Chapter 13 The High Renaissance and Mannerism in Italy

1. Chapter 13The High Renaissance and Mannerismin Italy Culture and Values, 8th Ed. Cunningham and Reich and Fichner-Rathus

2. Italy 1494

4. 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

5. 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

6. 13.3 Leonardo da Vinci, The Last Supper, 1495-1498, Refectory, Santa Maria delle Grazi, Milan, Italy

7. 13.4A Leonardo da Vinci, Madonna of the Rocks, begun 1483. Musee du Louvre, Paris, France

8. 13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France

9. The Visual ArtsRaphael 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

10. 13.7 Raphael, Madonna of the Meadow, 1508, Kunsthistorisches Museum, Vienna, Austria

11. The Visual ArtsRaphael Sanzio (1483-1520) • From Florence to Vatican (1508) • School of Athens (1509-1511) • Symbolic homage to philosophy • Renaissance ideal • Balance of philosophy and theology

12. 13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy

13. The Visual Arts • Lorenzo de’ Medici • Michelangelo Buonarroti (1476-1564) • Pietá • Michelangelo’s David • Statement of idealized beauty • Palazzo Vecchio: symbol of civic power

14. Pieta1498-9, marbleSt. Peter’sVaticanRome

15. 13.10 Michelangelo, David, 1501-1504, Accademia di Belle Arti, Florence, Italy

16. The Visual ArtsMichelangelo Buonarroti (1475-1564) Tomb for Pope Julius II • Moses (1513-1515) • Divine fury, divine light • Terribilità

17. 13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy

18. The Visual ArtsMichelangelo 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

19. 13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy

20. 13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy

21. The Visual ArtsMichelangelo 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

22. 1534-41 The Last Judgement, fresco, Sistine Chapel, Vatican.

24. 13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy

25. The Visual ArtsMichelangelo 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

27. Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666. (I) Bramante’s plan, 1506–1514, shows a compact plan of a Greek cross with arms or transepts (b) of equal length meeting at a central altar (a) set under a dome, with each arm ending in a semicircular apse (e) opening to a portal or entrance (c), and including several chapels (d) for smaller services. (II) Antonio da Sangallo’s plan, 1516–1546, imposed a Latin cross, adding Raphael’s choir (f) to surround the altar on three sides, closing the portals in favor of a formal entrance (c), and forming a nave (g) from the arm proceeding from a huge vestibule or narthex (h). (III) Michelangelo’s plan, 1547–1564, rejected Sangallo’s design and returned to a centralized domed Greek cross inscribed within a square but retained the vestibule (c), now fronted by a portico with giant columns. (IV) Carlo Maderna’s plan, 1606–1615, returned to a Latin cross with elongated nave (g), narthex (h), portico (c), and Baroque façade. This plan also shows Gian Lorenzo Bernini’s piazza (j) with colonnades, 1656–1667. Maderna’s final additions, especially the elongated nave, narthex, and large façade, obscured Michelangelo’s original design. Artwork by Cecilia Cunningham.

28. 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

29. Andrea Palladio Palazzo Chiericatibegun 1550s. Vicenza, Italy.

30. The High Renaissance in VenicePainting • Tradition of easel painting • Use of oil paints • Brilliance of color • Subtlety of light • Eye for close detail • Love of landscape

31. The High Renaissance in VenicePainting • 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

32. 13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy

33. 1592-94, Tintoretto, The Last Supper, oil on canvas,San Giorgio Maggiore, Venice, Italy.

34. 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)

35. Jacopo Pontormo (born Carucci), Entombment, 1525–1528. Oil on panel, 123″ × 76″ (312.4 × 193 cm). Capponi Chapel, Santa Felicità, Florence, Italy.

36. 13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England

37. 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

38. 13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy

39. 13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland

40. 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

41. Giovanni da Bologna, Abduction of the Sabine Women, ca. 1581–1583. Marble, 13′5″ (409 cm) high. Loggia dei Lanzi, Florence, Italy.

42. 13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain

43. 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

44. 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

45. 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

46. 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

47. Tintoretto,  Veronica Franco, late 16th century. Oil on canvas, 18″ × 24″ (46 × 61 cm). Worcester Museum of Art, Worcester, Mass.

48. Compare & contrast

49. Compare & contrast

50. Compare/contrast