Kleiner Gatta14e Guidetostudy Ch.22

Chapter 22: Renaissance and Mannerism in Cinquecento Italy

Preview: Italian art in the 16th century built upon the foundation of the Early Renaissance, particularly the interest in classical culture, perspective, and human anatomy, but it developed in dramatic, distinctive ways. The century is divided into High (1495-1520) and Late (1520-1600) Renaissance periods. Throughout the century, regional stylistic differences emerged, with Florentine and Roman artists emphasizing careful design and preliminary drawing (disegno) and Venetian artists focusing on paint application and color (colorito). Leonardo da Vinci, Raphael, and Michelangelo were the leading figures during the Renaissance, an era in which artists were celebrated and recognized for their individual achievements. Titian was the great master of Venetian painting, and Andrea Palladio and Bramante were the leading architects of the Renaissance. During this period, the Catholic Church remained the central patron of the arts, and Pope Julius II was responsible for commissioning some of the greatest Renaissance artworks, including paintings by Michelangelo and Raphael in the Vatican, and Bramante’s and Michelangelo’s architectural designs for St. Peter’s. Artists were also recruited by the Church to contribute their talents toward its Counter-Reformation efforts. Mannerism developed after 1520 as a reaction to the art of the High Renaissance. Mannerist artists such as Parmigianino painted scenes marked by extreme refinement, artifice and exaggeration of form, while the Mannerist architect Giulio Romano even parodied Bramante’s classical style.

Key Figures: Pope Julius II, Pope Leo X, Giuliano de’ Medici, Vitruvius, Giorgio Vasari, Isabella d’EsteKey Cultural & Religious Terms: Renaissance, Counter-Reformation, indulgences, pietá, depositionKey Art Terms: cartoon, buon fresco, a secco, disegno, parchment, vellum, invenzione, ingegno, fantasia, capriccio, sfumato, colorito & disegno, escutcheon, impasto, Mannerism, maniera, enamelKey Architectural Terms: stanze, stylobate, Tuscan style, tholos, cella, martyrium, quoins, segmental pediment, belvedere, cupola, keystones, voussoirs, architrave, triglyph, Doric frieze, corbel

Lecture Notes:

Introductory Notes:

RENAISSANCE IN QUATTROCENTO ITALY

High and Late Renaissance:

Leonardo da Vinci:

Leonardo da Vinci, Madonna of the Rocks, from San Francesco Grande, Milan, Italy, begun 1483

o Materials/medium:

o Size/scale:o Subject:o Stylistic features:o Function & significance:

Leonardo da Vinci, cartoon for Madonna and Child with Saint Anne and the Infant Saint John, ca. 1505-1507

o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Leonardo da Vinci, Last Supper, ca. 1495-1498o Materials/medium & location:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Leonardo, Vitruvian Man, ca. 1485-1490o Materials/medium:o Subject:o Significance:

Leonardo da Vinci, Mona Lisa, ca. 1503-1505o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Leonardo da Vinci, The Fetus and Lining of the Uterus, ca. 1511-1513o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Leonardo da Vinci, central-plan church, ca. 1487-1490o Materials/medium:o Subject & description:

Raphael:

Raphael, Marriage of the Virgin, from the Chapel of Saint Joseph, San Francesco, Cittá di Castello, Italy, 1504

o Materials/medium:o Size/scale:o Subject:o Stylistic features:

o Function & significance: Raphael, Madonna in the Meadow, 1505-1506


Andrea del Sarto, Madonna of the Harpies, 1517o Description & significance:

Raphael, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509-1511


Raphael, Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, ca. 1517o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Raphael, Baldassare Castiglione, ca. 1514o Description, subject & significance:

Raphael, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, ca. 1513o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Michelangelo:

Michelangelo Buonarroti, Pietá, ca. 1498-1500o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Michelangelo Buonarroti, David, from Piazza della Signoria, Florence, Italy, 1501-1504o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Michelangelo Buonarroti, Moses, from the tomb of Pope Julius II, Rome, Italy, ca. 1513-1515o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Michelangelo Buonarroti, Bound Slave (Rebellious Slave), from the tomb of Pope Julius II, Rome, Italy, ca. 1513-1516


Michelangelo Buonarroti, tomb of Giuliano de’ Medici, New Sacristy (Medici Chapel), San Lorenzo, Florence, Italy, 1519-1534


Michelangelo Buonarroti, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508-1512o Materials/medium:o Size/scale:o General description:

Michelangelo Buonarroti, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1511-1512

o Description & stylistic features: Michelangelo Buonarroti, Fall of Man, ca. 1510

o Description & stylistic features: Sistine Chapel restoration, 1977-1989

o Notes: Michelangelo Buonarroti, Last Judgment, altar wall of the Sistine Chapel, 1536-1541

o Description & stylistic features: Michelangelo Buonarroti, Pietá, ca. 1547-1555


Architecture:

Donato d’Angelo Bramante, Tempietto, San Pietro in Montorio, Rome, Italy, begun 1502o Description & architectural features:o Function & significance:

Bramante, plan for Saint Peter’s, Vatican City, Rome, Italy, 1505o Description & architectural features:o Significance:

Cristoforo Foppa Caradosso, reverse side of a medal showing Bramante’s design for Saint Peter’s, 1506

o Notes: Michelangelo Buonarroti, plan for Saint Peter’s, Vatican City, Rome, Italy, 1546

o Description & architectural features:o Significance:

Michelangelo, Saint Peter’s, Vatican City, Rome, Italy, 1546-1564. Dome completed by Giacomo della Porta, 1590


Antonio da Sangallo the Younger, Palazzo Farnese, Rome, Italy, 1517-1546; completed by Michelangelo Buonarroti, 1546-1550


Antonio da Sangallo the Younger, courtyard of the Palazzo Farnese, Rome, Italy, 1517-1546; third story and attic by Michelangelo Buonarroti, 1546-1550


Michelangelo, Campidoglio, Rome, 1538-1564o Description & architectural features:o Significance:

Andrea Palladio, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1550-1570o Description & architectural features:o Significance:

Andrea Palladio, plan of the Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1550-1570

o Description & architectural features: Jacopo Sansovino, Mint and Library, Venice, begun 1536


Andrea Palladio, San Giorgio Maggiore, Venice, Italy, begun 1566o Description & architectural features:o Significance:

Andrea Palladio, interior of San Giorgio Maggiore, Venice, Italy, begun 1566o Description & architectural features:o Significance:

Venetian Painting:

Giovanni Bellini, Madonna and Child with Saints (San Zaccaria Altarpiece), 1505o Materials/medium:


Giovanni Bellini, Saint Francis in the Desert, ca. 1470-1480o Description & significance:

Giovanni Bellini and Titian, Feast of the Gods, from the Camerino d’Alabastro, Palazzo Ducale, Ferrara, Italy, 1529


Giorgione da Castelfranco, The Tempest, ca. 1510o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Titian, Pastoral Symphony, ca. 1508-1511o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Titian, Assumption of the Virgin, 1515-1518o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Titian, Madonna of the Pesaro Family, 1519-1526o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Titian, Meeting of Bacchus and Ariadne, from the Camerino d’Alabastro, Palazzo Ducale, Ferrara, Italy, 1522-1523


Titian, Venus of Urbino, 1536-1538


Titian, Isabella d’Este, 1534-1536o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Fontana, Portrait of a Noblewoman, ca. 1580o Description & stylistic features:o Significance:

Titian and Palma il Giovane, Pietá, ca. 1570-1576o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Mannerism:

Painting:

Jacopo da Pontormo, Entombment of Christ, Capponi chapel, Santa Felicitá, Florence, Italy, 1525-1528


Beccafumi, Fall of the Rebel Angels, ca. 1524o Description & significance:

Parmigianino, Self-Portrait in a Convex Mirror, 1524o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Parmigianino, Madonna with the Long Neck, from the Baiardi chapel, Santa Maria dei Servi, Parma, Italy, 1534-1540

o Materials/medium:o Size/scale:

o Subject:o Stylistic features:o Function & significance:

Bronzino, Venus, Cupid, Folly, and Time, ca. 1546o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Bronzino, Portrait of a Young Man, c. 1530-1545o Description & significance:

Bronzino, Eleanora of Toledo and Giovanni de’ Medici, ca. 1546o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Sofonisba Anguissola, Portrait of the Artist’s Sisters and Brother, ca. 1555o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Tintoretto, Last Supper, 1594o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Paolo Veronese, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, 1573


Paolo Veronese, Triumph of Venice, ca. 1585o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Correggio, Assumption of the Virgin, 1526-1530o Materials/medium:


Sculpture:

Benvenuto Cellini, Saltcellar of Francis I, 1540-1543o Materials/medium:o Size/scale:o Subject:o Stylistic features:o Function & significance:

Cellini, Genius of Fontainebleau, 1542-1543o Description & significance:

Giovanni da Bologna, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, 1579-1583


Architecture:

Giulio Romano, courtyard of the Palazzo del Té, Mantua, Italy, 1525-1535o Description:o Architectural features:o Style & significance:

Giulio Romano, Fall of the Giants, 1530-1532o Description & location:o Style & significance:

Michelangelo Buonarroti, vestibule of the Laurentian Library, Florence, Italy, 1524-1534; staircase 1558-1559

o Description:o Architectural features:o Style & significance:

Giacomo della Porta, west façade of Il Gesú, Rome, Italy, ca. 1575-1584o Description:o Architectural features:o Style & significance:

Giacomo della Porta, plan of Il Gesú, Rome, Italy, ca. 1575-1584o Description:o Architectural features:

Concluding notes:

Exercises for Study:

1. Describe the differences you observe between the art and architecture of the Early Renaissance (Chapter 21) and that of the High and Late Renaissance. Select an Early Renaissance work of painting, sculpture, and architecture, and compare them to examples from the High or Late Renaissance.

2. Describe the distinction made in the High Renaissance between disegno and colorita. Select a work that represents each term.

3. What are the major characteristics of Mannerist art and architecture? Select a Mannerist painting, sculpture, and architectural work, and describe the Mannerist features of each.

4. Compare and contrast the following pairs of artworks, using the points of comparison as a guide.

A. Leonardo da Vinci, Last Supper (Fig. 22-4); Tintoretto, Last Supper (Fig. 22-48)

Date & location:

Treatment of subject/narrative:

Composition:

B. Michelangelo, Pietá, ca. 1547-1555 (Fig. 22-20); Titian and Palma il Giovane, Pietá (Fig. 22-41):

Medium/materials:

Treatment of subject:

Artist’s self-portraiture:

Intended function of work:

C. Bramante, Tempietto (Fig. 22-21); Palladio, Villa Rotonda (Fig. 22-28):

Function & location of buildings:

Employment of classical architectural theory & vocabulary:

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Kleiner Gatta14e Guidetostudy Ch.22