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The Renaissance The beginning of Modern Europe The Renaissance • Renaissance," French for "rebirth," perfectly describes the intellectual and economic changes that occurred in Europe from the fourteenth through the sixteenth centuries. • During the era known by this name, Europe emerged from the economic stagnation of the Middle Ages and experienced a time of financial growth. Also, and perhaps most importantly, the Renaissance was an age in which artistic, social, scientific, and political thought turned in new directions. It was also the age of expansion and Discovery. Printing Press • Johannes Gutenberg 1440. • Mass production – Production of paper – Production of manuscripts. • Gutenberg Bible: 185 copies. • Communications revolution. • Exchange of ideas • Beginning of Censorship Humanism • Homogeneous group. • Study and support of the liberal arts (humanities) • Classical history and literature glory • Want to harmonize classicism and Christian faith. • When Constantinople fell the Greek scholars fled to Italy. • Spurred a revival of Greek Learning. Art and Patronage • Italians were willing to spend a lot of money on art. – Art communicated social, political, and spiritual values. – Italian banking & international trade interests had the money. • Public art in Florence was organized and supported by guilds. Therefore, the consumption of art was used as a form of competition for social & political status! The Artists • Relied on Patronage – Medici’s • Acquired more social status • Wanted to be seen as creative genius but was not always. – – – – Artist not artisan Served to princely courts Commissioned work Made pieces for the market 1. Realism & Expression Expulsion from the Garden Masaccio 1427 First nudes since classical times. 2. Perspective • the illusion of depth on a flat surface; lines appear to converge at a single point known as the vanishing point. The size of objects was reduced, colors muted and detail blurred the further away the objects grew. 2. Perspective The Trinity Perspective! Perspective! Perspective! Perspective! Perspective! Perspective! Masaccio 1427 Perspective! First use of linear perspective! What you are, I once was; what I am, you will become. 3. Classicism Greco-Roman influence. Secularism. Humanism. Individualism free standing figures. Symmetry/Balance The “Classical Pose” Medici “Venus” (1c) 4. Emphasis on Individualism Batista Sforza & Federico de Montefeltre: The Duke & Dutchess of Urbino Piero della Francesca, 1465-1466. Isabella d’Este – da Vinci, 1499 1474-1539 “First Lady of the Italian Renaissance.” Great patroness of the arts in Mantua. Known during her time as “First Lady of the World!” 5. Geometrical Arrangement of Figures The Dreyfus Madonna with the Pomegranate Leonardo da Vinci 1469 The figure as architecture! Use of Light and Shadow: • Chiaroscuro (light/dark) made lighter forms seem to emerge from darker areas, thereby producing the illusion of rounded relief on a flat surface. • Sfumato or shading. 6. Light & Shadowing/Softening Edges Sfumato Chiaroscuro Renaissance Florence Florentine lion: symbol of St. Mark 1252 – first gold florins minted The Wool Factory by Mirabello Cavalori, 1570 Lorenzo the Magnificent 1478 - 1521 Cosimo de Medici 1517 - 1574 Florence Under the Medici Medici Chapel The Medici Palace Filippo Brunelleschi 1377 - 1436 Architect Cuppolo of St. Maria del Fiore Filippo Brunelleschi • Commissioned to build the cathedral dome. – Used unique architectural concepts. • He studied the ancient Pantheon in Rome. • Used ribs for support. Brunelleschi’s “Secret” Brunelleschi’s Dome BRUNELLESCHI, Filippo Italian sculptor (b. 1377, Firenze, d. 1446, Firenze) • Called the ‘Father of Linear Perspective.’ It was Brunelleschi who first came up with a mathematical equation for projecting a three dimensional object on a two dimensional surface. The Old Sacristy of San Lorenzo was built by Brunelleschi between 1418 and 1428. The sculptural decoration was executed from 1428 to about 1443 by Donatello. Dome Comparisons Il Duomo (Florence) St. Peter’s (Rome) St. Paul’s (London) US capital (Washington) The Ideal City Piero della Francesca, 1470 A Contest to Decorate the Cathedral: Sacrifice of Isaac Panels Brunelleschi Ghiberti Ghiberti – Gates of Paradise Baptistry Door, Florence – 1425 - 1452 The Winner! The Liberation of Sculpture David by Donatello 1430 First free-form bronze since Roman times! David Verrocchio 1473 - 1475 The Baptism of Christ Verrocchio, 1472 - 1475 Leonardo da Vinci Vitruvian Man Leonardo da Vinci 1492 The L’uomo universale The Renaissance “Man” • Broad knowledge about many things in different fields. • Deep knowledge/skill in one area. • Able to link information from different areas/disciplines and create new knowledge. • The Greek ideal of the “well-rounded man” was at the heart of Renaissance education. 1. Self-Portrait -- da Vinci, 1512 Artist Sculptor Architect Scientist Engineer Inventor 1452 - 1519 Leonardo, the Artist The Virgin of the Rocks Leonardo da Vinci 1483-1486 Leonardo, the Artist: From hisNotebooks of over 5000 pages (1508-1519) Mona Lisa – da Vinci, 1503-4 A Macaroni Mona A Picasso Mona An Andy Warhol Mona A “Mona”ca Lewinsky Mona Lisa OR da Vinci?? The Last Supper - da Vinci, 1498 & Geometry Refractory Convent of Santa Maria delle Grazie Milan vertical The Last Supper - da Vinci, 1498 horizontal Perspective! Deterioration Detail of Jesus The Last Supper Leonardo da Vinci 1498 A Da Vinci “Code”: St. John or Mary Magdalene? Leonardo, the Sculptor An Equestrian Statue 1516-1518 Leonardo, the Architect: Pages from his Notebook Study of a central church. 1488 Leonardo, the Architect: Pages from his Notebook Plan of the city of Imola, 1502. Leonardo, the Scientist (Biology): Pages from his Notebook An example of the humanist desire to unlock the secrets of nature. Leonardo, the Scientist (Anatomy): Pages from his Notebook Leonardo, the Inventor: Pages from his Notebook Man Can Fly? Leonardo, the Engineer: A study of siege defenses. Pages from his Notebook Studies of water-lifting devices. Leonardo da Vinci…. O investigator, do not flatter yourself that you know the things nature performs for herself, but rejoice in knowing that purpose of those things designed by your own mind. Comparing Domes 2. Michelangelo Buonorrati 1475 – 1564 He represented the body in three dimensions of sculpture. David Michelangelo Buonarotti 1504 Marble 15c What a difference a century makes! 16c The Popes as Patrons of the Arts The Pieta Michelangelo Buonarroti 1499 marble The Sistine Chapel Michelangelo Buonarroti 1508 - 1512 The Sistine Chapel’s Ceiling Michelangelo Buonarroti 1508 - 1512 The Sistine Chapel Details The Creation of the Heavens The Sistine Chapel Details Creation of Man A Modern “Adaptation” Joe Gallo in the New York Daily News, 2004 The Sistine Chapel Details The Fall from Grace The Sistine Chapel Details The Last Judgment Minos, the Judge of the Underworld. According to Vasari, the artist gave Minos the semblance of the Pope's Master of Ceremonies, Biagio da Cesena, who had often complained to the Pope about the nudity of the painted figures. Christ as a young Apollo. The artist's self-portrait appears twice in the Last Judgment: in the flayed skin which Saint Bartholomew is carrying in his left-hand, and in the figure in the lower left hand corner, who is looking encouragingly at those rising from their graves. 3. Raffaello Sanzio (1483-1520) Self-Portrait, 1506 Portrait of the Artist with a Friend, 1518 Baldassare Castiglione by Raphael, 1514-1515 Castiglione represented the humanist “gentleman” as a man of refinement and self-control. Perspective! Betrothal of the Virgin Raphael 1504 Raphael’s Canagiani Madonna, 1507 Raphael’s Madonnas (1) Sistine Madonna Cowpepper Madonna Raphael’s Madonnas (2) Madonna della Sedia Alba Madonna The School of Athens – Raphael, 1510 -11 • One point perspective. • All of the important Greek philosophers and thinkers are included all of the great personalities of the Seven Liberal Arts! • A great variety of poses. • Located in the papal apartments library. • Raphael worked on this commission simultaneously as Michelangelo was doing the Sistine Chapel. The School of Athens – Raphael, 1510 -11 Da Vinci Raphael Michelangelo School of Athens In his Painting of famous Greek figures, Raphael immortalizes his contemporaries with portraits. Bramante ? LEONARDO MICHELANGELO Raphael himself The School of Athens – Raphael, details Plato: looks to the heavens [or the IDEAL realm]. Aristotle: looks to this earth [the here and now]. Hypatia Pythagoras Zoroaster Ptolemy Euclid The Liberation of St. Peter by Raphael, 1514 Portrait of Pope Julius II by Raphael, 1511-1512 More concerned with politics than with theology. The “Warrior Pope.” Great patron of Renaissance artists, especially Raphael & Michelangelo. Died in 1513 Pope Leo X with Cardinal Giulio deMedici and Luigi De Rossi by Raphael, 1518-1519 A Medici Pope. He went through the Vatican treasury in a year! His extravagances offended even some cardinals [as well as Martin Luther!]. Started selling indulgences. Birth of Venus – Botticelli, 1485 An attempt to depict perfect beauty. 2002 Euro Coin Botticelli’s Venus Motif. 10¢ Italian Euro coin. Primavera – Botticelli, 1482 Depicted classical gods as almost naked and life-size. A Portrait of Savonarola By Fra Bartolomeo, 1498. Dominican friar who decried money and power. Anti-humanist he saw humanism as too secular, hedonistic, and corrupting. The “Bonfire of the Vanities,” 1497. / Burned books, artwork, jewelry, and other luxury goods in public. / Even Botticelli put some of his paintings on the fire!! The Execution of Savonarola, 1452 The Doge, Leonardo Loredon Berlini, 1501 Venus of Urbino – Titian, 1558 The Penitent Mary Magdalene by Titian, 1533 By the mid-16c, High Renaissance art was declining. Mannerism became more popular. This painting is a good example of this new artistic style. • Titian was neither such a universal scholar as Leonardo, nor such an outstanding personality as Michelangelo, nor such a versatile and attractive man as Raphael. He was principally a painter, but a painter whose handling of paint equaled Michelangelo's mastery of draughtsmanship. This supreme skill enabled him to disregard all the timehonored rules of composition, and to rely on color to restore the unity which he apparently broke up. Madonna with Saints and Members of the Pesaro Family c.1519-26 Oil on canvas, 478 x 266 cm. Santa Maria Gloriosa dei Frari, Venice MANNERISM • A movement in Italian art from about 1520 to 1600. Developing out of the Renaissance, Mannerism rejected Renaissance balance and harmony in favor of emotional intensity and ambiguity. In Mannerist painting, this was expressed mainly through severe distortions of perspective and scale; complex and crowded compositions; strong, sometimes harsh or discordant colors; and elongated figures in exaggerated poses. In architecture, there was a playful exaggeration of Renaissance forms (largely in scale and proportion) and the greater use of bizarre decoration. Mannerism gave way to the Baroque. • Leading Mannerist artists include Pontormo, Bronzino, Parmigianino, El Greco and Tintoretto. Andrea Mantegna The Lamentation over the Dead Christ c. 1490 Tempera on canvas, 68 x 81 cm Pinacoteca di Brera, Milan Mantegna, Andrea (1431-1506), one of the foremost north Italian painters of the 15th century. A master of perspective and foreshortening, he made important contributions to the compositional techniques of Renaissance painting. ANDREA MANTEGNA Painter of Mantua (1431-1506) This painting was destroyed during WWII. It shows St. James being led to execution from the viewpoint of the kneeling Jailor who begs St. James for forgiveness. (and apparently is receiving it.) St. James led to Martyrdom, c. 1455 Sixteenth-Century Art in Northern Europe and Spain. Martin Luther as a young Monk ALTDORFER, Albrecht 1480-1538 The Battle of Alexander 1529 Wood, 158,4 x 120,3 cm Alte Pinakothek, Munich • This is the most famous painting of Altdorfer. • Victory of the young Alexander the Great in 333 B.C. over the Persian army of King Darius in the battle of Issus. • The battle took place in Turkey, however, on this painting it is shown in the rocky environment of the Alps with German cities in the background. Albrecht DÜRER b. 1471, Nürnberg, d. 1528, Nürnberg Age 13 Self Portraits done between 1484 and 1500 • Painter and printmaker generally regarded as the greatest German Renaissance artist. His vast body of work includes altarpieces and religious works, numerous portraits and selfportraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavor than the rest of his work. Albrecht DÜRER To Dürer's about 60 paintings more than a thousand drawings and watercolours, about 250 woodcuts, 96 engravings, 6 etchings, and 3 drypoints should be added. Dürer was primarily a graphic artist indubitably the greatest draftsman of his time, and among the most accomplished draftsmen that ever lived. • Dürer was the first German artist to find new opportunities for production and distribution. He was the first to introduce the production of printed graphics in his own publishing business on an equal footing with the running of a painter's workshop. The Revelation of St John: 4. The Four Riders of the Apocalypse 1497-98 Woodcut, 399 x 286 mm Kupferstichkabinett, Staatliche Kunsthalle, Karlsruhe Albrecht DÜRER • Portrait of Hieronymus Holzschuher 1526 Oil on panel, 51 x 37 cm Staatliche Museen, Berlin • Inscription in the top left: HIERONIMVS HOLTZSHVER ANNO DO[MI]NI 1526 AETATIS SVE 57; to the right, near the head, monogrammed. Albrecht DÜRER • On 6 October 1526 the artist offered The Four Holy Men to the city fathers of Nuremberg. • The council gratefully accepted the gift, hanging the two works in the upper government chamber of the city hall. • Dürer was awarded an honorarium of 100 florins. The four monumental figures remained in the municipality of Nuremberg until 1627, when, following threats of repression, they had to be sold to the elector of Bavaria, Maximilian I, a great enthusiast of Dürer's work The Four Holy Men, 1526 Oil on lindenwood, 215 x 76 cm (each panel) Alte Pinakothek, Munich DÜRER: Wood cuts and ingravings • During 1513 and 1514, Dürer created the greatest of his copperplate engravings: the Knight, St Jerome in His Study, and Melencolia I - all of approximately the same size. Adam and Eve 1504 Engraving, 252 x 194 mm Staatliche Kunsthalle, Karlsruhe Knight, Death and the Devil, 1513 • Knight, Death and the Devil, also known as The Rider, represents an allegory on Christian salvation. Unflustered either by Death who is standing in front of him with his hour-glass, or by the Devil behind him, an armored knight is riding along a narrow defile, accompanied by his loyal hound. This represents the steady route of the faithful, through all of life's injustice, to God who is symbolized by the castle in the background. The dog symbolizes faith, and the lizard religious zeal. The horse and rider, like other preliminary studies made by Dürer, are derived from the canon of proportions drawn up by Leonardo da Vinci. Engraving, 245 x 188 mm Staatliche Kunsthalle, Karlsruhe Melencolia I • • Dürer's greatest achievement in printmaking were the three engravings of 1513-14, regarded as his masterpieces. Melencolia I is by far the most complex of the three master engravings. On the wall of the building hang a bell, an hourglass, scales and a magic square of 16 numerals (with each line adding up to 34). A dog sleeps at Melancholy's feet and a cherub sits astride an upturned millstone. A bat-like creature holds up the inscription `Melencolia I'. The dog and bat correspond to this melancholy humour. Melancholy was considered to be both a negative and positive power of the mind, as represented by the bat and writing putto. Melencolia I, 1514 Engraving, 239 x 189 mm Kupferstichkabinett, Staatliche Kunsthalle, Karlsruhe Hans HOLBEIN the Younger • In the first years after Holbein's return to England, the Steelyard merchants were by no means his only clients. His reputation as a brilliant portraitist had undoubtedly penetrated court circles, because in 1533 Holbein was commissioned by the French ambassador Jean de Dinteville (c. 1503 -1555) to paint the largest and most splendid panel painting in Holbein's hand to survive to this day, namely the Double Portrait of Jean de Dinteville and Georges de Selve, widely known as The Ambassadors. Anamorphic Art • Anamorphic pictures are drawings and paintings which appear distorted and almost unrecognizable to the unaided eye. However, when they are viewed from a particular perspective or using a "decoding device" they are easily interpreted as recognizable images. • In the lower half of this picture there is an oblong shape, which, with a little inspection, you should be able to make out as the distorted image of a human skull. • The skull achieves its true shape if you view it from the right hand side and very close to the plane of the painting. From this unconventional viewpoint, you will see something like… …this! Now do you see it? • Whereas the astronomical globe on the upper shelf helps to identify the stars, the lower globe shows the Earth. In the centre, the word Polisy can be made out, the place where Jean de Dinteville had his château, for which the picture was intended. Besides this are two opened books, plus dividers, a lute with a broken string, and a bag with wooden flutes. The arithmetical book has been identified as Peter Apian's (1495-1552) book Eyn Newe unnd wohlgegründte underweysung aller Kauffmanss Rechnung (A new and thorough instruction in all mercantile calculations), published 1527, while the hymnal contains two songs from Johannes Walther's (14961570) Lutheran hymnal published in Wittenberg in 1524. The Ambassadors (detail) This image most likely was made by the help of a Camera Obscura. Camera Obscura • For the most part, art historians have long assumed that most of the Old Masters achieved their astonishing effects either through preternaturally gifted "eyeballing" or else (in the wake of the Italian Renaissance) through recourse to elaborate mathematical perspectives. Over the last few years, however, David Hockney and his collaborator, the physicist Charles Falco have been exploring an alternative possibility, The Camera Obscura. (Latin for ‘dark room’.) Detail form the French Ambassadors. • The earliest mention of this type of device was by the Chinese philosopher Mo-Ti (5th century BC). • The image quality was improved with the addition of a convex lens into the aperture in the 16th century and the later addition of a mirror to reflect the image down onto a viewing surface. • The term "camera obscura" was first used by the German astronomer Johannes Kepler in the early 17th century. He used it for astronomical applications and had a portable tent camera for surveying in Upper Austria. Pieter Bruegel the Elder • The Harvesters 1565 Oil on wood, 118.1 x 160.7 cm Metropolitan Museum of Art, New York • Pieter Bruegel the Elder, the greatest Flemish painter of the 16th century, whose landscapes and vigorous, often witty scenes of peasant life are particularly renowned. He spelled his name Brueghel until 1559, and his sons retained the "h" in the spelling of their names. Since Bruegel signed and dated many of his works, his artistic evolution can be traced from the early landscapes, in which he shows affinity with the Flemish 16th-century landscape tradition, to his last works, which are Italianate. He exerted a strong influence on painting in the Low Countries, and through his sons Jan and Pieter he became the ancestor of a dynasty of painters that survived into the 18th century. Pieter Bruegel The Peasant Dance, 1568 Oil on oak panel, 114 x 164 cm Kunsthistorisches Museum, Vienna Genre Art: Depiction of Everyday scenes • The depiction of scenes from everyday life. Elements of everyday life had long had a role in religious works; pictures in which such elements were the subject of a painting developed in the 16th century with such artists as Pieter Bruegel. Then Carracci and Caravaggio developed genre painting in Italy, but it was in Holland in the 17th century that it became an independent form with its own major achievements, Vermeer being one of its finest exponents. Peasant wedding c. 1568 Oil on wood, 114 x 164 cm Kunsthistorisches Museum, Vienna Jean CLOUET, b. 1485/90, Bruxelles, d. 1541, Paris • French artist of Flemish origin, and probably the son of another Jean Clouet, a Flemish artist who came to France in about 1460. He is renowned for his superb royal portraits, although no completely verifiable works exist today. Portrait of François I, King of France. 1525-30 Wood, 96 x 74 cm Musée du Louvre, Paris Jean Goujon, 1510-1565 • One of the most famous work of Goujon is the Fontaine des Innocents, erected in 1550 in rue aux Fers in Paris. There six narrow reliefs representing nymphs holding urns in various positions. • These caryatid-type figures are adapted from the stucco decorations and were to become so marked a feature of French sculpture. Panels of the Nymphs on the Fountain of the Innocents in Paris 1547-49 Marble Musée du Louvre, Paris Spain in The 16th Century • Juan Buatista de Toldeo was a Spaniard who studied in Rome with Michelangelo Buonarroti before being recalled to Spain by Phillip II. His major work was the palace of the Escorial, (Right) begun by him in 1563, and finished after his death by Juan de Herrera, who became the favorite architect of Phillip II. Juan de Herrera El Greco, (The Greek) • The contract for the painting is dated 18th March 1586. El Greco agreed to finish the painting by Christmas of the same year. This commission again resulted in litigation over the valuation, the final outcome of which was that the artist accepted the amount of the original valuation, 1200 ducados. The Burial of Count Orgaz 1586 Oil on canvas, 480 x 360 cm Santo Tomé, Toledo Self portrait: Detail from the Burial of Count Orgaz • El Greco was a "Spanish" Mannerist painter, whose work, with that of Francisco de Goya and Diego Velázquez, represents the acme of Spanish art. El Greco, (b. 1541, Candia, d. 1614, Toledo) • Portrait of his friend, the great Toledan poet (1580- 1633). Paravicino, in his sonnet celebrating the portrait, tells us that it was painted when he was twenty-nine years of age. The complete frontality of the pose, the enormous simplicity, and the absence of any setting contribute to the feeling of spiritual presence, comparatively absent from the splendid portrait of Cardinal Guevara. The inspired rhythm and handling is no less a living thing than the man himself. It is one of the greatest masterpieces of portraiture and Portrait of Hortensio Felix Paravicino painting of all time. c. 1609, Oil on canvasm, Museum of Fine Arts, Boston