Lecture 2: Florence from the 1490s to the 1520s

Andrea del Verrocchio, Funeral Monument of NiccoloForteguerri, (left) terracotta bozzetto; right finished monument

with marble relief figures by Verrocchio, 1481-88

Transferring measurements using calipers from a model to a stone block

Michelangelo, St. Matthew, marble, unfinished, 1506, Florence, Accademia

Sacra conversazione – “holy conversation;” used to refer

to a type of altarpiece in which saints and or prophets are grouped around the Virgin and Child.

Colori cangianti - “changing colors”; a painting technique that depicts shadow by changing color (hue), instead of changing intensity of hue by adding white or black.

Figura serpentinata –”Serpentine figure;” a representation of human figure in spiraled or torsionedpose to suggest movement.

Terms

Michelangelo, Battle of the Lapiths and Centaurs, marble, ca. 1492, Florence, Casa Buonarotti

Bertoldo di Giovanni, Battle Relief, bronze, ca. 1480, Florence, Bargello

Museum

Myth of Medea, marble sarcophagus, 140-150 C.E.

Michelangelo, Doni Tondo, oil and tempera / panel, 1505, Florence, Uffizi

Comissioned by Angelo Doni, on the occasion of his marriage to MaddalenaStrozzi

Frame is original

Domenico Ghirlandaio, Massacre of the Innocents, fresco, 1485-90, Sta. Maria Novella, Capella

Maggiore

Michelangelo, Doni Tondo, oil and tempera / panel, 1505, Florence, Uffizi, detail

Battle of Cascina, copy (ca. 1542) of lost cartoon by Michelangelo created ca. 1504, Norfolk, UK, Holkam

Hall

Pietro Perugino, Pieta, oil/panel, ca. 1495, Florence, Uffizi

Commissioned for the convent church of San Giusto alle Mura

Figures (l-r): Nicodemus, St. John the Evangelist, Christ, Virgin Mary, St. Mary Magdalen, Joseph of Arimathea

Leonardo da Vinci, Madonna and Child with Sts. Anne and John the Baptist, charcoal, black & white chalk on paper, 1505/07, London, National Gallery

Leonardo da Vinci, Mona Lisa, oil/panel, begun 1503

Elizabetta Gherardini, wife of Francesco del Giocondo

Sfumato – Italian for “smoked;” oil painting technique blending tones within a hue or between two hues to produce a softening of forms .

Contre-jour: optical/photographic effect when an object is seen in front of a lighted source; surface details are less visible, and the contrast between object and background is greater.

Raphael, Madonna of the Goldfinch, oil/panel, ca. 1505, Florence, Uffizi

Commissioned by Lorenzo Nasi

Prolepsis (proleptic): representation of an action or object before it exists

Andrea del Sarto, Madonna of the Harpies, oil/panel, 1515-17, Florence, Uffizi

Painted for the convent church of San Francesco deiMacci

Immaculate Conception: the Catholic theological concept, promoted by the Franciscan order (became doctrine in 1858) that the Virgin Mary was without original sin

Rosso Fiorentino, Assumption of the Virgin, fresco, 1517, Florence, SantissimaAnnunziata, Chiostro dei Voti

Jacopo Pontomo, Visitation, fresco, 1516, SantissimaAnnunziata, Chiostro dei Voti

Donatello, Pulpits, bronze, cast ca. 1466-70, installed in present form ca. 1558, San Lorenzo, Florence

Donatello, Crucifixion and Deposition from the Gospel (South) pulpit, Florence, San Lorenzo

Rosso Fiorentino, Moses Defending the Daughters of Jethro, oil/panel, 1523, Florence, Uffizi

Commissioned by Giovanni Bandini, never delivered

Jacopo Pontormo, Entombment, oil/panel, 1526-28, Florence, Sta. Trinita, CapponiChapel

Commissioned by Ludovico Capponi for his family burial chapel

Jacopo Pontormo, Entombment, oil/panel, 1526-28, Florence, Sta. Trinita, CapponiChapel

Commissioned by Ludovico Capponi for his family burial chapel