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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!