google drive Art History AP notes: high renaissance
google drive Art History AP notes: mannerism
high renaissance & mannerism in cinquecento italy (1495-1600)
-further development of classical cultures, perspective, proportion, & human anatomy
-MASTERY
key renaissance artists:
MATERIALS & TECHNIQUES: RENAISSANCE DRAWINGS
- leonardo da vinci
- raphael- rome
- michelangelo
- giovanni bellini
- giorgione
- titian- oil
- tintoretto
- veronese
- pontormo
- parmigianino
- bronzino
- giovanni da bologna
- absolute clarity- of figures or narrative elements
- ideal light - bathing key figures in the composition that enhances their auras
- exlusive subject matter- only highly educated people would understand, for erudite audience
- compositional harmony- symmetry, logic, order
- primary triad of colours- pure colors represent divinity
- ideal proportions- of human body
- geometricity- triangle square circle
- single focal point- additional foci in some instances
- closed composition- containment of bracketing off elements- column, tree, building, etc.
- humanistic themes- in relation to society, politics, psychology, religion, philosophy
leonardo da vinci:
- born in vinci in tuscany
- copious notebooks
- non finito- didn't finish things
- cartoons: prepatory drawing or sketch, pinholes to transfer drawing
- sfumato: smokiness, representation of atmospheric perspective, misty haziness
- chiaroscuro: articulation of light to dark "clarity" "darkness"
- interested in gaze, gesture, facial expressions
- provided psychological insight in biblical narrative & contemporary personalities
- heart of painting= light & shadow, expressing emotional states
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| madonna of the rocks- leonardo da vinci 1483 sfumato |
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| Ginevra de' Benci- Leonardo da Vinci circa 1473 |
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| vitruvian man- leonardo da vinci 1490 l'uomo universale- “a man can do all things if he will” ideal geometry proportion- 8 hands |
fig. 22-3
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| Madonna & Child w Saint Anne & the Infant St. John (cartoon/sketch)- Leonardo Da Vinci ca. 1505-1507, charcoal heightened w white on brown paper |
fig. 22-4
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| last supper- leonardo da vinci milan oil & tempera on plaster, 1495-98 refectory in milan- s. maria della grazie (mary full of grace) 3 open windows - trinity christ in shape of triangle w primary triad closed composition-ends turned inward jesus- focal point, christ under arch- de facto halo divine geometry- circle, square, triangle, etc. first work in western art showing psychological reaction primary triad- christ wears blue, red, & pigment is yellow one of christ's hands is up, ones is down- referring to God & Satan perspective & created vanishing point using architecture |
fig. 22-5
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| mona lisa- leonardo da vinci ca. 1503-1505, oil on wood position, body facing one way, face shifts a different way eyes follow you- illusion of shift in space is she smiling or not? mona= short for madonna= child-bearing woman |
fig. 22-6
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| the fetus and the lining of the uterus- leonardo da vinci (notes on anatomy, physics, engineering, science of optics, military inventions, botany, irrigation systems, aeronautics) ca. 1511- 1513, pen & ink w wash over red chalk & traces of black chalk intro to less expensive paper |
MATERIALS & TECHNIQUES: RENAISSANCE DRAWINGS
-Most artists drew on parchment (prepared from the skins of calves, sheep and goats) or on vellum (made from the skin of young animals).
-In the late 15th century, the introduction of less expensive paper, made of fibrous pulp and produced for the developing printing industry, enabled the artists to paint with more freedom.
-Federico Zuccari stated that drawing is the external physical manifestation of an internal intellectual idea or design.
-The design or dimension of art production became increasingly important as artists cultivated their own styles.
-In the late 15th century, the introduction of less expensive paper, made of fibrous pulp and produced for the developing printing industry, enabled the artists to paint with more freedom.
-Federico Zuccari stated that drawing is the external physical manifestation of an internal intellectual idea or design.
-The design or dimension of art production became increasingly important as artists cultivated their own styles.
-In Italian literature, the terms often invoked to praise esteemed artists included invenzione (invention), ingegno (innate talent), fantasia (imagination), and capriccio (originality).
ARTISTS ON ART: LEONARDO & MICHELANGELO, PAINTING VS. SCULPTURE:
-Leonardo preferred painting rather than sculpture, going as far as to regard sculpting as “lowly manual labor.”
-In Leonardo’s writings, titled Treatise on Painting, he wrote that “painting is a matter of greater mental analysis, of greater skill, and more marvelous than sculpture.”
-Leonardo begins bashing sculpting in his writing when he states that sculpture, being a [pover-ish] media “cannot comprise and include within itself all visible things such as color and their diminution.”
-Michelangelo, however, saw himself as primarily being a sculptor.
-Decades later, in a letter to Bendetto Varchio, a famous poet, as if in response to Leonardo’s writings, Michelangelo stated “I used to consider that sculpture was the lantern of painting and- that the two things there was the same difference as that between the sun and the moon”
-Although Michelangelo thought the two media of being very different he seemed more respectful in their differences. But Michelangelo goes on to say “But now I consider that painting and sculpture are one and the same” showing that he has an appreciation for both sculpture and painting alike.
-Leonardo preferred painting rather than sculpture, going as far as to regard sculpting as “lowly manual labor.”
-In Leonardo’s writings, titled Treatise on Painting, he wrote that “painting is a matter of greater mental analysis, of greater skill, and more marvelous than sculpture.”
-Leonardo begins bashing sculpting in his writing when he states that sculpture, being a [pover-ish] media “cannot comprise and include within itself all visible things such as color and their diminution.”
-Michelangelo, however, saw himself as primarily being a sculptor.
-Decades later, in a letter to Bendetto Varchio, a famous poet, as if in response to Leonardo’s writings, Michelangelo stated “I used to consider that sculpture was the lantern of painting and- that the two things there was the same difference as that between the sun and the moon”
-Although Michelangelo thought the two media of being very different he seemed more respectful in their differences. But Michelangelo goes on to say “But now I consider that painting and sculpture are one and the same” showing that he has an appreciation for both sculpture and painting alike.
raphael:
- clarity > obscurity
- weightened triangle
- plump children
- outstretched/pointed toe
- modest Madonna (averted gaze)
fig. 22-8
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| madonna in the meadow- raphael 1505-1506, oil on wood used da vinci's pyramidal composition well-lit landscape, absolute clarity, ideal light grace, dignity, beauty exclusive subject matter (only educated audience would know) compositional harmony, primary triad red- foreshadowing of Christ's sacrifice |
fig. 22-9
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| philosophy/school of athens- raphael rome, italy, 1509-1511, buon fresco gathering of philosophers & scientists closed composition- architecture reviving greek & roman antiquity face of artist looking out at us on right plato= abstract, aristotle= concrete |
fig. 22-10A
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| baldassare castiglione- raphael portrait of patron ca. 1514 |
WRITTEN SOURCES: GIORGIO VASARI'S LIVES
-architect & painter that trained in Michelangelo's Florentine workshop
-"father of art history"
-published Lives of the Most Excellent Painters, Sculptors, and Architects (1530)
-virtually created discipline of art history
-3 major periods of art history:
- "glorious" Greco-Roman age
- Middle Ages, when only inferior art was produced
- Renaissance, when classical art was reborn
-subdivisions of Renaissance:
- Cimabue & Giotto (artists broke away from maniera greca)
- Quattracento (artists began to employ linear perspective & more naturalism)
- Cinquecento (when Leonardo, Raphael, & Michelangelo achieved perfection)
Michelangelo:
-pioneer in architecture, sculpture, & painting
fig. 22-12
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| Pietà- michelangelo ca. 1498-1500, marble signed work in mary's sash captures sadness & beauty of the young virgin controversial bc mary looks younger than her son- frozen in time at her most pure mary's body is large as a pyramidal form to support the weight mary's hands do not touch christ to show his being on a different realm |
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| madonna of the stairs- michelangelo 1482-92 |
fig. 22-13
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| david- michelangelo 1501-1504, marble heroic classical nudity intellectual- thinking about how to defeat goliath stone is hidden, physically & intellectually adept tree trunk= support neck is longer bc viewers from down below |
fig. 22-17
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| sistine chapel (ceiling)- michelangelo 1508-1512, fresco barrel vaulted roof- tromp l'oeil |
fig. 22-1
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| interior of Sistine Chapel- Michelangelo Buonarroti Vatican City, Rome, Italy, wall frescoes, 1508-1512, 1536-1541 |
fig. 22-18
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| creation of adam- michelangelo sistine chapel ceiling, 1508-1512, fresco recalls communication btwn gods & heroes in classical myths rejected traditional iconographical convention focal point btwn fingers of adam & God- spark/touch of life adam & cool colors- chill, calm, languid God & warm colors- active, movement concave vs. convex |
fig. 22-18A
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| fall of man- michelangelo ca. 1510, buon fresco, sistine chapel serpent looks female synoptic narrative- more than one thing happening paradise-> temptation-> fall-> expulsion right side looks like massaccio's expulsion |
fig. 22-19
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| Last Judgement- Michelangelo altar wall of the Sistine Chapel, Vatican City, Rome, Italy 1536-1541. Fresco, 48’ x 44’ Commissioned by Pope Paul III Christ: stern judge of world, raises arm in gesture of destroying all creation Trumpeting angels, ascending figures of the saved Downward hurtling figures of the sinners Vision of the fate awaiting sinners Virgin next to Christ, the side of the blessed Opposite side- demons Impresses on viewers Christ’s wrath on judgement day manneristic aspects all figures were nude until popes ordered cover-ups |
fig. 22-20
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| florentine pieta- michelangelo 1500, marble shift away from high renaissance to mannerism tried to carve 4 life-sized figures from single block |
THE PATRON'S VOICE: THE COUNCIL OF TRENT
-catholics & protestants: devotional imagery important in religious life
-catholics: art was valuable for cultivating piety
-protestants: religious imagery -> idolatry & distracted from developing personal relationship w God
-counter-reformation effort: pope paul III convened council of trent to review controversial doctrines
-council's edict regarding church's role as patron of paintings & sculptures:
-catholic church reaffirmed role as greatest art patron of cinquecento
- bishops, others who hold office of teaching, etc. guide the faithful in matters related to intercession & invocation of saints, veneration of relics, use of images
- images of Christ, Mary, & saints are to be placed in churches & given honor & respect bc it transfers to the prototypes they represent
- images remind the people of the gifts from Christ, salutary examples of miracles of God through the saints
- no unusual images can be placed in a church unless approved by the bishop
high renaissance in venice
-same 10 key characteristics as italy
-extensive use of primary triad
-asymmetrical balance
-idyllic landscapes
-color & light
ART & SOCIETY: WOMEN IN THE RENAISSANCE ART WORLD-extensive use of primary triad
-asymmetrical balance
-idyllic landscapes
-color & light
- most florentine & roman artists emphasized careful design preparation (disegno)
- disegno: preliminary drawing
- venetian artists (like bellini & giorgione) focused on color & colorito, landscape, & poesia
- colorito: process of paint application
- poesia: poetic approach to painting
Titian:
- established oil-based pigment as preferred painting medium in Western art
- set standard for representations of the reclining female nude, whether divine or mortal
- rich surface textures
- dazzling display of color in all its nuances
fig. 22-36
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assumption of the virgin- titian
1515-1518, oil on wood
conveyed light through color
separation of earth & heavenly realmsmany cherub faces making up heaven meant to look like twisting in motion people on earth are reaching up to her feeling of vertical motion plump children influenced by raphael |
fig. 22-39
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| venus of urbino- titian 1536-1538, oil on canvas |
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| rape of europa- titian 1562 zeus (disguised as animals) seduces the woman |
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| venus anadyomene- titian 1520 interested in the flesh, woman figures |
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| adam & eve- titian 1550 serpent w child face |
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| saint sebastian- titian 1570 losing clarity bc he was losing his sight- used fingertips to paint |
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| flaying of marsyas- titian 1570 marsyas= part man, part goat being skinned alive red throughout composition challenged apollo to a competition in playing their instruments to see who can seduce the people & animals but apollo is a God |
fig. 22-41
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| pieta- titan & palma II giovane ca. 1570-1576, oil on canvas broad brushstrokes, thick impasto portrayed himself as st. jerome kneeling before dead Christ |
-renaissance world was male dominated
-training required staying in a master's house, preventing women from being able to gain experience
-women were barred from drawing nude models
-some women surmounted the barriers & earned a good reputation (Sofonisba Anguissola, Lavinia Fontana, Properzia de' Rossi)
-renaissance women had great influence as art patrons
-one of the most important patrons: isabella d'este
ARTISTS ON ART: PALMA IL GIOVANE ON TITIAN
-important change in mid-16th century: adoption of canvas in place of wood panels
-titian established oil-based pigment on canvas as standard medium
-palma il giovane was titian's student
-in the last stages, titian painted more w his fingers than brushes
PROBLEMS & SOLUTIONS: HOW TO IMPRESS A POPE
-artists depended on commissions from churches, town councils, princes, wealthy merchants, etc.
-parmigianino became a leading figure among the "mannerists"
-he painted a self-portrait in an unconventional format to impress pope clement VII
mannerism (1520-1600):
- prime feature of mannerist art is artifice
- less inclined to disguise the contrived nature of art production
- ambiguous space, departures from conventions, unusual presentations of traditional themes
- leading mannerist architect: giulio romano
- departure from compositions of earlier Renaissance
- attenuation of figures (elongation)
- crowded compositions
- unbelievable space (ambiguous)
- incongruent colors
- illogical narratives
- disproportional heads (non-ideal)
- emphasis on verticality
- unbridled emotions
- violated containment (non-closed)
fig. 22-42
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| entombment of Christ- Jacopo da Pontormo 1525-1528, oil on wood Capponi Chapel, Florence, Italy mannerism instead of concentrating mass in the center, he left a void the person underneath christ is on tip-toes & body folds in an unusual way vertically stacked- looks like everyone is floating |
fig. 22-44
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| Madonna with the long neck- Parmigianino 1534-1540, oil on wood Baiardi Chapel, Parma, Italy stylish elegance that was principal aim of Mannerism small oval head, long & slender neck, attenuated hands, sinuous body baby looks sickly the column is holding nothing up |
fig. 22-45
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| venus, cupid, folly, and time- bronzino ca. 1546, oil on wood cupid fondling mother, Venus lascivious undertones to learned allegories father time in the right corner- revealing "secret" under the "cape" person behind cupid has syphilis? |
fig. 22-48
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| last supper- tintoretto 1594, oil on canvas imbued w emotional power, depth of spiritual vision glowing venetian color schemes, dramatic lighting more than just the 12 disciples w jesus- pulls focus from christ ghost-like/angel figures |
fig. 22-49
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| christ in the house of levi- paolo veronese 1573, oil on canvas refectory of santi giovanni e paolo superb color & majestic classical settings his version of the last supper--> sacrilegious easy to not see Christ |
- anachronistic: belonging to a period other than that being portrayed
PATRON'S VOICE: FEDERIGO GONZAGA, GIULIO ROMANO, & THE PALAZZO DEL TE
-patrons had a powerful voice in content & form of the artworks they paid for
-Gonzaga (duke of mantua) showered Giulio (painter/architect) w gifts & accepted Giulio's proposal to construct a grandiose palace when he had planned only to invest in a modest retreat
-giulio's mannerist divergences from architectural convention shows in the palazzo del te
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