Venetian, Mannerism and the Counter Reformation ppt
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Transcript of Venetian, Mannerism and the Counter Reformation ppt
Venetian Renaissance Art
16th Century
Venetian Renaissance:Believed they were superior to Florence and RomeGreatest commercial sea power in the MediterraneanProtected by water Controlled the sea routes on the Adriatic SeaWealthy and secure patrons of the artsByzantine heritage promoted glorious patterns that underscored light and colorContributed textiles, gold, enamel glass, mosaic, fine printing and bookbinding in encouraging the arts.First to use oil on wood and canvasFirst to cover walls with paintings instead of frescos
Giovanni Bellini, Portrait of Doge Leonardo Loredan, 1501-1502, Venice
Giorgione, The Tempest, c.1506, Venice
Titian, The Pastoral Concert or Allegory on the Invention of Pastoral Poetry, 1510, Venice
Lavina Fontana, Noli me Tangere,1581, Bologna, Italy
Art and the Counter Reformation:Under Pope Clement VII Charles V attacked Rome .Vatican had underestimated the powerful ReformationFinally Pope Paul III recognized the Protestant movement in order to protect the Vatican.He convened the Council of Trent (1545-1549) to:
investigate corruption define the Catholic canon initiate disciplinary reforms regulate the training of clerics limited Christian art destroyed many works.
Pope Paul III instituted the InquisitionHence, art became a powerful weapon of propaganda.
Michelangelo, Last Judgment, Sistine Chapel, 1536-1541
Veronese, Feast in the House of Levi, 1573, Rectory of Santi Giovanni e Paolo.
Venice
Titian, “Venus” of Urbino,, c.1538
Venice 1538, Venice
Mannerism1520- 1573
Mannerism: from Maneria meaning “style”Titled by Art Historians after Raphael’s death in 1520Conventions: anti-Classicism spurious graceelegance manipulated and altered formal convention contrived compositions illogical spatial surroundings elongated proportionscomplicated artificial poses enigmatic gestures dreamy expressionsdistortionDelicate colorsPolished surfaces dizzying, diagonal plunges into the depth of the painting
Works revealed quoted references to works of illustrious predecessors. Patrons’ preferred esoteric
subjects; accomplished technical virtuosity; and the pursuit of aestheticism. Architecture disregarded uniformity and balance but used Classical orders in alternative ways.
Pantormo, Entombment, 1525-1528, Capponi Family Chapel, Florence
Parmigianino, Madonna with the Long Neck, 1534-1540, Parma, Italy
Tintoretto, Last Supper, 1592-1594, Church of An Giorgio, Maggiore, Venice
Bronzino, Allegory with Venus and Cupid, 1540-1545, Florence
Bronzino, Portrait of a Young Man, 1540-1545, Florence
Sofonisba Anguissola, Self-Portrait, c. 1552, Bologna, 2 ½” X 3 ¼”
•“…an excellent painter of portraits above all the
painters of this time”•Anthony Van Dyck sketched her in Palermo and explained, she advised him on not positioning the light too high because the strong shadows would reveal her wrinkles.”
Correggio, Assumption of the Virgin, 1526-1530, Parma, Italy
El Greco, Burial of the Count of Orgaz, 1586-1588, Spain