Download Chapter 22 AP Guide

Teaching AP* Art History
Chapter Guide to Gardner’s 12th Edition
Chapter 22
Beauty, Science and Spirit in Italian Art
The High Renaissance and Mannerism
1. Lecture Strategies and Key Ideas.
This chapter introduces the art of early 16th-century Italy, with special
emphasis on the Great Masters: da Vinci, Michelangelo (as architect as well
as painter and sculptor) and Raphael. Students should become familiar with
the High Renaissance’s ideals of individualism, order, beauty and balance.
Students should also be aware of the period’s architecture as it too played
out the fulfilling of High Renaissance ideals. Students should become
comfortable with the classical vocabulary that informed the works of
Bramante (FIG. 22-8) and Michelangelo (FIG. 22-27 and FIG. 22-30).
Teachers may wish to break up this long chapter into six modules: (1) The
High Renaissance art of Leonardo, (2) Architecture by Bramante,
Michelangelo, Sangallo and Palladio, (3) Michelangelo as painter and
sculptor, (4) Raphael, (5) the Venetian School of Bellini, Giorgione and
Titian, and (6) the Late Renaissance “Mannerist” movement.
“Heads Up.” It is obvious from the pages of text devoted to architecture in
this chapter that students are expected to know well the design of High
Renaissance buildings, especially that of St. Peter’s Basilica. It is useful to
tell students that when they are confronted by a building to ask themselves,
“What classical elements are present?” By pinpointing what they see and by
employing classical architectural vocabulary learned in their study of Greek
and Renaissance architecture, students can both describe the building and
associate it with the Classical ideals of order, balance, and reason.
Human Body. There are of course many opportunities for students to
discuss how the High Renaissance artist portrayed the human body. In
sculpture, Michelangelo’s "David" is perhaps too obvious a choice and
students might also prepare themselves to discuss the nude figures in
Bologna’s “Abduction of the Sabine Women” (FIG. 22-48). In paintings of
the human body, consider directing students' attention to Giorgione’s
“Pastoral Symphony” (FIG. 22-23) and to Titian’s “Venus of Urbino” (FIG.
22-38). Even more attractive may be the choice of one of the Mannerists,
either Pontormo’s “Descent from the Cross” (FIG. 22-42) or Parmigianino’s
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“Madonna with the Long Neck” (FIG. 22-43). Reward students for making
appropriate choices that go beyond the obvious and over-worked ones.
Patronage. Students should be aware of the continued importance of the
Church’s role as patrons, and especially appreciate how Julius II was
responsible for funding many of Michelangelo's works. Students can also
see the importance of patronage in Titian’s “Madonna of the Pesaro Family”
(FIG. 22-36) where the patrons enjoy the same stage as the Madonna.
Gender. Titian’s “Venus of Urbino” (FOG. 22-38) is the first of the modern
era's female nudes that will be studied. It is a painting that would be admired
and copied by generations of artists. Sofonisba Anguissola (1527-1625) is
the first female artist highlighted in the text, and as a woman artist should be
known to students especially for her contributions to family portraiture and
her ability to portray intimacy.
Narrative in Art. A fine comparison of the “Last Supper” story might be
written by having students compare the interpretations of the event by
Leonardo (FIG. 22-3) and by Tintoretto (FIG. 22-52). Titian’s “Meeting of
Bacchus and Ariadne” (FIG. 22-37) provides material for a discussion of
mythological narrative.
2. Key Vocabulary (not including artists names or works)
Medici
Julius II
Vatican
St. Peter’s
Terribilita
sfumato
Tempietto
Vasari
Renaissance ideals Neoplatonism
Mannerism
Venice
Sistine ceiling
Captoline Hill
Palazzo del Te
Palladian
Il Gesu
Loyola
3. Key Images from Gardner’s Art Through the Ages. [Image numbers
from 12th ed.]
Artist
Gardner
Subject
Key Idea
FIG. Number
Leonardo
22-1
Virgin of Rocks pyramid, “soul”
Leonardo
22-3
Last Supper
dramatic narrative
Leonardo
22-4
Mona Lisa
enigmatic, spatial
Bramante
22-6
new St. Peter’s
central plan
Bramante
22-8
Tempietto
classicism
Michelangelo
22-9
David
monumentality
Michelangelo
22-10
Moses
power & authority
2
Michelangelo
Raphael
Raphael
Raphael
Michelangelo
Michelangelo
Michelangelo
Bellini
Bellini and Titian
Giorgione
Giorgione
Titian
Titian
Titian
Pontormo
Parmigianino
Bronzino
Cellini
Bologna
Tintoretto
Veronese
22-13
22-17
22-19
22-21
22-25
22-27
22-30
22-31
22-33
22-34
22-34
22-35
22-36
22-38
22-42
22-43
22-44
22-47
22-48
22-52
22-54
Sistine ceiling
fresco & patronage
School of Athens Renaissance ideals
Madonna in Meadow
Idealism
Castiglione
New portraiture
Last Judgment
autobiographical?
Capitolino Hill
unified design
St. Peter’s
monumental dome
San Zacccaria
glowing color
Feast of Gods
color and myth
Pastoral Symphony poetry in motion
The Tempest
mystical color
Assumption
glory and color
Madonna
patronage
Venus of Urbino becomes canon
Descent
anti-Renaissance
Madonna
breaks “rules”
Venus & Cupid anti-Renaissance
Fontainebleau
Mannerist
Abduction
Mannerist
Last Supper
dramatic
Triumph of Venice drama, patronage
4. Quizzes, Tests and Study Materials
Be sure to reference the general art resources available for this Gardner book
at http://art/wadsworth.com/ From here there are online quizzes, a complete
study guide, Internet activities, vocabulary flashcards, and more.
Website(s). Good sources of online websites that contains images for all Art
History are found at
http://www.art-design.umich.edu/mother/ and at
http://witcombe.sbc.edu/ARTHLinks.html
Also see:
http://users2.ev1.net/~stegturn/vatican.htm for the Vatican museum;
http://www.greatbuildings.com/buildings/St_Peters_of_Rome.html for
images and commentary on St. Peters;
http://www.nga.gov/collection/gallery/gg16/gg16-main1.html to begin a tour
of the National Gallery of Art (USA) collection of High Renaissance works
(slides available).
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5. Questions: Each chapter of Gardner’s Art Through the Ages textbook
has a corresponding quiz and test in the “Instructor’s Manual.” The CDROM allows teachers to choose which questions to use and to create and
print quizzes and tests.
Essay Questions.
1. Show: Donatello, David and Michelangelo, David.
Question: Identify the artists of these two sculptures. Compare and contrast
the two sculptures and the impact they have on the viewer.
Students should identify Donatello and Michelangelo and correctly pair
them with their works, and discuss the different manner in which each has
portrayed the concept of David’s battle with Goliath.
2. Show Raphael, “School of Athens" (FIG. 22-17.)
Question: Identify the artist of this work. What classical elements does the
painter include in this work? (8 minutes.)
Students should identify Raphael, and discuss the High Renaissance balance
and order of the work, and its classical composition and use of classical
architectural features (arch, columns, etc.). Students should name Plato and
Aristotle as the main philosophic players in the scene.
3. Show Parmigianino, "Madonna with the Long Neck," (FIG. 22-43.)
Question: To what art history period does it belong? What are the
characteristics of this art style?
Students should recognize the Mannerist qualities of the art and discus the
features that break with High Renaissance features, e.g., its color, twists and
turns and imbalance.
4. Show Leonardo, “Last Supper,” (FIG. 22-3).
Question. Who did this painting and what is the medium? What features
mark it as a “High Renaissance” work?
Student should identify Leonardo and “Last Supper,” and discuss the
paintings qualities of perspective, dramatic stage and moment, and balance
as High Renaissance qualities.
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