School of Athens, fresco,
Vatican
Raphael painted this in Pope
Julius II library; Philosophy
books shelved below
Vastness & variety of papal
library and interests
Buliding behind-Bramant’s plan
for st. Peters
Bramante is bald figure of Euclid
Raphael in extreme right corner
Nobility & monumentality of
forms
Michelangelo is resting on stone block writing a
poem
Plato (w/Leonardo’s face)
pointing up and Aristotle
Overall composition influenced by Da Vinci’s
last supper
Raphael continued to wrok for Julius II’
successor, born Giovvanie de Medici
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Small Cowper Madonna, Raphael,
Oil on wood panel, 1505 (high
Renaissance)
Triangular composition favored in
Renaissance
Classical allusions; frequently
painted holy family
Atmospheric perspective behind
Mary
Raphael was very young
Clarity of forms, sweet expressions;
chiaroscuro renders modeling.
La Pieta, Michelangelo
Marble, 1500, 6’ tall
St. Peter’s, Vatican,
La Pieta in the round
Pyramidal composition
Monumental
Heavy drapery masks
Mary’s size as she easily
holds Jesus in here lap
Only work Michelangelo
ever signed
Shows Mary’s beauty
and grief
Michelangelo was
Ghirlandaio’s apprentice
Patron French cardinal
“Set free the image from
the stone”
Michelangelo
David (flashcard)
Medium: Marble
Size: height 17' (5.18 m) without pedestal
Date: 1501–04
Source/ Museum: Galleria dell’Accademia, Florence
Commissioned as symbol of Florence, representing Florence as
she faced enemies like France
First colossal nude since ancient world
Muscular, tense, at the ready
David anticipated challenge of Goliath, great concentration on
the face
Slight contrapposto, little negative space
Marble, not bronze.. Evoked power of ancient art.. Purity of
expression
Influence of Spear Bearer by Polykleitos
2 minute video on Michelangelo's David
Last Judgment, Sistine Chapel,
Michelangelo
1536-41, Vatican, Rome
No cornice divisions like ceiling
Mannerism shown in distortions
of body, elongations,
crowded groups
1.
Bottom: dead
rising/mouth of hell
2.
Ascending elect, desc.
Sinners, angels
3.
Saved around Jesus
4.
Lunette: Angels w/cross
Justice shown
Spiraling composition a reaction
against High Renaissance
harmony; disunity of
church from the
Reformation
Drapery added later
St. Bartholomew modeled on
contemporary critic LOL
Michelangelos’ face in St. Bart’s
skin
Moses, Michelangelo, 1513-16, 1542-45,
Commissioned for tomb of Julius II
Never finished (was to be part of a huge
installation of sculptures, he was pulled of this
project to do the Sistine Chapel
Meant to be viewed from below
Horns are mistranslation of Bible; Moses thought
to have had HORNS coming out of his head,
really RAYS (like a halo)
Figure is in awe, heroic body
Inspired by Laocoon
Last Supper, da Vinci, 1495-98,
Monastery in Milan, Italy
Experiment with tempera and oil
on plaster (FAIL)
Painted for dining hall of a
monastery
Linear perspective; orthogonals
point to Jesus
Groupings of 3
Drama: Jesus says, One of You
will Betray ME
Judas falls back clutching his bag
of coins (bribe to betray Jesus)
Mona Lisa, Leonardo da Vinci
1503, Louvre, Paris…
21” x 30”
3/4 profile, triangular composition
Sfumato, chiaroscuro used in
figure, atmospheric perspective in
background
Mysterious smile, psychological
intensity
Lots of mysteries and legends
surround this painting (da Vinci
code); recently have discovered
remains of da Vinci’s model
(da Vinci code?)
Joseph & Potiphar’s Wife
1525, Properzia de’ Rossi
Bologna
Famous woman sculptor;
mastered miniature
carvings such as the Last
Supper on a peach pit!
Carving in cathedral of
San Petronio in Bologna
Only woman included in
Vasari’s biography
Got over an unhappy love
affair by carving this
panel, according to Vasari
Rival male sculptor kept
her from being paid fairly
for her work
The Chess Game
1525, Sofia Anguissola
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Well known portait painter,
eventually went to the
Spanish court
Well educated in the arts,
did portraits but due to
here social status and
gender could not sell them
Michelangelo critiqued
one of her drawings
Court painter in Spain for
20 yers
Rivaled Titian
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The Tempest,
Giorgione (f. card)
1506 (Venetian School)
Oil on canvas
Studied w/Bellini
Meaning debated
POESIE- painted
poems, viewers
enjoyed trying to
understand what is
happening
Emerging use of oil in
Venice; softer tones
Emerging landscape
tradition
Lightning, mysterious
ruins in landscape
Gypsy girl
breastfeeding baby
Pastoral Concert,
Allegory on the
Invention of
Pastoral Poetry
Titian, Venetian
School, 1510
Oil on canvas
Louvre
Chiaroscuro, no
clear cut edges
Titian was Giogrione’s apprentice. Also studied with Bellini … again poesie, painted
poem. Are the 2 nudes the musician’s muses? Mythical world plus real world,
landscape
Pesaro Madonna, Titian, 1526
Oil on canvas
Commemorate Venetian victory won
by Jacopo Pesaro against the Turks
in 1502
Jacobo kneels at L with St. George,
members of family w/St. Francis of
Assisi
St. Peter looks down
Asymmetrical composition
Color not design
Columns added later by another
artist
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Venus of Urbino, Titian, oil on canvas, 1538.
Sensuous painting, skin tones, probably a courtesan, looks diretly at viewer, deep space
in picture, flora motif. Dog = faithful, standard for future reclining female nudes
Feast in the House of Levi, Veronese, oil on canvas, 1573 (Venetian school). Originally
last supper, was called before Pope’s Inquisition to question presence of drunks,
dwarves, etc. at last supper…. Changed title to another supper instead to avoid being
jailed and tortured. Continued classical perspective and painted for Dominican
monastery
Last Supper, Tintoretto, 1594, Oil on canvas (Venetto), developed from Titian’s style,
mannerist elongated forms, radiant light around Christ and angels, corner view, still life
on tables and cat - deep chiariscuro… fast painter, Daughter became artist.
Entombment, Pontormo
Oil & tempera on wood, altarpiece
in church in Florence
Mannerist painting with twisted,
elongated figures and spiraling
composition (what’s in center?)
Little background.
High key colors
Yearning
Which are men and which are
women???
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Assumption of the Virgin,
Correggio, fresco, dome in
Parma Cathedral, Italy, 1530
Spiraling composition again
typical of mannerism
Saints at bottom, thjen Virgin
escorted to heaven with angels,
Christ waits for Mary
Glowing colors prefigures the
Baorque
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Madonna with the long Neck,
Parmigianino, oil on wood, 1534-40,
Florence
7 feet by 4 feet
Small head, long neck, delicate,
graceful gestures
Elongated and detahced limbs
Column perspective looks odd
Pose reminiscent of la Pieta
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