Download AH2 2011 Ch. 20 notes (06-10-11)

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AH2 Ch. 20 (2011)
16th Century Art in Italy
 Humanism gives way to discovery.
 Literacy and travel increase.
 Ancient texts and contemporary
books are published.
 Artists become more mobile.
 Popes regain the Papal States
through diplomacy and force.
 Religious dissent leads to
Protestantism.
 “Holy Romans” from Germany
sack Rome in 1527 (a major blow
to optimistic humanism).
 Artists’ status improves to “genius”
level in Catholic and Protestant
regions.
20- 3 Leonardo, The Last Supper, Santa
Maria della Grazie, Milan, Italy,
1495-98, Tempera and oil on
plaster, 15’2” x 28’10”
 L’uomo Universale
 The first Mass, Eucharist and the
Judas prophesy
 Stable, symmetrical composition
(turn of the 16th cent.)
20- 5 Leonardo, Mona Lisa, 1503-06
oil/panel
30.25” high
 Chiaroscuro, sfumato
 Enigmatic (like a puzzle)
 One of Leonardo’s personal
favorite paintings, he willed it to
the king of France
 24 year-old Lisa Gherardini del
Giocondo
 Fashion document: shaved
hairline, plucked eyebrows
 A portrait of a specific real-life
person (secular)
P. 665 Leonardo, Vitruvian Man, c.
1490, ink on paper, 13.5” x 10”, from his
notebook
 Reversed writing
 Humanist symbolism
(superimposed circle on square)
 Vitruvius: 1st cent. BCE Roman
Architect
 Height = Arm span, navel at center
Addl. Leonardo, Madonna on the
Rocks, o/c 1483-85, 48.5” high
20- 6 Raphael, School of Athens, fresco,
Stanza della Segnatura, Vatican,
Rome 1510-11, 19’ x 27’
 Christian humanism
 Located in the Pope’s Library
 Julius II was the papal patron Plato (L), Aristotle (R)
 Euclid, (R) is Bramante,
Michelangelo is brooding
 Raphael is the only one looking at
the viewer (us)
 Perspective, composition, space
 The "interior" is probably inspired
by the new design for St. Peter's.
20- 9 Michelangelo, Pieta, from Old St.
Peter's, c. 1500, 5' 8½" high,
marble
 grew up in Florence, worked there
and in Rome
 Studied Roman sculpture,
Neoplatonism (also nature &
masters)
 pieta (Virgin supporting and
mourning dead Christ)
20-10 Michelangelo, David, 1501-04,
marble 17’ high
 Made for the Florence town hall
(Palazzo Vecchio)
 Carved from an 18' block "Il
gigante"
 he thought the idea was "locked in
the stone"
 Potential energy, Christian
humanism, emotional
 symbolic, beauty = divinity
(humanism)
20- 11, 12 and 13 Michelangelo (and
others), Sistine Chapel Frescoes, (built
1475- 81, frescos: ceiling 1508-12, end
wall 1536-41)
 The Last Judgement, The creation
of Adam
 Christian redemptive cycle: birth,
death, rebirth in heaven
 sin & forgiveness
 almost 6000 sq. ft. by
Michelangelo
-----------------------------------------------------Art of the Western World
– The High
Renaissance Video Part I ends and part
2 begins here (Program 4)
http://www.learner.org/resources/series1.html?pop=yes&vodid=429878&pid=231
-----------------------------------------------------p. 651
» Old St. Peters, 4th Cent.
 Bramante, Plan for New St. Peter's,
1506
 Michelangelo, Plan for New St.
Peter's, 1546-64
 Maderno, Plan for New St. Peter's,
1607-12
Addl. Renaissance palace façade &
courtyard, 1517-50
 Palazzo Farnese, Rome
20-21 Giorgione, The Tempest, Venice,
1506, o/c. 32" high
 He introduced an appreciation of
nature to Venetian painting.
 “maternal” not “erotic” nudity
 The landscapes dominates the
painted surface.
 Enigmatic, German mercenary?,
woman breast feeding?, bad
weather?
 Giorgione died from the plague.
20- 22 Titian & Giorgione, The Pastoral
Concert, o/c, c. 1510, 41.25” high
 Idyllic, fertile landscape (as in The
Tempest)
 A mythic world
 The aristocratic musician in red
silks and the barefoot peasant
man both ignore the sensual
women.
 Evocative of Roman pastoral
poetry (nothing happens) – new to
Art History
 Profoundly influential on later
painters
20- 23 Titian, Pesaro Madonna, 151926, oil on canvas (o/c), 16’ × 8'10"
 Official painter to Venetian Republic
after Bellini's death in 1516
 Asymmetrical and dynamic, "public
relations"
 Flag w/ "arms" of the pope and the
Pesaros
 A Turkish captive reminds us of the
Christian victory, Jacopo Pesaro
commanded the Papal fleet
 Pesaro family members at the lower
right
 Trompe l’oeil illusion, Christian
humanism
Addl. Michelangelo, Piazza del
Campidoglio, Rome, c. 1538-64
substitute: Façade of Palazzo de
Conservatori, Capitoline Hill
- an urban-renewal project patronized
by Pope Paul III
- segmental pediments, pilasters,
statuary, engaged columns, giant
order columns, star designed piazza
20- 32 Benevenuto Cellini,
Saltcellar of Francis I, 1540-43, Gold
with enamel, 10¼" high
- A Florentine in Fountainbleau
- Francis I (King of France) was the
greatest French patron of Italian
artists
- Charles V (Holy Roman Emperor)
was his brother-in-law
20-36 Vignola & della Porta, Façade of Il
Gesù, c. 1573-84
- Ignatius Loyola's capitol of the
Jesuits (Catholic Missionaries)
- Classically inspired with new
verticality and centrality
- Seminal design for the next century
- paired "colossal" pilasters tie the two
stories together (verticality)
- part of the counter-reformation
program of church building
The Reformation (a Christian schism,
or split, of Western European
Christianity)
- denied the Pope's authority and
challenged church teaching
- many powerful rulers supported the
Reformation
- Early reformers were themselves
Catholic priests: Erasmus of
Rotterdam and Martin Luther in
Germany
Luther discounted the seven
sacraments (Baptism, Confirmation,
Eucharist, Penance, Extreme Unction
or Anointing of the Sick, the Holy
Orders, Matrimony, and the Last
Things). He said faith alone is all you
need to get to heaven (salvation).
- Protestantism prevailed in northern
Europe
- Lots of religious art was destroyed by
Protestant hands.
- Protestants still used music,
however!
- The Catholic "Council of Trent"
(1545-63) begins the "counterreformation" (art to be used, but
scrutinized!)
20-26 Pontormo, Entombment, 1525-28,
o/p, 10' 3" high altarpiece, Capponi
Chapel, Church of Santa Felicità,
Florence
Mannerism = virtuous, sophisticated,
elegant compositions, distorted
conventions, irrational space and scale,
elongations, exaggerations, enigmatic
gestures, erotic images, unusual
colors,strange secondary symbolism
and lots of flesh
20- 27 Parmigianino, Madonna with the
Long Neck, c. 1534-40, o/p, 7' 1" high
- part of the Counter-Reformation art
program
The printing press and movable type
fueled the Reformation!
20- 16 Donato Bramante, Tempietto,
Rome 1502-10, dome & lantern redone
17th cent.
 Commissioned by Queen Isabella
& King Ferdinand of Spain to mark
St. Peter's place of crucifixion,
inspired by Vitruvius and Alberti
Page 671 Veronese, Feast in the House
of Levi, Dominican Monastery, Venice,
1573, o/c, 18' 3" high
- Great illusion, originally a last supper
scene
- he was forced to change the image's
details
- he changed its name unprecedented artistic license
20- 37 Jacopo Tintoretto, The Last
Supper,1592-94, o/c, Giorgio San
Maggione, Venice, 12' high
- night scene, artificial and divine light
- anecdotal, phantasmagoric, genre
scene (Venetian banquet) - draws us
in
- collaborative workshop production of
paintings
- he used small scale wax figures &
"stage" as a model
20- 40 Palladio, Villa Rotunda (Capra),
Vicenza Italy, begun 1560s
- based on the Roman Pantheon
- a country villa (retreat)
- geometric clarity
- circle in a square: humanist symbol
- he wrote "Four Books on
Architecture" his theories are seminal
- Thomas Jefferson's favorite! (hence
the US Federal style)
- Palladian windows - Have you heard
of them?
20-41 Plan c.1550, His writings were
collected widely by 18th century
educated people. Thomas Jefferson (c.
1770) had one of the first copies in
America. He was a fan of Palladio’s
theories.
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