Week 1 Review Done

FORTITUDE FORTITUDE (HERCULES)(HERCULES)by NICOLA PISANOby NICOLA PISANO(ITALY; 13(ITALY; 13thth century) century)

““Renaissance:” rebirth ofRenaissance:” rebirth ofinterest in the art of interest in the art of classical antiquityclassical antiquity

GIOTTO (1267-1337):GIOTTO (1267-1337):

Portrait of GiottoPortrait of Giottoby Benedetto da Maianoby Benedetto da Maiano

--Worked primarily in Florence--Worked primarily in Florence--Studied under Cimabue--Studied under Cimabue--His innovations are generally--His innovations are generally considered to mark a considered to mark a transition away from the transition away from the Gothic period, and pave theGothic period, and pave the way to the Renaissanceway to the Renaissance--Abandoned the iconic gold--Abandoned the iconic gold backgrounds that had beenbackgrounds that had been typical of previous generationstypical of previous generations and was a pioneer of moreand was a pioneer of more natural settings, natural natural settings, natural relationships among relationships among characters, and psychologycharacters, and psychology--Pioneered the use of more--Pioneered the use of more 3 dimensional, physically3 dimensional, physically tangible figurestangible figures

Giotto: The Arena ChapelGiotto: The Arena Chapel

--Dedicated on the --Dedicated on the Feast of the Feast of the Annunciation, 1303Annunciation, 1303--Commissioned by--Commissioned by Enrico ScrovegniEnrico Scrovegni--Intended as a small,--Intended as a small, private chapel forprivate chapel for his family, as well ashis family, as well as his burial placehis burial place--The name “Arena”--The name “Arena” comes from the factcomes from the fact there had been an there had been an old Roman arenaold Roman arena herehere--67 feet long--67 feet long

Giotto: The Arena Chapel—Joachim Among the ShepherdsGiotto: The Arena Chapel—Joachim Among the Shepherds

Giotto: The Arena Chapel—Joachim’s DreamGiotto: The Arena Chapel—Joachim’s Dream

Giotto: The Arena Chapel—CrucifixionGiotto: The Arena Chapel—Crucifixion

Enrico Scrovegni and the Arena ChapelEnrico Scrovegni and the Arena Chapel

--Had the chapel built --Had the chapel built to expiate the sin of to expiate the sin of usury, through whichusury, through which his father, Reginaldo,his father, Reginaldo, had built the familyhad built the family fortunefortune--Usury is the lending --Usury is the lending of money with of money with interestinterest--A desire to atone for --A desire to atone for usury explains certain usury explains certain aspects of the aspects of the decorative scheme, decorative scheme, which connect greed which connect greed and damnationand damnation


--Dante’s --Dante’s InfernoInferno even included a even included a character with a character with a money bag with themoney bag with the Scrovegni familyScrovegni family logo on itlogo on it--His father died in--His father died in 1300, and Enrico 1300, and Enrico stopped the moneystopped the money lending businesslending business--He was apparently--He was apparently very concerned aboutvery concerned about his family’s salvationhis family’s salvation and that same yearand that same year he bought the landhe bought the land for the chapelfor the chapel


--1300 was a Jubilee--1300 was a Jubilee year; he was year; he was seeking absolution,seeking absolution, and the chapel wasand the chapel was apparently part of apparently part of an agreement withan agreement with the Catholic churchthe Catholic church to secure an to secure an indulgenceindulgence

Giotto: The Arena Chapel—The Betrayal of JudasGiotto: The Arena Chapel—The Betrayal of Judas

Scenes with Judas:Scenes with Judas:rare in art, but rare in art, but Judas was Judas was associated with associated with usury since he hadusury since he hadtaken silver in taken silver in exchange for exchange for betraying Christ;betraying Christ;Giotto makes a pointGiotto makes a pointof emphasizing hisof emphasizing hismoney bagmoney bag

Giotto: The Arena Chapel—The Last JudgmentGiotto: The Arena Chapel—The Last Judgment

Hung by strings of his money bag Hung by strings of his money bag

Giotto: The Arena Chapel—The Last JudgmentGiotto: The Arena Chapel—The Last Judgment

Enrico Scrovegni donating the chapel—presenting it to theEnrico Scrovegni donating the chapel—presenting it to theVirgin of the AnnunciationVirgin of the Annunciation

Portrait of GiottoPortrait of Giottoby Benedetto da Maianoby Benedetto da Maiano

Giotto: died 1337, but a new age Giotto: died 1337, but a new age in the art of painting had begunin the art of painting had begunand flowered in especially and flowered in especially Florence and SienaFlorence and Siena

I am he through whose merit theI am he through whose merit thelost art of painting was revived;lost art of painting was revived;. . . what my art lacked nature . . . what my art lacked nature herself lacked; to none other herself lacked; to none other was it given to paint more orwas it given to paint more orbetter . . . I am Giotto, and my better . . . I am Giotto, and my name alone tells more than aname alone tells more than alengthy ode.—Inscription atlengthy ode.—Inscription atFlorence Cathedral under the Florence Cathedral under the portrait tondo of Giotto byportrait tondo of Giotto byBenedetto da MaianoBenedetto da Maiano

Tondo: a round depictionTondo: a round depiction

LINEAR (ONE POINT) PERSPECTIVE LINEAR (ONE POINT) PERSPECTIVE

Vanishing point Vanishing point

OrthagonalsOrthagonals

TransversalsTransversals


HOLY TRINITY by MASACCIO HOLY TRINITY by MASACCIO (Florence, Italy; 15th century)(Florence, Italy; 15th century)

““The High Renaissance”The High Renaissance”

Leonardo daLeonardo daVinciVinci

(1452-1519)(1452-1519)FlorentineFlorentine

MichelangeloMichelangelo(1475-1564)(1475-1564)FlorentineFlorentine

RaphaelRaphael(1483-1520)(1483-1520)Moved toMoved toFlorenceFlorence

High Renaissance: LEONARDO DA VINCI (1452-1519)High Renaissance: LEONARDO DA VINCI (1452-1519)

The Last Supper (1490s), Santa Maria delle Grazie RefectoryThe Last Supper (1490s), Santa Maria delle Grazie Refectory

Refectory: Refectory: A place where monks and priests eat; a dining roomA place where monks and priests eat; a dining room

High Renaissance: LEONARDO DA VINCI (1452-1519)High Renaissance: LEONARDO DA VINCI (1452-1519)

The Mona Lisa The Mona Lisa (Lisa Giacondo; 1503-05) (Lisa Giacondo; 1503-05)

Leonardo da Vinci: Drawings, studies, “disegno”Leonardo da Vinci: Drawings, studies, “disegno”

Disegno:Disegno:--Development of the--Development of the subject matter andsubject matter and composition throughcomposition through phases of preliminaryphases of preliminary study and drawingstudy and drawing--This became the--This became the dominant method indominant method in Florence and Rome, Florence and Rome, and formed the basisand formed the basis for art theory in thosefor art theory in those citiescities

Studies for theStudies for theAdoration of the Magi byAdoration of the Magi by

Leonardo da Vinci: Drawings, studies, “disegno”Leonardo da Vinci: Drawings, studies, “disegno”

DISEGNO: TheDISEGNO: The School of AthensSchool of Athens

and study byand study by RaphaelRaphael

DISEGNO:DISEGNO:Studies for theStudies for theTransfigurationTransfiguration

The High Renaissance: RAPHAEL, Italy (1483-1520)The High Renaissance: RAPHAEL, Italy (1483-1520)

Chalk Portrait of Chalk Portrait of Michelangelo Michelangelo

by Daniele da Volterraby Daniele da Volterra

MICHELANGELO (1475-1564):MICHELANGELO (1475-1564):--In Rome, meets a French--In Rome, meets a French cardinal who was retiring andcardinal who was retiring and want to leave something want to leave something behind in his memory in thebehind in his memory in the French chapel—he wanted French chapel—he wanted a sculpteda sculpted Pieta Pieta--It is this statue which brings--It is this statue which brings Michelangelo, at age 24, to Michelangelo, at age 24, to prominenceprominence

The High Renaissance: MICHELANGELO, Italy (1475-1564)The High Renaissance: MICHELANGELO, Italy (1475-1564)

The Pieta (1499)The Pieta (1499)



MICHELANGELO (1475-1564):MICHELANGELO (1475-1564):--Returns to Florence in 1501;--Returns to Florence in 1501; he had been promised ahe had been promised a large piece of beautifullarge piece of beautiful marble, 18 feet high, whichmarble, 18 feet high, which had been sitting in the had been sitting in the Cathedral workshop Cathedral workshop for many yearsfor many years--The stone, known as the --The stone, known as the “ “Giant,” was intended for aGiant,” was intended for a sculpture for the church, butsculpture for the church, but it had been botched by theit had been botched by the sculptor Agostino di Ducciosculptor Agostino di Duccio and no one could figure outand no one could figure out what to do with it, or how towhat to do with it, or how to sculpt itsculpt it--It is from this stone he--It is from this stone he sculpts his 17 foot tall Davidsculpts his 17 foot tall David


The David (1504)The David (1504)



MICHELANGELO (1475-1564):MICHELANGELO (1475-1564):--Called to Rome to work for--Called to Rome to work for Pope Julius II, who had Pope Julius II, who had several projects in mindseveral projects in mind--The first of these projects--The first of these projects was Julius’s own tombwas Julius’s own tomb


Moses (1515)Moses (1515)



MICHELANGELO (1475-1564):MICHELANGELO (1475-1564):--In 1508 he is hired by Julius--In 1508 he is hired by Julius to paint the ceiling of the to paint the ceiling of the Sistine Chapel; he tries toSistine Chapel; he tries to refuse the offer, claiming he refuse the offer, claiming he is a sculptor, not a painter, is a sculptor, not a painter, but Julius insistsbut Julius insists--Spends the next 4 years --Spends the next 4 years painting the Sistine Ceiling,painting the Sistine Ceiling, which is unveiled in 1512which is unveiled in 1512--Will later return to the Sistine--Will later return to the Sistine Chapel 25 years later to paint Chapel 25 years later to paint The Last Judgment on the The Last Judgment on the altar wallaltar wall

The High Renaissance: MICHELANGELO—Sistine Chapel The High Renaissance: MICHELANGELO—Sistine Chapel

The High Renaissance: MICHELANGELO—Disegno The High Renaissance: MICHELANGELO—Disegno

The High Renaissance: MICHELANGELO—Disegno The High Renaissance: MICHELANGELO—Disegno The Libyan Sybil The Libyan Sybil

The High Renaissance: MICHELANGELO—Sistine Chapel The High Renaissance: MICHELANGELO—Sistine Chapel The Last Judgment (altar wall; 1537-41)The Last Judgment (altar wall; 1537-41)

DISEGNO:DISEGNO:The Last Judgment The Last Judgment

and studies and studies by Michelangelo by Michelangelo

(Sistine Chapel, Rome) (Sistine Chapel, Rome)

Christ Christ

The High Renaissance: MICHELANGELO—Architecture The High Renaissance: MICHELANGELO—Architecture

Dome of St. Peter’s (1564)Dome of St. Peter’s (1564)

--Michelangelo was appointed--Michelangelo was appointed chief architect of St. Peter’schief architect of St. Peter’s by Pope Paul IIIby Pope Paul III--As with the Sistine Ceiling --As with the Sistine Ceiling paintings, he initially tried topaintings, he initially tried to decline the assignment, butdecline the assignment, but the pope insistedthe pope insisted--His major contribution was--His major contribution was the dome above the church’sthe dome above the church’s crossingcrossing



Major accomplishments ofMajor accomplishments ofMICHELANGELO:MICHELANGELO:

Sculpture: The Pieta, the Sculpture: The Pieta, the David, and various sculpturesDavid, and various sculpturesfor the tombs of the Medicifor the tombs of the Mediciand Julius II (including theand Julius II (including theMoses)Moses)

Painting: Sistine Ceiling andPainting: Sistine Ceiling andthe Last Judgmentthe Last Judgment

Architecture: Campidoglio Architecture: Campidoglio and dome of St. Peter’sand dome of St. Peter’s

Literature: one of the leadingLiterature: one of the leadingpoets and sonnet writers ofpoets and sonnet writers ofthe Italian Renaissancethe Italian Renaissance

DISEGNO DISEGNO COLORECOLORE

Leonardo da Vinci,Leonardo da Vinci,Michelangelo, RaphaelMichelangelo, Raphael Giorgione,Titian,Giorgione,Titian,

TintorettoTintoretto

DISEGNO DISEGNO COLORECOLORE

Rome, FlorenceRome, Florence(“High (“High

Renaissance”)Renaissance”)

Venice Venice

Venice Venice

Rome Rome

Florence Florence

Colore:Colore:Emphasis on Emphasis on spontaneity andspontaneity andfreedom of stroke,freedom of stroke,expression, and expression, and composition;composition;artists often workedartists often workeddirectly on thedirectly on thecanvas without canvas without preliminary drawingspreliminary drawingsand studies; and studies; attempts to captureattempts to capturefreshness of artisticfreshness of artisticexpression; greaterexpression; greateremphasis on color,emphasis on color,atmosphere, andatmosphere, andsensualitysensuality

The Renaissance in Venice: Giorgione (1477-1510)The Renaissance in Venice: Giorgione (1477-1510)

The Renaissance in Venice: Giorgione—Colore vs. Disegno The Renaissance in Venice: Giorgione—Colore vs. Disegno

Colore/Venetian Colore/Venetian artists as opposed toartists as opposed tothose in Florencethose in Florenceand Rome:and Rome:--Preliminary --Preliminary drawings typicallydrawings typically do not survivedo not survive--Don’t work in --Don’t work in frescofresco--Do not represent--Do not represent classical subjectclassical subject matter as oftenmatter as often--Less classical--Less classical influenceinfluence--More painterly--More painterly

The Renaissance in Venice: Giorgione—Colore vs. Disegno The Renaissance in Venice: Giorgione—Colore vs. Disegno

He thought only of He thought only of executing fancifulexecuting fancifulfigures which wouldfigures which wouldshow his ability . . . Ishow his ability . . . Ifor one have neverfor one have neverknown what hisknown what hispictures mean and pictures mean and no one has ever no one has ever been able to explainbeen able to explainthem to me. Here is them to me. Here is a man, there is a a man, there is a woman . . . it is woman . . . it is impossible to tellimpossible to tellwhat it all means.what it all means.--Vasari on --Vasari on GirogioneGirogione

--Born Tiziano Vecellio--Born Tiziano Vecellio--The leading painter of the--The leading painter of the Venetian school; he Venetian school; he became preeminent afterbecame preeminent after Giorgione’s death, and Giorgione’s death, and retained his position forretained his position for the next 60 yearsthe next 60 years--The output over the span --The output over the span of his career is immense,of his career is immense, and he was highly inand he was highly in demand not just in Italydemand not just in Italy but other parts of Europebut other parts of Europe as wellas well--The works that first --The works that first brought him fame werebrought him fame were his paintings at the Churchhis paintings at the Church of the Frari in Venice, of the Frari in Venice, in particular the in particular the Assumption of the VirginAssumption of the Virgin

The Renaissance in Venice: Titian (1490-1576)The Renaissance in Venice: Titian (1490-1576)

The Renaissance in Venice: Titian—Colore vs. Disegno The Renaissance in Venice: Titian—Colore vs. Disegno

The Renaissance in Venice: Titian—Master of Colore The Renaissance in Venice: Titian—Master of Colore

He would be theHe would be thegreatest of all ofgreatest of all ofus, if only he hadus, if only he had““disegno.”disegno.”--Michelangelo’s--Michelangelo’scomment tocomment toVasari, after Vasari, after visiting Titian visiting Titian while he was while he was painting Danaepainting Danae

Danae (1553)Danae (1553)

The Renaissance in Venice: Tintoretto (1518-1594)The Renaissance in Venice: Tintoretto (1518-1594)--His real name is Jacopo--His real name is Jacopo Robusti, but was nicknamedRobusti, but was nicknamed Tintoretto because he cameTintoretto because he came from a family of dyers—dye from a family of dyers—dye is “tintore”is “tintore”--It is sometimes claimed that--It is sometimes claimed that he may have studied underhe may have studied under Titian, but there is no proof Titian, but there is no proof of thisof this--Ran a large workshop, and --Ran a large workshop, and one of his main assistantsone of his main assistants was his own daughter Maria,was his own daughter Maria, who was one of the most who was one of the most skilled Italian female artitistsskilled Italian female artitists--Hated by Roman/Florentine--Hated by Roman/Florentine critics such as Vasari, whocritics such as Vasari, who considered him to representconsidered him to represent everything that was wrong everything that was wrong with Venetian paintingwith Venetian painting

The Last Supper (1592-94)The Last Supper (1592-94)

The Renaissance in Venice: Tintoretto—Colore vs. DisegnoThe Renaissance in Venice: Tintoretto—Colore vs. Disegno

The Renaissance in Venice: Tintoretto (1518-1594)The Renaissance in Venice: Tintoretto (1518-1594)

The Last Supper (1592-94)The Last Supper (1592-94)

He is extravagant in someHe is extravagant in someof his inventions, and in of his inventions, and in those strange caprices ofthose strange caprices ofhis fancy, which he hashis fancy, which he hasexecuted almost by executed almost by haphazard and withouthaphazard and withoutdesign, in so much thatdesign, in so much thatone might suppose he one might suppose he well nigh desired to show well nigh desired to show that his art is only a joke.that his art is only a joke.--Vasari on Tintoretto--Vasari on Tintoretto

The Renaissance in Venice: Colore vs. DisegnoThe Renaissance in Venice: Colore vs. Disegno

Portrait of Emperor Charles V and Portrait of Emperor Charles V and Self Portrait, both by TitianSelf Portrait, both by Titian

EmperorEmperorCharles V Charles V believesbelievesTitian is theTitian is thefinest finest painter in painter in Europe andEurope andhe knightshe knightshim; Titianhim; Titianwas the was the only painteronly painterto receiveto receivesuch ansuch anhonor—thehonor—thelast time a last time a painter waspainter wasso honoredso honoredwas duringwas duringthe time of the time of Alexander Alexander the Greatthe Great

Week 1 Review Done

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