High Renaissance in Italy Michelangelo Da Vinci Raphael

High Renaissance in Italy Michelangelo, Da Vinci, Raphael, and the Venetian School Mannerism appears late century…

Italian City States were conquered by Spanish & French invaders. . Venice stayed independent. High Renaissance flourished in courts of princes, dukes & popes… artistic competition

High Renaissance Italy…. 1495 -1527 Big Ideas • Pope Julius II revitalizes the city of Rome • High Renaissance artists try to emulate Roman grandeur with enormous frescoes, statues, and amazing architecture • Compositions marked by balance, symmetry, and ideal proportions. . Triangular layout is favored. • Venetian painters take up oil with school of painitng with sophisticated color harmonies • Portraiture reveals likeness of subject PLUS their character and personality

High Renaissance Italy…. Patronage • Pope Julius II is biggest patron. . Powerful force in Roman and European politics and religion. • Transformed Rome, a ramshackle medieval town, into an artistic center to rival Florence. • Women were also key patrons, such as Queen Isabella d’Este • St. Peter’s church in Rome is rebuilt, first by Bramante then by Michelangelo. • Medici still have influence; Michelangelo originally studied sculptures on one of their estates • Kings and Queens of Europe become patrons of artists such as Da Vinci and Titian.

High Renaissance Italy…. Perspective • Artists continue to build on Brunelleschi’s work and Albertis, using architectural & atmospheric perspective. • Raphael’s School of Athens is a masterpiece of architectural perspective. • Remember this painting from the early Renaissance?

Stanza della Segnatura, Raphael, Vatican (Fresco view) - Pope’s library

School of Athens Fresco Raphael 1510 -11

School of Athens, fresco, Vatican Raphael painted this in Pope Julius II library; Philosophy books shelved below Vastness & variety of papal library and interests Buliding behind-Bramant’s plan for st. Peters Bramante is bald figure of Euclid Raphael in extreme right corner Nobility & monumentality of forms Michelangelo is resting on stone block writing a poem Plato (w/Leonardo’s face) pointing up and Aristotle Overall composition influenced by Da Vinci’s last supper Raphael continued to wrok for Julius II’ successor, born Giovvanie de Medici flashcard

Small Cowper Madonna, Raphael, Oil on wood panel, 1505 (high Renaissance) Triangular composition favored in Renaissance Classical allusions; frequently painted holy family Atmospheric perspective behind Mary Raphael was very young Clarity of forms, sweet expressions; chiaroscuro renders modeling.

Raphael continued working for the next Pope, Leo X (who was a Medici family member)… Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi 1517 Oil on wood

La Pieta, Michelangelo Marble, 1500, 6’ tall St. Peter’s, Vatican, La Pieta in the round Pyramidal composition Monumental Heavy drapery masks Mary’s size as she easily holds Jesus in here lap Only work Michelangelo ever signed Shows Mary’s beauty and grief Michelangelo was Ghirlandaio’s apprentice Patron French cardinal “Set free the image from the stone”

Michelangelo David (flashcard) Medium: Marble Size: height 17' (5. 18 m) without pedestal Date: 1501– 04 Source/ Museum: Galleria dell’Accademia, Florence Commissioned as symbol of Florence, representing Florence as she faced enemies like France First colossal nude since ancient world Muscular, tense, at the ready David anticipated challenge of Goliath, great concentration on the face Slight contrapposto, little negative space Marble, not bronze. . Evoked power of ancient art. . Purity of expression Influence of Spear Bearer by Polykleitos 2 minute video on Michelangelo's David

Close ups of David

Sistine Chapel, Vatican, Rome Michelangelo, Last Judgment and ceiling (45’ x 128’) Ceiling 1508 -12; end wall 1536 -41 La Capella Sistina (part 1) Botticelli and Perugino, Ghirlandio, and Raphael also painted areas of the Sistine Chapel (not ceiling) New popes are elected here

Last Judgment, Sistine Chapel, Michelangelo 1536 -41, Vatican, Rome No cornice divisions like ceiling Mannerism shown in distortions of body, elongations, crowded groups 1. Bottom: dead rising/mouth of hell 2. Ascending elect, desc. Sinners, angels 3. Saved around Jesus 4. Lunette: Angels w/cross Justice shown Spiraling composition a reaction against High Renaissance harmony; disunity of church from the Reformation Drapery added later St. Bartholomew modeled on contemporary critic LOL Michelangelos’ face in St. Bart’s skin

Moses, Michelangelo, 1513 -16, 1542 -45, Commissioned for tomb of Julius II Never finished (was to be part of a huge installation of sculptures, he was pulled of this project to do the Sistine Chapel Meant to be viewed from below Horns are mistranslation of Bible; Moses thought to have had HORNS coming out of his head, really RAYS (like a halo) Figure is in awe, heroic body Inspired by Laocoon

Last Supper, da Vinci, 1495 -98, Monastery in Milan, Italy Experiment with tempera and oil on plaster (FAIL) Painted for dining hall of a monastery Linear perspective; orthogonals point to Jesus Groupings of 3 Drama: Jesus says, One of You will Betray ME Judas falls back clutching his bag of coins (bribe to betray Jesus)

Leonardo was a genius, scientist, inventor, and artist who was the 1 st modern mind… because he wanted to observe, not just take the Greeks word for it. Born illegitimate (bastard), he could not study Greek nor Latin, so could not read much. Instead he learned to observe, draw, and document, filing thousands of pages of sketches of inventions, botanical and anatomical illustrations. This is a charcoal for a painting from around 1500. Da Vinci's Genius

Mona Lisa, Leonardo da Vinci 1503, Louvre, Paris… 21” x 30” 3/4 profile, triangular composition Sfumato, chiaroscuro used in figure, atmospheric perspective in background Mysterious smile, psychological intensity Lots of mysteries and legends surround this painting (da Vinci code); recently have discovered remains of da Vinci’s model (da Vinci code? )

Da Vinci studied anatomy, dissected cadavers, and was in reality a scientist. Vitruvian Man, ink, 1490 He studied and quantified human proportions with the Vitruvian man, based on the work of the Greek schold Vitruvius. amazon video, go to 24 minutes

High Renaissance Italy…. Women and the Arts • Women generally not allowed to study or apprentice, with a few exceptions • Women were also key patrons, such as Queen Isabella d’Este • Properzia de’Rossi notable exception sculptor • Sofia Anguissola - skilled painter who did many portraits Queen Isabella d’Este, by Titian, oil on canvas

Joseph & Potiphar’s Wife 1525, Properzia de’ Rossi Bologna Famous woman sculptor; mastered miniature carvings such as the Last Supper on a peach pit! Carving in cathedral of San Petronio in Bologna Only woman included in Vasari’s biography Got over an unhappy love affair by carving this panel, according to Vasari Rival male sculptor kept her from being paid fairly for her work

The Chess Game 1525, Sofia Anguissola flashcard Well known portait painter, eventually went to the Spanish court Well educated in the arts, did portraits but due to here social status and gender could not sell them Michelangelo critiqued one of her drawings Court painter in Spain for 20 yers Rivaled Titian flashcard

Self-portrait, Sofonisba Anguissola Oil on cardboard 2. 5” x 3. 25” 1552

Noli Me Tangere, Lavinia Fontana Oil on canvas 1581 Bologna was center for accopmlished women painters She was in her 20 s when she painted scene of Jesus appearing to Mary Magdalen before returning to heaven Tiny figures at tomb in background give plunge into depth and sapce Mannerist style painting

Venice & the Venetto • Venice was major naval power • Rich light, pattern, and color inspired by Byzantium • Oil painting universally preferred on both wood and canvas • Giorgione & Titian early; later Veronese and Tintoretto

The Tempest, Giorgione (f. card) 1506 (Venetian School) Oil on canvas Studied w/Bellini Meaning debated POESIE- painted poems, viewers enjoyed trying to understand what is happening Emerging use of oil in Venice; softer tones Emerging landscape tradition Lightning, mysterious ruins in landscape Gypsy girl breastfeeding baby

Pastoral Concert, Allegory on the Invention of Pastoral Poetry Titian, Venetian School, 1510 Oil on canvas Louvre Chiaroscuro, no clear cut edges Titian was Giogrione’s apprentice. Also studied with Bellini … again poesie, painted poem. Are the 2 nudes the musician’s muses? Mythical world plus real world, landscape

Pesaro Madonna, Titian, 1526 Oil on canvas Commemorate Venetian victory won by Jacopo Pesaro against the Turks in 1502 Jacobo kneels at L with St. George, members of family w/St. Francis of Assisi St. Peter looks down Asymmetrical composition Color not design Columns added later by another artist flashcard

Venus of Urbino, Titian, oil on canvas, 1538. Sensuous painting, skin tones, probably a courtesan, looks diretly at viewer, deep space in picture, flora motif. Dog = faithful, standard for future reclining female nudes

Titian’s later work became more expressive. This piece has loose brushstrokes and diagonals, finished in late 1570 s in Venice Pieta

Feast in the House of Levi, Veronese, oil on canvas, 1573 (Venetian school). Originally last supper, was called before Pope’s Inquisition to question presence of drunks, dwarves, etc. at last supper…. Changed title to another supper instead to avoid being jailed and tortured. Continued classical perspective and painted for Dominican monastery

Last Supper, Tintoretto, 1594, Oil on canvas (Venetto), developed from Titian’s style, mannerist elongated forms, radiant light around Christ and angels, corner view, still life on tables and cat - deep chiariscuro… fast painter, Daughter became artist.

MANNERISM IN ITALY • Intellectually intricate subjects • Highly skilled techniques • Beauty for beuaty’s sake • Elegeant, elongated figures • Distortionf of formal conventions Fall of the Giants Fresco, 1530 -32, Palazzo del Te, Mantua (Mannerist architecture) Unusual spiraling composition Giulio Romano

Entombment, Pontormo Oil & tempera on wood, altarpiece in church in Florence Mannerist painting with twisted, elongated figures and spiraling composition (what’s in center? ) Little background. High key colors Yearning Which are men and which are women? ? ? flashcard

Astronomy, or Venus Urania Bronze gilt, 15” high, 1573 Mannerist sculpture

Assumption of the Virgin, Correggio, fresco, dome in Parma Cathedral, Italy, 1530 Spiraling composition again typical of mannerism Saints at bottom, thjen Virgin escorted to heaven with angels, Christ waits for Mary Glowing colors prefigures the Baorque flashcard

Madonna with the long Neck, Parmigianino, oil on wood, 1534 -40, Florence 7 feet by 4 feet Small head, long neck, delicate, graceful gestures Elongated and detahced limbs Column perspective looks odd Pose reminiscent of la Pieta flashcard

Portrait of a Young Man, Bronzino, oil on wood, 1540 Mannerist painter. Captures subject’s physical appearance as well as personality. Bronzino worked for the Medici as well as Pontormo.