The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious...
Transcript of The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious...
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The Renaissance
Revival of Classical Rome in Italy 1400-1600s
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LASTWEEKLastclassItalkedaboutthebeginningoftheChris<anEra.ItbeganinthelateRomanEmpire(330CE)whenConstan<nemadeChris<anitythe‘official’religionoftheRomanEmpire.Duringthe1000+yearsbetweenthefallofRomeandtheEarlyRenaissanceEuropewasrebuilding.Welookedatsomeofthatartworklastweek.Nolongeraretheremanygodsandgoddesses,thereisonegod.ManysaytheVirginMaryemergedbecausethepeoples<llneededafemaledeity.Regardless,shebecameamajorfigureofworship.ThemainotherfemaleimagewasEve.
ThefemaleinChris<anArt---SaintsorSinners.WeseemanyimagesofEveandtheVirginMary.Imagesofwomenandrolesforwomenarelimited.
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THEMIDDLEAGESDuringtheMiddleAgesTheCatholicChurchhadenormouspower.AlmostallartworkwasChris<anthatwascommissionedbytheChurch.Thereligious,socialandpoli<calstructureswereGodcentered.ItwasbelievedthatGodwasresponsibleforeverythingandthepopewashisinstrumentonearth.ManyoftheadvanceswesawinGreeceandRome(philosophy,mathema<cs,medical,etc.),theknowledgewaskeptaliveintheEasternpartoftheEmpirebutlosttotheWest.ArtworkfocusedonChurchsanc<onedChris<anthemes.ItwasoWenhighlyemo<onal.
VirginwiththeDeadChrist(Rö3genPietà),fromtheRhineland,Germany,ca.1300–1325.Paintedwood,2’101/2”high.RheinischesLandemuseum,Bonn.
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THERENAISSANCETheRenaissanceisaperiodinWesternhistorythatfollowstheMiddleAges.WeseearevivalofinterestinclassicallearningandideasofancientGreeceandRome.Inaddi<ontorevivalofthehumani<esfromGreeceandRome,thebeliefin,“thegeniusofman…theuniqueandextraordinaryabilityofthehumanmind”.Ar<stsdevelopedtheuseof‘linearperspec<ve’inpain<ngtoshowdepthandtheillusionof3dimensionalform.Leonardowasconsideredtheul<mate“RenaissanceMan”ashestudiedawiderangeoftopicsincludinganatomy,geology,botany,hydraulics,flightandweapons.
VitruvianMan,LeonardodaVinci,1490.Thisdrawing,basedonthewri<ngofVitruvius,isLeonardo’srepresenta<onofmanatthecenterofthecosmos.Inaddi<on,itshowstheperfec<onofhumanpropor<onsasthemanfitsperfectlyintoacircleandsquare,symbolsofmathema<calperfec<on.
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THERENAISSANCETheperiodbetween1450and1650wasa<meofrevolu<onaryculturalchange.Religiouschange,thegrowthofempires,educa<onaldevelopments,socialmobility,theater,art,theprin<ngpressandmedicaladvancesreshapedthehistoryoftheWest.Inthislecturewelookatartworksthathighlightchangesinthoughtaboutreligion,sexualityandrace.LeonardodaVincididtwoversionsofthispain<ng,TheMadonnaoftheRocks.Inthisone,from1483-6,MaryisshownwithherarmaroundSt.JohntheBap<st.TheChristchildisblessinghimwhileanangelpointstowardthechild.Gonearethehaloesandthrone,Leonardostrivedtoshowdivinitythroughidealgraceandbeauty.
LeonardodaVinciisoneofthemostfamousar<stsinWesternhistory.Wealsoknowthathelovedtosurroundhimselfwithbeau<fulyoungmen.
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IMPORTANTHISTORICALEVENTSThingsthathappeninhistoryarealwayscomplicated.Thewaywetellwhathappenedmustbesimplifiedinordertogettothepoint.JustknowthisasIspeakaboutthingsthatareinfluencingchange.EventsthatcreatedsignificantchangeinEuropeandespeciallyItalyinthe1400s:1.TheOkomanTurksofficiallyendedtheByzan<neEmpire(lateRoman)in1453withtheconquestofConstan<nople.Byzan<nescholars,whohadkeptGreekandRomanknowledgealive,migratedWest.TheybroughttoWesternEuropeknowledgeofGreekciviliza<onwhichledtotheRenaissancedevelopmentofhumanismandscience.
MosaicoftheByzan<neEmperorKomnenos,11thCentury.
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Moreevents:2.WiththerebuildingofRomepeoplediscoveredandbecameentrancedbytheartandarchitectureoftheClassicalGreekandRomanciviliza<ons.3.AnewclasswasemergingoutoftheFeudalMiddleAges,amerchantclass,providingpeoplewithwealthandpowerwhocouldrivaltheChurchinthecommissioningofart.
WeseethedevelopmentofothersubjectsinartbesidesjustChris<anones.NowweseeportraitsofwealthypeopleandartworkaboutGreekandRomangods,goddessesandmyth.
TheDuchessBanstaSforza(DuchessofUrbino),PieroDellaFrancesca,1465-1472ThereisalsoafacingportraitoftheDuke.
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ITALYAROUND1400It’simportanttorememberthatItalywasn’taunifiedcountryasitisnow.Itwasacollec<onofcitystates,oWenatwar.Florence,Rome,MilanandVenicewerethemostpowerful.SomeoftheearliestachievementsoftheRenaissancehappenedinFlorenceasaresultofthepatronageofthepowerfulMedicifamily.
CosimodeMedicisupportedtheartsandhumani<esinFlorence.TherewerealsofourMedicipopes.
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ReturntoClassicalStyleDonatello’sbronzestatueofDavid,wasthefirstnudesculptureintheroundsinceClassicalRome.Revolu<onaryforit’sday,thestatuereflectedde’MedicitasteforGreekandRomanartaswellasDonatello’sownsensibili<es.WhilewehavenorecordofDonatello’ssexualpreference,muchaken<onisgivetothesensualityoftheyoungDavid.InthisbiblicalstoryofDavidandGoliath,Davidisnolongerrepresentedasakingbutasaninnocent,youngman.No<cethesimilari<esanddifferenceswiththeGreekstatue.
DONATELLO,David,late1420s–late1450s.
Bronze,5’2¼“.Florence.
POLYKLEITOS,(SpearBearer).RomanmarblecopyfromPompeii,Italy,aWerabronzeoriginalofca.450–440BCE
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SANDROBOTTICELLI,BirthofVenus,ca.1482.Temperaoncanvas,approx.5’8”x9’1”.GalleriadegliUffizi,Florence.
AlsocommissionedbytheMedici,thethemeforthispain<ngcomesfromtheRomanpoet,Ovid’sMetamorphoses.Thebookcontainsover250mythsandchroniclesthehistoryoftheworldfromcrea<ontotheendofJuliusCaesar’sreign.InthisstoryVenusisbeingbirthedfromthesea.Standingonaseashell,ontheleWthepersonifica<onofwindblowsherdryasamaidenwaitstocoverherbody.
MythologyinRenaissanceArt
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GreekMythologyinRenaissanceArt
SANDROBOTTICELLI,BirthofVenus,ca.1482.Temperaoncanvas,approx.5’8”x9’1”.GalleriadegliUffizi,Florence.
AndRomancopyofGreekstatueofVenus.OneverysimilarwasownedbytheMedicifamily.
Ihopeyoucouldalreadymaketheconnec<onbetweentheposeoftheVenusinBoncelli’spain<ngandtheearlierGreekone.
Thepain<ngcanalsobeenseenasanodetothewealthyMedicifamily.
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As we have already studied, these Roman copies of Greek originals of Venus, the goddess of beauty were some of the first nude representations of women in Greek art since the Greeks
did not consider the female body either beautiful or perfect in the way they viewed the male. These images however, became the model for representations of the female body in art.
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MASACCIO,ExpulsionofAdamandEvefromEden,BrancacciChapel,SantaMariadel
Carmine,Florence,Italy,ca.1425.
Fresco,7’x2’11”
ReligioninRenaissanceArtTheChurchwasalsocommissioningartintheRenaissance.EventhoughGreekthemeswerepagan,theleadersappreciatedthestyle.SoweseesimilarnudebodiesinChris<anart.ThestoryofAdamandEvecon<nuedtobehighlyrepresentedasareminderthatawomanwasresponsiblefor‘originalsin.’storiesfromthebible.
Durer,,AdamandEve,1504,engraving.
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TITIAN,VenusofUrbino,1538.Oiloncanvas,approx.4’x5’6”.GalleriadegliUffizi,Florence.Thispain<ngispaintedwithoilpaint.Theearlieronesareeitherfresco(paintonplaster)ortempera(pigmentineggbinder).Theydonotallowthismuchnaturalism.
CommissionsandMeaningThispain<ngbyTi<an,wascommissionedbytheDukeofUrbinoforhiswife.The<tletellsusshe’sVenus,agoddess.However,ifweanalyzethepain<ngweseesomethingnewhappening.Ti<anwasaveryfamousVene<anpainterknownforsmoothbrushworkandabilitytocreatetheillusionoflife.OneofthewaysRenaissancear<stswereabletocreatesuchsensi<veillusionstoreallifewastheinven<onofoilpaint.
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TITIAN,basedhisgestureonanearlierpainKngbyhisteacher,Giorgioni,whichdepictedVenussleepinginalandscape.
CommissionsandMeaningTheearlierGreekstatueisnowreclining,witheveryaspectofherbody,includingsymbolsinthepain<ng,aboutero<cism.Fromthispointforwardwewillseemanymanypain<ngswithrecliningnudefemalefigures.The“idealized”femalebodyhasbecomeanobjectofmaledesire,acommodity,ero<cizedandobjec<fied,andnooneeverreallytalkedaboutitinArtHistoryun<lsecondwavefeminisminthe1970s.
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RAPHAEL,MadonnaintheMeadow,1505.Oilonpanel,3’81/2”x2’101/4”.KunsthistorischesMuseum,Vienna.
TheChurchandCommissionsTheCatholicChurchwass<llcommissioningalotofartwork.Infact,theyfeltitenhancedtheirpowertoworkwithfamousar<sts.Manypain<ngsoftheVirginMarywithChristwerecommissionedastheVirginneverlostpopularity.ButbecauseofHumanism,thehaloesbegintodisappear.TheHolyFamilyappearsmorelikerealpeople.Allpain<ngsoftheMadonnaandChristnowfollowtheleadsetbyLeonardoaswesawearlier.Representedmorelikeafamily,withhumanquali<esandposes.
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I’mmen<oningthisbecausethisideaofthear<stasgenius-creator,inven<ngthingsoutofnothing,followesusthroughhistory.Importantly,un<lrecentlytherewasnoroomforwomeninthisviewof‘crea<on.’Menweretheac<veones.Womenwerepassive.Someofthisissimplycon<nuingAristotle’sideasyoulookedatlastweek.
TheBirthoftheAr<stAr<stssuchasLeonardodaVincibegantoseekhighersocialandculturalsocialstatusfortheirprofession.
Leonardoarguedthatpain<ng,sculptureandarchitecturerequirednotjustcraWbutintellectualknowledge--Knowledgeofanatomy,op<cs,mathema<cs.
Healsoequatedartwithagod-likeact…likeGodcrea<ngtheuniversefromthevoid,thear<stinventsapersonorlandscapeoutofnothing.
Atrulyblessedar<stisapar<cipantinthedivineprocessofcrea<on.
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Caravaggio,TheCrownofThorns,1602In1517Mar<nLutherakackedtheCatholicChurchforit’scorrup<on,greedandabuseofpower,andini<atedamovementthattransformedreligious,poli<calandartofEurope.Protestantscri<cizedChris<anartforwhattheythoughtwerecultimages.
RenaissancetoBaroqueRenaissanceartwasaboutrevivingclassicalideasandform.Ra<onality,order,logicwerefollowedinallthings.AswemoveintoLateRenaissancetoBaroqueArtstylesbecomemoreemo<onalandmorediversesubjectsaredepicted.Baroqueartisdefinedbyit’suseoflight.BecauseofthegrowthofMar<nLutherandtheProtestantReforma<on,theCatholicChurchencouragedvisualartthatwouldguidethefaithful.Inordertomoredirectlyengagetheviewer,powerfulanddrama<crealism,accentua<ngcontrastoflightanddarkand<ghtlycroppingcomposi<onsenhancedemo<onalimpact.Artworkshouldinstruc<onandinspire.
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Oneofthesefemalear<stswas,ArtemisiaGen<leschi.Self-portraitastheAllegoryofPainKng,1638-9.
WomeninRenaissanceandBaroqueArtBeforethe1970stherewerenowomenar<stsmen<onedinanyWesternArtHistorybooks.Therewerenopeopleofcoloreitherbutwe’llgettothatabitlaterinthesemester.EmpoweredbytheideasoftheFeministMovement,femaleArtHistoriansbegantochallengewhatwascalled“thecanon.”Thecanonwasatone<meconsideredfixed.Itwasthebodyofartworksconsideredtobethebestexamplesofastyleorgenre.Theartworksinthecanonwereconsideredthe‘masterpieces’andthisiswhatwasstudiedinart.Ques<onsaboutthecanonledtodiscoveriesofwomenar<stsinhistorywhohadneverbeforebeenconsidered.
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JudithBeheadingHolophernes,ArtemisiaGen<leschi,1614-20.
WomeninRenaissanceandBaroqueArtArtemisiaGen<leschiwasapainterwhofollowedCaravaggio,afamousBaroquepainter.Mostofherpain<ngsfocusonheroinesfromtheBible.Inthispain<ng,Judith,atradi<onalexampleofvirtueandchas<ty,isshowndecapita<ngHolophernes,whohadplannedtodestroyhervillage.Shehasseducedhimandisnowshownviolentlybeheadinghimbecomingthesaviorofherpeople.Thispain<ngwasprobablycommissionedbyCosimoIIde’MedicibutduetotheviolenceitwasplacedinadarkcornerofhisPalaceandGen<leschiwasnotpaidun<laWerhisdeath.
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JudithandherMaidservant
WomeninRenaissanceandBaroqueArtGen<leschididdifferentversionsofthestory.
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WomeninRenaissanceandBaroqueArtThestoryofJudithwasverypopularinart.AlotofdiscussionhasbeengiventotheviolenceinGen<leschi’spain<ng.Herearlytrainingwasfromherfather,afamouspainter.WhenshewasrejectedfromartacademiesshestudiedwithAgos<noTassi,herfather’sfriend.In1612,herfatherbroughtchargesagainstTassiforrapinghisdaughter.Ahighlypublicizedtrialendedwithnoconvic<on.However,thistrauma<ceventisthoughttohaveaffectedthetoneofthepain<ng.
Thesearetwomorepain<ngsofthesamethemebymalear<stsCaravaggioand
PhilipvanDijk.NeitherhastheviolenceofGen<leschi.
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WomeninRenaissanceandBaroqueArtJudithLeysterwasinfluencedbytheDutchar<stFransHalsandmuchofherworkhadbeenakributedtohim.Mostofherworkwascreatedbeforehermarriage.Inaddi<ontoraisingherchildrenshemanagedthefamilybusinessandassistedwithherhusband’sart.Awell-knownar<stinherlife<me,shewaslargelyforgokenun<l1893whenherini<alswerefoundunderafalsesignatureof“FransHals.”Thisledtorenewedresearchonherasanar<st.Atone<meitwasthoughttherewerenowomenintheArtHistoryCanonbecausethereweren’tanygoodones.Wehavelearnedthiswasnotthereason.
SelfPortrait,JudithLeyster,1630
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HowWomenRepresentThemesAnotherissuesthatisdiscussedwithregardstothegenderofthear<stishowmaleandfemalear<stsapproachsimilarsubjects.WesawthatwithGen<leschiandlet’slookatitagain.Thispain<ngisonebyamalear<stvanBaburenthatrepresentsanotherpopularthemeinBaroqueart—brothelscenes.Itshowsthreefigures,apros<tuteontheleW,theclientinthemiddleandtheprocuresspoin<ngtoherpalmtoindicateexpectedpayment.Theclientisholdingacoin.Inthisversion,vanBaburendepictsthepros<tuteasatemptress,herbreastsprominent.She’sintheprocessofseducinghim.
DirckvanBaburen,TheProcuress,1622SincereligiousartwasnotbeingproducedinthisDutchcountryitisthoughtthatgenrescenes(scenesofeverydaylife),likethisoneservedtoins<llmorality.
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HowWomenRepresentThemesThisisapain<ngbyJudithLeysterofasimilartheme.Herewehavearichlydressedmanofferingcoinstoawomenwhoisquietlyengagedinmending.Insteadofshowingthewomanasunrestrainedandsinful,heresheishardatwork,themodelofvirtue.
JudithLeyster,ManOfferingMoneytoaWoman,orTheProposiKon,1634
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RaceinEuropeanRenaissanceTheMediterraneanwasacross-culturalandinter-ethnicareafromthemid-15thcenturyon.ClassicalculturewaspartlyrevivedbytheideasbroughtbyArabsandblackAfricansregularly,andinsignificantnumbersenteredEurope.Intercon<nentalnaviga<onhelpedreshapeEurope’spopula<on.
TheSupperatEmmaus,Veni<anAr<st,1530-40.InthisoWenrepresentedeventinthelifeofChristweseetheinclusionofaBlacksoldier,iden<fiedasEgyp<anbyhisredhat.MostlikelyincludedtosignifyChrist’suniversalpromiseofsalva<on.HeisalsoshownseatedontherightsideofChrist.Awelcomeguest.
PortraitofaWealthyAfrican,1540
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RaceinEuropeanRenaissanceSt.MauricewasthoughttohavebeenaleaderoftheRomanarmyinthe3rdcentury.HewasmartyredforrefusingtoslaughterChris<ans.Manypain<ngsweredoneofhimduringtheRenaissance.
Scholarsarejust
beginningtoresearchracerela<onsinRenaissance<mes.ItseemsIdeasabout
racewerenotasclearlydefinedatthat<me.
St.Maurice,MakhiasGrunewald,c.1510
St.Maurice,LucaCranachtheElder,1520-25s
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RaceinEuropeanRenaissanceWeseeimagesofdarkskinnedpeopleshowingupinReligiouspain<ngsofthis<mewiththesamenobilityaswhites.Beforethemid-fiWeenthcenturyonlyasmallpercentageofslaveswereAfrican.FreedslavesandfreeAfricansweresociallymobileandappearedinprofessionalandcrea<veposi<onsinEurope.
AdoraKonoftheMaji,FlemishAr<st,1599Bythe15thad16thcenturies,thousandsofimagesdepic<ngBlack(Moorish)kingswhofollowedastartowitnessthena<vity(theBirthofChrist)werepainted.Theyoungestofthethreewisemeninthena<vitystory.
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RaceinEuropeanRenaissanceThroughtheimageswecanseethatpeopleofcolorweredepictedinsimilarwaystoEuropeans.AndwhiletheywereassimilatedintoEuropeanculture,werealsothoughttobe‘behind’Europeanciviliza<on.
AdoraKonoftheMaji,FlemishAr<st,1460-1523PortraitofanAfricanSlaveWoman,AnnibaleCarracci,1580
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NEXTWEEKInthe15thCenturyweseetheriseofintercon<nentalnaviga<onbysea.Europeancountriesbeginsendingshipsaroundtheworldtoexploreandconquer.Portugueseexpedi<onsbringEuropeanshipsinregularcontactwithSaharanAfrica.TheyinauguratedtheAtlan<csalvetrade,soonjoinedbySpainandBritain.ChristopherColumbus’conquestoftheCaribbeanvirtuallywipedouttheindigenousculturesthere.Slaveryhasbeenaroundeversinceciviliza<onsbegan.However,aWerthe15thcenturyAfricansbecomethelargestpopula<onofslaves.
Moreaboutthisnextweek.
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MAINPOINTSFORTHISWEEK• The Renaissance from about 1400-1600 is the
revival of ideas and styles of Greece and Rome.
• The Catholic Church is still very powerful and there is much Christian art created.
• In addition, a rising merchant class with Classical taste, commission artwork with different themes, like mythology and portraits.
• Invention of oil paint allows more naturalism. In addition the development of linear perspective makes painting a strong illusion of the natural world.
• Paintings of the idealized female figure become undeniably eroticized.
• Women artists emerge.
• Racial diversity is represented in art.