Art History Exam 3

Didn't just paint ceiling, also painted half-moon shaped area above windows and inside triangular spaces All 3- Ancestors of Christ, Prophets, and Sibyls are there to predict the coming of Christ and understand the Old Testament narrative to predict the New Testament ideas

Lunettes and spandrels: Ancestors of Christ

Helped rebuild Old St. Peter building Worked in Florence and Rome Creates a good image for himself Michelangelo's main focus of all his work: Competition with antiquity and focus on human figure Mostly marble sculptures, a few bronze but didn't survive, and he mostly identified with the stone Puts himself in his work of art and makes it about him

Michelangelo 1

Antiquity buildings- Pantheon, Coliseum Figural artist- antiquity sculpture Sculptures Michelangelo admired in museum of Vatican city Imitate ancients, but improve it

Ancient Sculpture

Giotto - Florentine style, interested in Florence styling, and emphasized 3 dimensional form Masaccio Donatello- interested in his expressiveness

Artists Michelangelo admired:

Built by Constantine Founded in 4th century Constantine- Roman Emperor, first to legalize Christianity in Roman empire Forged document where Constantine goes to Constantinople and leaves authority of empire to the Pope

Old St. Peters

Prophets and Sibyls from Pagan antiquities, predicted the coming of Christ All 3- Ancestors of Christ, Prophets, and Sibyls are there to predict the coming of Christ and understand the Old Testament narrative to predict the New Testament ideas Old Testament read only as the predictive or preamble to the New Testament

Prophets and Sibyls

figura serpentinata

twisted figure

Galatea twists around her axis Artist increasingly study the nude Difference in space and landscape (Botticelli) Figures set at different planes in space (Raphael) Venus is just standing in the center Why is Raphael putting so much attention on deep twisting? Matter of his rivalry with Michelangelo. Showing his signature element Raphael shows us composition that tells us the motion where Michelangelo could not

Comparing Raphael's Galatea to Botticelli's Venus

Donatello: More posed, stationary, Much younger, adolescent, Feminine, Wearing hat and boots, Foot on Goliath's severed head, post winning Michelangelo: Posed as moving, Strong, Masculine, Fully nude

Comparison of Donatello's and Michelangelo's David

Perspective is used to put the prophets and civils in our space, pushing outwards Over top of the architectures below Similarly to ignudi's Sotto In su- illusion "scene from below" Acknowledges the sky underneath behind the left side blue

Comparison of Prophets and Civils

Leonardo's pieces were never finished, pieces were always personal, not many pieces, not clear meanings behind his pieces, all his pieces were about him Raphael was extremely productive, works were not open ended (clear cut meaning), were not as personal to him, pieces were not about himself-some people thought this made him "boring"-artists later wanted to create pieces that looked like what he had created

Contrasting Leonardo and Raphael

Sculpture > Painting- shows the true dimensions Painting is just an illusion Triumph Drawing > Sculpture > Painting

Paragone: Painting vs. Sculpture

Altarpiece type that features at the throne, the virgin and child, with saints on the sides Adds in visionary of virgin sitting on the cloud, figures look out through the picture plane, and invite us to interact

Sacra conversazione

Architecture is very similar Figures are placed in a U shape in both scenes Expulsion of Heliodorus does not have the same central figure point like School of Athens does Expulsion of Heliodorus has larger figures than School of Athens

Similarities between Expulsion of Heliodorus and School of Athens

Sistine Chapel, Interior before Michelangelo Theme of the authority of the Popes- Papal theme Series of portraits of Popes on either side of each window One side of chapel space is cycle of paintings from Florentine artists, also tells Papal theme Other cycle is dedicated to Moses

Sistine Chapel before Michelangelo