Download Chapter 13 The High Renaissance in Italy

Chapter Thirteen:
The High Renaissance and Mannerism
in Italy
Popes and Patronage

Vatican as center of wealth, stability
 Pope Sixtus IV
 Pope Julius II
 Beginnings
of High Renaissance (1503)
papa terribile”
 Raphael, Michelangelo
 “il

The de’ Medici Family
The Visual Arts

Leonardo da Vinci (1452-1519)
 Mona
Lisa, The Last Supper, Madonna of
the Rocks
 Orthogonals, chiaroscuro
 Notebooks
 Mathematics,
natural world and humanity,
love for beauty
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13.3 Leonardo da Vinci, The Last Supper, 1495-1498, Refectory,
Santa Maria delle Grazi, Milan, Italy
13.4A Leonardo da
Vinci, Madonna of
the Rocks, begun
1483. Musee du
Louvre, Paris,
France
13.5 Leonardo da
Vinci, Mona Lisa,
1503-1505.
Musee du Louvre,
Paris, France
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The Visual Arts
Raphael Sanzio (1483-1520)

From Urbino to Perugia
 Apprentice
to Perugino

From Perugia to Florence (1505)
 Madonna of the Meadow (1508)
 Pyramidal
configuration
ordered
 Modeling of human forms
 Rationally

Human quality of the divine figure
13.7 Raphael,
Madonna of the
Meadow, 1508,
Kunsthistorisches
Museum, Vienna,
Austria
The Visual Arts
Raphael Sanzio (1483-1520)


From Florence to Vatican (1508)
School of Athens (1509-1511)
 Symbolic
homage to philosophy
ideal
 Renaissance

Balance of philosophy and theology
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13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della
Segnatura, Vatican Palace, Vatican State, Italy
The Visual Arts

Lorenzo de’ Medici
 Michelangelo Buonarroti (1476-1564)
 Pietá

Michelangelo’s David
 Statement
 Palazzo
of idealized beauty
Vecchio: symbol of civic power
13.10 Michelangelo,
David, 1501-1504,
Accademia di Belle
Arti, Florence, Italy
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The Visual Arts
Michelangelo Buonarroti (1475-1564)
Tomb for Pope Julius II

Moses (1513-1515)
 Divine
fury, divine light
 Terribilità
13.11 Michelangelo,
Moses, 1513-1515, San
Pietro in Vincoli, Rome,
Italy
The Visual Arts
Michelangelo Buonarroti (1475-1564)
The Sistine Chapel
“Michelangelo, Sculptor”
Architectural and thematic motifs
 Interpretation


 Neo-Platonism
 Old
Testament and pagan prophets
tree symbolism
 Human wisdom + God’s revelation
 Complex
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13.12A Michelangelo,
Ceiling of the Sistine
Chapel, 1508-1511,
Vatican Palace, Vatican
State, Italy
The Visual Arts
Michelangelo Buonarroti (1475-1564)

Michelangelesque
 Masculine
anatomy, musculature
bulk, linear grace, emotionality
 Creation of Adam (1508-1511)
 The Last Judgment (1534-1541)
 Physical

Medici Chapel
 Architectural
 Life,
and sculptural design
death, resurrection
13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine
Chapel, 1508-1512, Vatican Palace, Vatican State, Italy
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13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’
Medici, Church of San Lorenzo, Florence, Italy
The Visual Arts
Michelangelo Buonarroti (1475-1564)
The New Saint Peter’s

Donato Bramante (1444-1514)

Michelangelo as architect (1546)
 Tempietto
 Bramante’s
plan
arched dome
 Drum to support dome
 Ribbed,
The High Renaissance in Venice

Andrea Palladio
 Classical
Architecture of Greece reflected
through Roman structures
 Four Books of Architecture (1570)
 Palazzo Chiericati
 Harmony
and balance
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The High Renaissance in Venice
Painting


Tradition of easel painting
Use of oil paints
 Brilliance
 Subtlety


of color
of light
Eye for close detail
Love of landscape
The High Renaissance in Venice
Painting

Titian (c. 1488-1576)
 Assumption
 Venus

of the Virgin (1516-1518)
of Urbino (1538)
Tintoretto (1518-1594)
 “The
drawing of Michelangelo and the color
of Titian.”
 The Last Supper
13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy
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Mannerism

Characteristics of Mannerism
 Distortion and elongation
 Flattened, two-dimensional space
 Lack of a defined focal point
 Discordant pastel hues

Jacopo Carucci da Pontormo (1494-1557)

Il Bronzino
 Deposition
(c. 1528)
 Venus,
Cupid, Folly, and Time (The
Exposure of Luxury)
13.23 Bronzino, Venus,
Cupid, Folly, and Time
(The Exposure of
Luxury), 1546,
National Gallery,
London, England
Mannerism

Lavinia Fontana (1552-1614)
 Daughter
of Bolognese painter
painter (Rome, Bologna)
 Exaggerated angles, use of color
 Portrait

Sofonisba Anguissola (1532?-1624)
 Renaissance
and Baroque masters
representations
 Contrasts of dark and light
 Pictorial
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13.24 Lavinia
Fontana, Noli Me
Tangere, 1581,
Galleria degli Uffizi,
Florence, Italy
13.25 Sofonisba Anguissola, A Game of Chess, 1555, National
Museum in Poznan, Poland
Mannerism

Giovanni da Bologna (1529-1608)
 Sculptor
 Abduction

of the Sabine Women
El Greco (1541-1614)
 Distortion
 The
of figures and ambiguous space
Burial of the Count of Orgaz
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13.27 El Greco, The Burial
of the Count of Orgaz,
1586, Santo Tome,
Toledo, Spain
Music in the Sixteenth Century
Music at the Papal Court

Sistine Choir and Julian Choir

Josquin des Prez (c. 1450-1521)
 Male
voices, a capella
 Sistine
Choir, composer and director
for four voices
 Structure, balance, lyrical quality
 Motet
Music in the Sixteenth Century
Music at the Papal Court

Giovanni Pierluigi da Palestrina (1525-1594)
 Choirmaster
of capella Guilia (Julian choir)
Vatican’s music director
 Conservative masses in response to Catholic
reform movement
 1571-1594
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Music in the Sixteenth Century
Venetian Music

Adrian Willaert

Church of St. Mark
 Andrea
 Split
and Giovanni Gabrieli
choirs
 Instrumental
 Intonazione,

music in liturgy
toccata
Intellectual influence of Italian humanism
Literature

Leonardo da Vinci

Michaelangelo Buonarroti


Vittoria Colonna
Baldassare Castiglione


Veronica Franco
Benvenuto Cellini



13,000 pages of notes
Poetry
The Book of the Courtier
13.28 Raphael,
Baldassare
Castiglione, 1514,
Musee du Louvre,
Paris, France
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Chapter 13: Discussion Questions



Compare the artistic developments that took
place in Rome and those that took place in
Venice. To what can we attribute the differences?
Explain.
To what extent did Neo-Platonism manifest itself
in the works of Michelangelo? Are there traces of
this philosophy in works of other artists discussed
in this chapter? Explain, citing specific artists and
works.
How did environmental factors and geography
contribute to Venetian art during the
Renaissance? Consider both visual and aural
arts in your discussion.
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