Gardner s Art Through the Ages, 13e. Chapter 22 Italy, 1500 to 1600

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1 Gardner s Art Through the Ages, 13e Chapter 22 Italy, 1500 to

2 Rome with Renaissance and Baroque Monuments 2

3 22-1 Michelangelo Buonarroti, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, Fresco, 128 X 45. 3

4 Goals Understand the transition from the early Renaissance to the High Renaissance. Realize that Rome replaces Florence as the new epicenter of the Renaissance and be able to explain why. Give examples of major artistic/architectural projects undertaken in Rome. Recognize the technical and aesthetic achievements of the High Renaissance and the Mannerist era. Examine the lives and works of the great individual artists of the High Renaissance. Understand the diverse contributions of women as patrons, artists, and muses Understand the distinctions between the High Renaissance and Mannerist works of art. 4

5 22.1 The High Renaissance Recognize the achievements of individual artists of the High Renaissance. Explore the development of sculpture and architecture. Examine the classical and expressive developments in architecture during the High Renaissance. 5

6 The Achievements of the Masters Leonardo da Vinci: superb master of line, pioneer of sfumato, inventor, naturalist, and painter of the soul s intent. Raffaelo Sanzio(a.k.a Raphael): younger master painter who incorporated elements of Leonardo and Michelangelo into his own unique style. Michelangelo Buonarroti: master of sculpture, also excellent painter and architect, the man in demand. Bramante: major architect who favored classical buildings rejuvenated the central-plan design. Venetian masters Bellini, Giorgione, Titian Palladio (architecture) 6

7 LEONARDO Examine the unified representation of objects in an atmospheric setting a groundbreaking achievement of Leonardo. Examine the Mona Lisa as a convincing representation of a real person. 7

8 Figure 22-2 LEONARDO DA VINCI, Leonardo da Vinci, Madonna of the Rocks, from San Francesco Grande, Milan, Italy, begun Oil on wood (transferred to canvas), 6 6 1/2 x 4. Louvre, Paris. 8

9 Figure 22-3 LEONARDO DA VINCI, cartoon for Madonna and Child with Saint Anne and the Infant Saint John, ca Charcoal heightened with white on brown paper, 4 6 x 3 3. National Gallery, London. 9

22-3A LEONARDO DA VINCI, Vitruvian Man, ca. 1485 1490.

10 22-3A LEONARDO DA VINCI, Vitruvian Man, ca Pen and ink on paper, 1 1 1/2" X 9 5/8. Galleria dell Accademia, Venice. 10

Figure 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495 1498.

11 Figure 22-4 LEONARDO DA VINCI, Last Supper, ca Oil and tempera on plaster, 13 9 x Refectory, Santa Maria delle Grazie, Milan. 11

12 Figure 22-4 LEONARDO DA VINCI, Last Supper, ca Oil and tempera on plaster, 13 9 x Refectory, Santa Maria delle Grazie, Milan. 12

13 Figure 22-5 LEONARDO DA VINCI, Mona Lisa, ca Oil on wood, 2 6 1/4 x 1 9. Louvre, Paris. 13

Figure 22-6 LEONARDO DA VINCI, The Fetus and Lining of the Uterus, ca. 1511 1513.

14 Figure 22-6 LEONARDO DA VINCI, The Fetus and Lining of the Uterus, ca wash, over red chalk and traces of black chalk on paper, 1 8 5/8. Royal Library, Windsor Castle. 14

15 22-6A LEONARDO DA VINCI, project for a central-plan church, folio 22 recto of manuscript B, ca Chalk and ink on paper, 9 1/8 X 6 3/8. Bibliothèque de l Institut de France, Paris. 15

16 RAPHAEL Trained in Umbria by Perugino (Christ Delivering the Keys the Kingdom to Saint Peter) Famous for paintings of the Madonna and Child Young master moved to Rome; influenced by Bramante Absorbed elements of the work of Leonardo and Michelangelo to create his own unique style Talented, popular, and beloved artist who died young (entombed in the Pantheon) 16

17 Observe similarities between this work and the work of Perugino. Figure 22-7 RAPHAEL, Marriage of the Virgin, from the Chapel of Saint Joseph in San Francesco, Città di Castello, Italy, Oil on wood, 5 7 x /2. Pinacoteca di Brera, Milan. 17

Figure 22-8 RAPHAEL, Madonna in the Meadow, 1505. 1505 1506.

18 Figure 22-8 RAPHAEL, Madonna in the Meadow, Oil on wood, 3 8 1/2 x /4. Kunsthistorisches Museum, Vienna. 18

19 22-8A ANDREA DEL SARTO, Madonna of the Harpies, from San Francesco, Florence, Italy, Oil on wood, 6 9 1/2 X Galleria degli Uffizi, Florence. 19

20 Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, Fresco, 19 x

Figure 22-10 RAPHAEL, Galatea, Sala di Galatea,

21 Figure RAPHAEL, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, Fresco, 9 8 x

Figure 22-11 RAPHAEL, Baldassare Castiglione, ca.

22 Figure RAPHAEL, Baldassare Castiglione, ca Oil on canvas, 2 6 1/4 x 2 2 1/2. Louvre, Paris. 22

23 22-11A RAPHAEL, Pope Leo X with Cardinals Giulio de Medici and Luigi de Rossi, ca Oil on wood, 5 5/8 X Galleria degli Uffizi, Florence. 23

24 MICHELANGELO Study Michelangelo s Pieta and its significant features Examine the formal references to classical antiquity in Michelangelo s David. Examine Michelangelo s humanistic interpretation of the Sistine Chapel ceiling paintings, especially in the Creation of Adam. Realize the popularity and longevity of Michelangelo resulted in his involvement in many other projects often simultaneously Notice differences in the mature work of Michelangelo 24

Figure 22-12 MICHELANGELO BUONARROTI, Pieta, ca. 1498-1500.

25 Figure MICHELANGELO BUONARROTI, Pieta, ca Marble, 5 8 ½ high. Saint Peter s, Vatican City, Rome. 25

22-12A MICHELANGELO BUONARROTI, Pietà, ca. 1547 1555.

26 22-12A MICHELANGELO BUONARROTI, Pietà, ca Marble, 7 8 high. Museo dell Opera del Duomo, Florence. 26

Figure 22-13 MICHELANGELO BUONARROTI, David, from Piazza della Signoria,

27 Figure MICHELANGELO BUONARROTI, David, from Piazza della Signoria, Florence, Italy, Marble, 17 high. Galleria dell Accademia, Florence. 27

28 22-14 Michelangelo Buonarroti, head of David (detail of Fig ) Galleria dell Accademia, Florence. 28

Figure 22-15 MICHELANGELO BUONARROTI, Moses, from the tomb of Pope Julius II,

29 Figure MICHELANGELO BUONARROTI, Moses, from the tomb of Pope Julius II, Rome, Italy, ca Marble, 7 8 1/2 high. San Pietro in Vincoli, Rome. 29

Figure 22-16 MICHELANGELO BUONARROTI, Bound Slave (Rebellious Captive), from the

30 Figure MICHELANGELO BUONARROTI, Bound Slave (Rebellious Captive), from the tomb of Pope Julius II, Rome, Italy, ca Marble, 7 5/8 high. Louvre, Paris. 30

Figure 22-17 MICHELANGELO BUONARROTI, tomb of Giuliano de Medici, New Sacristy (Medici

31 Figure MICHELANGELO BUONARROTI, tomb of Giuliano de Medici, New Sacristy (Medici Chapel), San Lorenzo, Florence, Italy, Marble, central figure 5 11 high. 31

Figure 22-18 Interior of the Sistine Chapel

32 Figure Interior of the Sistine Chapel (looking east), Vatican City, Rome, Italy, built

Figure 22-19 MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling (FIG.

33 Figure MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling (FIG. 22-1) of the Sistine Chapel, Vatican City, Rome, Italy, Fresco, 9 2 x

34 22-19A MICHELANGELO BUONARROTI, Fall of Man, detail of the ceiling of the Sistine Chapel, Vatican City, Rome, Italy, ca Fresco, 9 2 X

Figure 22-20 Detail of the Azor-Sadoch lunette over one of the Sistine Chapel windows

35 Figure Detail of the Azor-Sadoch lunette over one of the Sistine Chapel windows (FIG ) at the beginning (left) and final stage (right) of the restoration process. 35

Figure 22-21 MICHELANGELO BUONARROTI, Last Judgment, altar wall of the Sistine

36 Figure MICHELANGELO BUONARROTI, Last Judgment, altar wall of the Sistine Chapel (FIG ), Vatican City, Rome, Italy, Fresco, 48 x

37 BRAMANTE Examine the achievements of Donato Bramante: innovative central-plan designs based on classical sources (influence of tholoi and Roman circular temples), and the beginning of new St. Peter s in Rome. 37

38 Figure DONATO D ANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, 1502(?). 38

Figure 22-23 DONATO D ANGELO BRAMANTE, plan for the new Saint

39 Figure DONATO D ANGELO BRAMANTE, plan for the new Saint Peter s, the Vatican, Rome, Italy, (1) dome, (2) apse. 39

Figure 22-24 CHRISTOFORO FOPPA CARADOSSO, medal showing Bramante s design for

40 Figure CHRISTOFORO FOPPA CARADOSSO, medal showing Bramante s design for the new Saint Peter s, Bronze, 2 1/4 diameter. British Museum, London. 40

41 Michelangelo, the Architect Examine how Michelangelo updated and preserved Bramante s plans for the new St. Peters, but added the sculptor s touch. 41

Figure 22-25 MICHELANGELO BUONARROTI, plan for Saint Peter s,

42 Figure MICHELANGELO BUONARROTI, plan for Saint Peter s, Vatican City, Rome, Italy, (1) dome, (2) apse, (3) portico. 42

Figure 22-26 MICHELANGELO BUONARROTI, Saint Peter s (looking northeast),

43 Figure MICHELANGELO BUONARROTI, Saint Peter s (looking northeast), Vatican City, Rome, Italy, Dome completed by GIACOMO DELLA PORTA,

Figure 22-27 ANTONIO DA SANGALLO THE YOUNGER, Palazzo Farnese (looking

44 Figure ANTONIO DA SANGALLO THE YOUNGER, Palazzo Farnese (looking southeast), Rome, Italy, ; completed by MICHELANGELO BUONARROTI,

45 22-27A MICHELANGELO BUONARROTI, Aerial view (looking east) of the Campidoglio, Rome, Italy, Left: Palazzo Nuovo; center: Palazzo dei Senatori; right: Palazzo dei Conservatori. 45

Figure 22-28 ANTONIO DA SANGALLO THE YOUNGER, courtyard of the Palazzo Farnese, Rome,

46 Figure ANTONIO DA SANGALLO THE YOUNGER, courtyard of the Palazzo Farnese, Rome, Italy, ca Third story and attic by MICHELANGELO BUONARROTI,

47 th Century Venetian Art and Architecture Analyze the designs of Palladio; remember his importance to future architects such as Thomas Jefferson Describe the Mannerist pictorial devices displayed in Venetian art. Examine the issues of drama, dynamism, and color in Venetian art and the contributions of individual artists. Explore the art of patronage portraits and the role of women. 47

48 PALLADIO Examine the architecture and theories of Palladio. Realize that his work was inspired by the writings of the ancient Roman architect VITRUVIUS. 48

Figure 22-29 ANDREA PALLADIO, Villa Rotonda

49 Figure ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca

50 Figure ANDREA PALLADIO, plan of the Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca (1) dome, (2) porch. 50

Figure 22-31 ANDREA PALLADIO, aerial view of

51 Figure ANDREA PALLADIO, aerial view of San Giorgio Maggiore, Venice, Italy, begun

52 22-31A JACOPO SANSOVINO, Mint (left) and Library (right), Piazza San Marco, Venice, Italy, begun

Figure 22-32 ANDREA PALLADIO, interior of San

53 Figure ANDREA PALLADIO, interior of San Giorgio Maggiore,Venice, Italy, begun

54 16 th Century Venetian Painting Realize that Venetian painters were among the earliest to use oil painting in Italy Result of oil painting --- Venetian paintings are known for their rich colors Notice that Venetian paintings are often sensuous Recall the work of Venetian masters 54

Figure 22-33 GIOVANNI BELLINI, San Zaccaria Altarpiece, 1505.

55 Figure GIOVANNI BELLINI, San Zaccaria Altarpiece, Oil on wood transferred to canvas, 16 5 x 7 9. San Zaccaria, Venice. 55

22-33A GIOVANNI BELLINI, Saint Francis in the Desert, ca. 1470 1480.

56 22-33A GIOVANNI BELLINI, Saint Francis in the Desert, ca Oil and tempera on wood, 4 1 X 4 7 7/8. Frick Collection, New York (Henry Clay Frick Bequest). 56

Figure 22-34 GIOVANNI BELLINI and TITIAN, Feast of the Gods, from the Camerino d Alabastro, Palazzo Ducale,

57 Figure GIOVANNI BELLINI and TITIAN, Feast of the Gods, from the Camerino d Alabastro, Palazzo Ducale, Ferrara, Italy, Oil on canvas, 5 7 x 6 2. National Gallery of Art, Washington, D.C. (Widener Collection). 57

Figure 22-35 GIORGIONE DA CASTELFRANCO (and/or TITIAN?

58 Figure GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca Oil on canvas, 3 7 1/4 x 4 6 1/4. Louvre, Paris. 58

Figure 22-36 GIORGIONE DA CASTELFRANCO, The Tempest, ca. 1510.

59 Figure GIORGIONE DA CASTELFRANCO, The Tempest, ca Oil on canvas, 2 8 1/4 x 2 4 3/4. Galleria dell Accademia, Venice. 59

Figure 22-37 TITIAN, Assumption of the Virgin, 1516 1518.

60 Figure TITIAN, Assumption of the Virgin, Oil on wood, /2 x Santa Maria Gloriosa dei Frari, Venice. 60

Figure 22-38 TITIAN, Madonna of the Pesaro Family, 1519 1526.

61 Figure TITIAN, Madonna of the Pesaro Family, Oil on canvas, x Pesaro Chapel, Santa Maria dei Frari,Venice. 61

Figure 22-39 TITIAN, Meeting of Bacchus and Ariadne, from the Camerino d Alabastro,

62 Figure TITIAN, Meeting of Bacchus and Ariadne, from the Camerino d Alabastro, Palazzo Ducale, Ferrara, Italy, Oil on canvas, 5 9 x 6 3. National Gallery, London. 62

22-39A TITIAN and PALMA IL GIOVANE, Pietà, ca. 1570 1576.

63 22-39A TITIAN and PALMA IL GIOVANE, Pietà, ca Oil on canvas, 11 6 X Galleria dell Accademia, Venice. 63

64 Figure TITIAN, Venus of Urbino, Oil on canvas, 3 11 x 5 5. Galleria degli Uffizi, Florence. 64

65 Portraits and Patronage in Venice Explore the art of portraits and the role of powerful female patrons. 65

Figure 22-41 TITIAN, Isabella d Este, 1534 1536.

66 Figure TITIAN, Isabella d Este, Oil on canvas, 3 4 1/8 x 2 1 3/16. Kunsthistorisches Museum, Vienna. 66

22-41A LAVINIA FONTANA, Portrait of a Noblewoman, ca. 1580. Oil on canvas, 3 9 1/4" X 2 11 1/4".

67 22-41A LAVINIA FONTANA, Portrait of a Noblewoman, ca Oil on canvas, 3 9 1/4" X /4". National Museum of Women in the Arts, Washington, D.C. (gift of Wallace and Wilhelmina Holladay). 67

Figure 22-50 CORREGGIO, Assumption of the Virgin, 1526

68 Figure CORREGGIO, Assumption of the Virgin, Fresco, x Parma Cathedral, Parma. 68

69 22.3 Mannerism Understand Mannerism as an artificial style in contrast to the naturalism of the High Renaissance. Examine Mannerism as interested in expressive forms of art rather than classical forms. Explore the lives and works of key artists of the Mannerist style. Recognize the artistic elements of Mannerist painting, sculpture, and architecture. 69

70 Mannerist Painting Recognize basic features of Mannerism Elongated figures Figura Serpentinata Less emphasis on balance, symmetry, and rational composition (values of High Renaissance) Unusual lighting effects Compare and contrast Mannerist painting with that of the High Renaissance 70

Figure 22-42 JACOPO DA PONTORMO, Entombment of Christ, Capponi Chapel,

71 Figure JACOPO DA PONTORMO, Entombment of Christ, Capponi Chapel, Santa Felicità, Florence, Italy, Oil on wood, 10 3 x

22-42A DOMENICO BECCAFUMI, Fall of the Rebel Angels, ca. 1524.

72 22-42A DOMENICO BECCAFUMI, Fall of the Rebel Angels, ca Oil on wood, /2 X 7 4. Pinacoteca Nazionale, Siena. 72

Figure 22-43 PARMIGIANINO, Madonna with the Long Neck, from the Baiardi Chapel, Santa Maria

73 Figure PARMIGIANINO, Madonna with the Long Neck, from the Baiardi Chapel, Santa Maria dei Servi, Parma,Italy, Oil on wood, 7 1 x 4 4. Galleria degli Uffizi, Florence. 73

22-43A PARMIGIANINO, Self-Portrait in a Convex Mirror, 1524.

74 22-43A PARMIGIANINO, Self-Portrait in a Convex Mirror, Oil on wood, 9 5/8 diameter. Kunsthistorisches Museum, Vienna. 74

Figure 22-44 BRONZINO, Venus, Cupid, Folly, and Time, ca.

75 Figure BRONZINO, Venus, Cupid, Folly, and Time, ca Oil on wood, 5 1 x 4 8 1/4. National Gallery, London. 75

76 Mannerist Portraiture Examine the portrait as an expressive form of art. Explore the lives and works of key artists of the Mannerist style. 76

Figure 22-45 BRONZINO, Portrait of a Young Man, ca. 1530 1545. Oil on wood, 3 1 1/2 x 2 5 1/2.

77 Figure BRONZINO, Portrait of a Young Man, ca Oil on wood, 3 1 1/2 x 2 5 1/2. Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929). 77

22-45A BRONZINO, Eleanora of Toledo and Giovanni de Medici, ca. 1546.

78 22-45A BRONZINO, Eleanora of Toledo and Giovanni de Medici, ca Oil on wood, 3 9 1/4" X 3 1 3/4". Galleria degli Uffizi, Florence. 78

Figure 22-46 SOFONISBA ANGUISSOLA, Portrait of the Artist s Sisters and Brother, ca.

79 Figure SOFONISBA ANGUISSOLA, Portrait of the Artist s Sisters and Brother, ca Oil on panel, 2 5 1/4 x 3 1 1/2. Methuen Collection, Corsham Court, Wiltshire. 79

80 Figure TINTORETTO, Last Supper, Oil on canvas, 12 x San Giorgio Maggiore, Venice. 80

Figure 22-48 PAOLO VERONESE, Christ in the House of Levi, from the refectory of Santi

81 Figure PAOLO VERONESE, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, Oil on canvas, 18 3 x 42. Galleria dell Accademia, Venice. 81

Figure 22-49 PAOLO VERONESE, Triumph of Venice, ca. 1585.

82 Figure PAOLO VERONESE, Triumph of Venice, ca Oil on canvas, 29 8 x 19. Ceiling of the Hall of the Grand Council, Doge s Palace, Venice. 82

83 Mannerist Sculpture Examine the expressive forms of sculpture. Recognize the artistic elements of Mannerist sculpture. 83

Figure 22-51 BENVENUTO CELLINI, Saltcellar of Francis I, 1540-1543.

84 Figure BENVENUTO CELLINI, Saltcellar of Francis I, Gold, enamel, and ebony, 10 ¼ X 1 1 1/8. Kunsthisotrisches Museum, Vienna. 84

85 22-51A BENVENUTO CELLINI, Genius of Fontainebleau, Bronze, 6 8 3/4 X Louvre, Paris. 85

Figure 22-52 GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggia dei

86 Figure GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, Marble, /2 high. 86

87 Mannerist Architecture Spot idiosyncrasies of Mannerist architecture Compare and contrast High Renaissance architecture and Mannerist architecture 87

Figure 22-53 GIULIO ROMANO, interior courtyard

88 Figure GIULIO ROMANO, interior courtyard facade of the Palazzo del Tè, Mantua, Italy,

89 22-53A GIULIO ROMANO, Fall of the Giants from Mount Olympus, fresco in the Sala dei Giganti, Palazzo del Tè, Mantua, Italy,

90 Examine Mannerist elements in Michelangelo s design for the vestibule of the Laurentian Library in Florence. Figure MICHAELANGELO BUONARROTI, vestibule of the Laurentian Library, Florence, Italy, ; staircase,

Figure 22-55 GIACOMO DELLA PORTA, facade

91 Figure GIACOMO DELLA PORTA, facade of Il Gesù, Rome, Italy, ca

92 Figure GIACOMO DA VIGNOLA, plan of Il Gesù, Rome, Italy, (1) dome, (2) nave, (3) chapel. 92

93 Discussion Questions Why do works of art from the High Renaissance continue to be understood as the most famous art in the western world? What are the elements of Mannerist art and sculpture that are different from the art of the High Renaissance? What plans and theories of the architect Palladio continue to be seen in architecture to this day? 93

TERMS: Chiaroscuro (634), sfumato (634), stanza (638), ignudi (645), cartoon (646), poesis (654), tondi (plural form of tondo)(660), cartouche (670)

TERMS: Chiaroscuro (634), sfumato (634), stanza (638), ignudi (645), cartoon (646), poesis (654), tondi (plural form of tondo)(660), cartouche (670) This chapter explores Renaissance art in 16 th century Italy, which includes architecture, painting, sculpture and fresco. The major commissioned of this period occur primarily in Milan, Florence, Venice,