%201400%201800... · Web viewLEON BATTISTA ALBERTI (c. 1404-72), humanist writer and artist Wrote treatises On Painting (1435), On Architecture (1440s-1452), On Sculpture (1440s)

Nicola Courtright ARHA 135 / EUST 135Amherst College Art and Architecture of Europe 1400-1800Spring 2012

1. TRADITION, COMPETITION AND INNOVATION

Early Renaissance in Florence

North doors of Baptistery, Florence – originally an Old Testament series

*cf. Andrea Pisano, south doors (scenes from life of John the Baptist, patron saint of Florence), 1336

Competition, 1401 (sponsored by patrons of Baptistery, the Calimala [vendors of wool] Guild)

LORENZO GHIBERTI (1381?-1455)

Sacrifice of Isaac, 1402-3

FILIPPO BRUNELLESCHI (1377-1446)

Sacrifice of Isaac, 1402-3

BRUNELLESCHI as architect (1377-1446)

San Lorenzo, Florence, 1421 ff. (finished 1470's)Medici family church

cf. Dome, Cathedral, Florence, 1416 competition, execution 1420 ff.

--------------------------------------------------------------------------------------------------------------------Terms to know

Quatrefoil

ArchitectureGround plan, Latin cross planarcadearchpilastercoffersbarrel vault, groin vault

different orders: Doric, Ionic, Corinthiancolumn: shaft and capitalentablature: architrave, frieze, cornicepediment--------------------------------------------------------------------------------------------------------------------

*Note: You do not have to know the comparative works (marked “cf.”) for the exams.

Nicola Courtright ARHA 135Amherst College Art and Architecture of Europe 1400-1800Spring 2012

2. SACRED NARRATIVE AND THE ILLUSION OF PRESENCEEarly Renaissance in Florence and Mantua

MASACCIO (1401-c. 1428)

Brancacci Chapel, Santa Maria del Carmine, Florence, c. 1425 (Pietro Brancacci, patron)Tribute Money

Trinity, Santa Maria Novella, Florence, c. 1427 (Lenzi family patrons)cf. Rogier van der Weyden, Crucifixion (Vienna), 1445to see it in its location: http://library.artstor.org/library/qtvrViewer.html?parent=true

GHIBERTI (1381?-1455)

Isaac and his Sons, Gates of Paradise, doors, Baptistery, Florence, 1425-37, gilding by 1452 (Calimala [vendors of wool] guild)

LEON BATTISTA ALBERTI (c. 1404-72), humanist writer and artistWrote treatises On Painting (1435), On Architecture (1440s-1452), On Sculpture (1440s)

Rucellai Palace, Florence, beg. 1446 (Rucellai family, patron)cf. Colosseum, Rome, 1st c. AD

S. Andrea, Mantua, 1470 ff. (for Lodovico Gonzaga, Marquis of Mantua)

---------------------------------------------------------------------------------------------------------------------Terms and concepts to know:

ICONOGRAPHY STYLE RENAISSANCE (RINASCITÀ)plus, in paintingsfresco vanishing pointhorizon-line isocephaly orthogonal lines

QUESTIONS TO FOCUS ON IN THE READING [on e-reserve]

BAXANDALLCONTENT

How exactly did social or cultural experiences of the Italian 15th century affect the viewer's perception of visual images?What would a 15th-century merchant or patron look for when he was confronted with a picture?What aspects of the culture affected the way people viewed religious pictures?What factors other than the artist's imagination affected the way artists represented human figures?What did colors mean to the Renaissance viewer? the representation of volume?How would the spiritual requirements of a painting transform a viewer's apprehension of volume, perspective, etc.?

ABSTRACTAnswer the following questions in 1-2 sentences each. Write each question preceding each answer:

1) What was the author trying to demonstrate/prove/argue?2) What kind of evidence did s/he use to make his/her point?3) Why does it matter?4) What do you see as the importance of the piece, or how did it change your understanding of the

subject?


3. CELESTIAL GIFTS, GRACE, AND THE MODERN MANNERHigh Renaissance in Florence and Milan

prologueDONATELLO (1386-1466)

David, c. 1440 (Medici patrons)

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LEONARDO DA VINCI (1452-1519)

Virgin of the Rocks, 1482-3 (Louvre) (for the Confraternity of the Immaculate Conception’s chapel in S. Francesco Grande, Milan)

cf. Piero della Francesca (c. 1420-92), Madonna and Child with Saints (Brera Altarpiece), 1472-4

Last Supper, 1495-8, for refectory, S. Maria delle Grazie, Milan (Duke Ludovico Sforza, patron, for the cloister of the Dominican order)

cf. Andrea dal Castagno (1417/19-57) Last Supper, Cenacolo, Sant'Apollonia, Florence, 1447

Mona Lisa, 1503-6 (probably Lisa Gherardini, wife of Francesco del Giocondo)

cf. Piero della Francesca (c. 1420-92), Portrait of Battista Sforza, Duchess of Urbino, 1465cf. Rogier van der Weyden, Portrait of a Lady, c. 1460

Madonna and Child with St. Anne (painting--altarpiece), 1508-12

Useful people, historical events, and dates

Florence MilanCosimo de Medici, back in Florence 1434-64 Duke Ludovico Sforza 1452-1508Lorenzo de Medici (his grandson), d. 1492 wife Beatrice d’EsteRepublic of Florence 1494-1512

READING: *Vasari, Preface to Part Three, Lives of the Artists

QUESTIONS TO FOCUS ON IN THE READING (Vasari, Preface to Part III of Lives)

CONTENT-- Does Vasari use the same ways of looking at art as Baxandall does? what are differences?

--What are the ways Vasari measures progress in art?

--What were the factors that helped to bring about this "progress"?

--Which artist began the third period of art, and why he?

--What are some qualities that mark the third period? what it the relationship of the art to antiquity? to nature?

ARGUMENTABSTRACTAnswer the following questions in 1-2 sentences each. Write each question preceding each answer:

1) What was the author trying to demonstrate/prove/argue?2) What kind of evidence did s/he use to make his/her point?3) Why does it matter?4) What do you see as the importance of the piece, or how did it change your understanding of the

subject?


4. HUMBLE AND SACRED EXPERIENCES DEPICTEDEarly Netherlandish Painting and

The Beginnings of Northern Renaissance

ROBERT CAMPIN (1375-1444)

Mérode Altarpiece, c. 1425 (Cloisters, NY)

JAN VAN EYCK (c. 1395-1441)

Ghent Altarpiece (Adoration of the Lamb), S. Bavo, Ghent, c. 1430-32 (patron Jodocus Vijdt, Isabel Borluut)

cf. Fra Angelico, Annunciation (Prado), c. 1430

ALBRECHT DÜRER (1471-1528)

Self-Portrait, 1500 (Munich)

Four Riders of the Apocalypse, woodcut, c. 1496

Adam and Eve, engraving, 1504cf. Pollaiuolo, Battle of 10 Nudes (engraving), 1465

St. Jerome, engraving, 1514

-------------------------------------------------------------------------------------------------------------------Terms to know

ICONOGRAPHY STYLEtriptychAnnunciationwoodcutengraving

READING: *A. Nagel and C. Wood, ch. 1: “Plural Temporality of the Work of Art,” and ch. 9: “Fashion in Painting,” in Anachronic Renaissance (NY: Zone Books, 2010) 7-19, 85-95, 369-72, 388-90


5. ART AND ARCHITECTURE FOR THE IMPERIAL PAPACY, 1High Renaissance in Rome

MICHELANGELO BUONAROTTI (1475-1564)

David, 1501-4, for Piazza della Signoria, Florence

DONATO DA BRAMANTE (c. 1444-1514)

Tempietto, S. Pietro in Montorio, Rome, 1502 (for courtyard of Spanish church, patrons Ferdinand and Isabella of Spain)

Terms to know: triglyphs, metopes on frieze (part of entablature) drum of dome; balustrade decoration includes dentils

St. Peter's, Vatican (Rome), 1506 ff. (patron Pope Julius II)

MICHELANGELO

Sistine Chapel ceiling, Vatican Palace, Rome, 1508-12 (for Pope Julius II)Cf. Tomb for Julius II, St. Peter's, Rome, first project, 1505-08

-Creation of Adam-Separation of Light and Dark-Libyan Sibyl-Nudes (ignudi)

RESPONSE due Monday, Feb. 13 at 6:00 in Dropbox

* Analyze the composition of one of the works of art below. Think of motion and stasis, balance, light, shade, mass, volume. See what Vasari says. Also see any glossary in art survey texts, or guides on writing about art, e.g. by Anne d’Alleva or by Sylvan Barnet.

--Choose one of the following works: Donatello’s Feast of Herod relief or Raphael’s Madonna of the Meadow. You can find images on the database ARTStor accessible through AC (http://www.artstor.org/info/) .

2 paragraphs, typed, double-spaced.

Here’s one definition: “composition” The way in which an artist organizes forms in an art work, either by placing shapes on a flat surface or arranging forms in space.

[from Gardner’s Art Through the Ages, 11th ed. (New York et al.: Harcourt College Publishers, 2001), p. 1151]

http://www.artstor.org/info/


6. ART FOR THE IMPERIAL PAPACY, 2High Renaissance in Rome

MICHELANGELO

Tomb for Julius II, St. Peter's, Rome, first project, 1505-08Second project, 1513 ff.

Moses“Rebellious” Captive“Dying” Captive

Final project, S. Pietro in Vincoli, Rome, finished 1545

RAPHAEL SANZIO (1483-1520)

Stanza della Segnatura, Vatican Palace (for Julius II)School of Athens, c. 1510-12cf. Parnassus

Villa Farnesina (for Agostino Chigi, papal banker)Galatea, c. 1512Cf. Botticelli, Birth of Venus, c. 1484-86 (probably for Medici family member)


7. CLASSICISM TRANSFORMED BY COLOR AND LIGHT

Renaissance Trends in Northern Italy

BackgroundCf. Jacopo Bellini (1400-1470), Flagellation (drawing), c. 1450Cf. Gentile Bellini (c. 1427-1507), Turkish Man, Turkish Woman (drawings), c. 1480Cf. Gentile Bellini, Procession of the Relic of the True Cross in Piazza San Marco 1496Cf. Giovanni Bellini (c. 1431/6-1516), Enthroned Madonna with Saints (St. Job Altarpiece), late 1480s

TITIAN (c. 1490-1576)

Pesaro Madonna, 1519-26, S. Maria dei Frari, Venicecf. Giovanni Bellini, Enthoned Madonna with Saints (St. Job altarpiece), late 1480's

Bacchanal of the Andrians, c. 1520-21

Venus of Urbino, finished 1538cf. Giorgione (c. 1477-1510), Sleeping Venus, c. 1508

PALLADIO (1508-80)

Villa Rotonda, Vicenza, beg. 1550

S. Giorgio Maggiore, beg. 1566 [discussion after Michelangelo architecture ]


8. ARTISTIC INNOVATION AND RELIGIOUS REFORMMannerism and the Counter Reformation in Rome

MICHELANGELO

Medici Chapel, New Sacristy, S. Lorenzo, 1519-33Tomb of Giuliano de'Medici

NightDay

Sack of Rome, 1527

PONTORMO (1494-1557), Deposition, Capponi Chapel, Florence, 1525-8

PARMIGIANINO (1503-1540), Madonna of the Long Neck, c. 1533

MICHELANGELO, cont’d.

St. Peter's, Rome, 1546 ff., for Paul III (Farnese)

Last Judgment, Sistine Chapel, 1536-41, for Paul III (Farnese)

Rondanini Pietà, 1555-64cf. Pietà,1497-99, for French cardinal's tomb chapel, St. Peter's

PALLADIO (1508-80)

S. Giorgio Maggiore, Venice, beg. 1566

No class Wed. or Thursday.


9. TRANSMISSION, RESISTANCE, AND TRANSFORMATION OF THE CLASSICAL CANON

Renaissance in the Netherlands

PIETER BRUEGEL (c. 1525-1569)

Wedding Dance, c. 1566

Cf. Hieronymus Bosch (c. 1450-1516), Haywain Triptych, c. 1510

Peasant Wedding, c. 1568

Hunters in the Snow, 1565

Formal analysis due Friday, March 2, 11:59 p.m. in online GRADEBOOK. Double-spaced, include illustration of work in your document if not on website.

Title the document Essay_1_yourlastname. (Don’t forget to “save as” including your last name!)

Look at the prompt. Read the documents on the course site under “Assignments” including the guidelines and rubric I’ve posted.Write a first draft all the way through, then a second draft honing your idea, which you are supporting with the visual evidence.

Some tips: Look at the original, look again. Use visual evidence to make a point. Stay away from spurious symbolism and anything touchy-feely—this is an analysis. Come see me and we can talk about your image.


10. ART OF REFORM: MERGING HIGH AND LOWEarly Baroque in Rome

MICHELANGELO MERISI DA CARAVAGGIO (1571-1610)

Bacchus, c. 1597cf. Bronzino, Venus, Cupid, Folly and Time/Allegory of Time/Allegory of Lust, c. 1546cf. Raphael, La Fornarina, c. 1515cf. Parmigianino, Madonna of the Long Neck, c. 1533

Calling of St. Matthew, Contarelli Chapel, S. Luigi dei Francesi, Rome, 1599-1600cf. Jan van Hemessen, Calling of St. Matthew, 1548-9

Conversion of St. Paul, Cerasi Chapel, S. Maria del Popolo, Rome, 1600-1cf. Parmigianino, Conversion of St. Paul, c. 1530

David and Goliath, c. 1605

ARTEMISIA GENTILESCHI (1592-1652/3)

Self-Portrait, c. 1630cf. Parmigianino, Self-Portrait, c. 1523-4cf. Sophonisba Anguissola, Self-Portrait, 1554

Judith Slaying Holofernes (Uffizi), c. 1620cf. Caravaggio, Judith Slaying Holofernes, c. 1598

---------------------------------------------------------------------------------------------------------------------------------------Terms to know

Counter-Reformationgenre painting

-------------------New abstracts for next week

Abstract 4 *S. Alpers, “Bruegel’s Festive Peasants,” Simiolus, 6, No. 3/4 (1972 - 1973):163-176

http://www.jstor.org/stable/3780341 <http://www.jstor.org/stable/3780341

Abstract 5:*Ignatius Loyola, “Spiritual Exercises,” in Wren, ed., Perspectives on Western Art, v. 2, 76-78*Panofsky, “What is Baroque?” in Panofsky, Three Essays on Style, ed. I. Lavin (1995), 17-88

http://www.jstor.org/stable/3780341

http://www.jstor.org/stable/3780341


11. REFORM AND THE CLASSICAL TRADITIONBaroque in Rome

VIGNOLA AND DELLA PORTA

Il Gesù, 1568-73, for Cardinal Alessandro Farnese on behalf of the Jesuit order, founded by St. Ignatius Loyola

plan by Giacomo da Vignola (1507-73), 1568facade by Giacomo della Porta (1532-1602), beg. 1571

ANNIBALE CARRACCI (1560-1609)

Polyphemus and Galatea, Farnese Gallery, 1600, for Farnese family

GIANLORENZO BERNINI (1598-1680)

Apollo and Daphne, 1622-25

David, 1623-24

PIETRO DA CORTONA (1596-1669)

Glorification of Urban VIII's Reign, Barberini Palace, Rome, 1633-9, for Barberini familyCf. Bernini, Tomb Urban VIII (St. Peter’s), 1627-1647

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QUESTIONS TO THINK ABOUT IN THE READING

Do the descriptions of the Baroque style or era in Panofsky’s essay apply to all Baroque artists? Think about what he writes when we move on to other countries and artists.

Documents

%201400%201800... · Web viewLEON BATTISTA ALBERTI (c. 1404-72), humanist writer and artist Wrote treatises On Painting (1435), On Architecture (1440s-1452), On Sculpture (1440s)