book of art

8/16/2019 Book of Art

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Art: History and Evolution

From the Renaissance to BaroqueDeledda International School

MYP 2

Adapted from the texts:

The Story of Art. Grombrich Art: The Whole Story. Stephen Farthing

Bright Earth: The Invention of colour. Phillip BallLeggere L’arte: Storia dell’arte.Preistoria al settecento. Angela Vettese

Cover image: The Holy Family with the infant St. John the Baptist (the Doni Tondo). Michelangelo.


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Chapter 1:

The Early Renaissance:1400- 1480

In the 15th C. the Italians continued to expand

on what Giotto had started in the Gothic

period: Perspective, rich colour, large worksthat showed classic style and the power of theempire and art that went beyond simpledocumentation: it told a story. Since the fall ofthe of the Roman Empire, the Italians didn’tachieve much in the Middle Ages, losingstrength and power as the Empire broke downand Italy became smaller and smaller. Notliking this loss of territory, they wanted toregain a little bit of what they had lost.

The Italians decided that a return (a rebirth) tothe classical style of ancient Greek andRoman art was in order, when Italy was at theheight of its power and created artistic worksof enormous size that showed elegance, skilland economic strength. By returning to such aglorious period they would be able to reclaimsome power that had been lost to France,Germany and England.

The Italians believed that the art, science andstudy, that was so strong in the classicalperiod, would help them to be reborn as astronger nation and give them the spotlightonce again.

It was the Florentines, the Medici family inparticular (the official bankers to the Pope),that helped fund this rebirth economically, butit was the genius of the artists and architectsthat helped it come to life.

Perspective

The first artist to make a huge impact, not onlyin the Renaissance period, but for art aroundthe world, was Masaccio. A Florentine artist(1401-1428), he studied the work of Giottoand looked closely at the way that he paintedpeople in movement and how he tried to

create a 3rd

dimension on a 2 dimensionalsurface.

Masaccio combined art and maths and madethe most important discovery for art in theworld: perspective. This discovery foreverchanged the world, in paintng, intelligence

and made Italy the centre of the artistic worldonce again.

Trinity, Masaccio. 1426-28

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‘Trinity’, in the Santa Maria Novellachurch in Florence, Masaccio usedgeometrical shape to form the fresco,then put Jesus in the centre, under thearch to create even more depth andperspective.

The figure of Jesus appears larger thanthe two figures in the front of the pillars

as in the Renaissance time, we oftensee figures of high place larger thanthe rest, as they are deemed moreimportant.


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The architecture painted in the pictureis of Classical style. The columns andpillars are Corinthian and the ceiling isclassic arch form.

The architecture chosen represents

perspective in the best way possible.

Only God and Jesus are front on, the

other figures are angled on the side.This too is to help see the perspectivein the fresco.

Masaccio used the chiaroscurotechnique, also used by Giotto, to givethe bodies shape and show off the formof the fresco.

The fresco is best looked at from 9metres away as all the lines meet at acentral vanishing point. 9 meters fromthe middle of the painting.

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Architecture

In the Renaissance, they didn’t want to bereminded of the artistic period that forgot Italy(Gothic) so they didn’t want to have any tallbuildings that resembled anything like whatwas built in France in the century before. The

most important architects of the earlyReniasscance were Filippo Brunelleschi(1377-1446) and Leon Battista Alberti (1406-1472). Alberti had great ideas about howarchitecture should be and he decided that

the new, rich, Italian cities needed to bemodern and buildings to look balanced.He had 3 major points for architecturaldesigns of the Reniassance:

1. Each building must represent thepurpose it was built for. Eg. A housecould not have the same design as abuilding of parliment.

2. Buildings had to be monumental, with aClassical design.

3. They had to follow very strict rules of

design and construction:a. Follow the new guidelines of

structure and geometry.b. Have a design the reflected the

Classic style of ancient Rome(columns, pillars, arches etc.)

c. The architect was responsiblefor the entire building, fromdesign to construction todecoration- something not donebefore.


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Brunelleschi and the Duomo of Florence

Although Alberti was the mind behind thetheory of Renaissance architecture, it wasBrunelleschi who was the most famousand modern thinking of all the architects ofthe time and the first to put Alberti’s ideas

in to practice.

Brunelleschi’s most famous work is theFlorence Cathedral (Santa Maria delFiore), or, as called in English- TheDuomo.The Florentines wanted a huge dome fortheir cathedral, started in the Gothic period(Giotto had already made the bell tower),but no one was able to design andconstruct one big enough to cover the top

of the church that was already in place.Brunelleschi studied the ruins of ancientRome in order to devise a plan that wouldallow him to construct a new dome on topof the church, a dome that would revivethe splendour of Italy’s glory days as thebiggest empire on earth, but without beingan exact copy of what was.

Brunelleschi worked on the domefrom 1420-1436.

The plan of the cathedral isRomanesque (it was started in theGothic period and finished in theRenaissance).

Gothic groin vaults hold up theinside of the cathedral and theinterior is a Gothic style design.

The floor plan of the cathedral iscalled ‘Latin Cross’ because it lookslike a cross.

To make the dome more stable andstronger, he didn’t make it roundand smooth, he divided it intosections. The dome actually hascorners. It is an ovoid shape (thetop of an egg shape).

Inside the dome there are two

layers. Between these layers is aspiral that locks the segments of thedome together.

There are panels that close thesides of the dome and cometogether at the top, closing in at thetop of the ‘egg’.

The lantern on the very top of thedome (used to bring light inside thecathedral) is actually a key thatlocks everything into place, byputting weight on the panels andpushing them into place. Without it,the dome would actually open and

fall to pieces. The smaller domes around the base

are there to give extra stability.

Many of the stained glass windowswere designed by Donatello (theearly Renaissance sculptor.

The paintings inside the dome weredone by Vasari and Zuccari.

o Vasari is also the painter ofthe famous fresco in theFlorentine house ofparliament, in which there issaid to be a Da Vinci paintinghiding behind it.

Giotto and Pisano worked on thebell tower. Pisano is also theartist/architect who worked on theField of Miracles in Pisa.

The clock on the face of thecathedral is one of the world oldest

working clocks. The marble on the exterior of the

building was of Romanesque/earlyRenaissance design, used typicallyfor beauty, but also showed that theMedici had money as marble was astone used by nobility, not by thenormal population.

o Green marble came fromPrato, red from Maremma,white from Carrara.

Brunelleschi design a dome that would becopied for centuries and centuries, indiverse countries around the world and a

cathedral that has become one of the mostfamous to ever exist.


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4. Santa Maria Del Fiore

5. The Construction of the dome.

6. Vasari’s frescoes inside the dome.

7. Marble detail of the exterior wall.


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Renaissance buildings and city plans

Alberti’s rules for Renaissance architecturewere followed well by the Italians,especially the Florentines.

The windows are large and wellspaced.

Each building is framed at the top,balancing out the height of thebuildings.

The bottom floor of the buildings aredecorated with protruding stones-bugne.

Inside the buildings there arecourtyards in a square orrectangular shape surrounded byan arched walkway.

Above the internal courtyard are therooms.

The cities were designed to beharmonious and orderly.

They were often based ongeometric shapes such as stars,squares or circles.

Many or the buildings designedwere coordinated with each other,to give a clean look to the city.

The people wanted buildings to be

finished in their lifetime, theywanted to see what they werepaying for, and as a result, buildingswere not huge, but large, and theydidn’t build big churches as done incenturies before, but rather smallerones that could be finished quickly.

Palazzo Strozzi, Florence. 1549

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Internal courtyard, Palazzo Strozzi.

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The Northern Renaissance: Jan VanEyck

Italy wasn’t the only place where theRenaissance bloomed. It was alsohappening in the north of Europe, but withvery different results. One of the artists toemerge from this era was Jan Van Eyck(1390-1441), from Holland.Van Eyck is credited with being the artistto invent the modern day oil paint. Someother artists had done so before, but it wasVan Eyck’s version (using oil instead ofegg) that became the most widely used asit was the best solution to many artistsproblems: it stuck to the wall and to thecanvas better, it took a while to dry, whichmeant that the artist could work on shadowand light easily and it helped the coloursblend.

There are two works that made Van Eycka famous artist. The first is The Ghent

Altarpiece 1432 and the second is The Arnolfini Wedding, 1434.


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The Ghent AltarpieceOil on panelSt. Bavo Cathedral, Ghent.

Based on a passage of Revelationsof St John from the Bible.

It is a fold-out artwork-the sides

open out to reveal a different pictureon the inside.

When closed, the altarpiece showscolours that are lighter, softer and alittle bit bland.

It was kept closed on normal daysof church services, this is why itwas sombre in colour.

It was opened on special service

days (feast days) and showed itsbright glowing colours of gold, red,blue and green.

The most famous part of this workare the figures of Adam and Eve.They are completely naked, exceptfor some leaves- something whichthe Italians never dared to paint-their ‘naked’ figures always hadrobes or cloth over them.

Their bodies are also very realistic,and this is why many people believe

that Van Eyck was one of the firstartists to use a live model whenpainting.

He was known for painting so

realistically that he shocked theviewer- not because his art wasugly, but because he left people theway they were instead ofbeautifying them the way other

artists did.

The open altarpiece

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The Arnolfini WeddingOil on woodNational Gallery, London

To paint this picture, Van Eyck hadto improve the quality of his paintsto make sure that he was able to

paint in the most realistic mannerpossible. He made a new oil paintthat would then be used by all otherartists.

The painting is of an Italianmerchant (Arnolfini) and his newbride Jeanne de Chenany.

He painted real life in the picture:o Slippers on the flooro A dog in the foregroundo Fruit on the table behind

Arnolfini

Van Eyck also painted the reflectionof the room in the mirror on theback wall, including himself and itfollows the round curve of themirror.

Van Eyck was painting the marriageof the couple, which is probably whyhis signature is very clear andvisible on top of the mirror- he was

a witness to the occasion. It is believed that Jeanne de

Chenany was pregnant when thepainting was done because of theway she holds her dress.

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Botticelli: The master of composition

In the late 1400s, an artist by the name ofSandro Botticelli (1445-1510) emergedunder the training of the artist Verrocchio.Botticelli was extremely dedicated toreligion in art and for this, worked very

closely with the Medici family, whofounded the Academy of Philosophy, andfor who Botticelli brought to life many ofthe mythological creatures and Gods thatwere discussed at this school. As a result,his paintings are very ethereal, elegantand divine.

Primavera, 1478Oil paint on panelUffizi Gallery, Florence

The artwork is from right to left, notleft to right, like most works.

Mercury (on the left) is an exampleof the way the male body was oftenpainted in the Renaissance.

The Three Graces float above thegrass, very daintily in a typicalgrouping of the Renaissance time.They represent: Beauty, Passionand Chastity. The joined hands

represent harmony. Many believe that he wanted to

paint Venus with child, which is whyshe has a swollen belly. The Myrtleplant behind her also representspregnancy while married.

Zephyrus and Chloris: Chloris istransformed into Flora by the windof Zephyrus. Flora representsrebirth.

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The Birth of Venus, 1483-85Oil paint on canvasUffizi Gallery, Florence

According to legend, Venus wasborn emerging from the sea,landing on the island of Cyprus.

She is welcomed by a young

lady (possibly on of the threeGraces).

Zephyrus and Aura blow Venusgently to shore.

Venus’ neck is strangely longand her left arm looks like it issitting lower than her shoulder.This was a very significant styleof painting by Botticelli- it is howhe made his figures look longand heavenly.

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Chapter 2:

The High Renaissance

Whilst most of Southern Europe was in aneconomic crisis due to war and socialchanges, the cities of Venice and Rome

thrived under strong leadership and trade.Venice found its strength in commercialtrade in the Adriatic and Rome because ofits religious and political power. PopeJulius II and Pope Leon X wanted to showthis strength through art and hired artistsof an extremely high level, such asBramante, Michelangelo and Rafael todesign and decorate official buildings andchurches in Rome.The Medici family in Florence was nolonger in power like the century before andthe Pope had returned to Rome from

Avignon for good. Lots of artists were inthe middle of the two cities, some loyal tothe Medici and some wanting the moneyand fame that Rome brought. Art showeda cities prestige, money, culture andknowledge, so naturally each city wantedthe best artists for themselves, but it wasRome that had the means to create the

great artworks of the High Renaissance.

The artists of this period, both in Florenceand in Rome, looked at humans as thecentre of all things important: creation,invention, style and advancement. Theyperfected the human form and depicted itas what they wanted to see- not what wasrealistic. Bodies were painted inproportion, meaty and muscular, elegantand fluid. They defined the classic style

and combined it with scientific discoveriesof the human body, allowing them to depictthe human form in any position, in anysize.This advancement in the understanding ofthe human body, combined with newtechniques of painting helped create themost famous artworks known to man, andmake the Renaissance the most important

period in artistic history.

The new artists.

After the Early Renaissance, artistthemselves were enjoying a certain type ofprestige that came with their work. Artistswere no longer ‘employees of the state’,like in ancient times. They now had

freedom to express their ideas and makedecisions regarding their work- not only dowhat noble people wanted them to. Theyhad a choice if and how they wanted towork, and for whom.

From a young age, about 12, students(apprentices) were trained in studiosunder famous artists (masters) to becomeartists themselves. They often started bymaking paint and running errands for their

master and often lived with them and theirfamily. When they had shown enoughresponsibility, they were asked to paint abackground, or finish a work of lesservalue. Then when they had shown thatthey were ready, they were asked tocomplete works of more importance andthen eventually, they would leave thestudio and work on their own. This wouldtake years of training and practice but itbecame a very important part of an artistslife- it determined what kind of artist theywould be and who they could work for.


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Leonardo da Vinci

Da Vinci (1452-1519) was born in Vinci,Tuscany, but went to be an apprentice inFlorence when he was very young, underthe guidance of the master Verrocchio. Heworked mostly in Milan and Florence

throughout his life and was more than justan artist, he was an inventor, scientist,musician and architect. Although heworked in the late 1400s, he is consideredand artist of the High Renaissance due tohis incredible skill and advances in art andscience.

As a scientist he was interested inanatomy, biology, botany, engineering andhydraulics. In order to understand the

human body, he would cut open corpsesand study their muscles and bones,something not done previously, by anyone,and draw what he saw. His drawings wereso accurate that even medics were able tostudy from them and learn more about thehuman body. He understood the perfectproportions of the human body and drew itaccurately and the drawing is known asthe Vitruvian Man.

Da Vinci was one of the first to investigatehow babies grow in the womb, understandwaves and tides and study insects andbirds so much that he was able to inventthe world’s first flying machine- a modelthat is similar to what we use today.His explorations and studies of naturehelped him to create art at an extremelyhigh level, he was considered a geniuswhile he was alive and was the most

wanted artist of his the Renaissance.Despite this popularity, Da Vinci refused tobe ‘bought’ and would only work onprojects he believed worthy of his time andhe would never give a work to its owneruntil he decided it was finished, and hewas an absolute perfectionist…. Many ofhis works remained unfinished for thisreason.

Da Vinci ‘out of the box’.

Da Vinci was a genius, but in a time whereChristianity ruled, when the Pope had ahigher level of power than the Medicifamily in Florence, and the majority of

people believed in what the governmenttold them, to be a genius and to reallyunderstand what was going on in theworld, meant that one could also bedeemed a heretic and be severelypunished.Da Vinci made discoveries before his time,

especially regarding the solar system.There are writings of his that say ‘the sundoes not move’ which suggest that heunderstood that the earth moves aroundthe sun, and not vice versa- as the churchbelieved (Galileo was later condemned forthis). He was so worried about hisdiscoveries being found, that he wrotebackwards, from right to left, and hiswritings could only be read whilst facing amirror.

The biggest work of Da Vinci, The Battle of Anghiari, 1503, Palazzo Vecchio, Florence(Depicting the battle of the Republic ofFlorence against Lombardia), wasbelieved to have been ‘lost’: painted overor cancelled. The fresco wascommissioned by the Medici family for theHall of the High Renaissance- the councilchamber of Palazzo Vecchio. It wasbelieved to have been cancelled becauseit showed information that the Medicifamily didn’t want the Pope to know about (or the fact the Da Vinci ruined it by tryingto dry it too quickly!).

It was in the 1970s that it was first believedthere was something behind the Vasarifresco which we now see on the wall of thechamber. The first clue that leadacademics to believe there was something

behind the Vasari work was that on thefresco, there is a flag with the words‘Cerca Trova’ but there wasn’t anytechnology to help with the investigation.Only a few years ago the technologybecame available to see if there is apossibility that the painting still exists,hidden about 5cm behind Vasari’s work (battle scenes from various Florentinevictories over Sienna and Pisa).

Work has been done to try and be 100%sure that the fresco still exists, andacademics are confident that it does, but itis impossible to uncover without ruiningthe work of Vasari.


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Detail of Vasari’s fresco, Palazzo Vecchio

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Da Vinci was known to be a man ofsecrets, and in recent times, many studieshave been done on his work to understandthe hidden symbols and clues in hispaintings and what they mean. His workscan be mirrored and flipped over to createother artworks within themselves, designsof technical genius, but not only that, DaVinci was believed to be one of few men

trusted with holding the secrets of historythat know one else knows about, andthese secrets are hidden in his works.

The Last SupperOil on plaster ,1495-97, Santa Maria delleGrazie church, Milan

The fresco was done for the monksof the church.

The perspective of the work makesit seem as if the room has beenextended.

The figures are life-size, so itseemed that the monks, whensitting at their table, were sitting atthe table with Jesus and hisdisciples.

Taken from the gospel of Matthew,the passage in which Jesus states

that one of his disciples wouldbetray him and Da Vinci capturesthe reaction of the disciplesrealistically by showing shockedexpression and body movement.

The movement of this fresco makesit real. It isn’t posed and ‘still’ likeother paintings, it shows the dramaand excitement of the situation.

The vanishing point is central, as

Jesus is the direct centre of thepainting.

After the fictional novel ‘The DaVinci Code’ by Dan Brown cameout, everyone looked at the LastSupper very differently, and manynow believe that it isn’t John theBaptist on the left of Jesus, butMary Magdalene. Looking closely,the figure looks more feminine thanmasculine, one of Da Vinci’s hiddensecrets, perhaps?

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The Mona LisaOil on poplar, 1503-06Louvre Museum, Paris

It was documented by Vasari thatDa Vinci painted a portrait forFrances of Giacondo, of his wife,

Mona Lisa. The position of Mona Lisa was

adapted from the formal way inwhich the Madonna was oftenpainted: slightly side on with herhead facing the front.

The background was designed tonot have a distinct vanishing point,making it seem as though it all justblends in to the horizon withoutclarity. The blue-ish colours alsorepresent a blurry kind of shadow-often seen on mountains when onelooks at them from a far distance.


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This painting shows the famoustechnique invented by Da Vinci:Sfumato (used also in the Englishlanguage). This technique was ablend of shadow and line, notallowing and sharp distinctionbetween colours and where one line

ends and another one starts. Mona Lisa is also lacking eyebrows,

which add to the sfumato effect ofher eyes.

It is because of the sfumato that itseems that Mona Lisa is followingyou with her eyes, that she isthinking, that she is laughing, thatshe is a complete mystery.

Her right hand crosses over her leftbecause it was proper manners fora lady to cross her hands in such away in the Renaissance time.

The Mona Lisa is smaller than most

people think (53cm x 77cm). This isdue to the fact that every time itchanged owner or gallery, it was cutout of its frame.

It is the most expensive artwork inthe world: It has no price, theLouvre will never sell it.

It is most likely a copy on display atthe Louvre, the real Mona Lisa ishidden away.

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Michelangelo Buonarroti

Michelangelo (1475- 1564, 13 yearsyounger than Da Vinci) was born inCaprese, near Arezzo but like, Da Vinci,from a young age he was trained inFlorence, under the master artist

Ghirlandaio- one of the most importantartists of the Early Renaissance.Michelangelo, however, didn’t like theplacid style of Ghirlandaio who onlypainted ‘to make things look pretty and tellthe correct story’, so he went out to studythe works of Giotto, Masaccio, Donatelloand the Greek and Roman sculptures fromthe Medici collection.

He was obsessed with the movement of

the human body and studying ancientworks helped him to understand how toperfect the human form in any position.He, like Da Vinci, dissected bodies tostudy their insides and how they worked,but he also used live models posing inevery possible position. This enabledMichelangelo to be able to draw thehuman body in position thinkable. Hetrained himself so well in this area that hewas eventually able to draw them all frommemory. This capacity lead to futureapprentices having life-drawing lessons inanatomy, something we still do today.

Michelangelo was so brilliant as an artistthat not only did people declare that hewas as good as the old masters fromclassical times and the Early Renaissance,but that he was even better- he hadbecome the greatest artist to ever live,

whilst he was still alive. This appraisal byall made Michelangelo quite arrogant andfeared. He had grown a temper and hadlittle patience for those around him. Hewasn’t a sculptor nor a painter, he wassimply ‘Michelangelo Buonarroti’, and hecould work for (and refuse to work for) whoever he pleased.

Sculptures

Michelangelo was a master sculptor, hewas a sculptor before he became a painterand, in his early years as an artist, he wasmore interested in sculpting the human


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body rather than painting it. His two mostfamous sculptors are the Pietà and David.

La PietàMarble, 1497-1499,St. Peter’s Basilica, Rome

This life-size statue (H-174cm x W-195cm) is placed on the right handside inside the Rome’s basilica,behind thick glass to keep itprotected. Michelangelo sculpted it

when he was just 22 when hesculpted it.

The statue depicts Mary holdingJesus after his death on the cross.

The position of Jesus is extremelyrealistic, the placement of his rightarm and left leg is consistent withhow a lifeless body would hang inthe arms of someone living.

The folds on Mary’s cloth areexactly how a real robe would foldand drape. The expression on thefaces of Mary and Jesus areaccurate to the story they are tellingand the detail of the skin andmuscles make the bodies look as if

they could be real. At the same time that Michelangelo

was working on St. Peter’s Basilica,the sculptor and painter Rafael wasalso there, after he too wascommissioned by the Pope to workon the building. Rafael wasextremely competitive withMichelangelo and kept taking creditfor his work. Legend has it thatMichelangelo was tired of hearing

that Rafael was doing all the work,so he carved the sash across thechest of Mary and sculpted hisname on it. This way, no one coulddeny that it was the work ofMichelangelo.

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David

Marble, 1501-1504Galleria dell’Accademia, Florence

Sculpted during the period of theFlorentine Republic.

It tells the story of Daviddefeating Goliath, before Goliath

is killed. David is a show of human

power, which is whyMichelangelo chose to sculpthim 4m 34cm tall.

The body is of ideal proportion,but the hands and head are alittle bit larger than normal. Thehands were sculpted larger torepresent the strength of David,and the head was sculpted

larger to show his intelligence. Also the look on David’s face

shows an expression of

intelligence and thought: Davidlooking into the distance, deepin concentration, possiblycontemplating how to defeatGoliath.

The position of the body is

classic: weight on one leg with

one arm down by his side.Michelangelo even sculpted themuscles with the right tension inorder to make it as realistic as

possible.


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It originally stood outsidePalazzo Vecchio until someoneattacked it. For securitypurposes it was moved to the

Art Academy.

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The face of David

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Paintings

Michelangelo was a reluctant painter.When he was commissioned to paint theSistine Chapel (called that after PopeSixtus IV, who had it built) ceiling by PopeJulius II he thought that his enemies had

tried to ruin him by convincing the Popethat Michelangelo would be the best artistto do such a silly task.

The Sistine Chapel ceiling

The walls had already been decorated byartists such as Botticelli and Ghirlandaio(Michelangelo’s master) but the ceilingwas still blank, as was the back wall. As it wasn’t possible to refuse the Pope,

Michelangelo had the idea to paint a fairlynormal picture of the twelve apostles in theniches (curves) of the ceiling and askedhis assistants from Florence to help him.

It took 4 years to paint- 1508-1512

Michelangelo did not follow thisoriginal plan. Before work officiallystarted, he shut himself up in thechapel and started to plan adifferent artwork that would ‘amaze

everyone’ when it was revealed…. And his plan worked.

The story of the creation of theearth is what adorns the chapelceiling.

o The prophets of the OldTestament who spoke of thecoming Messiah- painted asbig, intelligent creatures-reading, writing, thinking andarguing. The prophet

Jeremiah is believed to be aself portrait of Michelangelo.

o The story of Noah and manyother stories from the Bible.

o The centre piece is the mostfamous section of the ceiling:The creation of Adam. It isbelieved that God representthe brain and when we lookat the shape of the clothbehind him, it certainly

seems so.o The figures show

Michelangelo’s ability to drawthe human form in any


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position and with anyexpression.

o The smaller figures in thebackground are painted outof focus: soft, blurred lines ofcolour, undefined andsmokey. Originally, it was

thought that Michelangelowas tired, and had lostinterest in painting smallerdetails no one would noticebut it was actually atechnique of his: If we look atsomething small and faraway, we cannot see itclearly and it remains out offocus, and this is why theartist chose to paint them this

way- to create distance anddepth in his fresco.

To paint the ceiling, Michelangelolay on his back almost the entiretime. He got so used to this positionthat when he had to readsomething, he held it above hishead and read facing upwards.

After the unveiling of the Sistine

Chapel ceiling, Michelangelo wasmore famous than ever.

The creation of Adam

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The Prophet Jeremiah

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The universal Judgement

The Universal Judgement (on theback wall) was painted about 25years after the chapel ceiling wasfinished. It was painted in 5 years-1539-1541.

It shows the bodies of the damneddescending to hell and those whowere saved ascending upwards toparadise. The position of the bodies

make them look as they are floatingin the celestial sky.

Michelangelo didn’t make thebodies and expressions harmoniousas he did on the ceiling- they aremore brutal and not so beautiful.

It is a work that shows the anguishand stress about ones destiny.


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The centre of the Last Judgement

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St. Peter’s Basilica

St Peter’s Basilica is on top of the burialground of St. Peter, but it wasn’t the firstone to be built there. Pope Julius II pulleddown the original basilica as it wasn’tparticularly strong and had decided that anew, powerful, amazing structure neededto be built in the glory of St. Peter andGod.The design of the basilica was done byDonato Bramante (1444- 1514), an archrival of Michelangelo.

Bramante was a modern architect whotook the classical style and grandeur ofancient Rome and mixed it with the newRenaissance style that had emerged. Hediscarded the traditional church style, anddesigned a new floor plan, never seenbefore: a Greek cross and a square.Michelangelo decorated the interior of thedome as his last project and didn’t acceptpayment for his work as he saw it as awork for God. From the ground, it looks as

though it is painted, but it is actually madeof mosaics.

External view

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Inside the dome

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Raphael Sanzio

Raphael (1483-1520) came from the area

of Umbria and trained under the artistPerugino, who was another accomplishedartist of the Early Renaissance. Being alittle younger than Da Vinci andMichelangelo, Raphael had great mastersto learn from , but the standards werehigh, and Raphael was intimidated by thenew masters bad tempers, power andintelligence. He had to work hard to make

a name for himself, and he did so withsuccess.

Raphael went to Rome and Pope Julius IIgave him the job of painting the roomsoutside of the Sistine Chapel. Raphael had


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been eager to work on the Chapel itself,but Michelangelo would not have it. This isrumoured to have started one of thebiggest rivalries in artistic history.

Raphael achieved something that Da Vinciand Michelangelo did not: Harmony in

composition. Whilst he couldn’t paint aswell as Michelangelo and wasn’t asintelligent and Da Vinci, he did howevercreate a new line of sight for his frescoesand this made him as famous as theothers.

The Triumph of Galatea

Raphael created the image ofGalatea from his imagination

stating that he had never seen awoman beautiful enough toinspire him’.

It was Agostino Chigi who askedRaphael to paint this particularimage as in the legend,Galatea’s courtship with Cyclopsended happily. Chigi wished tomarry Margherita Gonzaga (thedaughter of a marquis) and

hoped that this painting wouldbring a little luck to his situation.

Galatea is surrounded bynymphs and cupids, who aretrying to make her fall in lovewith Cyclops.

She is lead by two dolphins whoswim and breath in harmony. Itis based on the poem ‘LaGiostra’ by the poet Poliziano.

Triton is on the left of the

painting, blowing his seashellhorn as the messenger of thesea.

The composition is a pyramidshape over a cross, drawing theeye to Galatea and thenupwards.

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Chapter 3:

Baroque Art

The 17th C was the age of science. What

Da Vinci had thought (but hidden) aboutthe stars, earth and the universe, Galileobrought to the world and Sir Isaac Newtonfounded new scientific theories thatcouldn’t be ignored. The 30 year war haddivided France, Spain and England andalthough countries were becoming richdue to territorial development, in general,their people were very poor. Art had tworoles to play in this period: To show thereality of the world at hand and to enforcereligious and moral principles, and it was

heavily controlled by the church with Romebeing the city most associated with theBaroque period.

The word Baroque means ‘absurd’ and itwas given to this style of art by the peoplewho rebelled against it, who felt that theclassic style should have disappeared withthe Renaissance- some even wanted topaint over the Sistine Chapel ceilingbecause it was too ‘nude and rude’ (Some

robes were painted over some of thebodies). It was a period in which thenoblemen, churches and hierarchy wantedto flaunt their money and show howimaginative they could be with art.

In architecture they abandoned some ofthe classic inspiration of the Renaissanceand played with the dimensions of space.In painting, they played with light and darkto create spaces and depth that looked

like it could go on forever.

Artists were incredibly talented in manyareas. They were able to decoratebuildings with plaster and frescoes, createfurniture and theatrical sets. They workedwith marble with new standards, making itlook as thought it was silk and workedcombining music, theatre, art andliterature.

The Church of lI Gesù,1575-1577, Rome,by Giacomo Della Porta is a perfectexample of Baroque architecture:

It combines some elements ofclassical architecture with newdesign.

Pilasters (half columns) that lead up

to a point, which then leads up to afront face.

A large middle entrance withcolumns either side.

Scrolls on the sides of the upperstorey.

The double columns give a richnessto the façade

The work is symmetrical, leading upto a central point at the top.

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Lorenzo Bernini

Bernini, 1607-1680, was the greatarchitect of the Baroque period. Working inRome, he created some of the world’smost important monument and statues: St.Peter’s Altar and the external Square of

the Basilica, The Fontana dei Fiumi inPiazza Navona, and the Ecstasy of St.Therese.

St Peter’s Basilica Square1656-1665

It is an elliptical form with twotrapeze shapes at the top andbottom- one leading up to thebasilica and one leading to the roadthat leads to Rome.

The trapeze shape was designed tohave the square open up to theBasilica, enforcing the importanceof God.

It is surrounded by a colonnade ofTuscan columns in the Doric style.

Walking around the ellipse, one cansee the entire basilica, including thedome of Michelangelo.

In the middle of the square is an

Egyptian obelisk that works as agiant sundial.

It is surrounded by statues of saints,popes, martyrs and evangelists.

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The colonnade, 4 columns thick

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Caravaggio (Michelangelo Merisi)

Born in Milan (1571-1610), he trainedin Rome under the artist SimonePeterzano. In 1606 Caravaggio killed aman after a fight and had to go intohiding, First in Naples, then Malta and

then various cities in Sicily. He diedwhen returning to Rome, while he wason his way to be absolved of his sinsby the Pope.

As a painter Caravaggio wasn’t scaredto seek the truth. He wasn’t interestedin glorifying the stories of the Bible asother artist had done in the past, hewanted to show things as they reallywere- painful, shocking and sometimes

grotesque. He was the inventor of‘chiaroscuro’ (the word is also used inEnglish) a technique that appliedheavy, dark shadows to contrastagainst bright and luminous yellows oflight, creating a drama and realityrarely seen before.He was the first artist to bring this truthto art and he was called a ‘naturalist’ bycritics.

The Entombment of ChristOil on canvas, 1602-1604Vatican Pinocoteca, Rome

The figures are in theforeground, to give strength thenarrative of the picture.

The expressive faces make thepainting very intense.

His use of an extremely dark

background make the figureslook as if they are coming out ofthe painting. The background isso dark that we cant see whereit ends.

His use of bright light helps tofocus on certain parts of the

picture that give it the mostdepth:

o Mary of Cleophas indistress in the

background.o The corner of the platform

on which they stand.

o The dead body of Christbeing held by the men.

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Text references:

Text References:1. The Story of Art. Stephen Farthing.

Published by Thames and Hudson,designed by Quintessence 2010. ISBN978-0-500-28895-5

2. Leggere L’arte Volume B: Dalla Preistoriaal settecento . Vattese, Macetti, Pinotti.Published by Atlas 2012

3. The Story of Art (16th

edition). H.Grombrich. Published by Phaidon 1995.ISBN: 978-0-7184-3247-0

Image references:1. http://upload.wikimedia.org/wikipedia/com

mons/3/3c/Masaccio_-_Trinity_- _WGA14208.jpg

2. http://www.oberlin.edu/images/Art200/200-004.JPG

3. http://www.internal.schools.net.au/edu/less

on_ideas/renaissance/images/zmasacciodiagram.gif 4. http://www.museumsinflorence.com/musei/

cathedral_of_florence.html 5. www.cdaomero.com6. www.greyline.com7. http://www.digital-

images.net/Images/Florence/Duomo/14thC _FacadeDetail_DuomoFlorence_4276.jpg

8. http://www.palazzo-medici.it/mediateca/en/thumb.php?file=../meme_maker/fototeca/HHR/PALAZZO%20STROZZI%201.jpg&sizex=800&sizey=600

9. http://www.marziobambini.it/images/photo/4dn_7345.jpg 10. http://www.thehistoryblog.com/wp-

content/uploads/2012/02/open-altarpiece.jpg

11. http://classes.maxwell.syr.edu/his211-001/Eight%20Visuals%20&%20Pages/van%20Eyck,%20Arnolfini%20Wed.jpg

12. http://upload.wikimedia.org/wikipedia/commons/3/3c/Botticelli-primavera.jpg

13. http://www.uffizi.org/img/artworks/botticelli-birth-venus.jpg

14. images.fineartamerica.com/images-

medium-large/1-the-birth-of-venus-sandro-botticelli.jpg15. http://kalpagroup.com/vinci_anghiari.html 16. http://upload.wikimedia.org/wikipedia/com

mons/4/4b/%C3%9Altima_Cena_- _Da_Vinci_5.jpg

17. http://www.thehiddenhorsehead.com/wp-content/uploads/2011/11/MonaLisa.jpg

18. http://www.museoomero.it/uploads/Image/opere/scultura_rinascimentale/pieta.jpg

19. http://cultura.biografieonline.it/wp-content/uploads/2013/01/david-michelangelo.jpg

20. http://www.icsrizzoli.it/michelangelo/sites/default/files/images/michelangelo_david_dettaglio_0.jpg

21. http://images.sodahead.com/polls/000818957/polls brain 2055 492393 poll xlarge j

22. http://www.humanjourney.us/images/Jeremiah.jpg

23. http://www.abbeville.com/images-catalog/full-size/0789208318.interior01.jpg

24. http://calledconsecratedsent.files.wordpress.com/2012/06/st-peters-basilica3.jpg

25. http://www.aviewoncities.com/img/rome/kveit0396s.jpg

26. http://dohertymgv.files.wordpress.com/2013/02/galatea-detail-of-mermen-and-dolphins-1506.jpg

27. http://1.bp.blogspot.com/_Ex4mUJX1VP4/TAyY0NPSD7I/AAAAAAAAAEE/ZgLpyouC5sw/s1600/script3.jpg

28. http://www.learner.org/courses/globalart/assets/non_flash_386/work_183.jpg

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