Chapter 22
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High Renaissance and Mannerism in Cinquecento Italy Chapter p 22 Rome with Renaissance and Baroque Monuments The High Renaissance in Italy • • • • • • High Renaissance lasted from 1495 – the deaths of Leonardo ca Vinci in 1519 and Raphael in 1520. Interest in classical culture,, perspective, p p ,p proportion, p , and human anatomy dominated16th century art. No single artistic style characterized this period– regional differences especially between central Italy (Florence and Rome) and dV Venice. i Humanistic scholars and art patrons adopted Plato’s view of the nature of artistic creation in general: “All good poets . . . Compose their beautiful poems not by art art, but because they are inspired and possessed. . . . For not by art does the poet sing , but by power divine.” g Thus,, the notion of “fine arts” and the exaltation of the artist-genius originated during the Renaissance. Artists first became international celebrities, i.e. Leonardo di Vinci, Raphael, and Michelangelo. Key y Ideas • • • • • The revitalization of the city of Rome under the patronage of Pope Julius II led to one of the most creative outbursts in the history of art art. High Renaissance artists seek to emulate Roman grandeur by undertaking awe-inspiring artistic projects High Renaissance compositions are marked by balance, symmetry, and ideal proportions. Triangular compositions are also favored favored. Venetian painters stress sensuous forms and sophisticated color harmonies. Portraits reveal the likenesses of the sitters as well as the character and personality. LEONARDO • • • • Born in the small town of Vinci in 1452 1452, trained in the studio of Verroccio (David sculpture). A “Renaissance man” and an artist/scientist, Leonardo kept notes/sketchbooks dealing with botany botany, geology geology, geography geography, cartography, zoology, military engineering, animal lore, anatomy, and aspects of physical science, including hydraulics and mechanics. He understood perspective, light, and color through his exploration of optics. Great ambition was to discover the laws underlying the processes and flux of nature. Studied the human body and contributed to physiology and psychology. He believed reality in an absolute sense is inaccessible, humans u a s ca can o only y know o itt from o cchanging a g g images. ages Through oug the eyes individuals can grasp reality most directly and profoundly. Builds on Masaccio’s use of chiaroscuro; modeling with light and shadow and expressing emotional states were Leonardo’s goals. Pyramidal grouping sharing the same environment – unified representation of objects with atmospheric perspective, was a manifestation if t ti off his hi scientific i tifi curiosity about the invisible substance surrounding things. 4 figures pray, pray point, point and bless – uniting them visually. Infant John’s outward glance involves the viewer. Cue Card LEONARDO DA VINCI, VINCI L Leonardo d da d Vinci, Vi i Madonna M d off th the Rocks, central panel from altarpiece of San Francesco Grande, Milan, Italy, begun 1483. Oil on wood (transferred to canvas) 6’6 ” x 4’ LEONARDO DA VINCI, Last Supper, ca. 1495–1498 Oil and tempera on plaster, 13 13’ 9 9” x 29 29’ 10 10” Refectory, Santa Maria delle Grazie, Milan Commissioned by the Sf Sforza off Mil Milan Cue Card • • • • • • • Great drama of the moment: Jesus says, One of you will betray me. (Matthew 26:21) Jesus is isolated – the calm eye of swirling emotion of disciples. Curved pediment of window arches above his head, serving along with the diffused light, as a halo. Jesus’ head is the focal point of all converging perspective lines. orthogonals of ceiling and floor point to Jesus Disciples are in 4 groups of 3, the placement of Judas breaks with traditional iconograph He is in green and bl iconography. blue, e falls back cl clutching tching his bag of coins coins, face in darkness. Leonardo acted as a stage director, reading the Gospel story carefully, and casting his model/actors in their roles. The disciples’ disciples emotional responses include fear, doubt, protestation, rage, and love. Leonardo’s experiment to mix oil and tempera applied a secco (dry fresco), so the painting would look more like an oil painting, failed. The paint quickly began to flake and the humidity of Milan quickened the process. 80% of what is visible today is the work of restorers, not Leonardo. Cue Card Identity is still debated, but Vasari stated in his biography of Leonardo that she was Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. Florentine Mona is a contraction of the Italian ma donna, “my lady.” Not solely as an icon of status, as earlier portraits – she is wearing no jewelry, or attributes of wealth. Renaissance etiquette dictated a woman should not look directly into a man’s eyes. She engages the audience psychologically. Mysterious uninhabited landscape prime example of Leonardo’s famous sfumato (misty haziness). haziness) Chiaroscuro and atmospheric perspective in the background. Pyramidal composition A three-quarter three quarter turn toward the viewer, viewer relaxed. Engages the viewer directly, seems to smiling but she isn’t. LEONARDO DA VINCI, VINCI Mona Lisa, ca. 1503–1505. Oil on wood 2’ 6” x 1’9” Cue Card LEONARDO DA VINCI, The g of the Uterus, Fetus and Lining ca. 1511–1513. wash, over red chalk and traces of black chalk on paper, 1’ x 9” In late 15th century less expensive paper made of fibrous pulp was available for the printing industry, so artists ti t experimented i t d more and d drew d with greater freedom using pen and ink, chalk, charcoal, brush, graphite, or lead. Previously y they y used expensive parchment or vellum and their drawings were detailed and meticulous, executed with a silverpoint stylus. stylus Observe similarities between Raphael’s work and his teacher, Perugino’s (1481 – 1483) Sistine Chapel 1483), Chapel. Centrally planned temple p features Brunelleschian arcades. (Loggia of the Osedale degli Innocenti Florence, Innocenti, Florence begun 1419) Cue Card RAPHAEL, Marriage of the Virgin, from the Chapel of Saint Joseph in San Francesco, Città di Castello, Italy, 1504 Oil on wood, 5’ 7” x 3’ 10” RAPHAEL The Marriage of the Virgin • • • • • • Probably learned his craft with father, Giovanni Santi, a painter connected with ducal court of Federico da Montefeltro. Trained in Umbria by Perugino (Christ Delivering the Keys the Kingdom to Saint Peter) The subject of The Marriage of the Virgin was from the Golden Legend, a 13th century collection of stories about the lives of the saints – it filled in the holes from the Biblical passages. The high priest was to give the Virgin to the suitor who presented a rod that had miraculously bloomed. Joseph holds the wedding ring in his right hand. Other virgins congregate on the left, unsuccessful suitors on the right. The suitor breaking his rod shows off Raphael’s skill in foreshortening. Commissioned by Julius II’s for his papal library in the papal apartments, where he signed official documents. Julius II wanted to be recognized g as a spiritual p and secular leader, Theology and Philosophy frescos face each other. Painting originally called “Philosophy “ because the pope’s philosophy books were meant to be housed on the shelving below.. Open, clear light uniformly spread throughout the composition. RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura Vatican Palace, Segnatura, Palace Rome, Rome Italy, Italy 1509–1511. Fresco, 19’ x 27’ Cue Card RAPHAEL Philosophy (School of Athens) Colossal statues of Apollo p and Athena,, patrons p of the arts and wisdom,, oversee interactions of figures in ellipse who display calm reason, balance, and measure – the heart of philosophy. In the center to of the greatest leaders: Plato (with features of Leonardo on th left) the l ft) and d Aristotle. A i t tl Plato Pl t holds h ld his hi b book k Timaeus, Ti with ith hi his lleft ft h hand d– the vanishing point, and points to Heaven – his inspiration, with his right hand. Aristotle carries his book, Nichomachean Ethics, and gestures toward the earth – his observations of reality. g y Heraclitus, in the foreground, is probably a portrait of Michelangelo. He is resting on the stone writing a poem. Raphael on extreme right by astronomers Zoraster and Ptolemy. B ildi Buildings b behind hi d might i ht reflect Bramante’s plan for Saint Peter’s Commissioned by Agostino Chigi, wealthy banker who managed Vatican’s financial affairs, to decorate palace on Tier River with scenes from classical mythology. Based on poetry by Poliziano, who also inspired Botticelli Botticelli’s s Birth of Venus. Galatea is escaping her uncouth lover, cyclops Polyphemus. Spiraling composition of figures and Galatea’s complex figural pose (hair/head facing left, arms right, one leg raised and one straight. straight Composition rests on a series of triangles Lively vibrant bodies energetically and playfully arranged RAPHAEL, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, 1513. Fresco, 9’ 8” x 7’ 5” Cue Card 15 MICHELANGELO • • • • L Leonardo d wrote, t “P “Painting i ti iis a matter tt off greater t mental t l analysis, l i off greater t skill, and more marvelous than sculpture, since necessity compels the mind of the painter to transform itself into the very mind of nature, to become an interpreter p between nature and art.” Michelangelo considered sculpture superior since it shares in the divine power to “make man.” Artists find their ideas in the natural world, reflecting the absolute idea, which is beauty. He observed that the artist must find their id – the idea th iimage llocked k d iin th the stone. t B By removing i excess stone, t sculptors l t extricate the idea from the block. He set aside Vitruvious, Alberti, and Leonardo – who sought the perfect measure and felt artist’s measure, artist s inspired judgment could identify other pleasing proportions. This artistic license to aspire beyond “rules” derived from the pursuit of fame/success humanism fostered. Although Michelangelo later claimed he owed nothing artistically to anyone, he was an apprentice of painter Ghirlandaio, but left prior to completing training. Made detailed drawings of Giotto and Masaccio, studied sculpture under one of Lorenzo the Magnificent’s favorite artists, Bertoldo di Giovanni (Donatello’s (Donatello s collaborator), collaborator) and when the Medici fell in 1494 1494, he fled to Bologna where the sculptures of a Sienese artist, Jacopo della Quercia impressed him. Michelangelo’s Influences? Ghirlandaio Giotto Masaccio Bertoldo di Giovanni Jacopo della Quercia Michelangelo in early 20s, in Rome, French cardinal Jean g de Bilheres Lagraulas commissioned for Old Saint Peters. Originally intended for a funerary monument. Only signed work (on Mary’s sash) – “Michelangelo Buonarroti, Florentine, made this,” regretted his pride this, later. Transformed marble into flesh, hair and fabric with unparalleled sensitivity. Not in proportion – Mary is 6” 6”; ageless beauty because of her purity. purity She seems to be too young. Cue Card MICHELANGELO BUONARROTI, Pieta, ca. 1498-1500. Marble, 5’ 8 ½” high. Saint Peter’s, Vatican City, Rome. 18 •Pyramidal composition; little negative space; compact; monumental; frontal viewpoint preferred, the work was meant to b placed be l d against i t th the wallll off a chapel. h l •Christ is protrayed as serene •Heavy Heavy drapery masks Mary’s Mary s size as she easily holds Jesus in her lap Michelangelo returned to Florence in 1501. During Medicis exile in 1495, Florentine Republic ordered Donatello’s David moved from the Medici d residence d to the h Palazzo l d ll Signoria to della join Verocchio’s David – civic symbols (a cunning victor over a larger enemy). g was invited to carve another David Michelangelo statue for the Signoria out of a block of marble left from an earlier commission. David is depicted not after victory, but before the encounter – watching his approaching foe. Connected to unseen presence. Tension/energy in reserve, that permeates Michelangelo’s later figures. Strong anatomy hints h at triumph h (large (l h hands d and feet, swelling veins, tightening sinews) First colossal nude since the ancient world Slight contrapposto; little negative space; compact pose; monumental forms MICHELANGELO BUONARROTI, BUONARROTI David David, from Piazza della Signoria, Florence, Italy, 1501–1504. Marble, 17’ high. Cue Card 20 Lysippos, Apoxyomenos ( (Scraper). ) Roman copy of a bronze statue of ca. 330 BCE. Marble 6’ 9” high. Without strictly imitating antique style, Michelangelo’s David displays tension of the Lysippan athletes and psychological p y g insight and emotionalism of Hellenistic statuary Diff Differs from f Donatello’s and Verocchio’s creations in the same way y later Hellenistic statuary departed from Classical predecessors predecessors. Epigonos (?), Gallic chieftain killing himself and his wife> b Roman copy off a bronze statue from Pergamon, Turkey ca. 230 - 229 BCE. Marble 6’ 11” high. Pope Julius II’s commission (after David) for tomb – original 1505 design included 28 statues in a freestanding two story structure. Pope interrupted interrupted– funds diverted to rebuild Saint Peter’s After Julius II’s death in 1513, reduced to a simple wall tomb with 1/3 of planned figures. Michelangelo considered it his best work. Head is turned and shows anger when his people p p were worshipping pp g the Golden Calf - the false idol they made. Not since Hellenistic times – pent up energy, emotional and physical. Inspired by Hellenistic sculpture of Laocoon. Originally meant to be seen from below, oblique angle of the legs would have allowed viewing from this point of view Cue Card Horns: mistranslation of Biblical text; Moses MICHELANGELO thought to have had “horns’ coming out of his BUONARROTI, Moses, from head after visiting g Mount Sinai,, an improper p p th tomb the t b off Pope P J Julius li II II, translation for “rays” Rome, Italy, ca. 1513–1515 Figure is in awe, but awesome to view as well; Marble, 7’ 8” high. heroic body, idealized form. 20 statues of captives (slaves) were to be part of pope’s tomb – in revolt and exhaustion. exhaustion Some scholars now doubt attribution and even reject identification of statues as “slaves/captives.” Frantic Michelangelo based art on conviction that Frantic– powerful emotional states must be expressed through figures. MICHELANGELO BUONARROTI, Bound Slave (Rebellious Captive), from the tomb of Pope Julius II, Rome, Italy, ca. 1513–1516 Marble, 7’1” high 23 Michelangelo Buonarroti, interior of the Sistine Chapel, Vatican City, Rome, Italy, 1508-1512, Fresco, 128’ X 45’ Patron: Pope Julius II Sistine Chapel is the place where new popes are elected Michelangelo reluctantly accepted commission from Julius II when work on his tomb was suspended. Vault’s height – approx. 70’ and curve posed problems. problems Inexperience at fresco painting, had to redo the first section because of faulty y preparation p p of intonaco, last coat of plaster, applied in sections while still damp with colors ground in lime-water mixture) Completed in less than mixture). 4 years Frescos incorporate his patron’s agenda, Church doctrine, and Michelangelo’s interests – the creation (from Genesis), fall, and redemption of humanity. More than 300 figures, no two in the same pose Cue Card Creation along crown of vault Hebrew prophets and ancient sibyls who foretold coming of Christ on thrones on either side of creating frescos. Old Testament scenes in 4 corner pendentives A Ancestors t off Christ Ch i t in i triangles t i l above b windows Nude youths in corners of central panels Pairs of putti (cherubic young boy) in grisalle support painted cornice surrounding central corridor. Renaissance ideas about Christian history: conflict between good and evil, energy of youth and the wisdom of old age. Michelangelo’s lifelong preoccupation with the male nude in motion. Enormous variety of expression Acorns are a motif on the ceiling, inspired by the crest of the patron, Pope Julius II. Cue Card God is flying through the sky. Spark of life transferred to Adam God makes Adam. Adam in his “image and likeness” Lord as ruler of Heaven in the classical, Olympian sense – High Renaissance joined classical and Christian traditions. Virgin Mary, Christ Child at knee – Adam’s original sin eventually led to th sacrifice the ifi off Christ, Ch i t which hi h made d possible ibl the th redemption d ti off mankind. ki d Movement along arms, focal point is off center (replaced straight architectural axes found in Leonardo’s compositions with curves and diagonals Adam diagonals. Adam’s s body is concave concave, God God’s s with billowing tunic is convex convex. Michelangelo’s style: reclining positions, heavy musculature, twisting poses. MICHELANGELO BUONARROTI, Creation of Adam detail of the Cue Card ceiling of the Sistine Chapel Christ as judge Martyrs below Christ, Saint Bartholomew – skinned alive holds knife and skin with portrait of Michelangelo – remark about critics who skin him alive with their criticism Hope – elect (saved souls) near Christ, far right figure with cross (Good Thief or saint martyred by crucifixion. Four horizontal bands act as the unifying element Bottom: left: dead rising, right: the mouth of hell 2nd level: ascending elect, descending sinners, sinners trumpeting angels 3rd level: those rising to gathered around Jesus heaven g Top: angels carrying the Cross and the Column, instruments used at Christ’s death. Cue Card MICHELANGELO, C G O Last Judgment, altar wall of the Sistine Chapel MICHELANGELO Last Judgment Michelangelo Mi h l l was criticized iti i d for using creatures from Dante’s Inferno – Charon ferrying y g the damned and Minos who is shown as one of the judges located in the underworld, whose portrait is the Vatican Vatican’s s Master of Ceremonies, Biagio da Cesena, most vocal critic of nudity in the work. Cesena asked Paul III to make Michelangelo remove the image, who replied, “If he had placed you into the purgatory, I would have attempted getting you out of there, but he put you into the hell – my power does not extend that far”. Began in his 70s – for his tomb Challenged himself to surpass sculptors of Laocoon – 4 figures/1 block Left leg (criticized) became detached – flaw in marble? Michelangelo abandoned, later permitted assistant to repair and partially finish. finish Nicodemus, a self portrait, in direct contact with Christ – heretical during Counter-Reformation. Myron, 450 BCE Roman copy of Greek bronze Athanadoros, Athanadoros Hagesandros, Polydoros of Rhodes, Early 1st century CE, Rome MICHELANGELO, Pieta, ca. 1547-1555. marble, 7’ 8” high Counter Reformation and Art • • • • Paul III (r. 1534 – 1549) was pope when there was widespread dissatisfaction with the Roman Catholic Church. The Last Judgment was among his first papal commissions. In the early 16th century Reformers led by Martin Luther and John Calvin in the Holy Roman Empire, challenged papal authority, regarding the sale of indulgences (pardons for sins, reducing the time in purgatory), nepotism and high Church officials pursuing personal wealth. nepotism, wealth Protestants believe in a personal relationship between an individual and God, eliminating the need for Church intercession. They believed religious g imagery g y encouraged g idolatry y and distracted the faithful from their goal. Catholic church mounted a campaign to counteract the defection of its members. Popes had long been aware that visual imagery had power to construct and reinforce ideological claims as well as cultivate piety. During the Council of Trent in 1564 to review controversial Church doctrines, a month before Michelangelo’s death, it was decided The Last Judgment fresco should be “amended”. amended . Daniele da Volterra, an acquaintance of Michelangelo was hired to paint loin cloths and veils on all figures. •A martyrium that commemorates the place where Saint Peter was crucified; commissioned by King Ferdinand and Queen Isabella of Spain •This illustrates Bramante’s belief in the circle as a perfect form and the d i dominance off classical l i l architectural hit t l orders. •Circle represents divine perfection; proportions of width and height of ground floor repeated in upper floor •Light and shadow interplay in the projecting of columns before the main structure Cue Card Bramante’s Tempietto, 1502, Rome, Italy Compare to Reconstruction of Roman Temple of Vesta New Saint Peters’s BRAMANTE & • • • • • Donato d’Angelo Bramante (1444- 1514) trained as a painter, became generation’s most renowned architect. Under influence of Brunelleschi, Alberti, and maybe Leonardo, who favored architecture of classical antiquity, B Bramante t developed d l d th the Hi High hR Renaissance i fform off th the central-plan t l l church. h h Julius II selected him as first architect of the New Saint Peter’s -- wanted to gain control of all of Italy and rival the Rome of the caesars. St. Peter’s would serve as a martyrium to mark apostle’s apostle s grave and Julius II hoped to install his own tomb. His plan had 9 interlocking crosses, 5 of them supporting domes. Bramante boasted he would put the dome of the Pantheon over the Basilica Nova (Basilica of Constantine). During Bramante’s lifetime, only crossing piers and lower choir walls were completed. After his death, passed from one architect to another, and to Michelangelo in 1546 – a work of dedication dedication, thankless and without pay pay. Pope Paul III felt a sense of urgency to complete New St. Peter’s A D D D D D A D A D D D A DONATO D’ANGELO BRAMANTE, plan for the new Saint P t ’ the Peter’s, th Vatican, Rome, Italy, 1505 Michelangelo also believed central plan was ideal form for church. Michelangelo believed buildings should follow anatomy of human body, organized around a central axis. Instead of 9 interlocking crosses, Michelangelo designed a compact domed Greek cross inscribed in a square and fronted with a double doublecolumned portico. Converted Bramante’s y complexity p y crystalline into massive, cohesive unity. Double dome like B Brunelleschi’s ll hi’ d dome off Florence Cathedral A D D D A D A D P MICHELANGELO, Saint Peter’s ,,Vatican City, y, Rome,, Italy, 1546–1564. Dome completed by GIACOMO DELLA PORTA, 1590. 1590 Unified design with colossal order 2 story pilasters. After Michelangelo’s death, his original dome design was replaced by Giacomo della Porta’s for a higher dome. Mi h l Michelangelo l might i ht nott have approved. Cue Card Antonio da Sangallo the Younger, Palazzo Farnese compare Palazzo MediciRiccardi Palazzo Rucellai • • • • • • High Renaissance palace S Sweeping i h horizontal i t l ffront, t enlarged l db by Mi Michelangelo h l l Heavily rusticated entrance and quoins (an exterior angle on the façade of a building that has large dressed stones forming a decorative contrast with the wall. Each story has different window frames Heavy cornice crowns the work Built for Cardinal Alessandro Farnese, later elected Pope Paul II 16th Century Venetian Art & Architecture • • • • • Venice and the Papal States were only Italian sovereignties to retain independence during the 16th century, France or Spain dominated all others. Venice reached its height of commercial and political power as Mediterranean port in 15thh century. Ottoman empire was a constant threat to control the eastern Mediterranean. Mediterranean The European powers of the League of Cambrai (formed by Julius II, who coveted Venetian holdings on Italy’s mainland) which also included Spain, France, and the Holy Roman Empire) attacked Venice. Despite challenges, challenges Venice developed a flourishing flourishing, independent, and influential school of artists. Name from Pallas Athena, Greek goddess of wisdom, appropriate for architect schooled in classical tradition of Bramante. Reputation from villa designs build on Venetian mainland. C C Cue Card d ANDREA PALLADIO Most built for aristocratic farmers (similar to later American p plantations)) who Villa Rotonda, and Northwest developed swamps into productive land view, near Vicenza, Italy because their fortunes were declining. ca. 1566–1570 Villa Rotonda built for Italian monsignor ( title (a i l off h honor bestowed b d on some priests by a pope) for social events. Located on a hilltop as a kind of belvedere (literally beautiful view; an architectural structure with a view of the sea or countryside). Central plan included 4 identical facades with porches resembling a porches, Roman Ionic temple – similar to Pantheon. Each porch had a different view of surrounding landscape – central dome was a reception area where visitors could turn in any direction for their preferred view. Villa Rotonda embodies self-sufficiency and formal completeness most Renaissance architects sought. ht Palladio influence was stronger and more long lasting than any other architect in England and colonial America. ANDREA PALLADIO, plan of the Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1550–1570 16th Century Venetian Painting vs. Central Italy Venice • • • • Colorito (colored or painted) – focused on color and application of paint. Among the earliest to use oil painting in Italy; as a result result, known for rich colors. Interest in recording effect of g on Venice’s soft-colored light figures and landscapes. Painted poetry of the senses and delighted in nature’s beauty and pleasures l off h humanity. it Florence and Rome • • Disegno (drawing and design) – careful design preparation based on preliminary drawings. Painted intellectual themes – the epic of humanity humanity, the masculine virtues, the grandeur of the ideal, and lofty conceptions of religion involving the heroic and sublime. Giovanni Bellini GIOVANNI BELLINI Saint Francis in the Desert, ca. 1470–1480. Oil and tempera on wood, 4’ 1” X 4’ 8” Trained in International Style by father, a student of Fabriano, did not develop his own style until later in life, after father’s death. Early works, i.e. Saint Francis in the Desert show influence of brother-in-law Mantegna. Antonello da Messina (a Sicilian painter who must have encountered Flemish painting) came to Venice in 1475 and introduced colleagues to oil paint. As a result of contact with Antonello, Bellini abandoned Mantegna’s harsh linear style and developed a coloristic manner that would characterize Venetian painting for a century. Sacra conversazione (altarpiece in which the Madonna and Child are accompanied by saints and engage in “holy conversation” popular theme from 15th century, saints from different epochs occupy same space p and converse with one another or the audience. Attributes aid identification: Saint Lucy with tray and plucked-out eyes; Peter P t with ith his hi key k and d book; b k Catherine with palm of martyrdom and the broken wheel (after she was bound upon p it,, it was shattered by Heaven, the flying fragments killed her executioners); Jerome with a book (translated Bible into Latin). Latin) Serenity/ spiritual calm from use of color and light. BELLINI, San Zaccaria Altarpiece, 1505 Oil on wood transferred to canvas, 16’ 5” x 7’ 9” Giorgione, an influential student of Bellini, who only lived 33 years, is p gp poesia,, or credited with developing painting meant to operate similar to poetry. Both classical and Renaissance poetry inspired Venetian artists – discerning narratives or subjects is virtually impossible. Stormy skies and lightening Man with halberd (combination spear and battle-ax, but not a soldier)) was p painted over a seated nude woman (X-rayed). Perhaps Giorgione did not have a definitive narrative in mind. Uncertainly contributes to Cue Card painting’s intrigue. GIORGIONE DA CASTELFRANCO, Emerging use of oil paint in The Tempest, ca. ca 1510 V Venetian ti artt allows ll artist ti t tto render d softer color tonalities and Oil on canvas, 2’8” x 2’5” harmonies Giorgione’s handling of light and color along with his interest in landscape poetry, landscape, poetry and music (according to Vasari he was an accomplished p lute p player y and singer) also influenced the younger Titian. Long attributed b d to Giorgione, Pastoral Symphony casts a mood of tranquil reverie. Shepherd symbolizes the poet, pipes and lutes his poetry. TITIAN (Tiziano Vecelli), Pastoral Deep chiaroscuro, no Symphony ca. 1508–1510, Oil on canvas, clear cut edges 3’7” x 4’6” poetic inspiration. p Women are their muses – sacred well of p Voluptuous bodies, softly modulated by smoky shadow, became standard of Venetian art. Fullness of figures – personifications of nature’s abundance. After Bellini died in 1516, Titian was appointed Republic of Venice’s official painter. Shortly after, prior (a monk, head of religious house – just below an abbot) of the Franciscan basilica of Santa Maria Gloriosa (glorious Saint Mary) commissioned Titian to p paint a monumental altarpiece. Ascent of Virgin go Heaven on cloud held up by putti. God the Father is above, awaiting iti M Mary with ith open arms. Brilliant B illi t color amplifies drama. At bottom, over-life-size apostles gesture wildly as they witness event. event Fresco not a good choice for Venice because of dampness and salinity of the saltwater streets. TITIAN, Assumption of the Virgin, 1516–1518. Oil on wood, 22’ 7 1/2” x 11’ 10” 45 Cue Card •Painted to commemorate the Venetian victory won by Jacopo Pesaro at the Battle of Santa Maura in 1502 against the Turks •Jacopo J kneels k l att left l ft with ith St. St George G and d bowing Turk; members of the Pesaro family at right are presented by St. Francis of Assisi •St. Peter in center with keys looking down to Pesaro. •Strong diagonals and triangles; Madonna and Child placed off center center, but still at the focus of interest •Novel approach of asymmetrical composition – balanced by color rather than Titian, Madonna of the Pesaro Family by design 1519-1526, oil on canvas, Santa Maria del Frari, Venice Commissioned by Alfonso d’Este the duke of Ferrara, for a small palace ((Raphael p and room in his p Fra Bartolommeo died before completing their works). Based on Latin poems by Catullus and Ovid. After Princess Ariadne, daughter of Minos, helped Theseus kill the Minotaur at the palace of Knossos on Crete, he abandoned her while she slept on the island of Naxos. Ariadne was looking for Theseus’ ship when Bacchus fell in love with her at first sight. He later TITIAN, Meeting of Bacchus and asks her to marry him and his A i d Ariadne, f from th the Camerino C i wedding gift, a diadem d’Alabastro, Palazzo Ducale, (ornamented headband/crown) Ferrara, Italy, 1522–1523 was set in the heavens as the Oil on canvas,, 5’ 9” x 6’ 3” constellation Corona. Snake entwined satyr from recently unearthed Laocoon. Cue Card Commissioned by Guidobaldo II – duke of Urbano, Title (given later) elevates the status to classical mythology. Titian established compositional and the standard for paintings of reclining female nudes. Looks at us directly Rounded body contrasts with clear vertical of curtain, dividing fore-and backg o nd background. TITIAN, Venus of Urbino, 1538. Oil on Dog perhaps symbolizes canvas, 3’ 11” x 5’ 5” faithfulness Complex spatial environment: figure placed forward on the picture plane, servants in middle space; open window with plants in background 2 servants searching for garments in chest. Division of space into smaller units; reds gauge distance and are implied diagonal – as opposed to real one of figure. It become a standard for future reclining female nudes: Manet, Olympia, and Ingres, The Grand Odalisque Titian was also a portraitist – 50 paintings survive. Emphasize his psychological reading of subject subject’s s head and hands. Marquess of Mantua, daughter of the prominent art duke of Ferrara,, was p patron after she married (at 16) Franceso Gonzaga, marquis of Mantua. D t il and Detail d complexity l it off h her contracts reveal insistence on control over the artworks. Painted when Isabella was 60, 60 but depicts her in her 20s – at her request. Titian used an earlier likeness, but portrait is not a mere copy – distinctive portrayal of posed and self-assured patron. TITIAN Isabella d’Este, TITIAN, 1534–1536 Oil on canvas, 3’4” x 2’1” Oil on canvas, replaced wood as typical medium for Western tradition. tradition Intended for altar of burial chapel in Santa Maria Gloriosa. Unfinished – died of plague, assistant completed. Mary Magdalene runs forward, angel – by Palma echoes form in reverse. Kneeling Saint Jerome has f t features off Titian. Titi Diagonal movement – favorite composition. Votive painting – Titian and son (also died of plague) pray before another Pieta TITIAN and PALMA IL GIOVANE, Pietà ca. 1570–1576. Oil on canvas, 11’6” X 12’9” Impasto (a layer of thickly applied pigment) – Baroque painters – Rubens and Rembrandt would later adapt. Renaissance Summary • • • • The Papal Court of Julius II commissioned some of the greatest works of Renaissance art to beautify the Vatican, including starting construction on the new Saint Peter’s. Artist sought to rival the ancients with their accomplishments, often doing heroic feats like carving monumental sculptures form a single block of marble marble, or painting vast walls in fresco Women begin to emerge as powerful patrons of the arts, commissioning works form Titian and Leonardo da Vinci The Venetian School of paint was at it height during this period realizing works that have soft period, soft, sensuous surface texture layered with glazes. Sfumato and chiaroscuro are widely use to enhance this sensuous effect Mannerist Key Ideas • • • Mannerist art is deliberately intellectual, asking the viewer to respond in a sophisticated way to the spatial challenges presented in a painting or sculpture. P i ti and Painting d sculpture l t are characterized h t i db by complicated compositions, distorted figure styles, and complex allegorical interpretations interpretations. Architecture often employs classical elements in a new and unusual way that defies traditional formulas. Compare Van dier Weyden, Deposition •Center of the circular composition is a grouping • of hands •Elongation of bodies, high-keyed colors •No g ground line for many y figures; g what is Mary sitting on? •Hands seem disembodied, some androgynous figures •No weeping, just yarning •Linear bodies twisting around one another •Anti-classical composition Pontormo, Entombment of Christ, 1525-1529, oil on wood, Santa Felicita, Florence Cue Card Parmigiano, Madonna of the Long Neck , 1535, oil on wood, Uffizi, Florence •Mary’s small head, long neck, delicate gesture graceful hand gesture, •Crowding of heads on left •Elongated torso and disembodied limbs •Column appears to be singular at top b d but descends d to a row off columns l at bottom •Small figure at base strangely out of proportion; role in the painting uncertain •Pose of Mary and Jesus reminiscent of the Pieta Cue Card •Commission by Cosimo de’ Medici of Florence as a gift to Francis I of France •Complicated allegorical structure that invites a multiplicity l i li i off meanings i •Cupid kisses his mother Venus, but has his eye y on her g golden apple; he rests on a pillow, indicating his idleness •Venus responds to Cupid Cupid, but removes an arrow behind his back from his quiver •Folly F ll th throws flflowers att the th couple y falseness; •Mask symbolize doves symbolize love Agnolo Bronzino, Venus, Cupid, Folly and Time, 1546, oil on panel, National gallery, London Cue Card •Fraud or Vanity has a beautiful face and offers a honeycomb, but underneath she is an animal and has a poisonous lizard in her other hand; he hands seem to be reverse •Envy, on left, is green; has recently been symbolically interpreted as syphilis •Fury or truth at top left; Time at top right, exposing all •Has been interpreted as a morality piece about syphilis •Complex imagery and poses •Figures in a congest composition p pushed to the front of the p picture p plane Tintoretto, Last Supper, 1594, oil on canvas, San Giorgio Maggiore, Venice Cue Card Christ is in the center, yet powerful diagonals pull the eye into the distance Light reveals flying angels, light cast long shadows • • • • • Elongated figures M Many details d il off everyday d lif life d dominate i painting i i No action, no announcement of betrayal, nameless apostles insignificant Judas; divinity of Christ expressed apostles, in Holy Communion is stressed Christ gives the Eucharist to Saint peter Original point of view was form an angle which would have given it more balance Paolo Veronese, Christ in the House of Levi, Levi 1573, 1573 Oil on Canvas, Academy, Venice Cue Card •Originally titled Last Supper but name was changed because it was deemed inappropriate for a sacred scene •Maryy and Christ lost in a vast array y of miscellaneous figures g •Sumptuous setting; architecture overwhelms; courtly gestures; brocaded costumes •Mary 2:13-17: Jesus ahs dinner in a house filled with sinners, thus point out that it is his mission to save sinners Compare: Ceiling of the Camera degli Sposi Correggio, Assumption of the Virgin 1526-15300, fresco, Parma Cathedral, Parma, Italy Cue Card •View of the sky with hundreds of figures flying overhead in concentric rings •Weightlessness of bodies •Clouds appear pp as soft and elusive masses •Saints at lowest level; second level has Virgin escorted to heaven with angels; celestial glory at top with Christ waiting to receive his mother •Glowing colors et in blazing setting that prefigures the Baroque •Unsettling architectural style, Pediment corners do not meet •Window openings at unconventional locations •Engage columns divide façade into unequal bays •Keystone Keystone pops out of the arches, arches Oddly size stones •Highly unusual placement of arch below a pediment Compare bricks to Palazzo Medici Riccardi Medici-Riccardi Palazzo del Te Mix of large & small stones randomly Mannerist Summary • • Mannerist artist broke the conventional representations of Italian Renaissance art by introducing intentionally distorted figures, acidy colors, and unusual compositions to create evocative an highly intellectual works of art and challenge the viewers perceptions and ideals Perspective was used as a tool to manipulate a composition into intriguing arrangements of spatial forms Mannerist architects seek to combine conventional architectural elements in a refined and challenging i t l off fforms. interplay Question #1: Where is this work located? Analyze ways in which references to the classical past are used to accommodate the aims of the work’s patron. Question #2: Where is this work located? Analyze ways in which references to the classical past are used to accommodate the aims of the work’s patron. Question #3: The work above was created by Raphael’s teacher, Perugino. How does the work to the right right, created by Raphael, reflect Perugino’s influence? Question #4: Theses works were created during the 15th century. In what ways does the depiction of the Last Supper created by Dieric Boots from the early Northern Renaissance differ from the depiction of the Last Supper by y Andrea del Castagno from the early Italian Renaissance and Leonardo’s Last Supper? What factors might account for these differences?
