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Content Area 3: Renaissance REBIRTH ● Important secular works of 15th century architecture are influenced by Gothic church architecture. ● International Gothic Style dominates ● Flemish painting is characterized by symbolically rich layers of meaning applied to crowded compositions with high horizon lines ● Printmaking!!!! 1st mass produced art form, radically changes art history! ● Northern Renaissance altarpieces are cupboards rather than screens. ● Gold is used in abundance to show wealth Causes of the Reformation 1. Corruption of the Roman Catholic Church during the Renaissance; sale of indulgences, nepotism, sale of church offices, decline of morality among the clergy. 2. Humanism questioned Church traditions; it contradicted the emphasis on salvation. 3. Resentment of secular rulers over the power of the popes and the clergy. Differences between Italy & Northern Europe ● Oil Paint The artists of the North invented oil paint! They use oil paint fifty years or more before they use it in Italy (where they use tempera until then). Think about what oil paint can do that fresco and tempera can not do! Keep this in mind as you look at the Merode Altarpiece. The Renaissance in Northern Europe is very different from the Renaissance in Italy. (SmartHistory) 3 reasons why oil paints are better: a. Brighter colors b. More details c. Preservation is better ● Classical Antiquity The fact that we are far from Italy tells us something about the character of the Northern Renaissance. Remember that in Italy we said that the Renaissance was a rebirth of the art and culture of Ancient Greece and Rome? Well, in Northern Europe we're pretty far from the important centers of Ancient Greek and Roman culture, and so the Renaissance in the North is not a rebirth of Ancient Greek and Roman culture the way it was in Florence. TH 15 CENTURY FLEMISH ART • Bruges is capitol city. Very wealthy with trade, banking, and industry. • Symbolism in painting • Furthering the International Style • development and use of OIL PAINT, slower drying time, ability to use transparent glazes – Deep, intense tonality – deeper shadows, brilliant highlights Annunciation Triptych (Merode Altarpiece). Workshop of Robert Campin. 1427–1432 C.E. Oil on wood. **domestic symbolism to reference Christian theology triptych – three panel painting 66 • made for donor (left) for private home • perhaps made to pray for pregnancy • city messenger is alert and ready to send message, perhaps of the annunciation? perhaps of the donors hopeful pregnancy? lilies + pot + towel = purity flying naked baby with cross perspective is skewed, not quite to the level of the Italian perfection of perspective yet… • Joseph as carpenter • depicted in a way to show respect for artisan values and the virtue of Christian citizen – work hard, be pious • wood = cross • nails + hammer = crucifixion • mousetrap = trap for the devil "The devil exulted when Christ died, but by this very death of Christ the devil was vanquished, as if he had swallowed the bait in the mousetrap. He rejoiced in Christ's death, like a bailiff of death. What he rejoiced in was then his own undoing. The cross of the Lord was the devil's mousetrap; the bait by which he was caught was the Lord's death...." The Arnolfini Portrait. Jan van Eyck. c. 1434 C.E. Oil on wood. approx. 2' 8" x 1' 11 1/2” 68 th Quattrocento: 15 century Italian Renaissance Humanism Grew in Interest • • • • • emphasis on education and knowledge exploration of individual potential commitment to civic responsibility keen interest in classical antiquity: Rome & Greece appealed to the wealthy and powerful Art as a Result • • • • infused with humanist ideas: images of classical history and mythology increased concern in perspectival and anatomical systems revival of portraiture and self-aggrandizing forms of patronage citizens’ great participation in civic and religious commissions ` 67a /b Pazzi Chapel. Basilica di Santa Croce. Florence, Italy. Filippo Brunelleschi (architect). c. 1429–1461 C.E. Masonry. (2 images) video Plan of Pazzi Chapel What is Classical? Brunelleschi’s Linear Perspective • Perspective Palazzo Rucellai. Florence, Italy. Leon Battista Alberti (architect). c. 1450 C.E. Stone, masonry. Rucellai family was a wealthy merchant family Leon Battista Alberti (whom you can know as Alberti) wrote a very important treatise on Classical architecture and painting Floor One: Business Floor Two: Location to receive guests Floor Three: Family’s private quarters Floor Four: (hidden) servant quarters 70 entablature LEON BATTISTA ALBERTI, Palazzo Rucellai, Florence, Italy, ca. 1452-1470 Engaged Corinthian pilaster Engaged Composite pilaster Engaged Tuscan pilaster= Etruscan version of Doric Michelozzo, Palazzo Medici-Ricardi, begun 1444—rusticated walls first floor David. Donatello. c. 1440–1460 C.E. Bronze. video first freestanding nude since Classical Antiquity re-emergence of Humanism contrapposto – counter balance, relax, movement eroticism and femininity, overt sexuality Commissioned by Medici family – super important, wealthy family of Florence – David was a symbol of the city of Florence 69 To throw a wrench into all of this… Some art historians see this sculpture as Mercury – NOT David Donatello, David, 1440-1460 “Given its breadth, the ramifications of male sodomitical practices touched all Florentines in one way or another. So famous was the city on the Arno for promoting it, that in Germany, homosexual sex was described by the verb florenzen, and in France its was called ‘the Florentine vice’”... -Excerpt from Adrian W.B. Randolph, Engaging Symbols: Gender, Politics, and Public Life in Fifteenth-Century Florence Greek High Classical, Polykleitos, Doryphorus, ~450 BCE Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood. Teacher of Botticelli Sweet elegance to the figures idealized landscape “window” allusion commissioned by Cosimo de Medici who recognized the “genius” in an artist, not just a worker. 71 Madonna and Child with Two Angels. Fra Filippo Lippi. c. 1465 C.E. Tempera on wood. Virgin (Theotokos) and Child between Saints Theodore and George. Early Byzantine Europe. Sixth or early seventh century C.E. Encaustic on wood. 72 Birth of Venus. Sandro Botticelli. c. 1484–1486 C.E. Tempera on canvas. Aphrodite of Knidos, Praxiteles, Late Classical Birth of Venus. Sandro Botticelli. c. 1484–1486 C.E. Tempera on canvas. Leonardo da Vinci The heavens often rain down the richest gifts on human beings, but sometimes they bestow with lavish abundance upon a single individual beauty, grace and ability, so that whatever he does, every action is so divine that he distances all other men, and clearly displays how his greatness is a gift of God and not an acquirement of human art. Men saw this in Leonardo. (Vasari, Lives of the Most Excellent Painters, Sculptors, and Architects) 73 Last Supper. Leonardo da Vinci. c. 1494–1498 C.E. Oil and tempera. Because Leonardo sought a greater detail and luminosity than could be achieved with traditional fresco, he covered the wall with a double layer of dried plaster. Then, borrowing from panel painting, he added an undercoat of lead white to enhance the brightness of the oil and tempera that was applied on top. This experimental technique allowed for chromatic brilliance and extraordinary precision but because the painting is on a thin exterior wall, the effects of humidity were felt more keenly, and the paint failed to properly adhere to the wall. These ideal geometric forms refer to the renaissance interest in Neo-Platonism (an element of the humanist revival that reconciles aspects of Greek philosophy with Christian theology). “Take, eat; this is my body” and blessing the wine and saying “Drink from it all of you; for this is my blood of the covenant, which is poured out for the forgiveness of sins” (Matthew 26) From the Quattrocento… (1447) 15-Minute Essay – Quiz grade The work shown is Leonardo’s Last Supper, created between 1494-1498. 1. Identify the materials that were used in the work. 2. Why was the use of materials so problematic? 3. How did the original viewers respond to the work? 4 & 5. Use both specific visual and contextual evidence to discuss the compositional decisions that the artist employed in this work. Pull the language from the question as stems for your responses. To Restore or Not… Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco. (4 images) video! 75 Pope Julius II Pope Paul III Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco. (4 images) 75 a Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco. (4 images) 75 b 75 c Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling. frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco. (4 images) 75 d Sistine Chapel ceiling and altar wall frescoes. Vatican City, Italy. Michelangelo. Ceiling frescoes: c. 1508–1512 C.E.; altar frescoes: c. 1536–1541 C.E. Fresco. (4 images) 76 School of Athens. Raphael. 1509–1511 C.E. Fresco. Entombment of Christ. Jacopo da Pontormo. 1525–1528 C.E. Oil on wood. Mannerist Style occurring in High Renaissance Mannerism is derived from the term maniera, which translates to style Defining Mannerism is problematic because is speaks to unique styles of different artists. In a nutshell, Mannerism emphasizes complexity and virtuosity over naturalistism that is championed in the High Renaissance. Pontormo is best known for his bizarre psychological tension General characteristics: 1. 2. 3. some distortion of the human figure flattening of pictorial space cultivated intellectual sophistication 78 Monsignor della Casa Pontormo 1541/1544 Oil on panel Florence • Discuss with your group the formal decisions that Pontormo made in creating this painting. In your opinion, what justifies this work as Mannerist? th 16 Century NORTHERN Renaissance • Albrecht Durer is the 16th century Northern Renaissance ROCKSTAR • Printing press invented in Germany around 1450 – we see combinations of image and text for books • This printing accelerated Martin Luther’s translations of scripts for the Protestant Reformation Adam and Eve. Albrecht Dürer. 1504 C.E. Engraving. Durer created his figures from the canonical writings of Vitruvian (Roman architect and theoretician) at this moment, there is a perfect equilibrium, both with Adam and Eve, and the animal kingdom. Adam is inspired by the Roman marble copy of the Greek Apollo Eve is inspired by representations of Venus Traveled to Venice and learned about Italian Renaissance ideals: proportions compositions 74 Adam and Eve. Albrecht Dürer 1504 C.E. Engraving. 4 Humors in Greco-Roman Medicine: • Melancholic: elk, black bile • Phlegmatic: ox, phlegm • Sanguine: rabbit, blood • Choleric: cat, yellow bile Just for your information… 77 Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C.E. Oil on wood. (2 images)(closed) 77 Isenheim altarpiece. Matthias Grünewald. c. 1512–1516 C.E. Oil on wood. (2 images) (open) 77 Catholicism Protestantism 79 Allegory of Law and Grace. Lucas Cranach the Elder. c. 1530 C.E. Woodcut and letterpress. Venetian Painting = Color and Harmony Florentine and Roman Painting SCULPTURESQUE FORMS th Early 16 Venetian Painting colorito vs. disegno 80 Venus of Urbino. Titian. c. 1538 C.E.Oil on canvas. Venus of Urbino. Titian. c. 1538 C.E.Oil on canvas. • Titian (working in Venice) is known for his colorito: his focus on layering color glazes = creates a real sense of flesh • Objectification of female figure - “Male gaze” • sensuality + sexuality, Titian creates new genre of painting: Female Nude Venus of Urbino. Titian. c. 1538 C.E.Oil on canvas. 80 • commissioned for the Duke of Urbino