High Renaissance & Mannerism questions #1
How is Raphael's School of Athens an indication of how far Humanist thought and interests had penetrated into 16th-century Italian thinking? Who are the two central figures in the School of Athens and what did they represent that was important to the theme of the painting? In what ways was this painting typical of High Renaissance painting?
Raphael's "School of Athens" was an indication of Humanist thought by having a Pagan subject, Philosophy, Theology, Poetry, and Law. The the two central figures in the School of Athens and what they represented were: Plato and Aristotle who are discussing the respective merits of Idealism vs. Realism. With his right hand Plato gestures upwards, indicating that the eternal forms, such as the ideals of Beauty, Goodness and Truth, are not in or of this world, but beyond, in a timeless realm of pure Ideas. Aristotle points with his right hand straight ahead out into the solid world of material reality, into the world of physical science and practical reason. In his left hand Aristotle holds his Ethics. This painting was typical of High Renaissance Painting because it was the mystique that immortality in this world could be achieved through reincarnation of some immortal deity or hero from the past.
What is sfumato and what effect does it have in a work such as Leonardo's cartoon (drawing) of Virgin and Child with Saint Anne?
Sfumato: the technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms. The effect that sfumato has on Leonardo's "Virgin and Child with Saint Anne" is by unifying the composition by enveloping the figures and landscape in a diffused, evanescent and poetic haze.
Titian's Pastoral Symphony represented the Venetians' fondness for beautiful, idyllic landscapes as well as being full of symbolism. What did the rustic shepherd, the elegant young man with the lute, the woman at the well, and the woman with the flute symbolize?
"Pastoral Symphony" Symbolism Rustic shepherd: person of lesser learning or class, who is unable to appreciate the sophistication of the music enjoyed by the two main figures. Elegant young man with the lute: a lesson on the means by which one may arrive at this world - through scholarship and understanding, something which the uneducated man does not possess. Woman at the well and Woman with the flute: muses, the divine figures who inspire mortals, and the instruments that are being played allude to poetry
What are some characteristics of Mannerist paintings that are atypical of High Renaissance work, as seen in Parmigianino's Madonna of the Long Neck? What are some explanations for why Mannerists painted in this way?
Characteristics of Mannerist paintings: • Intensely personal • Artifice • Invention • Difficult to understand • Elitism • Unconventional subject matter Why some painted this way: • Not based on observation of Nature • A 'mannered' version of the Masters' styles • Exaggerations for the sake of elegance • Ambiguities
The end of the 16th century saw Italian artists beginning to move away from High Renaissance characteristics and toward works that were more dynamic, interpretive, and emotional. In this regard, compare and contrast Leonardo's Last Supper with Tintoretto's Last Supper in the following aspects: • Light • Focal point • Composition and balance • Color • Poses and gestures • Mood
Leonardo's Last Supper: • Light--Universal lighting • Focal point--Perpendicular to picture plane • Composition and balance--Symmetrical balance • Color--bright and well rich color • Poses and gestures--Restrained gestures • Mood--light and religious Tintoretto's Last Supper • Light--Dramatic lighting • Focal point--Dramatic perspectives • Composition and balance--Asymmetrical balance • Color--Dark and contrasty • Poses and gestures-- Dramatic poses & gestures • Mood--very moody and dramatic
In what way was Michelangelo's Creation of Adam in the Sistine Chapel Humanist?
Michelangelo's Creation of Adam in the Sistine Chapel was considered Humanist because: • A Humanist God • An earthy Adam • Mythological influence--God is Zeus-like and made to look all powerful
The definition of beauty in art and architecture had been a preoccupation for many Renaissance artists since the 15th century. How did Michelangelo's definition of beauty differ from the standard definition used in the Renaissance? How was this demonstrated in the Pietá? How does this anticipate the attitude of artists of the modern era?
Michelangelo's definition of beauty differed from the standard definition used in the Renaissance because: • Sculpture is the truest form of art because it is most like the divine power to create man • Within each block of stone the Idea already resides • The artist's genius, guided by his intelligence, releases it • All that is great in art must be said through the human figure • Beauty is not to be found in the application of mathematical rules This was demonstrated in "Pietá" by showing that •The body is a manifestation of the soul • Youthful beauty is the expression of the perfect soul • And again that beauty is not to be found in the application of mathematical rules
How did Michelangelo's work from the David onward vary from his earlier figure-work? How can this be clearly seen in the Bound Slave? Contrast this approach to the typical approach of the High Renaissance.
Michelangelo's work from the David onward varied from his earlier figure-work because it an Expression of Humanism and a Celebration of the human spirit. Michelangelo work also showed: • His art began to depart from the Renaissance standard of calm serenity • Pent-up passion replaced calm, intellectual restraint • 'Restrained energy of a coiled spring' This can be clearly seen in 'Bound Slave' because of the restrained energy and the pent-up passion of the figure Contrasted to the typical approach of the High Renaissance, his work has passion and that energy with intellectual restraint
Bramante's main achievement was the original design for the new St. Peter's. The old St. Peter's had stood for nearly 1200 years. What were Pope Julius II's reasons for wanting a new building? The floor plan of the new St. Peter's was a dramatic departure from that of the original building. What was the basic shape of the new floor plan? Why choose that shape?
Pope Julius II's reasons for wanting a new building was because it was becoming decrepit and old. It was time for a new church, but also to celebrate St. Peter, give him a new resting place, and an excuse for Pope Julius to build himself a fancy tomb in it. Also to have to be an expression of power and wealth of the new Rome (and of Julius) What was the basic shape of the new floor plan? Why choose that shape? it was an 'Ideal' church design with • Classical elements • Central plan • Domed • Harmonious repetitions
Explain the significance of the Mona Lisa relative to portrait painting. How did Leonardo give her the 'subtle' expression and smile for which she is famous?
The significance of the Mona Lisa relative to portrait painting is that with Leonardo's use of sfumato gives her that angelic glow and expression that Leonardo was able to masterfully do. How Leonardo was able give her that 'subtle' expression was through sfumato and the blending of colors
Identify the main elements of Titian's Madonna of the Pesaro Family that made it compositionally more dynamic than typical High Renaissance compositions of Rome and Florence. What is the term for the type of balance that was used in this composition? Since most of the visual weight of this composition is located on the right-hand side of the painting, how did Titian bring balance into this composition ("directional forces")?
The term for the type of balance that was used in this composition is: asymmetrical composition Titian brought balance into this composition by: having a traditional subject--patron w/ personal audience with Jesus, Mary, and patron saints then massing of monumental figures in weighty architecture.
Venetian painting was fundamentally different in several ways from the painting of Rome and Florence. The difference between these two approaches established the two traditions that would become the main focus of Western art throughout much of the succeeding centuries. What were these two traditions? Compare and contrast the different emphasis, focus, or interest between the two.
The two traditions that would become the main focus of Western art were Venice vs Rome. • Color (Venice) vs. Drawing (Rome) • Painterliness (Venice) vs. Technique (Rome) • Feeling (Venice) vs. Intellect (Rome) Much of Western art history involves a dialogue between these two traditions
