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High Renaissance in Italy
Michelangelo, Da Vinci, Raphael, and the Venetian School
Mannerism appears late century…
Italian City States were conquered by Spanish & French invaders.. Venice stayed independent.
High Renaissance flourished in courts of princes, dukes & popes… artistic competition
High Renaissance Italy….1495-1527 Big Ideas
• Pope Julius II revitalizes the city of Rome• High Renaissance artists try to emulate Roman grandeur
with enormous frescoes, statues, and amazing architecture• Compositions marked by balance, symmetry, and ideal
proportions.. Triangular layout is favored.• Venetian painters take up oil with school of painitng with
sophisticated color harmonies• Portraiture reveals likeness of subject PLUS their character
and personality
High Renaissance Italy….Patronage
• Pope Julius II is biggest patron.. Powerful force in Roman and European politics and religion.
• Transformed Rome, a ramshackle medieval town, into an artistic center to rival Florence.
• Women were also key patrons, such as Queen Isabella d’Este• St. Peter’s church in Rome is rebuilt, first by Bramante then by
Michelangelo.• Medici still have influence; Michelangelo originally studied sculptures
on one of their estates• Kings and Queens of Europe become patrons of artists such as Da
Vinci and Titian.
High Renaissance Italy….Perspective
• Artists continue to build on Brunelleschi’s work and Albertis, using architectural & atmospheric perspective.
• Raphael’s School of Athens is a masterpiece of architectural perspective.
• Remember this painting from the early Renaissance?
Bramante is bald figure of Euclid
Raphael in extreme right corner
Michelangelo is resting on stone block writing a poem
Overall composition influenced by Da Vinci’s last supper
Raphael continued to wrok for Julius II’ successor, born Giovvanie de Medici
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
Nobility & monumentality of forms
Plato (w/Leonardo’s face) pointing up and Aristotle
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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.
Raphael continued working for the next Pope, Leo X (who was a Medici family member)…
Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi
1517
Oil on wood
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
QuickTime™ and a decompressor
are needed to see this picture.
QuickTime™ and a decompressor
are needed to see this picture.
Close ups of David
Sistine Chapel, Vatican, Rome
Michelangelo, Last Judgment and ceiling (45’ x 128’)
Ceiling 1508-12; end wall 1536-41
La Capella Sistina (part 1)
Botticelli and Perugino, Ghirlandio, and Raphael also painted areas of the Sistine Chapel (not ceiling)
New popes are elected here
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)
Leonardo was a genius, scientist, inventor, and artist who was the 1st modern mind… because he wanted to observe, not just take the Greeks word for it.
Born illegitimate (bastard), he could not study Greek nor Latin, so could not read much. Instead he learned to observe, draw, and document, filing thousands of pages of sketches of inventions, botanical and anatomical illustrations.
This is a charcoal for a painting from around 1500.
Da Vinci's Genius
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?)
Da Vinci studied anatomy, dissected cadavers, and was in reality a scientist.
Vitruvian Man, ink, 1490
He studied and quantified human proportions with the Vitruvian man, based on the work of the Greek schold Vitruvius.
amazon video, go to 24 minutes
High Renaissance Italy….Women and the Arts
• Women generally not allowed to study or apprentice, with a few exceptions
• Women were also key patrons, such as Queen Isabella d’Este
• Properzia de’Rossi notable exception - sculptor
• Sofia Anguissola - skilled painter who did many portraits
Queen Isabella d’Este,by Titian, oil on canvas
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
flashcard
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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Noli Me Tangere, Lavinia Fontana
Oil on canvas
1581
Bologna was center for accopmlished women painters
She was in her 20s when she painted scene of Jesus appearing to Mary Magdalen before returning to heaven
Tiny figures at tomb in background give plunge into depth and sapce
Mannerist style painting
Venice & the Venetto
• Venice was major naval power
• Rich light, pattern, and color inspired by Byzantium
• Oil painting universally preferred on both wood and canvas
• Giorgione & Titian early; later Veronese and Tintoretto
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
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
Pastoral Concert, Allegory on the Invention of Pastoral Poetry
Titian, Venetian School, 1510
Oil on canvas
Louvre
Chiaroscuro, no clear cut edges
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
Titian’s later work became more expressive.
This piece has loose brushstrokes and diagonals, finished in late 1570s in Venice
Pieta
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.
MANNERISM IN ITALY•Intellectually intricate subjects
•Highly skilled techniques
•Beauty for beuaty’s sake
•Elegeant, elongated figures
•Distortionf of formal conventions
Fall of the Giants
Fresco, 1530-32,
Palazzo del Te, Mantua (Mannerist architecture)
Unusual spiraling composition
Giulio Romano
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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