Upload
diane-barker
View
215
Download
0
Tags:
Embed Size (px)
Citation preview
The Late Renaissance and Mannerism in 16th Century Italy
Events:
• Reorientation of trade routes from the east (Italy in prime location) to the west (discovery of America)
• Ever increasing threat of Turkish invasion
• Machiavelli publishes The Prince 1532: advocates that each situation determines whether one should be good or bad-moral and economic relativity
• Classical calm, harmonious images no longer in fashion
• Artistic license practiced more freely and openly (for a little while at least)
Map of 16th Italy
Protestant Reformation
Events:• Martin Luther 95 Theses,
1517– Founder of Lutheranism– 95 arguments against the
Catholic church• Indulgences• Role of artworks, abuse of
power/idolatry • Access to the Bible
Lucas Cranach, Portrait of Martin Luther, 1533. Oil on 14 ½” x 18.” Galleria degli
Uffizi, Florence.
Rome
Example: • Adjusts Bramante’s
central plan • Greek cross inscribed in
square• Dome over crossing• Colossal order
Michelangelo, plan for new Saint Peter’s,1546.
Italy
Michelangelo, plan for new Saint Peter’s, 1546.
Donato d’Anegelo Bramante, Original plan for St. Peter’s, Rome, 1502-1511. Fig. 15.5
ItalyDates and Places: • 1500 to 1600• Rome, Florence, Milan,
and Venice
People:• Humanism• Reformation/Counter-
Reformation• Powerful courts• Artist-genius
Interior, Sistine Chapel showing Interior of the Sistine Chapel with frescoes by
Michelangelo, Perugino, Ghirlandaio, Botticelli, and others, 1473-1541. Fig.15.9
RomeExample:• Commissioned by Pope
Paul III (Farnese)• Subject reflects time
based on Matthew• New take on traditional
topic with possible pagan references
• Compression of space• Dynamic design• Dramatic compositionMichelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco,
1534–1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 16.5
Rome
Michelangelo, detail scenes from Last Judgment, with detail of Christ and the Virgin Mary. Fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City.
Rome
Michelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 14.28
Self-portrait of Michelangelo
Italian MannerismGeneral characteristics:• c. 1520-1580• Elegant and refined, sophisticated • Artificial (versus naturalism of High
Renaissance style)• Courtly style • Overelaborate distortion• Compositional tension, not clarity• Psychological tension• Impresses one with a feeling of awkwardness• Self-conscious stylishness, not window onto
world • Complex, exaggerated, difficult• Unstable composition, unnatural color
Rosso Fiorentino, Descent from the Cross, 1521. Oil on panel, 11’ x 6’5 ½.” Pinacoteca Comunale, Volterra,
Italy. Fig. 16.2
Agnolo Bronzino (1503-1572) Example: Florence• Elegant conception • Figures elongated and have
energetic, angular postures • Arranged to create a decorative
pattern • No strong emotions, superficial • Shallow space • Forms tend to adhere to the
vertical plane • Mannerist refinement and artifice
prevail over nature and feeling
Agnolo Bronzino , Allegory of Venus: Venus, Cupid, Folly, and Time, ca. 1546. Oil on
panel, 5’1” x4’8 ¾.” National Gallery, London. Fig. 16.3
Tiziano Vecellio (Titian 1488/90-1576)Example: • Oil on canvas glows• Voluptuous body with smoky shadow,
framed by curtain • The artist was extremely successful and
was even given the freedom of the city of Rome during a visit in 1546. The last twenty-five years of Titian's life were spent mainly as a portrait-painter and in the service of Philip II of Spain. He had painted Philip's portrait in 1550 and had also painted Philip's father The Holy Roman Emperor, Charles V.The artist's later paintings are executed with great freedom. He was so comfortable with his medium that one of his pupils, who had watched him work, stated that he finished the pictures 'more with his fingers than his brush'.
Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence.
Fig. 16.11
Giorgione, Sleeping Venus, c. 1509. Oil on canvas, 3’6 ¾” x 5’ 9.”
Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence. Fig. 16.11
Manet, Olympia, 1865. Oil on canvas, 4’ 3” x 6’ 3.” Musée d'Orsay, Paris
Venice
Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13
Jacopo Robusti “Tintoretto” (1518-1594)
Example: • “Paint like Titian,
design like Michelangelo”
• Counter-Reformation painting
• Strong diagonals, site specific
• Strong use of light and dark
• Mysterious light source• Natural and supernatural
worlds• Exaggeration of poses• Judas again in the dark
Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig
16.13
Leonardo da Vinci, Last Supper, c. 1495–1498. Fresco (oil and tempera on plaster), 15’ 1 1/8” x 28’ 10 ½.” Refectory of Santa Maria delle Grazie, Milan. Fig. 15.2
Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore,
Venice. Fig 16.13
Vicenza
Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.
Andrea Palladio (1508-1580)
Example: • Greatest architect of late
16th century• Synthesizes elements of
Mannerism with High Renaissance ideals
• Near Venice• Central plan• Dome over crossing• Four facades like temple
portals• Pantheon likely model• Wrote architectural treatise,
Four Books of Architecture (1570)
Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.
Andrea Palladio, Villa Rotonda, ca. 1567–1570. Vicenza, Italy. Fig.16.14.
Reconstruction of an Etruscan temple after Vitruvius
Pantheon, 118-125 CE, Rome.
Andrea Palladio (1506-1580)Example: • Design aesthetic based on
humanist education• Private residence, built for
Venetian cleric• Classic temple portico (porch)
with Ionic columns support entablature crowned by pediment
• Symmetry in design=dignity and grandeur
• Strict symmetry is both Classical and Renaissance element
Andrea Palladio, floor plan Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.