ARTH-212 – History of World Art 2
Instructor: Ann Porter
Office: 304A
Phone: 642-6275
E-mail: AnnPorter@bhsu.edu
Renaissance Italy (Mannerism), pages 686-705
Michelangelo, 1475-1564
Last Judgement, page 689
Pontormo, 1494-1557
Entombment
http://images.google.com/imgres?imgurl=http://www.artunframed.com/images/compressed/compressed5/pontormo.jpg&i
mgrefurl=http://www.artunframed.com/pontormo.htm&h=613&w=418&sz=45&tbnid=puZQcqBtd5kJ:&tbnh=133&tbnw
=91&start=2&prev=/images%3Fq%3DPontormo%26hl%3Den%26lr%3D%26sa%3DG
Parmigianino, 1503-1540
Madonna with a Long Neck, page 694
http://www.parmaitaly.com/foto/fontanellato-parmigianino-g.jpg
http://www.people.virginia.edu/~djr4r/parmigianino.jpg
Bronzino, 1503-72
Allegory with Venus and Cupid, 18-54 page 695
http://images.google.com/imgres?imgurl=http://www.ibiblio.org/wm/paint/auth/bronzino/panciatichi.jpg&imgrefurl=http://
www.ibiblio.org/wm/paint/auth/bronzino/&h=750&w=572&sz=57&tbnid=XHBBQoXouYoJ:&tbnh=139&tbnw=106&sta
rt=7&prev=/images%3Fq%3DBronzino%26hl%3Den%26lr%3D%26sa%3DN
Sofonisba Anguissola, 1535-1625
Self-Portrait (Sofonisba Anguissola), page 697
Encouraged by her singularly enlightened father, Sofonisba Anguissola (c. 1535-1625) was educated as a painter when the
well-born young women of Renaissance Italy were consigned to sit in their palazzos and pursue needle work. Her
accomplishments led to a life of drama and romance on a grand scale. She became a celebrated portrait painter at the court
of Philip II of Spain.
A grand love story unfolds, too, as she overcame many obstacles to win her beloved husband. She lived to a hearty old age,
an international celebrity who had been praised by Michelangelo and lionized by painters across Europe.
–Smithsonian Magazine 1995
http://www.bluffton.edu/womenartists/womenartistspw/anguiscrab.jpg
http://batgirl.atspace.com/anguissolachess.jpg
http://www.goddesschess.com/graphics/sofonisba.jpg
Lavinia Fontana, 1552-1614
Noli M Tangere, page 699
Fontana was taught by her father, Prospero, a successful cosmopolitan painter who had worked in Rome and Florence.
Although historically important as a painter of religious works, she achieved her greatest fame for portraits of Bolognese
noblewomen. Her style combines a careful attention to the details of clothing and jewelry with an insight into the sitter's
personality. Fontana was not merely active but unusually successful, becoming the first female from Bologna to achieve
fame throughout Italy. She produced 135 documented paintings. Perhaps most important, she expanded the range of work
made available to women painters, receiving commissions from both the private and public sectors.
-- http://www.mystudios.com/women/fghij/fontana.html
http://www.scuolascacchi.com/scacchiscuola/gon7_pelosa.jpg
http://www.mystudios.com/women/fghij/fontana_holy_family.jpg
Tintoretto 1518-94 & Tintoretta 1554-1590
Last Supper, page 701
http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.kfki.hu%2F%7Earthp%2Fhtml%2Ft
%2Ftintoret%2F5portrai%2Fport_wom.html
Marietta Robusti Tintoretto, a Venetian painter, was the eldest of eight children of Jacopo Robusti Tintoretto, and a fulltime apprentice in his studio for 15 years. Her father was deeply attached to her, taking her everywhere he went and only
until she was too old, dressed her as a boy. Along with her brother, Domenico, she learned to paint in the father’s grand
manner. An accomplished musician as well, she produced her own portraits and her fame spread as far as the courts of
Spain and Austria. She was invited to become the court painter for Phillip II of Spain and the Emperor Maximilian,
however, her father would not allow her to leave his studio or home. Instead he found her a husband, and as a condition of
their marriage, Marietta had to remain in the Tintoretto household until her father died. Marietta, however, died before
Tintoretto in childbirth in her early 30s. A painting of Marietta’s entitled, "Portrait of an Old Man With Boy," long been
attributed to her father and considered one of his finest portraits, is only now recognized as Marietta’s work after her
monogram was discovered in 1920. Even with the monogram as evidence, some scholars still feel the reattribution is in
dispute. Marietta was as proficient as her father, since for centuries, it has been impossible to tell the difference between
the two artists’ hands. However, art historical accounts from as recently as 1929 describe Marieta’s work as strained,
sentimental, and resolute. In addition, when discussing the Tintoretto studio output, historians have marveled at what they
call the almost superhuman production of the great master. Many have even remarked at Tintoretto’s remarkable variety of
brushstroke. However, this has not led to re-interpretations of any form of workshop production may veer from Tintoretto’s
own hand. Some historians seem unwilling to consider that Marietta or even Domenico could have produced works on
their own. Historians have also not investigated Tintoretto’s marked decrease in production after Marietta’s death,
attributing it solely to a father’s mourning and resultant grief at the death of his beloved daughter.
http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.cocc.edu%2Fcagatucci%2Fclasses%
2Fws101%2Fwstml%2Fwstml1.htm
http://sue.pinknet.cz/img/susanna.gif
Art to remember for Exam:
Madonna with a Long Neck, 20-35
Allegory with Venus and Cupid, 20-37
Noli M Tangere, 20-42
Last Supper (Tintoretto), 20-43
Vocabulary to remember for Exam: contrapposto
Bibliography:
Text
Essay Question for EXAM #1 on Thursday Febrary 12:
Describe in detail the iconography of the School of Athens and then discuss how the each
element relates to different Renaissance belief systems that were prevalent in Europe at
that time.