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Chapter Thirteen: The High Renaissance and Mannerism

in Italy

Popes and Patronage

Vatican as center of wealth, stability

Pope Sixtus IV

Pope Julius II

Beginnings of High Renaissance (1503)

“il papa terribile”

Raphael, Michelangelo

The de’ Medici Family

The Visual Arts

Leonardo da Vinci (1452-1519)

Mona Lisa, The Last Supper, Madonna of the Rocks

Orthogonals, chiaroscuro

Notebooks

Mathematics, natural world and humanity, love for beauty

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13.3 Leonardo da Vinci, The Last Supper, 1495-1498, Refectory, Santa Maria delle Grazi, Milan, Italy

13.4A Leonardo da Vinci, Madonna of the Rocks, begun 1483. Musee du Louvre, Paris, France

13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France

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The Visual Arts Raphael Sanzio (1483-1520)

From Urbino to Perugia

Apprentice to Perugino

From Perugia to Florence (1505)

Madonna of the Meadow (1508)

Pyramidal configuration

Rationally ordered

Modeling of human forms

Human quality of the divine figure

13.7 Raphael, Madonna of the Meadow, 1508,

Kunsthistorisches Museum, Vienna, Austria

The Visual Arts

Raphael Sanzio (1483-1520)

From Florence to Vatican (1508)

School of Athens (1509-1511)

Symbolic homage to philosophy

Renaissance ideal

Balance of philosophy and theology

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13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy

The Visual Arts

Lorenzo de’ Medici

Michelangelo Buonarroti (1476-1564)

Pietá

Michelangelo’s David

Statement of idealized beauty

Palazzo Vecchio: symbol of civic power

13.10 Michelangelo, David, 1501-1504, Accademia di Belle Arti, Florence, Italy

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The Visual Arts Michelangelo Buonarroti (1475-1564)

Tomb for Pope Julius II

Moses (1513-1515)

Divine fury, divine light

Terribilità

13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy

The Visual Arts Michelangelo Buonarroti (1475-1564)

The Sistine Chapel

“Michelangelo, Sculptor”

Architectural and thematic motifs

Interpretation

Neo-Platonism

Old Testament and pagan prophets

Complex tree symbolism

Human wisdom + God’s revelation

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13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy

The Visual Arts Michelangelo Buonarroti (1475-1564)

Michelangelesque

Masculine anatomy, musculature

Physical bulk, linear grace, emotionality

Creation of Adam (1508-1511)

The Last Judgment (1534-1541)

Medici Chapel

Architectural and sculptural design

Life, death, resurrection

13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy

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13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy

The Visual Arts Michelangelo Buonarroti (1475-1564)

The New Saint Peter’s

Donato Bramante (1444-1514)

Tempietto

Michelangelo as architect (1546)

Bramante’s plan

Ribbed, arched dome

Drum to support dome

The High Renaissance in Venice

Andrea Palladio

Classical Architecture of Greece reflected through Roman structures

Four Books of Architecture (1570)

Palazzo Chiericati

Harmony and balance

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The High Renaissance in Venice Painting

Tradition of easel painting

Use of oil paints

Brilliance of color

Subtlety of light

Eye for close detail

Love of landscape

The High Renaissance in Venice Painting

Titian (c. 1488-1576)

Assumption of the Virgin (1516-1518)

Venus of Urbino (1538)

Tintoretto (1518-1594)

“The drawing of Michelangelo and the color of Titian.”

The Last Supper

13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy

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Mannerism

Characteristics of Mannerism Distortion and elongation

Flattened, two-dimensional space

Lack of a defined focal point

Discordant pastel hues

Jacopo Carucci da Pontormo (1494-1557)

Deposition (c. 1528)

Il Bronzino Venus, Cupid, Folly, and Time (The

Exposure of Luxury)

13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England

Mannerism

Lavinia Fontana (1552-1614)

Daughter of Bolognese painter

Portrait painter (Rome, Bologna)

Exaggerated angles, use of color

Sofonisba Anguissola (1532?-1624)

Renaissance and Baroque masters

Pictorial representations

Contrasts of dark and light

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13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy

13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland

Mannerism

Giovanni da Bologna (1529-1608)

Sculptor

Abduction of the Sabine Women

El Greco (1541-1614)

Distortion of figures and ambiguous space

The Burial of the Count of Orgaz

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13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain

Music in the Sixteenth Century

Music at the Papal Court

Sistine Choir and Julian Choir

Male voices, a capella

Josquin des Prez (c. 1450-1521)

Sistine Choir, composer and director

Motet for four voices

Structure, balance, lyrical quality

Music in the Sixteenth Century

Music at the Papal Court

Giovanni Pierluigi da Palestrina (1525-1594)

Choirmaster of capella Guilia (Julian choir)

1571-1594 Vatican’s music director

Conservative masses in response to Catholic reform movement

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Music in the Sixteenth Century

Venetian Music

Adrian Willaert

Andrea and Giovanni Gabrieli

Church of St. Mark

Split choirs

Instrumental music in liturgy

Intonazione, toccata

Intellectual influence of Italian humanism

Literature

Leonardo da Vinci 13,000 pages of notes

Michaelangelo Buonarroti Poetry

Vittoria Colonna

Baldassare Castiglione The Book of the Courtier

Veronica Franco

Benvenuto Cellini

13.28 Raphael, Baldassare Castiglione, 1514, Musee du Louvre, Paris, France

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Chapter 13: Discussion Questions

Compare the artistic developments that took place in Rome and those that took place in Venice. To what can we attribute the differences? Explain.

To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and works.

How did environmental factors and geography contribute to Venetian art during the Renaissance? Consider both visual and aural arts in your discussion.