Download - High renaissance 2
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High Renaissance
Italy - 1500-1524
Sandrine Le Bail AP Art History
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Context
• 1494 – Savonarola – Medici expelled from Florence = end of Early Renaissance
• 1498 – Dead of Savonarola: Florence lost its status as the center of the Art.
• Revitalization of the city of Rome (Julius II)
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Italy - 1500
• French invasion Northern Italy
• Importance of Rome thanks to Julius II
• Venice remained independent
• Cultivated courts of Prince, doges and popes
• 1527 – Sack of Rome
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Important artists for High Renaissance
• Leonardo da Vinci
• Bramante
• Michelangelo
• Raphael
• Bellini
• Giorgione
• Titian
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Leonardo da Vinci (1452-1519)
The Renaissance Man:Painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist and writer. (Wikipedia)
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Leonardo da Vinci (1452-1519)
10 years old – Apprentice at Verrocchio’s workshop (Florence)
Worked for the duke of Milan
Worked for the King of France
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Scientific Drawings
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Andrea Verrocchio, Baptism of Christ, c.1470
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Leonardo da Vinci, Last Supper, Refectory of Santa Maria delle Grazie,
Milan, c.1495-1498
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Linear perspective:orthogonals of ceiling and floor point to Jesus
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Leonardo da Vinci, Last Supper, Refectory of Santa Maria delle Grazie,
Milan, c.1495-1498• Experimental
combination of painting : the paint began to peel off
• Dramatic tension• Real human
emotions• Unified
architectural setting
• Illusionistic room• Icon
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Andy Warhold, The Last Supper, 1986.
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Leonardo da Vinci, Mona Lisa, c.1503-1505.
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15th century against 16th century
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Leonardo da Vinci, Mona Lisa, c.1503-1505.
Oil on wood
Sfumato: a smoke-light or hazy effect that distances the viewer from the subject of a painting.
Chiaroscuro: Gradual transition from light to dark in a painting. Forms are not determined by sharp outlines, but by the meeting of lighter and darker areas
Aerial perspective
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Marcel Duchamp
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Fernando Botero
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Andy Warhold
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Leonardo da Vinci,
Virgin and Child with saint Anne,
1503-1506
Unfinished
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Donato Bramante (1444-1514)
From Milan
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Centrally-Planned churches
- Ideal shape, divine perfection
- Direct observation of nature
- Harmony to human symmetry
Vitruvian Man
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Donato Bramante, Tempietto,
Rome c.1502-1502
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Donato Bramante, Tempietto,
Rome c.1502-1502
San Pietro in Montorio, RomePatrons: King Ferdinand and Queen Isabella of Spain
Traditional site of Saint Peter’s crucifixion
Martyrium: a shrine build over a place of martyrdom or a grave of a martyred Christian saint
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16 Doric columns
Doric Frieze
Balustrade
Drum
Ribbed dome
Sculptured-wall motiveLight and shadowConcentric formHarmonious proportion
Dominance of classical orderCombination of pagan architecture and a Christian theme
Vitruvius
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Old Saint Peter
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Donato Bramante, plan for the new Saint Peter’s, Vatican, Rome, c.1505
Patron: Julius II
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Saint Peter’s Architect
• Donato Bramante (1503-1514)
• Raphael (1514-1520)
• Michelangelo (1546-1564)
• Maderno
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Michelangelo, plan for the new Saint Peter ,c.1546
Bramante, 1505
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Maderno, façade of Saint Peter, 1615.
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Michelangelo Buonarrotti (1475-1564)
ArchitectPainterSculptorArchitect Poet
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Michelangelo Pietà, 1498
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Michelangelo, Pietà, 1498
• For a French cardinal
• Frontal /one point of view
• Pyramidal shape on an oval base
• Pietà: Northern theme
• Disproportion Mary/ Jesus
• Strong bond between the
two.
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Robert Hupka(1919-2001)
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Michelangelo, David, 1501-
1504
Commissioned by the city of Florence
1st colossal nude since Antiquity
David: Symbol of Florence
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Michelangelo, David, 1501-1504
• Represent the courage and fortitude of the Florentine
• Michelangelo used a 40-year-old abandoned block of marble
• Pose and nudity influenced by Classical sculptures
• David = Biblical hero
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Sistine Chapel (1477-1482)
Pope’s personal Chapel - Built for Sixtus IV
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Sistine Chapel
• Built by Sixtus IV in 1477-1482
• Frescoes of the wall by Botticelli, Perugino, Pinturicchio, Ghirlandaio, Roselli
Lives of Jesus and Moses
• Ceiling by Michelangelo in 1508-1512 under the patronage of Julius II
• Last Judgment by Michelangelo in 1534-1541 for Clement VII and Paul III
Same proportions
than the Temple of Salomon:Length = 2 X heightLength = 3X width
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Michelangelo, Sistine Chapel Ceiling, 1508-1512
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Creation of the WorldAdam and EveNoah and the Flood
Ignudi
Spandrels : scene from Old Testament
Ancestors of the Christ and SibylsThey foretold the coming of Christ a
300 figures on ceilingNo two in the same pose
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Michelangelo, The Creation of Adam, 1511-1512
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Torso del Belvedere
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Michelangelo, Fall of man
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Masaccio, Brancacci Chapel, 1420
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Libyan Sibyl
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Delphic Sibyl
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ProphetJoel
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ErythreanSibyl
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Ignudi
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Michelangelo, Monument for Julius II
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Michelangelo, Tomb of Julius II
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Michelangelo, Moses, 1513-
1515
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Michelangelo, Last Judgment, Sistine Chapel,
1534-1541
Commissioned by Clement VII
Realized for Paul III
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Heaven : Angels with the symbol of the Passion
Christ, Virgin and Saints
Last Trump
Damned souls fall
Saved souls raise
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No cornice divisions
Crowded groups
Distortions of the bodyElongation
Against the High Renaissance harmony of
the Sistine Chapel- Reflects the disunity of
Christendom caused by the Reformatiom
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Distortion of the body –will become typical of mannerism
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Raphael (Raffaello Sanzio) 1483-1520
Born in Urbino
Grew up at the Humanist Court of Urbino
Apprentice of Perugino
Worked in Florence
1511- Moved to Rome for the Pope
Embodies the Classical Character of High Renaissance
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Raphael, Madonna
of the Meadow,
1505
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La Belle Jardinière (Louvre) 1505-1508
Madonna del Granduca (Palazzo Pitti) 1506
Small Madonna Cowpeer, (Washington), 1504-1505
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Raphael, Galatea, Villa
dellaFarnesina,
Rome, c.1512
For the banker AgostinoChigi
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Polyphemos by Sebastiano del Piombo
Galatea
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Raphael, Le Stanze, 1508
Commissioned by Julius II for his appartment
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Sala della Segnatura
Private Library of Julius IIComplex synthesis of the Christian world and its thought with Classical antiquity and its philosophy.
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4 branches of human
knowledge
Theology
Philosophy
Poetry
Judisprudence
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Disputation of the Saint Sacrament= Theology
Virtues necessary for the administration of Justice = Jurisprudence
Lunettes
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The School of Athens =Philosophy and sciencesParnassus = Poetry
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Raphael, Disputation over the Sacrament, Stanza della Segnatura, Vatican, 1509-1511
Theologians discoursing on the validity of the Transubstantiation (literal transformation of the wine and wafer into the blood and body of Christ)
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Raphael, the School of Athens, Stanza dellaSegnatura, Vatican, Rome, 1509-1511
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Plato (Portrait of Leonardo)
Aristotle
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Raphael
Euclid (Portrait of Bramante)
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Diogen = Michelangelo
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The School of Athens, 1509-1511
• Commissioned by Julius II
• Complex program of works that embodies the Humanist ideals
• Open, clear light uniformly spread yjroughoutcomposition
• Nobility and monumentality
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Renaissance in Venice
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Venice
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Venice
• “The Queen of the Adriatic”
• One of the Maritime Republic
• Port
• Center of trade
• Ruled by a doge
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Art in Venice
• Still rooted in Byzantine and Gothic tradition
• Training of the artists in family-run workshops
• Art considered a manual craft
Saint Mark, 13th century
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Innovation of the Venetian painting
Because of the damp weather:
• Use of oil
• Use of canvas (and not wood)
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Bellini Family: the Father
• Father: Jacopo – 1400-1470 (studied with Gentile da Fabriano)
• Sons: Gentile (1425?-1516) and Giovanni (1428-1507)
• Brother in-Law: Mantegna (1431-1506)
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Jacopo Bellini, The
death of the Virgin, Louvre
sketchbook
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- Knowledge of linear perspective
-Interest for Antiquity
- Christian theme with a pagan iconography
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Gentile Bellini, Procession to the Reliquary of the Cross in Piazza San
Marco, 1496
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Giovanni Bellini,San Giobbe
Altarpiece, 1480s
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Giovanni Bellini, San ZaccariaAltarpiece,
1505
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- Sacra Conversazione- Linear Perspective- Byzantine Flavor- Classical background- Soft, yellow light- Sensual flesh (chiaroscuro)- Cohesive group-Parallel positions of the saints
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Giorgione (1477-1510)
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Giorgione, The
Tempest, 1505-1510
Oil painting
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Giorgione, Sleeping Venus, 1509
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Titian (Tiziano Vecellio) – 1488-1576
Trained under Bellini
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Titian, Assumption of
the Virgin, 1516-1518
Church of Santa Maria Gloriosa deiFrari, Venice
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Over life size
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Titian, Venus of Urbino, 1538
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Standard for future reclining
nudes
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Titian
• Warm colors
• Many layers of glazes
• Soft, textured and richly material
• Loose brushwork
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Characteristics of Venetian Painting
• Use of translucent glazes
• Intense colors
• Soft, sensuous forms
• subject matter: religious (Sacra Conversazione), mythological, and often enigmatic
• Composition is based by color rather than by design
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High Renaissance
• Main centers: Rome and Venice
• Combination of pagan architecture and Christian theme
• Awe-inspiring projects, emulated by Roman grandeur
• Characteristics: balance, symmetry and ideal proportions
• Triangular composition favored