Download chapter13.2014 - WordPress.com

Chapter 13
The High Renaissance and Mannerism
in Italy
Culture and Values, 8th Ed.
Cunningham and Reich and Fichner-Rathus
Italy
1494
Leo X
(1513–
1521)
Son of Lorenzo the Magnificent; patronized Michelangelo and excommunicated Martin
Luther.
HadrianVI
(1522–
1523)
Born in the Netherlands; a ferocious reformer and the last non-Italian pope until the
1970s.
Clement
VII (1523–
1534)
Grandson of Lorenzo the Magnificent; commissioned the Medici tombs in Florence,
and The Last Judgmentfor the Sistine Chapel just before his death; excommunicated
Henry VIII.
Paul III
(1534–
1549)
Commissioned Michelangelo to build the Farnese Palace in Rome; called the reform
Council of Trent, which first met in 1545.
Julius III
(1550–
1555)
Patron of the composer Palestrina; confirmed the constitutions of the Jesuits in 1550;
appointed Michelangelo as chief architect of Saint Peter’s.
Marcellus
II (1555)
Reigned as pope for 22 days; honoree of Palestrina’s Missa Papae Marcelli.
Paul IV
(1555–
1559)
A fanatical reformer; began the papal reaction against the Renaissance spirit;
encouraged the Inquisition and instituted the Index of Forbidden Books in 1557.
Popes and Patronage
Vatican as center of wealth, stability
 Pope Sixtus IV
 Pope Julius II

 Beginnings
of High Renaissance (1503)
 “il papa terribile”
 Raphael, Michelangelo

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
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
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
 Rationally ordered
 Modeling of human forms

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
 Renaissance ideal

Balance of philosophy and theology
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
of idealized beauty
 Palazzo Vecchio: symbol of civic power
Pieta
1498-9,
marble
St.
Peter’s
Vatican
Rome
13.10 Michelangelo,
David, 1501-1504,
Accademia di Belle
Arti, Florence, Italy
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
 Complex tree symbolism
 Human wisdom + God’s revelation
13.12A Michelangelo,
Ceiling of the Sistine
Chapel, 1508-1511,
Vatican Palace, Vatican
State, Italy
13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine
Chapel, 1508-1512, Vatican Palace, Vatican State, Italy
The Visual Arts
Michelangelo Buonarroti (1475-1564)

Michelangelesque
 Masculine
anatomy, musculature
 Physical bulk, linear grace, emotionality
 Creation of Adam (1508-1511)
 The Last Judgment (1534-1541)

Medici Chapel
 Architectural
and sculptural design
 Life, death, resurrection
1534-41
The Last
Judgeme
nt,
fresco,
Sistine
Chapel,
Vatican.
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)
 Tempietto

Michelangelo as architect (1546)
 Bramante’s
plan
 Ribbed, arched dome
 Drum to support dome
Floor plans for the new Saint Peter’s Basilica, Rome, Italy,
1506–1666. (I) Bramante’s plan, 1506–1514, shows a compact
plan of a Greek cross with arms or transepts (b) of equal length
meeting at a central altar (a) set under a dome, with each arm
ending in a semicircular apse (e) opening to a portal or
entrance (c), and including several chapels (d) for smaller
services. (II) Antonio da Sangallo’s plan, 1516–1546, imposed a
Latin cross, adding Raphael’s choir (f) to surround the altar on
three sides, closing the portals in favor of a formal entrance (c),
and forming a nave (g) from the arm proceeding from a huge
vestibule or narthex (h). (III) Michelangelo’s plan, 1547–1564,
rejected Sangallo’s design and returned to a centralized domed
Greek cross inscribed within a square but retained the
vestibule (c), now fronted by a portico with giant columns. (IV)
Carlo Maderna’s plan, 1606–1615, returned to a Latin cross with
elongated nave (g), narthex (h), portico (c), and Baroque
façade. This plan also shows Gian Lorenzo Bernini’s piazza (j)
with colonnades, 1656–1667. Maderna’s final additions,
especially the elongated nave, narthex, and large façade,
obscured Michelangelo’s original design. Artwork by Cecilia
Cunningham.
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
Andrea
Palladio
Palazzo
Chiericati
begun
1550s.
Vicenza,
Italy.
The High Renaissance in Venice
Painting
Tradition of easel painting
 Use of oil paints

 Brilliance
of color
 Subtlety of light
Eye for close detail
 Love of landscape

The High Renaissance in Venice
Painting

Titian (c. 1488-1576)
 Assumption
of the Virgin (1516-1518)
 Venus 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
1592-94, Tintoretto, The Last Supper, oil on canvas,
San Giorgio Maggiore, Venice, Italy.
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)
 Deposition

(c. 1528)
Il Bronzino
 Venus,
Cupid, Folly, and Time (The
Exposure of Luxury)
Jacopo
Pontormo
(born
Carucci), Ent
ombment,
1525–1528.
Oil on panel,
123″ × 76″
(312.4 × 193
cm). Capponi
Chapel, Santa
Felicità,
Florence,
Italy.
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
 Portrait painter (Rome, Bologna)
 Exaggerated angles, use of color

Sofonisba Anguissola (1532?-1624)
 Renaissance
and Baroque masters
 Pictorial representations
 Contrasts of dark and light
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
of figures and ambiguous space
 The Burial of the Count of Orgaz
Giovanni da
Bologna, Ab
duction of
the Sabine
Women, ca.
1581–1583.
Marble,
13′5″ (409
cm) high.
Loggia dei
Lanzi,
Florence,
Italy.
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
 Male

voices, a capella
Josquin des Prez (c. 1450-1521)
 Sistine
Choir, composer and director
 Motet for four voices
 Structure, balance, lyrical quality
Music in the Sixteenth Century
Music at the Papal Court

Giovanni Pierluigi da Palestrina (1525-1594)
 Choirmaster
of capella Guilia (Julian choir)
 1571-1594 Vatican’s music director
 Conservative masses in response to Catholic
reform movement
Music in the Sixteenth Century
Venetian Music

Adrian Willaert
 Andrea

and Giovanni Gabrieli
Church of St. Mark
 Split
choirs
 Instrumental music in liturgy
 Intonazione, toccata

Intellectual influence of Italian humanism
Literature

Leonardo da Vinci


Michaelangelo Buonarroti



Poetry
Vittoria Colonna
Baldassare Castiglione



13,000 pages of notes
The Book of the Courtier
Veronica Franco
Benvenuto Cellini

Tintoretto,
Veronica
Franco,
late 16th
century.
Oil on canvas,
18″ × 24″ (46
× 61 cm).
Worcester
Museum of
Art,
Worcester,
Mass.

Compare
& contrast
Compare & contrast
Compare/
contrast
Chapter Thirteen: 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.