artid121 - 09 high renaissance
Post on 22-Oct-2014
122 Views
Preview:
TRANSCRIPT
Beauty, Science, and Spirit in
Italian Art: High RenaissanceART ID 121 | Study of Western Arts
Slide concept by William V. Ganis, PhD NYIT Center for Teaching and Learning with Technology
With modifications by Arch. Edeliza V. Macalandag, UAP
*15th Century
THE HIGH RENAISSANCE
Dissatisfaction with the leadership and policies of the Roman Catholic Church led to the Protestant Reformation.
In response, the Catholic Church initiated the Counter-Reformation.
A facet of the Counter-Reformation was the activity of the Society of Jesus, a religious order known as the Jesuits, which promoted education and missionary work. To deal with heretics, the Catholic Church also established a Church court called the Holy Office of the Inquisition.
The Catholic Counter-Reformation exploited the use of art to promote and reinforce religious and ideological claims.
THE HIGH RENAISSANCE
Developments in Italian 15th-century art ("Early Renaissance") matured during the 16th century ("High Renaissance").
No singular style characterizes the High Renaissance, but the major artists of the period, Leonardo da Vinci, Raphael, Michelangelo, and Titian, exhibit a high level of technical and aesthetic mastery.
These artists also enjoyed an elevated social status, while their art was raised to the status formerly only given to poetry.
Mastering everything from a(natomy)to z(oology):
Leonardo da Vinci's wide-ranging interests and scientific investigations informed and enhanced his art. He studied the human body and considered the eyes the most vital organs and sight the most essential function.Leonardo di ser Piero da Vinci (April 15, 1452 – May 2, 1519, Old Style) was an Italian Renaissance polymath: painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer whose genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. Leonardo has often been described as the archetype of the Renaissance Man, a man of "unquenchable curiosity" and "feverishly inventive imagination". He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent and "his mind and personality seem to us superhuman, the man himself mysterious and remote".
Leonardo da Vinci
Virgin of the Rocks
ca. 1485oil on wood
199 cm × 122 cm
While in Milan, Leonardo painted Virgin of the Rocks,
which employs the subtle play of light and dark to
model forms and to express the emotional states of his
figures. The figures, arranged in a pyramidal group, are
placed within a cavern. The optical haziness of the light
creates an atmosphere of psychological ambiguity.
Leonardo da Vinci
Virgin of the Rocks
ca. 1485oil on wood
189.5 cm × 120 cm
While in Milan, Leonardo painted Virgin of the Rocks,
which employs the subtle play of light and dark to
model forms and to express the emotional states of his
figures. The figures, arranged in a pyramidal group, are
placed within a cavern. The optical haziness of the light
creates an atmosphere of psychological ambiguity.
Leonardo da Vinci
Virgin and Child with St. Anne and the Infant St. John
ca. 1505-07charcoal heightened with white on brown
paper4 ft. 6 in. x 3 ft. 3 in.
This drawing employs the subtle sfumato technique of shading
Leonardo da Vinci
The Last Supper
Refectory, Santa Maria delle Grazie, Milan, Italy
ca. 1495-98oil and tempera on plaster29 ft. 10 in. x 13 ft. 9 in.
Leonardo's dramatic Last Supper in the refectory of the church of Santa Maria delle Grazie in Milan shows
the Twelve Disciples reacting to Christ's pronouncement that one of them will betray him. The forceful and lucid conceptualization of the moment is
enhanced by features in the design of the simple room. Christ is the psychological and also the perspectival focus of the painting. The Twelve
Disciples, who register a broad range of emotional responses, are arranged into four groups of three
unified through gestures and postures.
Leonardo da Vinci
Mona Lisa (La Giaconda)
ca. 1503-1505oil on wood
2 ft. 6 in. x 1 ft. 9 in.
Leonardo's famous portrait of Mona Lisa shows a half-length figure seated
in a loggia with columns against the backdrop of a mysterious uninhabited
landscape. Leonardo uses a smoky chiaroscuro (sfumato) and
atmospheric perspective to enhance the figure's ambiguous facial
expression, which serves to conceal or mask her psychic identity from the
viewer.
Leonardo da Vinci
Mona Lisa (La Giaconda)
ca. 1503-1505oil on wood
2 ft. 6 in. x 1 ft. 9 in.
The shadowy quality for which the work is renowned came to be
called "sfumato" or Leonardo's smoke.
Leonardo da Vinci
Embryo in the Womb
ca. 1510pen and ink on paper
In one of Leonardo's notebooks containing his anatomical studies is a drawing of an Embryo in the Womb. It
is an early example of scientific illustration. Leonardo also worked as
both architect and sculptor.
Donato d’Angelo Bramante
Plan for the new Saint Peter’s
1505
Bramante's ambitious design for the new Saint Peter's consisted of a cross with arms of equal length,
each terminated by an apse. A large hemispherical dome was planned for the crossing, with
smaller domes over subsidiary chapels. A commemorative medal
shows the exterior.
The ambitious Pope Julius II was an avid art patron who understood the
propagandistic value of visual imagery. He commissioned a new design for Saint
Peter's basilica, the construction of his tomb, the painting of the Sistine Chapel ceiling, and the decoration of the papal
apartments.
Donato d’Angelo Bramante
Tempietto
San Pietro in Montorio, Rome, Italy
1502
Bramante's design for the Tempietto in the cloister of the
church of San Pietro in Montorio, Rome, was inspired by ancient
Roman round temples Bramante would have known in Rome and in its environs. The rational design is
balanced and harmonious in the relationship of the parts (dome, drum, and base) to one another
and to the whole. The Tempietto was originally planned to stand
inside a circular colonnade.
Christoforo Foppa Caradosso
Medal showing Bramante’s design for the new Saint Peter’s
1506
Novel and Lofty Things
Michelangelo created works in architecture, sculpture, and painting that departed from High Renaissance regularity. His often complex and eccentric style expressed strength and a looming tragic grandeur. He insisted on the artist's own authority and independence and believed that an artist's own inspired judgment could identify pleasing proportions.Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), commonly known as Michelangelo, was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with fellow Italian Leonardo da Vinci.
Michelangelo Buonarroti
David
1501-1504marble
14 ft. 3 in. high
The monumental nude statue of David reveals Michelangelo's early
fascination with the male body. The detailed play of muscles over the figure's torso and limbs serves to enhance the mood and posture of
tense expectation as David watches for the approach of Goliath. The pent-
up energy of David's psychic and muscular tension is contrasted with his apparently casual pose. David is also represented as the defiant hero
of the Florentine republic.
Michelangelo Buonarroti
Moses
San Pietro in Vincoli, Rome, Italy
ca. 1513-1515marble
approximately 8 ft. 4 in. high
For his own tomb, Julius II commissioned Michelangelo to design
a grandiose, freestanding, two-story structure with some 28 statues. The project was gradually scaled down, and the final tomb, in San Pietro in Vincoli, Rome, is dominated by the
seated figure of Moses, whose pent-up emotional and physical energy fills
his massive muscular frame.
Michelangelo Buonarroti
Bound Slave
1513-1516marble
6 ft. 10 1/2 in. high
In the Bound Slave, believed to have been carved originally for
Julius II's tomb, Michelangelo made the body an expression of
the idea of oppression and a vehicle of intense feelings. The
violent contrapposto reveals the figure's defiance and his frantic
but impotent struggle against his restraints.
Michelangelo Buonarroti
Sistine Chapel Ceiling
Vatican City, Rome, Italy
1508-12fresco
approximately 128 x 45 ft.
A Grand Drama: In less than four years,
Michelangelo painted a monumental fresco on the
ceiling of the Sistine Chapel organized around a
sequence of narrative panels describing the
Creation as recorded in the biblical book Genesis..
Sistine Chapel (view facing west)
Vatican City, Rome, Italy
built 1473
The colossal decorative scheme conceived within a unifying
architectural framework includes the Hebrew prophets
and pagan sibyls on both sides of the central row of scenes
where the vault curves down, and four corner pendentives showing four Old Testament
scenes.
Sistine Chapel (view facing east)
Vatican City, Rome, Italy
built 1473
In triangular compartments above the windows are shown ancestors of Christ. Nude youths occupy the corners of the central panels, and
small pairs of putti in grisaille support the painted cornice
surrounding the entire central section. Michelangelo
concentrated his expressive purpose on the human figure, in
which he reveals both the beauty of the body in its natural form and also its spiritual and philosophical
significance.
The Downfall of Adam and Eve and their expulsion from the Garden of Eden.
Michelangelo BuonarrotiCreation of Adam, Sistine Chapel CeilingVatican City, Rome, Italy | 1511-12 | fresco | approximately 18 ft. 8 in. x 9 ft. 2 in.
In the panel of the Creation of Adam, Michelangelo painted a bold and entirely humanistic interpretation of the event, with a massive figure of God imparting
life through an extended hand to a languorously reclining nude figure of Adam.
Michelangelo Buonarroti
Last Judgment
Vatican City, Rome, Italy
1537-41fresco
Christ on judgment day:
Michelangelo's large-scale Last Judgment fresco in the Sistine Chapel shows Christ
as the stern judge of the world, surrounded by the choirs of Heaven
above a group of trumpeting angels. The just ascend on one side, and on the other
the damned are sent down. Below, the dead awake on the left and the damned
are ferried to Hell on the right. Among the martyrs close to Christ is Saint
Bartholomew, holding a knife and his flayed skin (its face a grotesque self-
portrait of Michelangelo). The figures are huge and violently twisted, with small
heads and contorted features.
Michelangelo Buonarroti
Last Judgment
Vatican City, Rome, Italy
1537-41fresco
Christ on judgment day:
Michelangelo's large-scale Last Judgment fresco in the Sistine Chapel shows Christ
as the stern judge of the world, surrounded by the choirs of Heaven
above a group of trumpeting angels. The just ascend on one side, and on the other
the damned are sent down. Below, the dead awake on the left and the damned
are ferried to Hell on the right. Among the martyrs close to Christ is Saint
Bartholomew, holding a knife and his flayed skin (its face a grotesque self-
portrait of Michelangelo). The figures are huge and violently twisted, with small
heads and contorted features.
Michelangelo Buonarroti
Last Judgment
Vatican City, Rome, Italy
1537-41fresco
Michelangelo Buonarroti
Last Judgment
Vatican City, Rome, Italy
1537-41fresco
Michelangelo Buonarroti
Drunkenness of Noah, Sistine Chapel Ceiling (pre-restoration)
Vatican City, Rome, Italy
1511-12fresco
Michelangelo Buonarroti
Drunkenness of Noah, Sistine Chapel Ceiling (post-
restoration)
Vatican City, Rome, Italy
1511-12fresco
Cleaning of, Sistine Chapel Ceiling
Vatican City, Rome, Italy
1977-1989
Sistine Chapel (view facing east)
Vatican City, Rome, Italy
built 1473
Michelangelo Buonarroti
Last Judgment
Vatican City, Rome, Italy
1537-41fresco
RaphaelPhilosophy (School of Athens)Stanza della Segnatura, Vatican Palace, Rome, Italy1509-11 | fresco | approximately 19 x 27 ft.
In the suite of rooms forming Pope Julius II's papal apartments,
Raphael painted a series of frescoes. On one of the four
walls of the Stanza della Segnatura, he painted the so-called School of Athens, which
shows a congregation of philosophers and scientists of the ancient world conversing and arguing in a vast vaulted
hall decorated with colossal statues of Apollo and Athena. In the center, silhouetted against
the sky, are Plato and Aristotle. Other recognizable figures
gathered around them include Pythagoras, Socrates, Heraclitus, Diogenes, Euclid, Zoroaster, and
Ptolemy; their dignified poses and eloquent gestures
communicate moods that reflect their various beliefs. In the
Stanza della Segnatura, Raphael reconciled and harmonized paganism and Christianity.
Raphael
Marriage of the Virgin
Chapel of Saint Joseph in Città di Castello near Florence, Italy
1504oil on wood
5 ft. 7 in. x 3 ft. 10 1/2 in.
Raphael's Marriage of the Virgin shows Joseph's success in the competition with other suitors
for the hand of Mary. A centrally planned temple is prominent in
the background.
Raphael
Madonna of the Meadows
1505oil on panel
3 ft. 8 1/2 in. x 2 ft. 10 1/4 in.
Raphael's employs a pyramidal composition and uses a subtle chiaroscuro to model the faces and figures in Madonna of the
Meadows.
Raphael
Galatea
Sala di Galatea, Villa Farnesina
Rome, Italy
1513fresco
9 ft. 8 in. x 7 ft. 5 in.
Raphael's joyful and exuberant fresco of Galatea in the Villa
Farnesina shows the nymph on a shell, surrounded by sea
creatures and cupids.
Raphael
Baldassare Castiglione
ca. 1514oil on wood transferred to
canvas2 ft. 6 1/4 in. x 2 ft. 2 1/2 in.
Raphael's portrait, painted in muted and low-keyed tones,
shows the soberly dressed Baldassare Castiglione in
half-length and three-quarter view looking directly out at
the viewer. Raphael explores the Castiglione's personality
and psychic state.
Michelangelo's Pietà, a depiction of the body of
Jesus on the lap of his mother Maryafter
the Crucifixion, was carved in 1499, when the sculptor
was 24 years old.
Michelangelo Buonarroti
Tomb of Giuliano de’Medici
Medici Chapel, San Lorenzo, Florence, Italy
1519-1534marble
central figure approximately 5 ft. 11 in. high
Michelangelo in the Service of the Medici. Following the death of Julius II, Michelangelo entered the service of the
Medici popes (Leo X and his successor Clement VII), who commissioned him to
build a funerary chapel in San Lorenzo in Florence.
Michelangelo Buonarroti
Tomb of Giuliano de’Medici
Medici Chapel, San Lorenzo, Florence, Italy
1519-1534marble
central figure approximately 5 ft. 11 in. high
The sculpted tombs of Giuliano and Lorenzo in the New Sacristy were left unfinished by
Michelangelo. The tomb of Giuliano contains a statue of Giuliano in a niche at the apex, with
below a pair of contorted figures that rest on the sloping sides of the sarcophagus (a female
figure of Night and a male figure of Day), and, possibly, a pair of recumbent river gods at the
base. The meaning of the ensemble remains unclear. The figure of Giuliano, representing the
active man, is an ideal human type. The figure of Lorenzo in the niche opposite represents the
contemplative man.
Antonio da Sangallo the Younger
Palazzo Farnese
Rome, Italy | ca. 1530-1546
Before he became Pope Paul III, Cardinal Alessandro Farnese commissioned Antonio da Sangallo to build the Palazzo Farnese in Rome. The design expresses
the classical order, regularity, simplicity, and dignity of the High Renaissance. On the third level of the interior courtyard, Michelangelo replaced the columns of
Sangallo's design with overlapping pilasters.
Michelangelo Buonarroti
Capitoline Hill
Rome, Italy
designed ca. 1537
Michelangelo's reorganization of the Capitoline Hill (the Campidoglio) in Rome
incorporated the existing Palazzo dei Senatori and the Palazzo dei
Conservatori (the façade of which he redesigned) into a balanced and
symmetrical design. He added a new building (the Museo Capitolino) opposite the Palazzo dei Conservatori and at the same angle to the Palazzo dei Senatori, which created a trapezoidal plan for the
piazza. In the center of the piazza, which was given an oval pavement design, was
placed (against the advice of Michelangelo) the Roman equestrian
statue of Marcus Aurelius, which, because it was believed to represent
Constantine, served as a symbol of the triumph of Christianity over the pagan
Roman Empire.
Michelangelo BuonarrotiCapitoline Hill and Museo CapitolinoRome, Italydesigned ca. 1537
Michelangelo Buonarroti
plan for Saint Peter’s
Vatican City, Rome, Italy
1546
During his supervision of the building of the new Saint Peter's,
Michelangelo preserved Bramante's original centralized
plan but reduced and unified the central component to a compact, domed Greek cross inscribed in a square and fronted with a double-
columned portico.
Michelangelo Buonarroti
elevation for Saint Peter’s
Vatican City, Rome, Italy
1546-1564
On the exterior, he employed the colossal
order, the vertical extension of which
extends up through the attic stories into the
drum and the dome to unify the whole building. Michelangelo's final plan for a hemispheric dome
was not adopted by Giacomo della Porta,
who, long after Michelangelo's death, built a dome with an
ogival section.
Michelangelo Buonarroti
elevation for Saint Peter’s
Vatican City, Rome, Italy
1546-1564
The commercial and political power enjoyed by Venice during the 15th century declined in the 16th century due largely to the discoveries in the New World and the economic shift from Italy to Hapsburg Germany and the Netherlands. Moreover, since the Turkish conquest of Constantinople, Venice had lost control of the eastern Mediterranean. Venice remained independent despite attacks by the League of Cambrai, composed of Spain, France, the Holy Roman Empire, and the Papal States.
Giovanni Bellini
San Zaccaria Altarpiece
Santa Zaccaria, Venice, Italy
1505oil on wood transferred to
canvas16 ft. 5 in. x 7 ft. 9 in.
The primacy of color.Giovanni Bellini's monumental
sacra conversazione (holy conversation) altarpiece in San
Zaccaria, Venice, shows the Virgin enthroned with the Christ Child in
the company of four saints. The figures are bathed in an evocative, soft-colored light. The harmonious, balanced presentation of luminous
colors results in an image that gently radiates a feeling of serenity
and spiritual calm.
Giovanni Bellini
San Zaccaria Altarpiece
Santa Zaccaria, Venice, Italy
1505oil on wood transferred to
canvas16 ft. 5 in. x 7 ft. 9 in.
The primacy of color.Giovanni Bellini's monumental
sacra conversazione (holy conversation) altarpiece in San
Zaccaria, Venice, shows the Virgin enthroned with the Christ Child in
the company of four saints. The figures are bathed in an evocative, soft-colored light. The harmonious, balanced presentation of luminous
colors results in an image that gently radiates a feeling of serenity
and spiritual calm.
Giovanni Bellini and Titian
The Feast of the Gods
1529oil on canvas
5 ft. 7 in. x 6 ft. 2 in.
A mythological picnic.Giovanni Bellini's Feast of the Gods
(derived from Ovid's Fasti ) is a new kind of mythological painting that
shows the Olympian gods as peasants enjoying a picnic in a
shady, rural place of rustic peace and simplicity. Bellini and other
Venetian artists focused on color and the process of paint
application, whereas Florentine and Roman artists were more
concerned with sculpturesque form, drawing, and design (disegno).
Venetian artists developed a "poetic," lyrical, and sensual art, whereas artists in Florence and Rome gravitated toward grand,
heroic, esoteric, and intellectual themes.
Giovanni Bellini and Titian
The Feast of the Gods
1529oil on canvas
5 ft. 7 in. x 6 ft. 2 in.
A mythological picnic.Giovanni Bellini's Feast of the Gods
(derived from Ovid's Fasti ) is a new kind of mythological painting that
shows the Olympian gods as peasants enjoying a picnic in a
shady, rural place of rustic peace and simplicity. Bellini and other
Venetian artists focused on color and the process of paint
application, whereas Florentine and Roman artists were more
concerned with sculpturesque form, drawing, and design (disegno).
Venetian artists developed a "poetic," lyrical, and sensual art, whereas artists in Florence and Rome gravitated toward grand,
heroic, esoteric, and intellectual themes.
Giovanni Bellini and Titian
The Feast of the Gods
1529oil on canvas
5 ft. 7 in. x 6 ft. 2 in.
A mythological picnic.Giovanni Bellini's Feast of the Gods
(derived from Ovid's Fasti ) is a new kind of mythological painting that
shows the Olympian gods as peasants enjoying a picnic in a
shady, rural place of rustic peace and simplicity. Bellini and other
Venetian artists focused on color and the process of paint
application, whereas Florentine and Roman artists were more
concerned with sculpturesque form, drawing, and design (disegno).
Venetian artists developed a "poetic," lyrical, and sensual art, whereas artists in Florence and Rome gravitated toward grand,
heroic, esoteric, and intellectual themes.
Giorgionne da Castelfranco
Pastoral Symphony
ca. 1508oil on canvas
3 ft. 7 in. x 4 ft. 6 in.
Poetry in motion. Giorgione's so-called
Pastoral Symphony, which shows two voluptuous nude
females accompanied by two clothed young men in a landscape with a shepherd,
exemplifies the Venetian poetic manner in its
eloquent though enigmatic evocation of a dreamy,
tranquil, pastoral mood.
Giorgionne da Castelfranco
The Tempest
ca. 1510oil on canvas
2 ft. 7 in. x 2 ft. 4 3/4 in.
Stormy weather. Giorgione's enigmatic painting The Tempest
shows a lush landscape with human figures in the foreground threatened by stormy skies and
lightning.
Titian
Assumption of the Virgin
Santa Maria Gloriosa del Frari, Venice, Italy
ca. 1516-1518oil on wood
22 ft. 6 in. x 11 ft. 10 in.
A master of color. Titian was a supreme colorist and the most
extraordinary and prolific of the great Venetian painters.
Titian's large altarpiece of the Assumption of the Virgin in
Santa Maria Gloriosa dei Frari in Venice uses vibrant color to
infuse the image with a drama and intensity.
Titian
Madonna of the Pesaro Family
Santa Maria dei Frari, Venice, Italy
1519-1526oil on canvas
approximately 16 x 9 ft.
A dazzling display of color. Titian's Madonna of the Pesaro Family in the
church of the Frari, Venice, shows Pesaro, bishop of Paphos in Cyprus and commander of the papal fleet,
who had led a successful expedition in 1502 against the Turks during the
Venetian-Turkish war, being received by the Madonna together with saints
and a Turkish prisoner of war. The monumental figures are placed on a steep diagonal with the Madonna at
the apex off to the right.
Titian
Meeting of Bacchus
and Ariadne
1522-1523oil on canvas
5 ft. 9 in. x 6 ft. 3 in.
Bacchanalian revelry. Titian's Meeting of
Bacchus and Ariadne shows Bacchus,
accompanied by his boisterous and noisy
retinue, arriving to save Ariadne, who had been abandoned by Theseus on the island of Naxos.
The rich, luminous colors add to the painting's
sensuous appeal.
Titian
Venus of Urbino
1538oil on canvas
4 ft. x 5 ft. 6 in.
A Venetian Venus. Titian's so-called Venus of Urbino
shows a nude woman reclining on a luxurious pillowed couch. Although she
is posed as the goddess of classical
mythology, the woman is probably a
courtesan seen in her bedchamber.
Color plays a prominent role in the composition.
Titian
Isabella d’Este
1534-36oil on canvas
3 ft. 4 1/8 in. x 2 ft. 1 3/16 in.
A powerful patroness. Titian's portrait of a poised
and self-assured Isabella d'Este is a psychological
reading of the body's most expressive parts--the head
and the hands.
Andrea del Sarto
Madonna of the Harpies
1517oil on wood
6 ft. 9 in. x 5 ft. 10 in.
A Madonna with sphinxes:
The sphinxes in this Andrea del Sarto painting were
misidentified as harpies. The composition is based
on a massive and imposing figure pyramid, the static
qualities of which are relieved by the opposing
contrapposto poses of the flanking saints - a favorite
and effective High Renaissance device to
introduce symmetry.
Antonio Allegri da Correggio
Assumption of the Virgin
Dome fresco of Parma CathedralParma, Italy
1526-1530fresco
A view of the sky:
In addition to pulling together many stylistic trends, including
those of Leonardo, Raphael, and the Venetians, Correggio also
created the illusion that the dome of the Parma Cathedral
has disappeared and in its place is a vision of the Assumption of
the Virgin. His style is sometimes called "proto-Baroque."
Antonio Allegri da Correggio
Assumption of the Virgin
Dome fresco of Parma Cathedral
Parma, Italy
1526-1530fresco
MANNERISM
Mannerist art and architecture generally places an emphasis on staged and contrived imagery, on elegance and beauty, on imbalanced compositions, and on unusual visual and conceptual complexities. Space in Mannerist paintings may appear ambiguous, and traditional themes may be presented in unconventional or unexpected ways. Mannerist art may be restless, with figures shown distorted, exaggerated, and with affected but often sinuously graceful postures. Mannerism's requirement of "invention" led artists to produce self-conscious stylizations involving complexity, caprice, fantasy, elegance, perfectionism, and polish.
Jacopo da Pontormo
Descent from the Cross
Capponi Chapel, Santa Felicità, Florence, Italy
1525-1528oil on wood
10 ft. 3 in. x 6 ft. 6 in.
Mannerist Painting
The figures crowded into Pontormo's Descent from the Cross are disposed in a shallow, ambiguous space around the
frame of the picture, leaving a void in the center of the composition. The
twisting, bending figures, painted in clashing colors, have elongated limbs
and small, oval heads.
Parmigianino
Madonna with the Long Neck
ca. 1535oil on wood
7 ft. 1 in. x 4 ft. 4 in.
Mannerism's elegance and grace:
The body of the Madonna in Parmigianino's unfinished Madonna
with the Long Neck has been artificially attenuated to create an
elegant and exquisitely graceful figure.
Bronzino
Venus, Cupid, Folly and Time
(The Exposure of Luxury)
ca. 1546oil on wood
5 ft. 1 in. x 4 ft. 8 3/4 in.
An allegorical love scene:
In the following painting, Bronzino demonstrated the Mannerist's fondness
for extremely learned and intricate allegories that often had lascivious
undertones.
Bronzino
Portrait of a Young Man
ca. 1530soil on wood
approximately 3 ft. 1 1/2 in. x 2 ft. 5 1/2 in.
A mannered portrait:
A staid and reserved formality is a standard
component of Mannerist portraits.
Sofonisba Anguissola
Portrait of the Artist’s Sisters and Brother
ca. 1555
Portraying familial intimacy:
Sofonisba Anguissola's group portrait shows her
two sisters and brother in lifelike natural poses
against a neutral ground.
Giacomo della Porta
façade of Il Gesù
Rome, Italy
ca. 1575-1584
Some architects in the later 16th-century continued to
adhere to High Renaissance ideals.
Anticipating the Baroque:
Giacomo della Porta's design for the façade of il
Gesù unites the lower and upper stories through scroll
buttresses and uses a progressive accumulation of
pilasters and columns and bay decoration that builds
to a dramatic climax at the central bay. Giacomo da
Vignola's plan for Il Gesù is dominated by a huge nave
space and a domed crossing.
Tintoretto
Miracle of the Slave
1548oil on canvas
14 x 18 ft.
Mannerist drama and dynamism:
The composition of Tintoretto's dramatic
Miracle of the Slave is constructed using a
counterpoint of contrary motions; for any figure
leaning in one direction, another figure counters it. A dynamic group of robust
figures in the center sweep together in an
upward serpentine curve, their motion checked by
the plunging inverted figure of Saint Mark,
moving in the opposite direction.
Tintoretto
Last Supper
Chancel. San Giorgio Maggiore, Venice, Italy
1594oil on canvas
12 ft. x 18 ft. 8 in.
A visionary last supper:
Tintoretto's Last Supper is a spiritual, even visionary,
interpretation in which solid forms seem to melt away into swirling clouds
of dark around the beacon-like glow of
Christ's halo in the center. The converging
perspective lines race diagonally away from the
picture surface to create a disturbing effect of limitless depth and
motion.
Giulio RomanoInterior courtyard façadeof the Palazzo del TèMantua, Italy1525-1535
A Mannerist Mantuan mansion:
Mannerist architecture uses classical architectural elements in a highly personal and unorthodox manner. Giulio Romano's design for the Palazzo del Tè in Mantua includes a number of unconventional and humorously eccentric structural features such as slipping keystones, voussoirs in horizontal pediments, and large Tuscan columns carrying incongruously narrow architraves that appear to break midway between the columns and seem unable to support the weight of the triglyphs above.
Paolo VeroneseChrist in the House of Levi1573 | oil on canvas | 18 ft. 6 in. x 42 ft. 6 in.
Paolo Veronese
Christ in the House of Levi
1573oil on canvas
18 ft. 6 in. x 42 ft. 6 in.
A problematic painting of Christ:
Veronese's huge monumental painting of
Christ in the House of Levi (originally called Last
Supper) shows Christ seated with other figures (robed
lords, their colorful retainers, clowns, dogs, and
dwarfs) in a great open loggia framed by three
monumental arches. When originally titled the Last
Supper, the Holy Office of the Inquisition accused
Veronese of impiety. Veronese changed the
painting's title to the present one.
Paolo Veronese
Triumph of Venice
ca. 1585oil on canvas
approximately 29 ft. 8 in. x 19 ft.
Venice triumphant:
Veronese's illusionistic ceiling painting Triumph of Venice
shows, within an oval frame, a pictorial glorification of the
state of Venice. Personified as a woman, and being crowned
by Fame, Venice is shown enthroned between two great,
twisted columns in a balustraded loggia, garlanded with clouds, and attended by
figures symbolic of its glories.
Andrea Palladio
Villa Rotunda
near Vicenza, Italy
ca. 1566-1570
Inspired by the ancients:
Andrea Palladio's employs a central plan design for
the Villa Rotonda near Vicenza that has four identical façades and
projecting porches (each resembling a Roman
temple) arranged around a central dome-covered rotunda inspired by the
Pantheon. The parts of the building are
systematically related to one another in terms of
calculated mathematical relationships.
Andrea PalladioVilla Rotunda
near Vicenza, Italy
ca. 1566-1570
Andrea Palladio
Villa Rotunda
near Vicenza, Italy
ca. 1566-1570
Andrea Palladio
west façade ofSan Giorgio Maggiore
Venice, Italy
begun 1565
Shadow and surface:
Andrea Palladio's design for the façade of San
Giorgio Maggiore in Venice integrates the high
central nave and lower aisles into a unified façade
design by superimposing a tall, narrow classical
porch on a low broad one.
Andrea Palladiointerior of San Giorgio MaggioreVenice, Italy begun 1565
Techniquesthe use of perspective: The first major treatment of the painting as a window into space appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized later, by Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more realistic presentation of art, it moved Renaissance painters into composing more paintings.
foreshortening - The term foreshortening refers to the artistic effect of shortening lines in a drawing so as to create an illusion of depth.
sfumato - The term sfumato was coined by Italian Renaissance artist, Leonardo da Vinci, and refers to a fine art painting technique of blurring or softening of sharp outlines by subtle and gradual blending of one tone into another through the use of thin glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare meaning to evaporate or to fade out. The Latin origin is fumare, to smoke. The opposite of sfumato is chiaroscuro.
chiaroscuro - The term chiaroscuro refers to the fine art painting modeling effect of using a strong contrast between light and dark to give the illusion of depth or three-dimensionality. This comes from the Italian words meaning light (chiaro) and dark (scuro), a technique which came into wide use in the Baroque Period.; Sfumato is the opposite of chiaroscuro.
Balance and Proportion: proper sizes.
Sources
• http://websites.swlearning.com/cgi-wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn=0155050907&discipline_number=436
• http://en.wikipedia.org/wiki/Renaissance_art • Art Through the Ages, 12th/11th ed., Gardner
top related