Transcript itITALIAN CINQUECENTO ART: HIGH RENAISSANCE AND
ARCHITECTURE
SPECIFIC GOALS:
GIVE EXAMPLES OF MAJOR ARCHITECTURAL PROJECTS UNDERTAKEN IN ITALY (MOSTLY ROME AND VENICE).
NOTE THE SCULPTURAL ASPECTS OF RENAISSANCE ARCHITECTURE
IDENTIFY IMPORTANT ARCHITECTS AND THE DISTINCTIVE ELEMENTS OF THEIR STYLES
IDENTIFY THEORIES AND ELEMENTS OF RENAISSANCE ARCHITECTURE THAT INFLUENCE MODERN ARCHITECTURE
BRAMANTE
CREATED INNOVATIVE CENTRAL-PLAN DESIGNS BASED MOSTLY ON CLASSICAL SOURCES (INFLUENCE OF GREEK THOLOI AND ROMAN CIRCULAR TEMPLES), AND FIRST ARCHITECT OF NEW SAINT PETER’S.
DONATO D’ANGELO BRAMANTE, TEMPIETTO, SAN PIETRO IN MONTORIO, ROME, ITALY, © 1502.
MARTYRIUM: MARKS SPOT OF ST. PETER’S MARTYRDOM CLOSER TO ROMAN TEMPLE OR GREEK THOLOS?
“SCULPTURAL” BALANCE AND AWARENESS OF LIGHT AND SHADOW
CLASSICAL ROMAN CIRCULAR TEMPLES HAD MORE OBVIOUS FRONTAL ORIENTATION TEMPLE OF VESTA, TIVOLI, EARLY 1 ST CENTURY B.C.E.
PANTHEON, © 118-125
TEMPIETTO PLAN
TEMPIETTO: TUSCAN COLUMNS AND DORIC FRIEZE (TRIGLYPHS AND METOPES)
TEMPIETTO: BALUSTRADE, AND DRUM (ALTERNATING RECTANGULAR “WINDOWS” AND SHELL-CAPPED NICHES – LIGHT AND SHADOW!
BRAMANTE, PLAN FOR NEW SAINT PETER’S: RECALL THE EARLY RENAISSANCE ARCHITECTS' DESIRE TO FUSE CENTRAL AND AXIAL PLANS
MICHELANGELO
CHRISTOFORO FOPPA CARADOSSO, MEDAL SHOWING BRAMANTE’S DESIGN FOR THE NEW SAINT PETER’S, 1506. BRONZE, 2 1/4” DIAMETER. BRITISH MUSEUM
MICHELANGELO’S PLAN FOR NEW SAINT PETER’S, 1546 "CULT OF THE AXIS" - RELATION OF BUILDING TO HUMAN BODY
COMPARE BRAMANTE AND MICHELANGELO PLANS
MICHELANGELO, SAINT PETER’S (LOOKING NORTHEAST), VATICAN CITY, 1546-64. SCULPTURAL! UNDULATING WALLS, UNIFYING COLOSSAL PILASTERS (AND WOULD HAVE HAD “CALM” HEMISPHERICAL DOME)
VIEW OF SAINT PETER’S FROM THE TIBER (EAST). OGIVAL DOME BY GIACOMO DELLA PORTA. 1590. DOME IS APPROX. 446' HIGH (AVERAGE STOREY = 10')
ANTONIO DA SANGALLO THE YOUNGER, PALAZZO FARNESE (LOOKING SOUTHEAST), ROME, 1517-1546; COMPLETED BY MICHELANGELO, 1546-1550.
DA SANGALLO, COURTYARD OF THE PALAZZO FARNESE, © 1517–1546. THIRD STORY AND ATTIC BY MICHELANGELO BUONARROTI, 1546-1550. PATRON?
A CARDINAL
MICHELANGELO, PIAZZA DEL CAMPIDOGLIO, CAPITOLINE HILL. ROME, © 1537.
"CULT OF THE AXIS" MICHELANGELO'S SOLUTION FOR TRAPEZOIDAL, UNEVEN SPACE – CREATED WHEN HE REVERSED ORIENTATION TO FOCUS ON VATICAN RATHER THAN SENATE
ÉTIENNE DUPÉRAC, PIAZZA DEL CAMPIDOGLIO, ENGRAVING, 1568. PAVING DESIGN = OVOID (NOT INSTALLED UNTIL 20 TH CENTURY – MUSSOLINI)
PALLADIO
VENETIAN ARCHITECT ANDREA DI PIETRO. INSPIRED BY VITRUVIUS. HIS RATIONAL, SYMMETRIC VERSION OF CLASSICISM STYLE LATER BECAME THE MODEL AND GAVE A NAME TO FOR NEO-CLASSICICAL (PALLADIAN) ARCHITECTURE. COGNOMEN FROM ATHENA PALLAS, GODDESS OF WISDOM. WROTE HIS OWN ARCHITECTURAL TREATISE, WHICH PARTIALLY ACCOUNTS FOR HIS CONTINUING INFLUENCE.
PALLADIO, VILLA ROTONDA (FORMERLY VILLA CAPRA), NEAR VICENZA, ITALY, © 1566–1570.
BELVEDERE – FORM FOLLOWS FUNCTION!
VILLA ROTUNDA, PERFECTLY RADIALLY SYMMETRIC. PATRON?
A PRIEST
INTERIOR OF DOME, VILLA ROTUNDA: NICE WEEKEND HOUSE FOR A PRIEST! NOTE BALUSTRADED AMBULATORY IN DOME
PLAN, VILLA ROTUNDA?
GREEK CROSS, SQUARE, CIRCLE
THOMAS JEFFERSON, ROTUNDA, UNIVERSITY OF VIRGINIA, 1822.
PALLADIO, AERIAL VIEW OF SAN GIORGIO MAGGIORE, VENICE, ITALY, BEGUN 1566.
FAÇADE, SAINT GIORGIO MAGGIORE = DUAL FAÇADE PALLADIO'S SOLUTION FOR PROBLEM OF HOW TO PUT A "RATIONAL" FAÇADE ON BASILICA WITH HIGH NAVE AND LOW AISLES (AVOID THE "SCREEN" EFFECT OF CHURCHES SUCH AS SANTA MARIA NOVELLO
ALBERTI, FAÇADE OF SANTA MARIA NOVELLO, 1456 - 70
CHOIR AND APSE, SAN GIORGIO MAGGIORE
MANNERISM
SPECIFIC GOALS:
UNDERSTAND MANNERISM AS AN ARTIFICIAL, IDIOSYNCRATIC STYLE IN CONTRAST TO THE NATURALISM OF THE HIGH RENAISSANCE.
EXAMINE MANNERISM AS INTERESTED IN EXPRESSIVE FORMS OF ART RATHER THAN CLASSICAL FORMS.
EXPLORE THE LIVES AND WORKS OF KEY ARTISTS OF THE MANNERIST STYLE.
RECOGNIZE THE ARTISTIC ELEMENTS OF MANNERIST PAINTING, SCULPTURE, AND ARCHITECTURE.
ARCHITECTURE
GIULIO ROMANO, INTERIOR COURTYARD FACADE OF THE
GIULIO ROMANO, interior courtyard facade of the Palazzo del
ANTI-CLASSICAL!
MICHELANGELO, VESTIBULE OF LAURENTIAN LIBRARY, FLORENCE, 1524-34; STAIRCASE 1558-59. MANNERIST ELEMENTS?
FORM DOESN’T FOLLOW FUNCTION: MASSIVE BUT NONSTRUCTURAL COLUMNS, SPLIT COLUMNS, PURELY DECORATIVE VOLUTE CORBELS
PILASTERS FLANKING NICHES TAPER UPWARD. INTERRUPTED STRING COURSES
FORM
DOESN’T EVEN ALLOW
FUNCTION: STAIRWAY IS LOVELY SCULPTURE, BUT TRY WALKING ON IT! NOTE THAT THE OUTSIDE STAIRCASES DON’T GO ANYWHERE
GIACOMO DELLA PORTA, FAÇADE OF IL GESÙ, ROME, © 1575–1584. THIS IS NOT MANNERIST – IN SAME RENAISSANCE TRADITION AS ALBERTI
3 1 2 3 1) DOME 2) NAVE 3) SIDE CHAPELS GIACOMO DA VIGNOLA, PLAN, IL GESÙ, 1568.
ALSO NOT MANNERIST! VERY RATIONAL.
MODEL FOR LATER CHURCHES
PAINTING
SPECIFIC GOALS:
RECOGNIZE BASIC FEATURES OF MANNERISM:
MANNERED – CONTRIVED, "STYLISH"
ELONGATED FIGURES
LESS EMPHASIS ON BALANCE, SYMMETRY, AND RATIONAL COMPOSITION
UNUSUAL LIGHTING EFFECTS
COMPARE AND CONTRAST MANNERIST PAINTING WITH THAT OF THE HIGH RENAISSANCE
IDENTIFY MAJOR MANNERIST ARTISTS, THEIR STYLES AND MAJOR WORKS
JACOPO DA PONTORMO,
ENTOMBMENT OF
CHRIST, CAPPONI CHAPEL, SANTA FELICITÀ, FLORENCE, ITALY, 1525–1528. OIL ON WOOD, 10' 3" X 6' 4".
WHAT'S MANNERED?
UNNATURAL SETTING, POSITIONS VOID IN CENTER NO CROSS ( INVISIBLE ) TINY HEADS, LONG LIMBS
PARMIGIANINO, MADONNA WITH THE LONG NECK, FROM THE BAIARDI CHAPEL, SANTA MARIA DEI SERVI, PARMA, 1534–1540. OIL ON WOOD, 7'1"X 4'4". UFFIZI.
ELEGANCE UNNATURALLY LONG NECK, HAND, BABY, ANGEL LEG PERSPECTIVE DISCARDED
BRONZINO, VENUS,
CUPID, FOLLY, AND
TIME, © 1546. OIL ON WOOD, 5'1"X 4'8 ¼". NATIONAL GALLERY, LONDON.
PATRON?
COSIMO I DE' MEDICI AS A GIFT FOR ANOTHER MAN (FRANCIS I, FRANCE) TOTALLY UNNATURAL AS WELL AS LASCIVIOUS "MEANING AMBIGUOUS"
TINTORETTO, LAST SUPPER, 1594. OIL ON CANVAS, 12' X 18' 8'. SAN GIORGIO MAGGIORE, VENICE.
CHRIST IN THE HOUSE OF LEVI, FROM THE REFECTORY OF SANTI GIOVANNI E PAOLO, VENICE, 1573. OIL ON CANVAS, 18'3"X 42’. GALLERIA DELL’ACCADEMIA, VENICE. ORIGINALLY TITLED THE LAST SUPPER. A VERY RICH, STYLISH, MERRY LAST SUPPER!
DETAIL, HOUSE OF LEVI: DWARF JESTER AND "BLACKAMOOR" ENTERTAINERS – NOT EXACTLY THE RIGHT MESSAGE FOR THE COUNTER-REFORMATION
DOGS, DWARF, FAT RICH LORD, ETC.
PAOLO VERONESE, TRIUMPH OF VENICE, © 1585. OIL ON CANVAS, 29'8" X 19'. CEILING OF THE HALL OF THE GRAND COUNCIL, DOGE’S PALACE, VENICE.
AWARENESS OF VIEWER! 45 o PROJECTION
BRONZINO,
PORTRAIT OF A
YOUNG MAN, © 1530– 1545. OIL ON WOOD, 3' ½" X 2' 5 ½". MET.
AND SOME MAYBE NOT MANNERIST PAINTERS . . .
WOMAN ARTIST: SOPHONSIBA ANGUISSOLA PORTRAIT OF THE ARTIST'S SISTERS AND BROTHER © 1555. OIL ON PANEL, 2' 5 ¼" X 3' 1 ½". CORSHAM COURT, WILSHIRE
WHAT STYLE?
ANGUISSOLA, SELF
PORTRAIT, 1554. OIL
ON CANVAS, 19.5 X 12.5 CM. KUNSTHISTORISCHES MUSEUM, VIENNA
ANGUISSOLA,
PRADO PHILIP II, ©
1570. OIL ON CANVAS, 88 X 72 CM. MUSEO DEL PRADO, MADRID, SPAIN ANGUISSOLA WAS COURT PAINTER TO PHILIP II
ANGUISSOLA, ELISABETH OF VALOIS © 1599. (DAMAGED) OIL ON CANVAS, 68 × 54 CM. KUNSTHISTORISCHE S MUSEUM, VIENNA.
ANGUISSOLA, SELF
PORTRAIT, 1610
CORREGIO,
ASSUMPTION OF THE
VIRGIN, CEILING OF PARMA CATHEDRAL, 1526-30. FRESCO. 35' 10" X 27' 11". RENAISSANCE, MANNERIST, EARLY BAROQUE?
CORREGIO, IO AND ZEUS, © 1530. OIL ON CANVAS, 163.5
× 70.5 CM. KUNSTHISTORISCHES MUSEUM.
ZEUS – INVISIBLE
SCULPTURE
SPECIFIC GOALS:
NOTE DISTINCTIVE ELEMENTS IN MANNERIST SCULPTURE, ESPECIALLY GROTESQUERIES AND REVIVAL OF FIGURA SERPENTINATA
IDENTIFY THE MANNERIST SCULPTORS AND THEIR MAJOR WORKS
BENVENUTTO CELLINI, SALTCELLAR OF FRANCIS I, 1540 1543. GOLD, ENAMEL, AND EBONY, 10 ¼" X 1' 1' 1 / 8 ". KUNSTHISOTRISCHES MUSEUM.
CELLINI, PERSEUS WITH
THE HEAD OF MEDUSA,
1554-55. BRONZE, 18' HIGH. LOGGIA DEI LANZI, PIAZZA DELLA SIGNORIA, FLORENCE.
GROTESQUE THEMES ALSO CHARACTERISTICALLY MANNERIST
GIOVANNI DA BOLOGNA,
ABDUCTION OF THE SABINE
WOMEN ( OR WHATEVER !), LOGGIA DEI LANZI, PIAZZA DELLA SIGNORIA, FLORENCE, ITALY, 1579–1583. MARBLE, 13'5 ½" HIGH. FIGURATA SERPENTINA (DUE TO REDISCOVERY (OR MICHELANGELO SCULPTING) THE LAOCÖON).
FIRST LARGE-SCALE 360 o SCUPTURE SINCE ANTIQUITY