Transcript itITALIAN CINQUECENTO ART: HIGH RENAISSANCE AND …

itITALIAN CINQUECENTO ART:
HIGH RENAISSANCE AND MANNERISM
EUGENIA LANGAN
MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA
WITH APOLOGIES TO FRED KLEINER
THEME
P = PYRAMID AND PROPORTION—
AND PMA AGAIN
A
P
M
WITH ANATOMY AT APEX, AND PERSPECTIVE AND
MODELING AS BASES – AND A CLASSICAL ERA ROMAN
PYRAMID!
GENERAL GOALS:
 UNDERSTAND THE TRANSITION FROM THE EARLY
RENAISSANCE TO THE HIGH RENAISSANCE.
 REALIZE WHY ROME REPLACES FLORENCE AS THE
NEW EPICENTER OF THE RENAISSANCE.
 GIVE EXAMPLES OF MAJOR
ARTISTIC/ARCHITECTURAL PROJECTS UNDERTAKEN
IN ROME.
 RECOGNIZE THE TECHNICAL AND AESTHETIC
ACHIEVEMENTS OF THE HIGH RENAISSANCE AND THE
MANNERIST ERA.
 EXAMINE THE LIVES AND WORKS OF THE
GREAT INDIVIDUAL ARTISTS OF THE HIGH
RENAISSANCE.
 UNDERSTAND THE DIVERSE CONTRIBUTIONS
OF WOMEN AS PATRONS, ARTISTS, AND MUSES
 UNDERSTAND THE DISTINCTIONS BETWEEN
THE HIGH RENAISSANCE AND MANNERIST
WORKS OF ART.
TIMELINE
 [1492: DISCOVERY OF AMERICAS]
 1494 – 1559: ITALIAN WARS AKA HAPSBURG-VALOIS
WARS -- ALWAYS IN THE BACKGROUND 
PERIPATETIC ARTISTS, AND 
 ROME RESURGENT UNDER POPE ALEXANDER VI
(BORGIA), 1492 - 1503 AND JULIUS II (1503 - 1513) –
POPES BECOME ART PATRONS
 1509: POPE JULIUS II ("WARRIOR POPE) DECIDED
TO TEAR DOWN OLD SAINT PETER'S AND REBUILD
NEW BASILICA – SALES OF INDULGENCES TO FINANCE
THIS BEGIN
 OCTOBER 31, 1517: LUTHER POSTS NINETY-FIVE
THESES ON THE POWER AND EFFICACY OF
INDULGENCES ON THE DOOR OF THE CASTLE
CHURCH, WITTENBURG -- REFORMATION BEGINS
 1517 – 60 – PROTESTANTISM SPREAD TO PARTS
OF HOLY ROMAN EMPIRE (PROTEST AT SPEIER
1529), AND TO SWITZERLAND, SCANDINAVIA,
ENGLAND AND NETHERLANDS (AND PARTS OF
FRANCE AND ITALY)
 1527: SACK OF ROME (BY HRE)
 1545 – 63: COUNCIL OF TRENT – COUNTERREFORMATION
REFORMATION AND COUNTER-REFORMATION (OLIVE
= CATHOLIC, BLUE = PROTESTANT)
HIGH RENAISSANCE
PAINTING AND SCULPTURE
GENERAL OBJECTIVE: RECOGNIZE THE
ACHIEVEMENTS, STYLES AND WORKS OF
INDIVIDUAL ARTISTS
LEONARDO
 PAINTER, NATURALIST, INVENTOR.
SUPERB MASTER OF LINE, PIONEER OF
SFUMATO AND UNIFIED REPRESENTATION OF
FIGURES AND OBJECTS IN ATMOSPHERIC
SETTING -- PAINTER OF THE SOUL’S INTENT.
LEONARDO DA VINCI,
VITRUVIAN MAN, © 1427. PEN
AND INK OVER METALPOINT
ON PAPER, 13 ½" X 10".
GALLERIE DELL'
ACCADEMIA, VENICE
BASED ON VITRUVIUS'
CANON OF PROPORTIONS
SHOWS CLASSICAL
INFLUENCE, AND ALSO
LEONARDO'S EFFORT TO
RELATE PERFECT
ANATOMICAL PROPORTION
TO DIVINE MATHEMATICAL
ORDER OF UNIVERSE
LEONARDO, THE
FETUS AND LINING OF
THE UTERUS, © 1511–
1513. WASH, OVER
RED CHALK AND
TRACES OF BLACK
CHALK ON PAPER, 1’ 8
5/8”. ROYAL LIBRARY,
WINDSOR CASTLE.
CUTAWAY VIEW.
SHOWS HIS INTENSE
INTEREST IN
UNDERSTANDING
NATURE
LEONARDO, MADONNA OF
THE ROCKS, FROM SAN
FRANCESCO GRANDE,
MILAN, ITALY, BEGUN 1483.
OIL ON WOOD
(TRANSFERRED TO
CANVAS), 6' 6 ½" X 4'.
LOUVRE.
SFUMATO, PYRAMIDICAL
COMPOSITION, GOLDEN
RATIO, LINEAR AND
ATMOSPHERIC
PERSPECTIVE, GESTURES
AND COLOR UNIFIED
REPRESENTATION IN
ATMOSPHERIC SETTING
LEONARDO, ADORATION OF THE MAGI, 1451 -52,
MONOCHROME ON PANEL (UNFINISHED PAINTING), 8' X 8' 1",
UFFIZI
LEONARDO, MONA
LISA (LA GIACONDA), ©
1503–1505. OIL ON
WOOD, 2' 6 ¼" X 1' 9".
LOUVRE.
MONA LISA: SFUMATO
LEONARDO, LAST SUPPER, © 1495-98. OIL AND
TEMPERA ON PLASTER. REFECTORY, SANTA MARIA
DELLE GRAZIE, MILAN. LINEAR PERSPECTIVE,
LIGHT, COMPOSITION, GESTURES
LEONARDO, CARTOON
FOR MADONNA AND
CHILD WITH SAINT
ANNE AND THE INFANT
SAINT JOHN, © 1505–
1507. CHARCOAL
HEIGHTENED WITH
WHITE ON BROWN
PAPER, 4' 6" X 3' 3".
NATIONAL GALLERY,
LONDON.
EVEN IN A SKETCH, A
MASTER OF LIGHT!
MICHELANGELO
 EXCELLENT PAINTER, MASTER SCULPTOR,
ARCHITECT -- THE MAN IN DEMAND: A STAR!
HIS PAINTING
INTERIOR OF
THE SISTINE
CHAPEL
(LOOKING
EAST),
VATICAN CITY,
BUILT 1473.
MICHLANGELO
BUONARROTI, CEILING
OF THE SISTINE CHAPEL,
VATICAN CITY, ROME,
ITALY, 1508-1512. FRESCO,
128' X 45'.
MICHELANGELO BUONAROTTI, CREATION OF ADAM
DETAIL., SISTINE CHAPEL CEILING, 1511–1512. FRESCO,
9' 2" X 18' 8". BEFORE THE "RESTORATION."
INTENSE HUMANISM (GOD MADE IN MAN'S IMAGE),
FASCINATION WITH MALE ANATOMY
AFTER "RESTORATION".
NEXT SLIDE = LEFT SIDE OF CEILING AFTER
"RESTORATION"
"RESTORATION"
OF LUNETTE
SIBYL.
RESTORERS
ASSUMED, AMONG
OTHER THINGS,
THAT
MICHELANGELO
WORKED ONLY IN
BUON FRESCO,
AND THEREFORE
ANY MODELING
OR DETAIL
"ABOVE" PLASTER
WAS JUST DIRT OR
WORK OF
EARLIER
RESTORERS
MICHELANGELO,
THE LAST
JUDGMENT,
ALTAR (EASTERN)
WALL AND
LUNETTES,
SISTINE CHAPEL,
1535 – 41.
WHAT HAD
HAPPENED SINCE
HE PAINTED THE
CEILING?
SACK OF ROME,
AND
REFORMATION
DETAIL OF LAST
JUDGMENT: ST.
BARTHOLOMEW
DISPLAYING HIS
FLAYED SKIN
NUDE FIGURES  "FIG
LEAF" CAMPAIGN
(COUNTERREFORMATION).
GENITALIA WERE
COVERED BY DANIELE
DA VOLTERRA, "IL
BRAGHNETTONE" =
"THE BREECHES
PAINTER"
DETAIL OF LAST
JUDGMENT: SINNER
AND DEMONS
HIS SCULPTURE
MICHELANGELO,
PIETÁ, 1498-1500.
MARBLE, 5' 8 ½" HIGH.
SAINT PETER’S,
VATICAN CITY.
NATURALISTIC?
NO! SHE'S TOO YOUNG,
BUT "CHASTE WOMEN
REMAIN FAR FRESHER
THAN THOSE WHO ARE
NOT CHASTE"
ACCORDING TO M.
SHE IS ALSO TOO BIG:
ALL ENCOMPASSING
MATER DOLOROSA
(INANNA, ISHTAR, ISIS,
ETC.)
MICHELANGELO, DAVID,
FROM PIAZZA DELLA
SIGNORIA, FLORENCE,
ITALY, 1501–1504. MARBLE,
17' HIGH. GALLERIA
DELL’ACCADEMIA,
FLORENCE.
CLASSICAL-PLUS!
DETAILS, DAVID. NOTE VEINS IN HAND AND ON
ARM!
MICHELANGELO,
MOSES, FROM THE
TOMB OF POPE
JULIUS II, ROME,
ITALY, © 1513–1515
MARBLE, 7' 8 ½"
HIGH. SAN PIETRO
IN VINCOLI,
ROME.
MICHELANGELO, BOUND SLAVE
(REBELLIOUS CAPTIVE), FROM
THE TOMB OF POPE JULIUS II,
ROME, ITALY, © 1513–1516.
MARBLE, 7' 5/8" HIGH. LOUVRE.
MICHELANGELO,
TOMB OF CARDINAL
GIULIANO DE’ MEDICI,
NEW SACRISTY
(MEDICI CHAPEL),
SAN LORENZO,
FLORENCE, ITALY,
1519–34. MARBLE,
CENTRAL FIGURE 5'
11" HIGH.
CARDINAL AS ROMAN
EMPEROR; TORTURED
NIGHT, EXHAUSTED,
STRESSED-OUT DAY
(CONTORTION)
MAYBE NEOPLATONIC
CARDINAL GIULANO DE'
MEDICI
IDEALIZED EMPEROR –
COMPARE STATURE OF
AUGUSTUS AS GENERAL
NIGHT AND DAY FROM TOMB OF GIULANO
DE' MEDICI
NIGHT AND NIGHMARES
MICHELANGELO,
TOMB OF LORENZO
DE MEDICI, 1524-31
DAWN AND DUSK,
AND SOLDIER
EMPEROR
LORENZO
DE' MEDICI
(HE HAD
DIED IN
1492)
RAPHAEL
 RAFFAELO SANZI, YOUNGER MASTER PAINTER,
INCORPORATED STYLES OF BOTH LEONARDO AND
MICHELANGELO IN OWN UNIQUE STYLE
RAPHAEL, MARRIAGE OF
THE VIRGIN, FROM THE
CHAPEL OF SAINT JOSEPH
IN SAN FRANCESCO,
CITTÀ DI CASTELLO,
ITALY, 1504. OIL ON
WOOD, 5' 7" X 3' 10 ½".
PINACOTECA DI BRERA,
MILAN.
WHOSE INFLUENCE?
PERUGINO – RAPHAEL
TRAINED IN PERUGINO'S
STUDIO
RAPHAEL, MADONNA IN
THE MEADOW, 1505-06.
OIL ON WOOD, 3' 8 ½" X
2' 10 ¼".
KUNSTHISTORISHCHES
MUSEUM, VIENNA
WHOSE INFLUENCE?
LEONARDO
PYRAMIDICAL
COMPOSITION,
CHIAROSCURO,
UNIFIED, NATURALISM
AND NATURAL SETTING
HOW DIFFERENT?
LIGHT TONES, OPEN
LANDSCAPE, SUNSHINE
INSTEAD OF SHADE
DETAIL, MADONNA IN THE MEADOW
RAPHAEL, PHILOSOPHY (SCHOOL OF ATHENS), STANZA
DELLA SIGNATURA, VATICAN PALACE, 1509-11. FRESCO, 19' X
27' . COMPARE TO LEONARDO'S LAST SUPPER
DETAIL, PHILOSOPHY:
PLATO (LEONARDO?) AND
ARISTOTLE. HEAVEN AND
EARTH. HUMANITIES AND
SCIENCE/MATH
HUMANITES UNDER PLATO, SCIENCE AND MATH UNDER ARISTOTLE:
NOTE THAT PYTHAGORUS IS ON THE HUMANITIES SIDE, RAPHAEL ON THE
MATH AND SCIENCE SIDE, AND MICHELANGELO IS IN THE MIDDLE
1: ZENO OF CITIUM; 2: ESPICURIUS; 3: (FEDERICO II OF MANTUA?);
4: (ANILICUS? MANLIUS? BOETHIUS? ANAXIMANDER?); 5: AVERROES;
6: PYTHAGORUS; 7: (ALEXANDER THE GREAT? ALC IBIADES?;
8: (ANEISTHENES ? XENOPHON?) ; 9L HYPATIA 10: (AESCHINES?
XENOHON? ); 11: (PARMENIDES?); 12: SOCRATES; 13: HERACLITUS
(MICHELANGELO); 14: PLATO (LEONARDO); 15: ARISTOTLE; 16:
DIOGENESE; 17: PLOTINUS (DONATELLO?); 18: (EUCLID?
ARCHIMENIDES WITH STUDENTS INCLUDING BRAMANTE?); 19:
ZOROASTER; 20: PTOLEMY? WITH APELLES (RAPHAEL); 21:
PROTOGENES (PERUGINO?)
DETAIL, PHILOSOPHY:
PLATO (LEONARDO?) AND
ARISTOTLE. HEAVEN AND
EARTH. HUMANITIES AND
SCIENCE/MATH
RAPHAEL, GALATEA,
SALA DI GALATEA,
VILLA FARNESINA,
ROME, ITALY, 1513.
FRESCO, 9' 8" X 7' 5".
INFLUENCE?
MICHELANGELO –
BUT THEME FROM
SECULAR POEM, AND
"SUNNY"
RAPHAEL,
BALDASSARE
CASTIGLIONE, ©
1514. OIL ON
CANVAS, 2' 6 ¼" X 2'
2 ½". LOUVRE.
SAME POSE AND
DARK PALETTE AS
MONA LISA
.
AUTHOR OF BOOK
OF THE COURTIER
VENETIAN PAINTERS
 BELLINI, GIORIGIONE, TITIAN: EARLY USE OF OIL
PAINTS, RICH COLOR MORE IMPORTANT THAN LINE,
OFTEN POETIC, SENSUOUS SECULAR SUBJECTS
GIOVANNI BELLINI, SAN
ZACCARIA ALTARPIECE,
1505. OIL ON WOOD
TRANSFERRED TO
CANVAS, 16' X 7' 9". SAN
ZACCARIA, VENICE.
SAGRA CONVERAZIONE
LINE LESS IMPORTANT
THAN COLOR
BELLINI AND TITIAN, FEAST OF THE GODS FROM THE
CAMERINO D'ALABASTRO, PALAZZ0 DUCAL, FERRARA,. 1529.
NATIONAL GALLERY, D.C.
ACADIAN LANDSCAPE, COLOR MOST IMPORTANT ELEMENT
GIORIGIONE DA CASTELFRANCO AND/OR TITIAN,
PASTORAL SYMPHONY © 1508 -10. OIL ON CANVAS, 3' 7 ¼" X
4' 6 ½". LOUVRE. MOOD (SOME SFUMATO), COLOR – AND
THE TASTE OF PATRONS FOR SENSUOUS PAINTINGS
GIORGIONE,
THE TEMPEST,
© 1508 -10. OIL
ON CANVAS, 2'
8 ¼" X 2' 4 ¼".
LOUVRE
LANDSCAPE
MORE
IMPORTANT
THAN
CHARACTERS?
WHO ARE
THESE PEOPLE,
ANYWAY?
TITIAN, ASSUMPTION OF
THE VIRGIN, 1516-18. OIL
ON WOOD, 22' 7 ½" X 11'
10". SANTA MARIA
GLORIOSA DEI FRARI,
VENICE
COLOR  LIGHT
GOING FOR BAROQUE?
TITIAN, MADONNA OF
THE PESARO FAMILY,
1519–1526. OIL ON
CANVAS, 15' 11' X 8’'10'.
PESARO CHAPEL,
SANTA MARIA DEI
FRARI,VENICE.
PATRON (BISHOP
JACOPO PESANO) IN
SACRA
CONVERSAZIONE WITH
BVM AND SAINTS,
OTHER PESANOS LOOK
ON
ASSYMETRICAL,
DIAGONAL
COMPOSITION 
MOTION
TITIAN, MEETING OF BACCHUS AND ARIADNE, CAMARINO
D'ALABASTRO, PALAZZO DUCAL, FERRARA, 1522 -23. OIL
ON CANVAS, 5' 9" C. 6' 3". NATIONAL GALLERY, LONDON
TITIAN, VENUS OF URBINO, 1538. OIL ON CANVAS, 3' 11" X. 5' 5".
UFFIZI. NOT AS MODEST AS A STANDING VENUS! ESTABLISHED
A CONVENTION: RECLINING NUDE. NOTE COMPOSITION!
DETAIL, VENUS OF URBINO (EVEN THE SPANIEL
HAS SOME RED HAIR!)
TITIAN, ISABELLA D'ESTE,
1534 – 1536. OIL ON
CANVAS, 3' 4 ½" X 2' 1 3/16".
KUNSTHISTORISCHES
MUSEUM, VIENNA
POWER AND AUTHORITY!