RENAISSANCE ART
I.
ART IN THE RENAISSANCE
A.
GENERAL REMARKS
1.
MOST FAMOUS LEGACY FROM RENAISSANCE
B.
MEDIEVAL ART
1.
TENDED TO BE ABSTRACT & FORMULAIC,
2.
PAINTING LATE 13TH C
a.
HUMAN FIGURES FLAT-UNREAL b.
DIFFICULT TO IMAGINE THEM SPEAKING
c.
BUILDINGS WERE SYMBOLIC OBJECTS
(1)
NOT PLACES TO LIVE IN
d.
LANDSCAPES WERE DECORATIVE BUT NOT LIFELIKE
(1)
BIG & SMALL, NEAR & FAR THINGS ARE SHOW W/O RELATION TO
ONE ANOTHER
(2)
EVERYTHING WAS SAME SIZE
e.
LIFE THEY PAINTED NOT BELIEVEABLE
C.
RENAISSANCE ART
1.
STILL DEPICTED RELIGIOUS SUBJECTS IN MAJORITY OF WORKS
2.
BUT NOW SCENES FROM
a.
CLASSICAL MYTHOLOGY
b.
PORTRAITS OF INDIVIDUALS
3.
SECULAR & RELIGIOUS THEMES COULD BE FOUND IN SAME PICTURE
4.
NOW IT WAS POSSIBLE TO DIFFERENIATE BETWEEN PEOPLE
5.
AS MANY PAINTINGS & SCULPTURES WERE DEPICTIONS OF REAL PEOPLE
6.
POSSIBLE TO LOOK AT THE PEOPLE & IMAGINE WHAT THEY ARE THINKING OR
ABOUT TO SAY
7.
ROOMS, LANDSCAPES ARE A RECORD OF WHAT THESE THINGS REALLY LOOKED
LIKE
8.
PAINTERS LOOKING AT WORLD WITH SOMETHING LIKE A CAMERA'S EYE
D.
NEW TECNHOLOGY RENAISSANCE
1.
RENAISSANCE ARTISTS HAD ADVANTAGE OF NEW TECHNICAL SKILLS
DEVELOPED DURING 15TH CENTURY
2.
OIL PAINTS
a.
DEV FLANDERS LAST HALF 15TH C
b.
OVERCAME DEFICIENCES OF FRESCO & TEMPERA BY PERMITTING MORE
LEISURELY, DELICATE WORK & MORE PERMANENT COLORS
c.
IN FRESCO PAINTINGS, PIGMENTS WERE APPLIED TO WET PLASTER
d.
PAINTERS HAD TO WORK SWIFTLY BEFORE PLASTER DRIED
3.
DEVELOPMENT OF CHIAROSCURO
a.
USE OF SHADING TO ENHANCE NATURALNESS (ITALIAN FOR BRIGHTDARK)
b.
GAVE ART A 3 DIMENSIONAL QUALITY c.
BEFORE 2 D OF BYZANTINE TRADITION
II.
CHANGE IN SOCIAL STATUS FOR ARTIST
A.
MIDDLE AGES 1.
PAINTERS, SCULPTORS WERE CRAFTSMEN LIKE ANY OTHER CRAFTSMEN MEMBER OF A GUILD
2.
DID NOT SIGN THEIR WORK
B.
RENAISSANCE
1.
15TH C ARTISTS BEGAN EMERGING FROM ANONYMITY OF WORKSHOP
2.
BUT STILL CONSIDERED CRAFTSMEN & NOT A VERY HIGH STATUS POSITION
3.
MICHELANGELO'S FATHER, A RESPECTABLE CITY MAGISTRATE
a.
TRIED TO BEAT HIS SON OUT OF HIS DISGRACEFUL DESIRE TO BECOME A
2
C.
D.
E.
III.
SCULPTOR
4.
TOOK PERSONAL INTERVENTION OF LORENZO D'MEDICI TO PERSUADE
MICHELANGELO'S FATHER DIFFERENCE IN STATUS BETWEEN MAN WHO
CHISELED STATUES AND ONE WHO CHIPPED BUILDING STONES.
5.
EASY TO SEE WHY MICHAELANGLO'S FATHER THAT WAY
6.
MOST ARTISTS SONS OF LOWER CLASS CRAFTEMEN
a.
FILIPPO LIPPI'S FATHER, BUTCHER
b.
BOTTICELLI'S FATHER, TANNER
c.
OTHERS ARTISANS'SONS OF POULTRY DEALERS, MULETERES, TAILORS,
BARBERS,
7.
ONLY ARCHITECT, BRUNELLESCHI AND LEONARDO DA VINCI SONS OF
RESPECTABLE MIDDLE CLASS NOTARIES
CHANGE IN STATUS & PAY 16TH C.
1.
FROM CELLINI ON IN 1430'S ATTEMPTS MADE TO ASSOCIATE PRACTICE OF
PAINTING , SCULPTURE & ARCHITECTURE WITH PRACTICE OF SUCH SKILLS AS
POETRY & MATHEMATICS a.
TO REPRESENT THEM AS LIBERAL ARTS AS WELL AS MANUAL ONES
2.
BUT NOT UNTIL 16TH C THEIR STATUS WOULD BE GREAT
3.
& WOULD SEE ARTIST AS A GENIUS,
4.
AN INDIVIDUAL TO BE JUDGED BY STANDARDS DIFFERENT FROM THOSE APPLIED
TO ORDINARY MEN
5.
NOT UNTIL RAPHAEL, & TITAN'S TIME ARTISTS LIVED LIKE PRINCES
HIERARCHY OF ARTISTS NEXT DEBATE
1.
ONCE BATTLE FOR STATUS WON
2.
THEN INTERNAL WAR BETWEEN ARTISTS BEGAN
3.
ARGUED OVER WHICH ONE OF THEM MORE SOCIALLY ACCEPTABLE
4.
PAINTERS WON OVER SCULPTORS WHO HAD TO SWEAT
PATRONS OF ARTISTS
1.
GUILDS & COMMUNES COMMISSIONED WORKS
2.
GREAT BANKING FAMILES ALL EMPLOYED ARTISTS
a.
ESPECIALLY MEDICI OF FLORENCE
3.
PRINCELY DESPOTS, KINGS
4.
POPES
a.
UNDER POPES JULIUS II & LEO X
(1)
VATICAN, ROME BEAUTIFIED
LEONARDO DA VINCI 1452-1519
A.
GENERAL REMARKS
1.
HE & MICHELANGELO TWO MAIN ARTISTS OF RENAISSANCE B.
EARLY LIFE, EDUCATION & ARTISTIC TRAINING
1.
ILLEGIMATE SON OF A PEASANT, CATERINA & NOTARY, PIERO DA VINCI
2.
THUS OBSCURE TUSCAN VILLAGE MARKED BIRTH OF 1 OF MOST INTRIGUING
INDIVIDUALS IN MANKIND'S LONG HISTORY
3.
DRIVEN GENIUS WHO WOULD STAND OUT AS RENAISSANCE IDEAL OF
UNIVERSAL MAN
4.
STONE HOUSE OF HIS YOUTH STILL STANDS IN VILLAGE OF ANCHIANO IN HILLS
OF TUSCANY
C.
TRAINING AS PAINTER
1.
IN TEENS APPRENTICED TO VERROCCHIO
a.
BEGAN BY SWEEPING FLOORS & MOVED UP
2.
6 YR APPRENTICESHIP
3.
THEN MEMBER PAINTERS' GUILD
D.
EARLIEST ARTISTIC ENDEAVORS
1.
COMMISSIONED TO DO ANGEL ALONG W/HIS TUTOR VERROCCHIO
2.
LEONARDO USED NEWLY PERFECTED OIL PAINT MEDIUM
3
3.
4.
E.
F.
VEROCCHIO WORKED IN CONVENTIONAL EGG TEMPERA
LEGEND - VERROCHIO FACED W/OBVIOUS SUPERIORITY OF HIS PUPIL, NEVER
AGAIN TOUCHED BRUSH TO CANVAS
5.
W/IN 5 YRS HAD OWN STUDIO
6.
LEONARD'S UNIVERSALITY OF INTEREST
a.
1ST MANIFESTED ITSELF W/DESIGNS OF INGENIOUS HOISTS
b.
WATER-DRIVEN MACHINERY FOR TEXTILE INDUSTRY
c.
DEVICES FOR TUNNELLING THROUGH MOUNTAINS
7.
UNDER PATRONAGE OF LORENZO THE MAGNIFICENT,
a.
PAINTED GINEVRA DE'BENCI, WIFE OF FLORENTINE POLITICIAN
b.
ONLY PAINTING IN US LEONARDO c.
NATL GALLERY WASH DC
8.
NOT GETTING KIND OF COMMISSIONS WANTED FORM LORENZO
9.
SO WROTE TO LODOVICO SFORZA, THE MOOR, OF MILAN, ASKING FOR POSITION.
a.
"I HAVE PLANS FOR BRIDGES, VERY LIGHT & STRONG, PLANS FOR SIEGE
ENGINES, FOR CANNON THAT HURL SMALL STONES W/EFFECT OF HAIL, I
CAN MAKE ARMORED VEHICLES WHICK WILL ENTER THE RANKS OF THE
ENEMY WITH ARTILLERY AND BEHIND THESE THE INFANTRY WILL BE
ABLE TO FOLLOW. IN TIMES OF PEACE, I BELIEVE I CAN GIVE YOU AS
COMPLETE SATISFACTION AS ANYONE ELSE IN ARCHITECTURE....ALSO I
CAN EXECUTE SCULPTURE IN MARBLE, BRONZE, R CLAY & ALSO
PAINTING. ALSO I CAN SING AND PLAY THE LUTE
TENURE AS ARTIST TO LODOVICO SFORZA, THE MOOR
1.
PAINTED THE MOOR'S CURRENT MISTRESS CECILIA GALLERANI,
a.
ERMINE REPRESENTS THE MOOR & SHE, YOUNG GAL, IS SHOWN STROKING
HIM
2.
SERVED HIM FOR 17 YRS IN VARIETY OF WAYS BESIDES ARTIST
a.
ENGINEER
b.
CREATOR OF FANTASIAS (1)
LAVISH SPECTACLES FOR PARTIES, ETC.
c.
SCULPTOR
(1)
26 FOOT TALL, BRONZE HORSE
(a)NEVER CASTED - BRONZE USED FOR CANNON
(2)
SOLVED ON PAPER FROM NOTEBOOKS FOUND IN MADRID
3.
LAST SUPPER
a.
1495 LUDOVICO DIRECTED HIM TO PAINT
b.
REFECTORY WALL OF DOMINICAN CONVENT OF SANTA MARIA DELLE
GRAZIE
c.
2 YRS LABORED
d.
MONKS GREW IMPATIENT, EVEN THREATENING TO LOCK HIM IN THE
ROOM UNTIL HE FINISHED
e.
CAPTURES EXPRESSIONS ON FACES OF 12 APOSTLES AT EXACT MOMENT
WHEN CHRIST ANNOUNCES THAT ONE OF THEM WILL BETRAY HIM,
f.
DEMONSTRATES THAT LEONARDO UNDERSTOOD MANY MOODS OF
PEOPLE
(1)
DEPARTURE FROM PREVIOUS INTERPRETATIONS,
(2)
WHERE DEPICTED SOLEMN MOMENT OF FINAL COMMUNION
g.
UNFORTUNATELY SCORNED CUSTOMARY TECHNIQUES OF PAINTING
SWIFTLY ON FRESH FRESCO-PLASTER
h.
INSTEAD USED OIL, VARNISH & PIGMENTS MIXED IN HIS OWN FORMULA
i.
TRAGIC EXPERIMENT
j.
MEDIUM UNSUITABLE FOR THE DAMP WALL, BEGAN FLAKING
k.
AS EARLY AS 20 YRS AFTER COMPLETED, REPORTED TO BE PERISHING
FLORENCE SOJOURN
1.
WHEN LUDOVICO FELL TO CHARLES VIII OF FRANCE BACK TO FLORENCE
4
2.
3.
G.
H.
I.
J.
K.
WHERE COMPETITION FORCED HIM TO BE AT HIS MOST CREATIVE
BECAUSE FLORENCE WERE MANY ARTISTS WHEREAS WHILE IN MILAN HE WAS
THE ARTIST
4.
BECAME FRIENDS W/MACHIAVELLI
a.
HE GOT JOINT COMMISSION FOR HIM & MICHELANGELO TO PAINT HUGH
MURALS ON GRAND COUNCIL HALL IN PALAZZO VECCHIO
b.
AGAIN TRIED NEW PAINT FORMULA - DIDN'T WORK, ABANDONED IT AND
SO DID MICHELANGELO
c.
WHO PERHAPS DAUNTED BY AWESOME VITALITY OF LEONARDO'S
ACHIEVEMENT TO DATE, LEFT TOO W/O COMPLETING IT
LATER WORKS
1.
AT THIS TIME STUDIES OF FIGHT CAME TO MATURITY
2.
REMARKABLE SKETCHES OF BIRDS FILL NOTEBOOKS
FLYING MACHINE
1.
1505 PENNED AMBIGUOUS SENTENCE THE GREAT BIRD WILL TAKE ITS FIRST
FLIGHT UPON THE BACK OF THE GREAT SWAN, FILLING THE WHOLE WORLD
WITH AMAZEMENT & FILLING ALL RECORDS WITH ITS FAME,"
2.
SOME SCHOLARS BELIEVE ALLUDES TO LAUNCHING OF FLYING DEVICE
a.
GREAT SWAN = 1400 MT CECERO (CERERO = SWAN) OVERLOOKS
FLORENCE
3.
DISSECTED BAT & USED IT AS THE MODEL FOR FLYING MACHINE
4.
WE DO NOT KNOW IF LEONARDO DID LAUNCH MACHINE
5.
DECADES LATER PHILOSOPHER WROTE 'LEONARDO DA VINCI ALSO ATTEMPTED
TO FLY, BUT HE WAS NOT SUCCESSFUL."
MONA LISA
1.
WIFE OF FLORENTINE MERCHANT PROBABLY LISA GHERARDINI DEL GIOCONDO
2.
MOST FAMOUS PAINTING WORLD - LOURVE
3.
6 OR SO MAJOR WORKS CREATED THIS TIME - ONLY MONA LISA HAS SURVIVED
LAST YEARS OF LIFE
1.
SPENT AS ARTIST FOR FRANCIS I AT AMBOISE - ON LOIRE RIVER
2.
FRANCIS DAILY SOUGHT OUT CONVERSATION W/LEONARDO
a.
FRANCIS I - NO OTHER MAN HAD BEEN BORN WHO KNEW AS MUCH AS
LEONARDO"
3.
LEONARDD'S PUPIL FRANCESCO MELZI WROTE 'IT IS A HURT FOR ANYONE TO
LOSE SUCH A MAN, FOR NATURE CANNOT AGAIN PRODUCE HIS LIKE.
4.
BURIED CHAPEL ST. HUBERT AT AMBOISE
FINAL REMARKS
1.
MORE THAN ANY OTHER PERSON IN REN PERIOD, LEONARDO EXHIBITED REN
IDEAL OF UNIVERSAL PERSON.
2.
A TRUE MASTER OF MANY SKILLS,
3.
ONE OF GREATEST PAINTERS OF ALL TIME
4.
MILITARY ENGINEER
5.
ADVOCATED SCIENTIFIC EXPERIMENTATION
6.
DISSECTED CORPSES TO LEARN ANATOMY - FEMALE TORSO W/ORGANS
7.
SELF-TAUGHT BOTANIST
8.
INVENTIVE MIND FORESAW SUCH MODERN MACHINES AS
a.
AIRPLANES
b.
TANKS
c.
PARACHUTES
d.
SUBMARINES
9.
FAMOUS NOTEBOOKS a.
5000 PAGES OF NOTES
b.
2 VOLUMES OF LOST ENTRIES ONLY FOUND 1965
(1)
NATIONAL LIBRARY OF MADRID (2)
MISFILED - COULD HAPPEN TODAY
5
IV.
MICHAELANGELO 1475-1564
A.
GENERAL REMARKS
1.
THOUGH BEST KNOWN AS A SCULPTOR,
2.
RANKS AMONG IMMORTALS OF PAINTING AS A RESULT OF ONE PRODIGIOUS
ACHIEVEMENT a.
FRESCOES OF SISTINE CHAPEL IN VATICAN
b.
CONSIDERED TO BE GREATEST ACHIEVEMENT OF ANY INDIVIDUAL IN
HISTORY OF PAINTING
c.
ALTHOUGH SOME CRITICS SAY IT LOOKS LIKE FLAT SCULPTURE
3.
4 DIFFERENT POPES COMMISSIONED WORKS BY HIM
4.
MAN OF INCREDIBLE ENERGY & ENDURANCE
5.
EXCELLED VARIETY OF ARTS TOO
a.
ARCHITECTURE, ENGINEERING & POETRY
6.
LIVED TO BE 90
7.
IMMORTALIZED BY IRVING STONE IN THE AGONY & THE ECSTACY
B.
EARLY LIFE
1.
WET-NURSED TO WOMAN WHOSE HUSBAND SCULPTOR
2.
AT AGE 12 APPRENTICED IN STUDIO OF BROTHERS GHIRLANDAIO
3.
GENIUS QUICKLY NOTED
4.
INVTED TO ATTEND ART SCHOOL SPONSORED BY LORENZO D"MEDICI
5.
IN GARDEN MICHAELANGELO FOUND STATUES & CLASSICAL ANTIQUITIES.
C.
FIRST VISIT TO ROME
1.
21 WENT TO ROME WHERE MONUMENTAL STONE RUINS & ANCIENT SCULPTURES
MOVED HIM
2.
FRENCH CARDINAL AT PAPAL COURT ENGAGED HIM TO DO PIETA
3.
BECAME FAMOUS
D.
FLORENCE SOJOURN
1.
DAVID
a.
IL GIGANTE - NAME FLORENTINES GAVE IT
b.
18 FEET HIGH
c.
PERFECT EXAMPLE REN'S GLORIFICATION OF HUMAN FORM
d.
FOR 3 CENTURIES IN OPEN AIR
(1)
THEN MOVED TO STUDIUM WHERE IT IS TODAY
E.
2ND VISIT TO ROME
1.
MOSES
a.
POPE JULIUS II COMMISSIONED MONUMENT b.
ONLY MOSES COMPLETED
c.
CONSIDERED HIS MASTERPIECE
F.
SISTINE CHAPEL
1.
POPE JULIUS II COMMISSIONED ALSO
2.
SOME SAY RIVAL BRAMANTE URGED POPE IN HIS COURSE AS KNEW VAULTING
OF CEILING POSED PROBLEMS IN FORESHORTENING
a.
& M ALSO UNFAMILIAR W/TECHNIQUE OF FRESCO
3.
HOPING HE WOULD FAIL, LEAVING FIELD TO BRAMANTE & RAPHAEL
4.
M TRIED TO BEG OFF AS HE SAID WAS SCULPTOR
5.
LYING ON HIS BACK, 68 FEET FROM FLOOR
6.
COVERED 10,000 SQ FEET
7.
343 FIGURES, HALF OF WHICH EXCEED 10 FEET IN HEIGHTH
8.
100 PANELS
9.
9 MAIN SCENES DEPICT STORY OF GENESIS FROM CREATION TO THE FLOOD
a.
FAMOUS ONE CREATION OF ADAM BY GOD
10.
JULIUS FREQUENTLY INSPECTED WORK, CLIMBING LADDER
11.
WHEN M ASKED FOR TIME OFF AND MONEY TO VISIT HIS FAMILY PONTIFF
RAGED
6
12.
13.
G.
H.
I.
J.
K.
4 YRS TO COMPLETE
CRITICISM RUNS GAMUT FROM MOST RENOWN PAINTER IN WORLD TO SCULPTOR
TRANSPORTED TO A WALL - NO MOVEMENT OR DEMENSION
FLORENCE AGAIN
1.
MEDICI CHAPEL
a.
MEDICI TOMBS - LORENZO & GUILIANO
b.
DAWN, DAY, DUSK, NIGHT
WALL OF SISTINE CHAPEL
1.
LAST JUDGEMENT
a.
PAINTING 60 FEET HIGH ON WALL BEHIND ALTAR
ST. PETER'
1.
DOME
a.
REPLACING 4TH C BASILICA BUILT BY CONSTANTINE
b.
199' HIGH
c.
DYNAMIC FLOW OF MOVEMENT PRE BAROQUE
d.
CALLED FINEST ARCHITECTURAL ACHIEVMENT OF REN
GREAT TALENT MAY OTHER FIELDS ALSO
1.
WHEN FLORENCE IN DANGER OF ATTACK HE SUPERINTENDED ITS
FORTIFICATION
2.
WROTE SONNETS TO A LADY IN OLD AGE
LAST DAYS
1.
DIED AT 90
2.
ROMANS, CLAIMING HIM AS THEIR OWN, WANTED HIM BURIED IN ROME,
3.
BUT HIS NEPHEW STOLE THE BODY & SHIPPED IT OFF TO FLORENCE AS
MERCHANT GOODS
4.
HE THUS WENT HOME TO THE CITY ON THE ARNO