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Chapter 22
Italy, 1500 To 1600
1. Lecture Strategies and Key Ideas.
This chapter discusses the High Renaissance art of 16th-century Italy with
emphasis on the Three Great Masters: Leonardo da Vinci, Michelangelo (as
architect, painter and sculptor) and Raphael. Students should become
familiar with the High Renaissance’s ideals of individualism, order, beauty
and balance to understand the period’s interest in classical ideals and art.
Students should also be aware of the period’s architecture and how it
reflects High Renaissance ideals.
Teachers may wish to break up this chapter into five modules:
(1) The High Renaissance art of Leonardo and Raphael,
(2) The art of Michelangelo,
(3) The architecture of Rome and St. Peters,
(4) Venetian School of Bellini, Giorgione and Titian, and
(5) Late Renaissance “Mannerist” movement.
A welcome addition to this edition of Gardner’s is its discussion of Women in
the Renaissance Art World.
“Heads Up.” From the amount of pages of text devoted to architecture in
this chapter students are expected to know the design of High Renaissance
buildings, especially that of St. Peter’s Basilica.
It is useful to tell students that when confronted by a building to ask
themselves, “What classical elements are present?” By pinpointing what
they see and by employing the classical architectural vocabulary learned in
their study of Greek and Renaissance architecture, students can both
describe a building and associate it with the Classical ideals of order,
balance and reason.
Gender. Titian’s “Venus of Urbino” (FIG. 22-40) is the first of the modern
era's female nudes that will be studied. It is a painting admired and copied
by generations of artists. Sofonisba Anguissola (1527-1625) is the first
female artist highlighted in the text and, as a woman artist, should be known
to students for her contributions to family portraiture and the portrayal of
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intimacy (see also the page one Women in the Renaissance Art World). There
are many opportunities for students to discuss how the High Renaissance
artist portrayed women. In sculpture, Michelangelo’s "David" is perhaps the
most famous Renaissance art piece, but students will also see many
depictions of women. (For example, the nude figures in Bologna’s
“Abduction of the Sabine Women”, FIG. 22-48). In paintings of the human
body, consider directing students' attention to Giorgione’s “Pastoral
Symphony” (FIG. 22-35) and to Titian’s “Venus of Urbino” (FIG. 22-40).
Even more attractive may be the choice of one of the Mannerists, who broke
with classical ideals and presented contorted, twisted or elongated figures.
See Pontormo’s “Descent from the Cross” (FIG. 22-42) and Parmigianino’s
“Madonna with the Long Neck” (FIG. 22-43).
Patronage. Students should be aware of the continued importance of the
Church’s role as patrons, especially by Rome and the Popes, including Julius
II who was responsible for funding many of Michelangelo's works. Students
can also see the importance of patronage in Titian’s “Madonna of the Pesaro
Family” (FIG. 22-38) where the patrons enjoy the same stage as the
Madonna.
Narrative in Art. A fine comparison of the “Last Supper” story might be
written by having students compare the interpretations of the event by
Leonardo (FIG. 22-4) and by Tintoretto (FIG. 22-47). Titian’s “Meeting of
Bacchus and Ariadne” (FIG. 22-39) provides material for a discussion of
mythological narrative.
2. Key Vocabulary (not including artists names or works)
Medici
Julius II
Vatican
St. Peter’s
Terribilita
sfumato
Tempietto
Vasari
Renaissance ideals Neoplatonism
Mannerism
Venice
Sistine ceiling
Captoline Hill
Palazzo del Te
Palladian
Il Gesu
Loyola
3. Key Images from Gardner’s Art Through the Ages.
Artist
Gardner
FIG. Number
Subject
Leonardo
Leonardo
22-2
22-4
Madonna of Rocks pyramid, “soul”
Last Supper
dramatic narrative
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Key Idea
Leonardo
22-5
Mona Lisa
enigmatic, spatial
Bramante
22-6
new St. Peter’s
central plan
Raphael
Raphael
Raphael
Michelangelo
Michelangelo
Michelangelo
Michelangelo
Michelangelo
22-9
22-8
22-11
22-12
22-12/13
22-15
22-21
22-18/19
School of Athens Renaissance ideals
Madonna in Meadow
Idealism
Castiglione
New portraiture
Pieta
genius in stone
David
monumentality
Moses
power & authority
Last Judgment
autobiographical?
Sistine ceiling
fresco & patronage
Bramante
Michelangelo
Palladio
22-22
22-25/26
22-29
Tempietto
St. Peter’s
Villa Rotonda
Bellini
Bellini and Titian
Giorgione
Giorgione
Titian
Titian
Titian
Titian
22-33
22-34
22-35
22-36
22-37
22-38
22-39
22-40
San Zacccaria
glowing color
Feast of Gods
color and myth
Pastoral Symphony poetry in motion
The Tempest
mystical color
Assumption
glory and color
Pesaro Family
patronage
Bacchus
Mythological
Venus of Urbino becomes canon
Pontormo
Parmigianino
Bronzino
Bronzino
Cellini
Bologna
Tintoretto
Veronese
Bologna
Michelangelo
22-42
22-43
22-44
22-45
22-47
22-48
22-47
22-49
22-52
22-54
Descent
anti-Renaissance
Madonna
breaks “rules”
Venus & Cupid anti-Renaissance
Portrait
pose
Fontainebleau
Mannerist
Abduction
Mannerist
Last Supper
dramatic
Triumph of Venice drama, patronage
Sabine
1st large grouping
Laurentian Lib
Mannerist style
3
classicism
monumental dome
4 identical facades
4. Quizzes, Tests and Study Materials
Website(s). Good sources of online websites that contains images for all Art
History are found at
http://www.art-design.umich.edu/mother/ and at
http://witcombe.sbc.edu/ARTHLinks.html
For the Vatican museums see
http://mv.vatican.va/3_EN/pages/MV_Home.html
For images and commentary on St. Peters;
http://www.greatbuildings.com/buildings/St_Peters_of_Rome.html
To begin a tour of the National Gallery of Art (USA) collection of High
Renaissance works (slides available).
http://www.nga.gov/collection/gallery/gg16/gg16-main1.html
5. Questions: Each chapter of Gardner’s Art Through the Ages textbook
has a corresponding quiz and test in the “Instructor’s Manual.” The CDROM allows teachers to choose which questions to use and to create and
print quizzes and tests.
Essay Questions.
1. Show: Donatello’s David and Michelangelo’s David.
Question: Identify the artists of these two sculptures. Compare and contrast
the two sculptures and the impact on the viewer.
Students should identify Donatello and Michelangelo and correctly pair
them with their works. Discuss the different manner in which each has
portrayed concepts of David’s battle with Goliath.
2. Show Raphael, “School of Athens" (FIG. 22-9)
Question: Identify the artist of this work. What classical elements does the
painter include in this work? (8 minutes.)
Students should identify Raphael, and discuss the High Renaissance balance
and order of the work, its classical composition, and the use of classical
architectural features (arch, columns, etc.). Students should name Plato and
Aristotle as the main philosophic players in the scene.
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3. Show Parmigianino, "Madonna with the Long Neck," (FIG. 22-43.)
Question: To what art history period does it belong? What are the
characteristics of this art style?
Students should recognize the Mannerist qualities of the art and discuss the
features that break with High Renaissance features, e.g., its color, twists and
turns, and imbalance.
4. Show Leonardo, “Last Supper,” (FIG. 22-4).
Question. Who did this painting and what is the medium? What features
mark it as a “High Renaissance” work?
Student should identify Leonardo and “Last Supper,” and discuss the
paintings qualities of perspective, dramatic stage and moment, and balance
as High Renaissance qualities.
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