Lecture 1: Introduction

Transcription

1 Lecture 1: Introduction

2 Renaissance 1855 Jules Michelet, History of France Renaissance rebirth of culture of ancient Greece and Rome Jakob Burkhardt, Culture of the Renaissance in Italy rebirth of a human-centered (secular) view of the world.

3 High Renaissance and Mannerism as art historical concepts Renaissance the recuperation of ancient Greek and Roman form and content and the imitation of nature in art. Mannerism from the word maniera; Italian for manner or style ( di maniera; maniera ammanierata )

4 (left) Raphael, Deposition of Christ, oil /panel 1507 (right) Francesco Salviati, Deposition of Christ, oil / panel, 1547

5 Walter Friedlander, Mannerism and Anti- Mannerism in Italian Painting, 1957 Jacopo Pontormo, Visitation, oil /panel, 1528, Carmignano, Pieve di San Michele Arcangelo.

6 Arnold Hauser, Mannerism: The Crisis of the Renaissance and the Origin of Modern Art, 1965 Ernst Ludwig Kirschner, Women on the Street, 1915 Rosso Fiorentino, Deposition of Christ, 1521

7 John Sherman, Mannerism, 1967 Maniera = Stylish style; art as but one aspect of a cultural period that emphasized grazia (gracefullness) as desirable quality. Parmigianino, Madonna of the Long Neck, oil / panel, begun 1534 and unfinished; Florence, Uffizi

8 Craig Hugh Smyth, Mannerism and Maniera, 1962

9 Italian States in the 15 th century: Republic of Venice Marquisate of Mantua Duchy of Ferrara Republic of Florence Republic of Siena Duchy of Milan Duchy of Savoy Kingdom of Naples Papal States

10 Techniques & Workshops [Jan van der Straet, Oil Painting, engraving, 1600]

11 Painting Technique: Fresco Method: executed on a masonry surface that has an existing coat of mason s plaster. two coats of plaster are applied by workship assistants: one rougher (arriccio), one thin and smoother (intonaco). In the early Renaissance, a drawing of the composition (sinopia) was made with charcoal and red ochre wash was applied to the arriccio. A thin layer of intonaco was applied in a patch (giornata) to the arriccio and while still damp, and lime-water based pigment was applied. From the mid-15 th century on, the greater availability of paper allowed the use of a full scale drawings (cartoni) of parts of the composition. The back of the cartone was covered in charcoal dust and affixed to the wall, lines of charcoal transferred into the plaster by pricking or tracing. The size of the giornata corresponded to area to be painted with a single hue. Most often used in Central Italy (Rome, Tuscany, Mantua, Milan); less common in North East Italy because of climate.

12 Michelangelo, Delphic Sybil, fresco, 1508/09, Sistine Chapel, Vatican Palace

13 Painting Technique: Tempera Method: wooden panel made of smaller panels (pala) was sanded smooth, covered in sizing to seal the wood, then covered in linen strips. Over that were several consecutively thinner layers of chalk and size (gesso) were applied. It was scraped with fine hooks to create an smooth yet absorbent surface. An underdrawing in charcoal was applied to the surface and brushed until it was barely visible; gold leaf applied over red bole, underpainting using grey-green mineral pigment in egg, then translucent layers of colored pigments (mineral or vegetable based) in egg yolk medium using fine brushstrokes. Sometimes glazes of pigment in oil were used. Common throughout the Italian peninsula from the 11 th -late 15 th century.

14 Stages of production of a tempera painting

15 Painting Technique: Oil Method: on sized, linen and gesso covered panel, or a stretched canvas that has been covered in mixture of size, gesso and neutral (light gray or ochre) pigment in oil. Ground pigments are mixed with refined linseed or walnut oil and applied in glazes with small brushes. Later, thicker, paste-like application of paint is used. Used with tempera in 14 th and 15 th centuries in the Italian peninsula; pure oil painting was first adopted in Venice along with canvas support

16 Tuscan-Roman-Central Italian Oil Painting: Jacopo Pontormo, Visitation, oil /panel, 1528, Carmignano, Pieve di San Michele Arcangelo.

17 Giorgione, Tempest, oil /canvas, ca. 1506, Venice, Accademia and x-ray showing earlier version of the composition

18 Sculpture [Nanni di Banco, Four Crowned Martyrs, detail of base, marble, 1425, Florence, Orsanmichele]

19 Andrea del Verrocchio, Funeral Monument of Niccolo Forteguerri, (left) terracotta bozzetto; right finished monument with marble relief figures by Verrocchio,

20 Transferring measurements using calipers from a model to a stone block

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