

By 1550, a return to complexity and ornate decoration reflects the spiritual and moral ambiguities of the Mannerist period.

The body is more distorted than it has ever been, shaped and constrained by stiff, heavy fabrics and corseting, and visually weighed down by over-scaled patterns.

The breast is compressed to non-existence, and the arms made to seem too heavy to lift.

This period of constraint, coming as it did after the conquest of Italy by foreign powers, reflects the Mannerist styles of Spain and Elizabethan England.

Eleanor of Toledo by Agnolo Bronzino (Italy 1550)

Innovation inDress

Treadle-powered spinning wheel

Embroidery was applied to shirts and chemises - full-length, sleeved linen undergarments - in the form of delicate black silk figures called blackwork.

Early forms of lace-making appeared in Italy in the 15th century.

16th CenturyDress

Northern Europe and England

Man by Hans Baldung (German, 1517)

Changes in the male silhouette outside of Italy during the 16th century:

• from 1500 to 1520, the transition was made from late Gothic to Renaissance styles.

1500-1510: Gothic tendency toward verticality and elongation of the body.

1510-1520: Trend toward German full-cut, loose robe broadened the silhouette.

The Men

Henry the Devout of Saxony by Lucas Cranach the Elder (English 1514)

Slashing and panes - strips of fabric caught with ornamental clasps - allowed the shirt to show through.

Doublet

Robe/Cloak

Breeches (new short trouser) replaced full-length hose, which was reduced to knee-length, and held in place with garters.

The Ambassadors by Hans Holbein the Younger (English 1553)

• from 1520 to 1550, costume was dominated by German fashion with its full over-robe, emphasizing horizontal lines.

Persistence of this square silhouette

Jerkin is sleeveless and has a deep v-shaped opening in the front of the bodice.

Simarre: Robe

Duckbills

Henry VIII by Hans Holbein the Younger (English 1537)

Doublet (padded) and Skirt

The codpiece (a flap or cover for the crotch) developed into a prominent feature.

This portrait illustrates the extravagant ornament and the distortion of the body through padding, slashing (to reveal a lining or full undergarment beneath) , and stiffened encasement so typical of the approach seen in Mannerist art.

François I by Jean Coulet (French 1516)

The Italian love of simple elegance is more evident in the French style, with its black and white color scheme and simple bands of embroidered foliage.

Robert Dudley, Earl of Leicester (unknown)(English c. 1570)

• from 1550 to 1600, shoulder width decreased, and a new garment, the separate breech or trunk hose, emerged. This period is dominated by Spanish influences.

Philip II (Spanish, c. 1560)

Ruff: Separate Collar

Trunk (pumpkin) Hose: padded breeches

The codpiece, very prominent at mid-century, had disappeared by 1580.

Youth with Rose by Nicholas Hilliard(English 1588)

Several forms of the ruff developed, made with stiffened, figure-eight folds. These were invariably of starched white linen.

Peascod Belly: Padded belly

Shoulders were padded roll or a crescent-shaped extension. Sleeves were also padded, but followed the shape of the arm and narrowed considerably by the end of the century.

Elizabethan Armor

This suit of armor was made for the Earl of Cumberland and is at the Metropolitan Museum. The cost was enormous, this cost as much as one year's salary for a nobleman. It is inlaid with gold, a real demonstration of magnificence.

Notice space for trunk (pumpkin) hose

Top shaped just like doublet

Armor

The expanding waistline of Henry VII…

A suit of armor worn by the king in his early 20s (left) is noticeably slimmer than one he used in about 1540 (right)

Princess Elizabeth, Flemish School (English 1546)

1530-1575: International Gothic styles continued to be popular well into the first decades of the 16th century.

Spanish farthingale: Cone-shaped hoop skirt…. which consisted of a series of hoops, graduated in size, sewn into a petticoat (underskirt).

The bodice (fitted vest or wide, lace-up girdle) was tightly stretched over the corset (or stays) giving an inverted cone shape to the upper body.

Overskirts were split at center-front, to expose the underskirt.

The Women

Corset (usually whalebone): a close-fitting undergarment, often reinforced by stays, worn to support and shape the waistline, hips, and breasts

Steel Corset

< shaded areas show pockets with boning

Mary Tudor by Antonio Moro (English 1554)

Girdle: a belt, sash, or band that is worn around the waist

Crescent-shaped "French hood“: headdress

Jane Seymore by Hans Holbein (English, 1536)

Gable Headdress: resemblance in shape to the gable-end of a Tudor house

The Ditchley Portrait (Elizabeth I) by Marcus Gheeraerts the Younger(English 1592)

1575-1600: Skirt shapes changed in the last quarter of the century.

The open ruff surrounding the square neckline stands high behind the head and is supported by a wire frame.

Hanging Sleeve: Open Sleeve

Conch: wire-frame headdress

French farthingale: Wheel or Drum-shaped hoop skirt.

Bum Roll: Padded Roll; a bolster-like roll either stuffed or held out with reeds which, being fastened around the hips

Stomacher: v-shaped panel of stiff material worn over the chest and stomach

Queen Elizabeth I (the Armada Portrait) by George Gower (English c. 1588)

The human form is artificially shaped during the period through the use of padding and hoops. Silhouettes are unbalanced by the exaggeration in shoulder width and lengthening of the torso.

Fabrics are excessively embellished with slashing, puffs, quilting, inset stones and embroidery.

Woven patterns are outsized.

(Woman) Cartwheel Farthingale: Hoops worn at an angle which visually elongated the wearer's torso while shortening their legs.

Open ruff

(Man)Stiffened hat

Cape

Gaiter: a heavy cloth or leather covering for the leg extending from the instep to the ankle or knee. (shown on left leg only)

Pomander - perfume ball of mixed aromatic substances… generally filled with spices and crafted in the shape of orange segments.

Well-to-do Londoners held pomanders to their noses to shield themselves from the stench of the rotting garbage that littered the streets.

^ Michelangelo’s Pieta (St. Peter’s in Rome - 1498)

> Michelangelo’s Pieta “The Deposition”

(Florence Cathedral – 1550)

Discuss these 2 images in regard to the ELEMENTS OF DESIGN

^ Leonardo da Vinci “The Last Supper” (1495-1497)

> JacopoTintoretto “The Last Supper” (1592-1594)

Discuss these 2 images in regard to the ELEMENTS OF

DESIGN