Renaissance 1430-1620 The Late Renaissance 1520-1620 Reformation Elizabethan 1517-1550 1545-1620

1. Renaissance1430-1620The Late Renaissance1520-1620Reformation Elizabethan 1517-1550 1545-1620

2. Chronology • Late Renaissance • The Late Renaissance or Mannerist Period: 1520-1620 • During this period, the power struggles unleashed by the Reformation and the conflicts between France and Spain for colonial dominance led to religious wars and a general cultural and spiritual malaise in all of Europe. Today, art historians use the term Mannerism to describe this period of political crisis, cynicism, and loss of faith. • saw the decline of Italian dominance and the spread of Renaissance ideas to France, Spain, and England, • is considered as an age of ambiguity, contradictions, and self-conscious personal expression, • is represented in the visual arts mainly through painting, in the later works of Raphael and in the work of Francesco-Mazzola Parmigianino and AgnoloBronzino. The late architecture of Michelangelo also contains Mannerist elements.

3. Mannerist Period & Style • The Age of Crisis, Loss of Faith and Political Cynicism. • SHIFT from: unity, balance and logic • to: personal invention, self-conscious stylization and bizarre fantasy • Bartering be damned – money (anything can be bought for a price) • Chivalry be damned – cynicism and political realism • Erasmus: “When did avarice reign more largely and less punished?” • Machiavellian: political expediency is placed above morality • the use of craft and deceit to maintain the authority and carry out the policies of a ruler is described • The “new” supernatural: witchcraft – leading to the Inquisition • Mannerism as a movement emerged about the same time as the classical Renaissance, but its adherents, mostly painters, rejected the idealized nature of classicism and concerned themselves with beauty for its own sake, elegance, and personal expression. Individualism.

4. Italian Architecture

5. Villa Rotunda (1550) In Venice by Palladio Classical Renaissance Temple Front Bisymmetrical w/ 2:3 Proportions… insistent on the use of exact mathematical formula.

6. Laurentian Library (1559) In Florence by Michelangelo Defiance of the conventional use of the classical orders Distortion of classical proportion Overall horizontal except vestibule

7. Villa Barbaro(1528) In Rome by Palladio Painting by Veronese (1560) Not stone – brick and stucco; Not marble – terra cotta Trompe l'oeil frescoes

8. Italian Furniture By J.B. Da Vignola (1565) Farnese Table (grand center table): recalling the Roman grotesque tradition

9. French Architecture

10. Louvre (1546-61) • In Paris by Lescot (mathematician) • Cour Carré – balanced symmetrical • Corinthian engaged columns • Round arches • Triangular and round pediments • Sculptural relief (French Gothic)

11. Gallery of François I at Fontainebleau (1539) by Francesco Primatticio Chåteaux: elegant rural palaces Geometric and realistic proportions Strapwork: a type of ornamentation imitating pierced and interlaced straps or bands, usually forming a geometric pattern.

12. School of Fontainebleau: the integration of the arts of woodworking, stucco relief and fresco painting combined to create a very complex but graceful interior design. Sculpted figures are integrated into the moldings and cornices. Their elongated proportions and small heads are a characteristic of the Mannerist approach. Putti : cherubic infant, often shown winged. Grotesques: ornamentation in which natural forms and monstrous figures are intertwined in bizarre or fanciful combinations

13. French Furniture 16th century Dresser: Caryatid supports Bedroom of Anne of Austria at Fontainebleau

14. EnglishArchitecture

15. Wollaton(1580) In Nottinghamby Robert Smythson Classical model of symmetry and balance Gothic Influence

16. Wollaton(1580) In Nottinghamby Robert Smythson Hammer beam ceiling: consists of a series of trusses, repeated at intervals, and its object is to transmit the weight and thrust of the roof as low as possible in the supporting wall Keep: the inner stronghold of the castle Turret(s): a small tower at an angle of a building… frequently beginning some distance above the ground

17. Little Moreton Hall(c. 1570) Cheshire Half Timbering: exposed timber framework …filled with “Wattle and Daub” Highly Irregular – Perpendicular Style Oriel window: bay window Gable: the triangular upper part of a wall between the sloping ends of a pitched roof

18. Hardwick Hall (1590-1597) In Derbyshire by Robert Smythson Mullion Window: Vertical /structural support for window. Muntin: Sash or glazing (supporting) bar… holding the glass panes together. Crenellations

19. ^ Shakespeare's Birthplace Stratford on Avon > Anne Hathaway's cottage

20. English Furniture 16th century Draw Table: oversized bulbous leg Marquetry: inlaid work of variously colored woods or other materials (mainly in furniture) Parquetry: mosaic work of wood used for floors, wainscoting, etc

21. Teatro Olimpico (1584) Vicenza, Italy by Palladio Scaena frons “Academic" theatre oldest surviving Renaissance playhouse Vitruvianproportions

22. ManneristDress By 1550, a return to complexity and ornate decoration reflects the spiritual and moral ambiguities of the Mannerist period. The body is more distorted than it has ever been, shaped and constrained by stiff, heavy fabrics and corseting, and visually weighed down by over- scaled patterns. The breast is compressed to non-existence, and the arms made to seem too heavy to lift. This period of constraint, coming as it did after the conquest of Italy by foreign powers, reflects the Mannerist styles of Spain and Elizabethan England. Eleanor of Toledo by Agnolo Bronzino (Italy 1550)

23. Innovation inDress Treadle-powered spinning wheel Embroidery was applied to shirts and chemises - full-length, sleeved linen undergarments - in the form of delicate black silk figures called blackwork. Early forms of lace-making appeared in Italy in the 15th century.

24. 16th CenturyDressNorthern Europe and England

25. The Men • Man by Hans Baldung (German, 1517) • Changes in the male silhouette outside of Italy during the 16th century: • from 1500 to 1520, the transition was made from late Gothic to Renaissance styles. • 1500-1510: Gothic tendency toward verticality and elongation of the body. • 1510-1520: Trend toward German full-cut, loose robe broadened the silhouette.

26. Henry the Devout of Saxony by Lucas Cranach the Elder (English 1514) • Slashing and panes - strips of fabric caught with ornamental clasps - allowed the shirt to show through. • Doublet • Robe/Cloak • Breeches (new short trouser) replaced full-length hose, which was reduced to knee-length, and held in place with garters.

27. The Ambassadors by Hans Holbein the Younger (English 1553) • from 1520 to 1550, costume was dominated by German fashion with its full over-robe, emphasizing horizontal lines. • Persistence of this square silhouette • Jerkin is sleeveless and has a deep • v-shaped opening in the front of the bodice. • Simarre: Robe • Duckbills

28. Henry VIII by Hans Holbein the Younger (English 1537) Doublet (padded) and Skirt The codpiece (a flap or cover for the crotch) developed into a prominent feature. This portrait illustrates the extravagant ornament and the distortion of the body through padding, slashing (to reveal a lining or full undergarment beneath) , and stiffened encasement so typical of the approach seen in Mannerist art.

29. François I by Jean Coulet • (French 1516) • The Italian love of simple elegance is more evident in the French style, with its black and white color scheme and simple bands of embroidered foliage.

30. Robert Dudley, Earl of Leicester (unknown) • (English c. 1570) • from 1550 to 1600, shoulder width decreased, and a new garment, the separate breech or trunk hose, emerged. This period is dominated by Spanish influences. • Philip II (Spanish, c. 1560) Ruff: Separate Collar Trunk (pumpkin) Hose: padded breeches The codpiece, very prominent at mid-century, had disappeared by 1580.

31. Youth with Rose by Nicholas Hilliard • (English 1588) • Several forms of the ruff developed, made with stiffened, figure-eight folds. These were invariably of starched white linen. Peascod Belly: Padded belly Shoulders were padded roll or a crescent-shaped extension. Sleeves were also padded, but followed the shape of the arm and narrowed considerably by the end of the century.

32. Elizabethan Armor This suit of armor was made for the Earl of Cumberland and is at the Metropolitan Museum. The cost was enormous, this cost as much as one year's salary for a nobleman. It is inlaid with gold, a real demonstration of magnificence. Notice space for trunk (pumpkin) hose Top shaped just like doublet

33. Armor The expanding waistline of Henry VII… A suit of armor worn by the king in his early 20s (left) is noticeably slimmer than one he used in about 1540 (right)

34. The Women Princess Elizabeth, Flemish School (English 1546) 1530-1575: International Gothic styles continued to be popular well into the first decades of the 16th century. Spanish farthingale: Cone-shaped hoop skirt…. which consisted of a series of hoops, graduated in size, sewn into a petticoat (underskirt). The bodice (fitted vest or wide, lace-up girdle) was tightly stretched over the corset (or stays) giving an inverted cone shape to the upper body. Overskirts were split at center-front, to expose the underskirt.

35. Corset (usually whalebone): a close-fitting undergarment, often reinforced by stays, worn to support and shape the waistline, hips, and breasts < shaded areas show pockets with boning Steel Corset

36. Mary Tudor by Antonio Moro (English 1554) Girdle: a belt, sash, or band that is worn around the waist Crescent-shaped "French hood“: headdress Jane Seymore by Hans Holbein (English, 1536) Gable Headdress: resemblance in shape to the gable-end of a Tudor house

38. The Ditchley Portrait (Elizabeth I) by Marcus Gheeraerts the Younger (English 1592) 1575-1600: Skirt shapes changed in the last quarter of the century. The open ruff surrounding the square neckline stands high behind the head and is supported by a wire frame. Hanging Sleeve: Open Sleeve Conch: wire-frame headdress French farthingale: Wheel or Drum-shaped hoop skirt. Bum Roll: Padded Roll; a bolster-like roll either stuffed or held out with reeds which, being fastened around the hips Stomacher: v-shaped panel of stiff material worn over the chest and stomach

39. The human form is artificially shaped during the period through the use of padding and hoops. Silhouettes are unbalanced by the exaggeration in shoulder width and lengthening of the torso. Fabrics are excessively embellished with slashing, puffs, quilting, inset stones and embroidery. Woven patterns are outsized. Queen Elizabeth I (the Armada Portrait) by George Gower (English c. 1588)

40. (Woman) Cartwheel Farthingale: Hoops worn at an angle which visually elongated the wearer's torso while shortening their legs. Open ruff (Man) Stiffened hat Cape Gaiter: a heavy cloth or leather covering for the leg extending from the instep to the ankle or knee. (shown on left leg only)

41. Pomander - perfume ball of mixed aromatic substances… generally filled with spices and crafted in the shape of orange segments. Well-to-do Londoners held pomanders to their noses to shield themselves from the stench of the rotting garbage that littered the streets.

42. Discuss these 2 images in regard to the ELEMENTS OF DESIGN ^ Michelangelo’s Pieta (St. Peter’s in Rome - 1498) > Michelangelo’s Pieta “The Deposition” (Florence Cathedral – 1550)

43. Discuss these 2 images in regard to the ELEMENTS OF DESIGN ^ Leonardo da Vinci “The Last Supper” (1495-1497) > JacopoTintoretto “The Last Supper” (1592-1594)