Sistine Chapel

MNPS Objectives: I. Examines specific works of art and artists in terms of history,

aesthetics, and culture.II. Differentiates specific works of art and artists as belonging to

particular cultures, movements, time periods, and places.III. Identifies how the visual arts reflect cultural history, purpose,

and function. I. Understands how culture and context influence the

function, meaning, creation of artwork.

TNDOE Standard 4: Historical and Cultural Relationships

•Students will understand the visual arts in relation to history and cultures.

4.1 Demonstrate an understanding of how historical and contemporary works of art reflect and influence societies and cultures.

4.2 Interpret the function and explore the meaning of specific art objects within varied cultures.

4.3 Demonstrate how history and culture influence the production of art

TNDOE Standard 4: Historical and Cultural Relationships –

Performance Indicators

• Analyze and explain how historical and contemporary works of art reflect and influence societies and cultures.

• Analyze the functional and meaning on specific art objects across various cultures and times.

• Identify and differentiate among the variety of historical and cultural contexts in terms of functions and purposes of works of art.

Art as Emotion© Lesson Plan 3 - Visual Art Integration with Geometry

TNDOE STANDARD 2.0: VISUAL ART Students will use knowledge of both structures and functions.

2.1 Demonstrate an understanding of art elements and design principles.

2.2 Explore and identify how art elements and design principles applied through various media, techniques, and processes produce different effects;

2.3 Identify developments of drawings applying elements of line,

SHAPE, texture, and value to create form and space.

MNPS Objectives – CULTURAL AND HISTORICAL CONNECTIONS : CREATION COMMUNICATION

• *Exhibits critical and creative thinking skills with the perceptual awareness necessary for understanding and producing works of art.

**Uses a variety of thematic subject matter (big idea) to create works of art.

TNDOE GEOMETRY (3108) 3.0 The student will State Performance Indicators:• SPI 3108.1.3 Use geometric understanding

and spatial visualization of geometric solids to solve problems and/or create drawings.

Course Level Expectations.CLE 3108.3.1 use analytic geometry tools to

explore geometric problems involving parallel and perpendicular lines, circles and special points of polygons.

• Checks for Understanding (Formative/Summative Assessment)

• 3108.1.10 Use visualization, spatial reasoning and geometric modeling to solve problems.

• 3108.1.11 Identify and sketch solids formed by two-dimensional figures -lines.

• 3108.1.12 Connect the study of geometry to historical development.

MNPS Objectives – refer to State – TNDOE

Sistine Chapel Ceiling Layout

Nine scenes from the Book of Genesis - the first book of the Bible.

• The pictures fall into three groups of three alternating large and small panels.[The first group shows God creating the Heavens and the Earth.

• The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where they have lived and where they walked with God.

• The third group of three pictures shows the plight of Humanity, and in particular the family of Noah.

Separation of Light from Darkness • is based on verses 3-5

from the first chapter of the Book of Genesis:– 3And God said, "Let

there be light," and there was light.

– 4God saw that the light was good, and He separated the light from the darkness.

– 5God called the light "day," and the darkness he called "night." And there was evening, and there was morning—the

first day.

Creation of the Sun, Moon, and Plants • The scene is divided

unequally: the great disk of the sun - the only element of colour that stands out clearly from the more subdued tones of the clothes, flesh, and the greyish white background of the sky –

• The central axis of the field, and the whole of the right part is dominated by the figure of the Creator who, surrounded by four children, moves impetuously toward the viewer.

Creation of the Sun and Moon GOD's face detail

3. The Separation of Land and Water

• God divides the waters from the heavens

4. The Creation of Adam • In the first of the

pictures, and one of the most widely recognised images in the history of painting, Michelangelo shows God reaching out to touch Adam,

• From beneath the sheltering arm of God, Eve looks out, a little apprehensively.[17]

GOD creates Eve

• God creating Eve from the side of the sleeping Adam has been taken in its composition directly from another Creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna by Jacopo della Quercia whose work Michelangelo had studied in his youth

The Temptation and Expulsion Michelangelo combines two contrasting scenes into one panel, that of Adam and Evetaking fruit from the forbidden tree, Eve trustingly taking it from the hand of the Serpentand Adam eagerly picking it for himself; and their banishment from the Garden of Eden,where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death

The Sacrifice of Noah

• depicts the sacrifice made by the family of Noah, after their safe deliverance from the Great Flood which destroyed the rest of Humankind.

The Great Flood.

• Scene shows Noah's family escaped floats at the rear of the picture while the rest of humanity tries frantically to scramble to some point of safety.

The Drunkenness of Noah • After the Flood, Noah tills the

soil and grows vines. He is shown doing so, in the background of the picture. He becomes drunk and inadvertently exposes himself.

• His youngest son, Ham, brings his two brothers Shem and Japheth to

• see the sight but they discreetly cover their father with a cloak.

• Ham is later cursed by Noah and told that the descendants of Ham's son Canaan will serve Shem and Japheth's descendants forever.

• Michelangelo - The Sistine Chapel Ceiling Frescoes http://en.wikipedia.org/wiki/Image:Sistine_Chapel_ceiling_photo_2.jpg- Use this URL to view the Sistine Chapel Ceiling. Use the URL below to answer the following questions

• http://arthistory.about.com/od/famous_paintings/a/sischap_ceiling.htm

1. Why did Michelangelo paint the SISTINE CHAPEL?

• Pope Julius II (also known as Giulio II and "Il papa terribile"), requested that Michelangelo paint the chapel ceiling. Julius was determined that Rome should be rebuilt to its former glory, and had embarked on a vigorous campaign to get the job done.

• That such splendor would (a) add luster to the name of Julius II and (b) serve to supercede anything that Pope Alexander VI (a Borgia, and Julius' rival) had accomplished, were not unimportant consideration.

2. How big is the ceiling?

• It's about 40 meters (131 feet) long by 13 meters (43 feet) wide. These numbers are rounded off just a tad, but don't detract from the fact that Michelangelo painted well over 5,000 square feet of frescoes.

List the narrative scenes from Genesis.

1. The Separation of Light and Darkness

2. The Creation of the Sun, Moon and Earth

3. The Separation of Land and Water

4. The Creation of Adam

5. The Creation of Eve

6. The Temptation and Expulsion

7. The Sacrifice of Noah • The Great Flood • The Drunkenness of Noah

What do the frescoes depict?

• The main panels down the center depict scenes from the Book of Genesis, from the Creation, to the Fall, to shortly after Noah's deluge.

• Adjacent to each of these scenes, on either side, are immense portraits of prophets and sibyls who foretold the coming of the Messiah.

• All told there are more than 300 painted figures on the ceiling. A

• Architectural members and moldings which dissect the ceiling are two-dimensional, skillfully painted in by Michelangelo to demarcate separate compositions.

4. Michelangelo a sculptor. Why was he painting?

• Michelangelo vastly preferred working with marble to almost anything else that life offered. Prior to the ceiling frescoes, the only painting he'd done was during his brief stint as a student in Ghirlandaio's workshop.

• Pope Julius II, however, was adamant that Michelangelo - and no other - should paint the chapel ceiling. What Julius wanted, he usually got. Besides that, he'd been stalling Michelangelo on a prior, wildly lucrative commission (sculpting 40 massive figures for his tomb), and kept dangling that juicy prize as a reward for completion of the ceiling job.

5. How long did it take Michelangelo to paint the Chapel Ceiling?

• It took him a bit over four years, from July of 1508 to October of 1512. Michelangelo got off to a slow start, not having painted frescoes before.

• It wasn't Michelangelo's fault that the ceiling took four years. The work suffered numerous setbacks, such as mold and miserable, damp weather that disallowed plaster curing.

• A primary cause of downtime occurred when Julius was off waging a war, or ill to the point that Last Rites were administered.

• The ceiling project, and any hope Michelangelo had of being paid, were both frequently in jeopardy while Julius was absent or near death. Small wonder that the artist complained so often and bitterly about the project.

6. Did Michelangelo really paint lying on his back?

• No. Charlton Heston did in the movie, The Agony and the Ecstasy but the real Michelangelo didn't lay on his back to paint the ceiling.

• He conceived and had constructed a unique scaffolding system. It was sturdy enough to hold workers and materials, but began high up the walls of the chapel in order that Mass might still be celebrated below.

7. Did he actually paint these frescoes all by himself?

• Michelangelo gets, and deserves, credit for the entire project. The complete design was his. The sketches and cartoons for the frescoes were all of his hand, and Michelangelo executed the vast bulk of the actual painting by himself.

• He had many assistants, if only to mix his paints, scramble up and down ladders, and prepare the day's plaster (a nasty business).

• Occasionally, a talented assistant might be entrusted with a patch of sky, a bit of landscape, or a figure so small and minor it is barely discernable from below. All of these were worked from his cartoons, though. And clever, temperamental Michelangelo hired and fired these assistants on such a regular basis that none of them could claim credit for any part of the ceiling.

View the Sistine Chapel ceiling frescoes at http://www.wga.hu/tours/sistina/index1.html;

Answer the following critical thinking questions 8. How did Michelangelo record, affect, or

influence change in the Renaissance (historical, cultural) or Sistine Chapel Ceiling (religious context)?

9. Identify how the Sistine Chapel Ceiling frescoes reflect cultural history, purpose, and function.

10. Select one of the Sistine Chapel Ceiling frescoes. Analyze and critique organizational components and expressive qualities of the selected artwork.

11. CONDIVI Ascanio Condivi (1525–1574) was an Italian painter and writer. Generally regarded as a mediocre artist, he is primarily remembered as the biographer of Michelangelo

12. FRESCO – Advantage -The reason that Michelangelo employed the fresco

technique is that if the artist worked onto completely dry plaster, then the medium in every brushstroke sank in immediately and the pigment could not be manipulated as well.

• b. Disadvantage - The disadvantage of fresco painting is that the plaster becomes very hot while it is setting and gives off fumes.

13. GHIRLANDAIO- Domenico Ghirlandaio (1449 – January 11, 1494) was a renowned Florentine Renaissance painter, a contemporary of Botticelli and Filippino Lippi. His many apprentices included Michelangelo

14. INTONACO - At the outset, the plaster, intonaco, began to grow mold because it was too wet. Michelangelo had to remove it and start again.

15. GOLD LEAF - Gold leafing in art Gold leaf has traditionally been most popular and most common in its use as gilding material for decoration of art (including statues) or the picture frames that are often used to hold or decorate paintings,

16. LAPIS LAZULI In architecture it has been used for cladding the walls and columns of palaces and churches. It was also ground and processed to make the pigment ultramarine for tempera paint and, more rarely, oil paint.

17. Renaissance humanism was an activity of cultural and educational reform, engaged in by scholars, writers, and civic leaders who are today known as humanists. It developed during the fourteenth and turn-of-the fifteenth centuries, and was a response to the challenge of Medieval scholastic education, which emphasized practical, pre-professional and scientific studies. Scholasticism focused on preparing men to be doctors, lawyers or professional theologians, and was taught from approved textbooks in logic, natural philosophy, medicine, law and theology.[2]

• Humanists sought to create citizens, women as well as men, in many cases, who would be able to speak and write with eloquence and clarity, and thus be capable of participating in the civic life of their communities and to persuade others to virtuous and prudent actions.