chapt22 high italian renn
TRANSCRIPT
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UPHEAVAL IN THE CHURCH
Dissatisfaction with the leadership and policies of theRoman Catholic Church led to the ProtestantReformation. In response, the Catholic Church initiatedthe Counter-Reformation. A facet of the Counter-
Reformation was the activity of the Society of Jesus, areligious order known as the Jesuits, which promotededucation and missionary work. To deal with heretics,the Catholic Church also established a Church courtcalled the Holy Office of the Inquisition. The Catholic
Counter-Reformation exploited the use of art to promoteand reinforce religious and ideological claims.
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Painters / Sculptors
• Leonardo DaVinci
• Michelangelo Buonarroti
• Raphael• Giovanni Bellini
• Giorgione
• Titian
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Leonardo Da Vinci
• Synthesizing the temporal and spiritual
worlds of the 15th Century
• Scientist and Artist
• True Renaissance Man
• Idea’s and reality merge into a grand
concept.
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“Painting can give a more complete description of nature”- Leonardo Da Vinci
22-3 LEONARDO DA VINCI, Last Supper (top, uncleaned; bottom, cleaned),
ca. 1495 –1498. Fresco (oil and tempera on plaster), 29' 10" x 13' 9".
Refectory, Santa Maria delle Grazie, Milan.
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21-39 ANDREA DEL CASTAGNO, Last Supper , the Refectory,
Monastery of Sant'Apollonia, Florence, Italy, 1447.
Fresco, approx. 15' x 32'.
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22-1 LEONARDO DA VINCI,
Virgin of the Rocks, ca. 1485.
Oil on wood (transferred to
canvas), approx. 6' 3" x 3' 7".
Louvre, Paris.
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Andrea Mateggna’s Madonna of the Victory
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Filippo Lippi’s
Madonna and Child with
angels and Saints
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The Birth of Scientific Illustration:
In one of Leonardo's notebooks
containing his anatomical studies
is a drawing of an Embryo in th e
Womb . It is an early example of
scientific illustration.Leonardo also worked as both
architect and sculptor.
22-5 LEONARDO DA VINCI, Embryo in the Womb,
ca. 1510. Pen and ink on paper. Royal Library, Windsor Castle.
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Michelangelo Buonarroti
• Master of the Male form
• Art Center shifts from Florence to Rome
• Medici’s and Pope Julius II his SugarDaddy’s
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22-9 MICHELANGELO BUONARROTI,
David , 1501 –1504. Marble, 14' 3" high.
Galleria dell'Accademia, Florence.
Subduing a Giant: 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 ofDavid's psychic and muscular
tension is contrasted with his
apparently casual pose. David is
also represented as the defiant
hero of the Florentine republic.
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Donatello Michelangelo Verrochio
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So you think you can paint?
Ladies and Gentleman
May I present theSistine Chapel
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22-14 MICHELANGELO BUONARROTI, Creation of Adam (detail),
ceiling of the Sistine Chapel, Vatican City,
Rome, 1511 –1512. Fresco, approx. 18' 8" x 9' 2".
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Raphael
• Patron Julius II
• Achieved the Pope’s hope for the church
reconciliation.(Between the protestants
and the Papacy) Through a coherent and
rational image.
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A Congregation of Classical Thinkers: 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 Stanzadella Segnatura, Raphael reconciled and harmonized paganism and
Christianity.
22-17 RAPHAEL, Philosophy (School of A thens )
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22-17 RAPHAEL, Philosophy (School of Athens )
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Giovanni Bellini
• From Venice
• Continues to synthesize the elements of
15th and 16th century
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22-32 GIOVANNI BELLINI, Feast of th e Gods , 1514. Oil on canvas,
approx. 5' 7" x 6' 2". National Gallery of Art, Washington, D.C.(Widener Collection).
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Giorgione• Venitian Tradition Continues
• Use of Soft Light
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22-33 GIORGIONE DA CASTELFRANCO (and/or TITIAN ?),
Pastora l Sympho ny , ca. 1508. Oil on canvas, approx. 3'7" x
4'6". Louvre, Paris.
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Titian
• Undisputed leader of Venetian painting
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22-35 TITIAN,
Assump t ion of the
Virgin , Santa Maria
Gloriosa dei Frari,
Venice, ca. 15167 –
1518. Oil on wood, 22'
6" x 11' 10".
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22-36 TITIAN,
Madonna of th e
Pesaro Fam ily ,
Santa Maria dei
Frari, Venice,1519 –1526. Oil
on canvas,
approx. 16' X 9'.
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Mannerism
• Mannerism took the devices developed by
Michelangelo and Titian and made them
even more staged and contrived. Two
works by Parmigianino and Bronzinoillustrate this contrivance and sleek
designs that were favored by the
Mannerists.
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Mannerist Cont.
• Mannerist art and architecture generally places anemphasis on staged and contrived imagery, on eleganceand beauty, on imbalanced compositions, and onunusual visual and conceptual complexities. Space in
Mannerist paintings may appear ambiguous, andtraditional themes may be presented in unconventionalor unexpected ways. Mannerist art may be restless, withfigures shown distorted, exaggerated, and with affectedbut often sinuously graceful postures. Mannerism's
requirement of "invention" led artists to produce self-conscious stylizations involving complexity, caprice,fantasy, elegance, perfectionism, and polish.
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22-42
PARMIGIANINO,
Madonna with theLong Neck , ca. 1535.
Oil on wood, approx. 7'
1" x 4' 4". Galleria
degli Uffizi, Florence.
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22-43 BRONZINO,
Venus, Cup id, Folly,
and Time
(Expos ure of
Luxury ) , ca. 1546.
Oil on wood,approx. 5'1" x
4'83/4". National
Gallery, London.
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22-45 SOFONISBA
ANGUISSOLA,
Portrait of the
Artist's Sisters
and Brother , ca.
1555. Methuen
Collection,
Corsham Court,
Wilshire.
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22-44 BRONZINO,
Portrait of a YoungMan, ca. 1530s. Oil
on wood, approx.
3'11/2" x 2' 51/2".
Metropolitan
Museum of Art, New
York (H. O.Havemeyer
Collection, bequest
of Mrs. H. O.
Havemeyer, 1929).
Image courtesy of
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Reviving "Beautiful Architecture": 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.
Bramante
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22-8 DONATO D'ANGELO
BRAMANTE, Tempietto, SanPietro in Montorio, Rome, 1502
(?).
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Sculptor's Finishing Touch: During his supervision of the building of
the new Saint Peter's, Michelangelo preserved Bramante's originalcentralized 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. 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 byGiacomo della Porta, who, long after Michelangelo's death, built a
dome with an ogival section.
Michelangelo
The Architect
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22-28
MICHELANGELOBUONARROTI, plan
for Saint Peter's,
Vatican City, Rome,
1546