ARTH Test #2
Matthais Grunewald "Isenheim Altarpiece" 1510, oil on wood,
*: staid, solid and unimaginative representations of three saints important to the Antonine order; a bearded and enthroned St. Anthony flanked by standing figures of St. Jerome and St. Augustine. Below, in the carved predella, usually covered by a painted panel, a carved Christ stands at the center of seated apostles, six to each side, grouped in separate groups of three. Hagenau's interior ensemble is therefore symmetrical, rational, mathematical and replete with numerical perfections—one, three, four and twelve. *: Grünewald's painted panels come from a different world; visions of hell on earth, in which the physical and psychological torments that afflicted Christ and a host of saints are rendered as visions wrought in dissonant psychedelic color, and played out by distorted figures—men, women, angels and demons—lit by streaking strident light and placed in eerie other-worldly landscapes. The painted panels fold out to reveal three distinct ensembles. In its common, closed position the central panels close to depict a horrific, night-time Crucifixion. *: The macabre and distorted Christ is splayed on the cross, his hands writhing in agony, his body marked with livid spots of pox. The Virgin swoons into the waiting arms of the young St. John the Evangelist while John the Baptist, on the other side (not commonly depicted at the Crucifixion), gestures towards the suffering body at the center and holds a scroll which reads "he must increase, but I must decrease." The emphatic physical suffering was intended to be thaumaturgic (miracle performing), a point of identification for the denizens of the hospital. The flanking panels depict St. Sebastian, long known as a plague saint because of his body pocked by arrows, and St. Anthony Abbot. *: it is among the most famous religious paintings of the Northern Renaissance *: A combination of Gothic art, powerful expressionism flavoured with Hieronymus Bosch-type imagery, and the latest Renaissance painting techniques, it was painted five years before Luther nailed his Protestant theses to the door of Wittenberg Cathedral in 1517, yet it perfectly captures the torment of the early 16th century. *: Grunewald's intensely realistic imagery and iconography were no doubt inspired by the revelations of St Bridget of Sweden, published in a best-selling devotional book during the 14th and 15th centuries. Although popular in the more down-to-earth north of Europe, they were less acceptable to the mainstream of the Roman Church in Italy, with the exception of austere fanatics like Savonarola (1452-98). In this sense, Grunewald's tortured masterpiece is the polar opposite of contemporary Italian High Renaissance works such as Raphael's graceful and harmonious Sistine Madonna (1513-14). *: In this monumental work of Biblical art, Grunewald's dark and harrowing portrayal of the Crucifixion shows a horribly wounded, twisted Christ, nailed to the cross. As one critic describes it: it is the most beautiful painting of ugliness in the history of art. Christ's flesh bristles with jagged splinters, as well as the developing sepsis and necrosis. Paradoxically, his nail-pierced hands seem to acquire movement through rigor mortis. Jesus is flanked, on the left, by a kneeling Mary Magdalene and a grieving Virgin Mary being comforted by St John the Evangelist, and on the right, by John the Baptist. At the feet of John the Baptist is a lamb bearing a cross, whose blood flows into a goblet, symbolizing the union between the Old and New Testament as well as the redemption of mankind. (Compare Jan van Eyck's Ghent Altarpiece, c.1432.) Below the Crucifixion panel, a predella represents The Lamentation. *: This panel depicts the story of St Anthony who was attacked and so badly beaten by demons that his servant assumed he was dead and was about to bury him. But St Anthony regained consciousness and ordered his servant to take him back to his attackers so that he might receive more punishment. In the painting, he lies on the ground overwelmed by the ferocity of the devils, who are tearing his flesh with their teeth, claws and horns, until a brilliant light appears along with an angel sent by the Lord, to scatter his assailants and ease his pain. Inspired by the grotesque images of the earlier Dutch painter Hieronymus Bosch (c.1450-1516) and the Colmar engraver and painter Martin Schongauer (c.1440-91), Grunewald illustrated his story with numerous examples of bizarre monsters, including one or two decidedly humorous examples, showing that even angst-ridden German religious painters had their lighter moments. *:heroic scale: dominating the image *: despite the darkness of the landscape, an eerie light bathes the foreground figures to heighten awareness of them. *:
Bernini, The Ecstasy of Saint Teresa, 1645-1652, marble, 11'6" high, Cornaro Chapel, Rome
Teresa entered a Carmelite convent at twenty, and soon began to experience divine visions like the one to which Bernini gives tangible form here. represents episode from the life of the saint as recorded in her spiritual autobiography. -describes an angel carrying a fire-tipped spear with which he pierces her heart repeatedly - sends her into a state of spiritual rapture. "The pain," she writes, "was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul then content with anything but God." sculptural group shows a cupid-like angel holding an arrow. His delicate touch and thin figure give him grace. With her head thrown back and eyes closed, Teresa is overcome with the feeling of God's love. - physical body dematerialized beneath the heavy drapery of her robe. ( folds of fabric energize the scene and bronze rays, emanating from an unseen source, seem to rain down divine light) - effect of intense drama, Despite being made of heavy marble, saint and angel—set upon a cloud—appear to float weightlessly. work is not an independent piece, but crucial center of a composition that brings together painting and architecture by Bernini. dark, patterned marble columns and convex niche in which the Ecstasy is framed enhance the brightness and dynamism of the scene, while giving the sense that the wall has opened up to reveal St. Teresa's vision. - We are looking at a vision of a vision, one that Bernini has created for the faithful who worship . On each wall perpendicular to the altar wall, an illusionistic window contains sculptural likenesses of family members, some of whom lean over the parapet in the direction of Bernini's work, rapt witnesses to the miracle. In her writings, Theresa describes how she would feel suddenly consumed by the love of God, feel the bodily presence of Christ or of angels, and be lifted to an exalted state of ecstasy. Although in her own lifetime Theresa was sometimes ridiculed for such claims, or even accused of communing with the devil, she became a prominent figure in the church.
Giorgione, Titian, Pastoral Concert, Louvre, France oil on canvas, 1509
influential on nineteenth-century painters who came to Paris to see it. back and forth who painted it, but tide has favored Titian -canvas not cleaned for years, it comes across as having a yellowish tint -colors were more vibrant mysterious subject matter-depiction of allegory. -two men seated - man dressed in the red clothing worn by nobles and seems to be playing a lute, and other man wears a simpler brown costume typical of peasantry. a shepherd arrives from the right along with his herd. men engage in conversation and oblivious to two plump, nude women. one pouring water from a glass pitcher, one paused her activity of playing a flute * females not noticed, and comfortable in lack of clothing, suggests they are supernatural persons. use of these figures - originated in classical world and was commonplace in ancient Roman art. bodies of the females may be considered overly plump by modern-day conceptions but they would have been considered ideal -may have copied them from actual models, or perhaps from classical statues -emphasized their curvy bodies by using curvy forms in the billowing trees and hills - painted the females so viewer gets a glimpse of the nude female form from different perspectives, - new contribution to painting first painter to do so no written evidence, painting seems to be an original idea and did not directly copy another painting, the overall meaning is not entirely clear. one interpretation is that they are muses, the divine figures who inspire mortals, and the instruments that are being played allude to poetry-creates a type of harmony in this setting that echoes the larger harmony found in the universe, thereby linking the activities to the cosmos. - complicated by the arrival of the shepherd off in the distance, which interrupts the harmony of the music. -shepherd symbolizes the person of lesser learning or class, who is unable to appreciate - provides a glimpse into a peaceful, utopian activity and lesson on the means by which one may arrive at this world - through scholarship and understanding, something which the uneducated man does not possess.
Hans Holbein the Younger, The French Ambassadors, 1533, oil on wood
two wealthy, educated and powerful men. Jean de Dinteville, French ambassador to England (left). Georges de Selve, ambassador to the Emperor (right). (29th and 25th years respectively)-showing learned men with books and instruments - The upper shelf, which is concerned with the the heavens, lower shelf, which reflects the affairs of the world, references to contemporary religious divisions. broken lute string =religious discord, Lutheran hymn book a plea for Christian harmony. -distorted image of a skull, a symbol of mortality. - from a point to the right of the picture the distortion is corrected. painted during tense period marked by rivalries betweenEngland and France, the Roman Emperor, and the Pope. -French church split over the Reformation. reflected symbolically -: A crucifix symbolizing division of church. broken string on the lute evokes disharmony during the Reformation. =open book identified as a Lutheran hymnal, book of mathematics open on a page of divisions
Caravaggio, The Entombment of Christ, 1602, oil on canvas, Vatican
ultra-naturalist approach to Baroque art -realistic images - change from idealistic Mannerist painting - mastery of light and dark, chiaroscuro to add volume and tenebrism to inject his pictures with real drama. Council of Trent demanded new art that ordinary people could understand and be inspired by. -conservatives found it crude, and disrespectful,to be installed in church. compact group of people, including the dead Christ. -upper half of Christ's body (that of a muscular labourer)supported by John the Evangelist; lower half supported by Saint Nicodemus, removed the nails from Christ's feet (dominant character and compositional/spiritual anchor) -portrayed as working man, suggests service to Lord. stares unflinchingly and draws us into the picture. three women grouped in fan-like shape.fan-shaped pattern presents us with a cascade of limbs and heads that adds tension and movement to an essentially 'frozen' snapshot in time. - include: obscured Virgin Mary, ( elderly nun, extends arms in acceptance); centre, face shadowed, is Mary Magdalene, follower of Jesus, dries her tears; right -wailing sister of Virgin Mary, raises her arms to heaven mourners standing on a flat stone slab, where Christ's body was anointed and wrapped as described in John.- depicts moment before the men lower him into tomb.- refers to Christ as foundation of the Church. diagonal pattern of form and movement, from hands of Mary Clopas down through Mary Magdalene's shoulder, Nicodemus's elbow and Christ's torso, to the end of the white shroud an allegory of life/death - at top are living people. At bottom, the tomb and death. In middle, a barrier between the two, is Jesus Christ. illustrates that, by having faith in Christ we avoid death/ascend to heaven. In bottom left is a plant known as mullein. Believed to possess medicinal properties/ward off evil spirits, it symbolizes the coming resurrection and the triumph over death. in other Caravaggio paintings the effect on the worshiper must have been a reenactment of the sacrifice there a few inches above the altar, in perfect accord with ideal of Christianity as a direct, living experience for his congregation.
El Greco, The Burial of Count Orgaz, Santo Tomé, Toledo, 1586, oil o/canvas
"My sublime work," El Greco himself called this painting painted it as he saw it: as the witnessing of a miracle. A little boy (Greco's son, perhaps) introduces himself and us to the event. juxtaposition of two worlds that is painted here heaven and earth; pictorial richness and privation; warmth of tonality and coolness of color contrasts; solitary figures and consolidated forms all the figures are garbed in contemporary costumes and presumably represent distinguished citizens of Al Greco's Toledo. The dichotomy in style between the upper and lower parts is one of the most remarkable feature of the painting. In the lower zone, El Greco meticulously reproduces the appearances of persons and objects. The heavenly scene, by contrast is far more abstracted. This peculiar synthesis of real and super-real is essential to El Greco's art. Don Gonzalo Ruíz, native of Toledo, and Señor of the town of Orgaz, died- a pious man left moneys for the enlargement and adornment of the church (El Greco's parish church). At his burial, Saint Stephen and Saint Augustine intervened to lay him to rest. The painting remains in the chapel - the actual scene of the event - for which it was ordered. -the painting can communicate to us a whole society and age, as perhaps no other single work of art can, and at the same time offer us one of the great marvels of painting. It was the custom for the eminent and noble men of the town to assist at the burial of the high-born, and it was stipulated in the contract that the scene should be represented in this way. The artist himself can be recognised immediately above the head of Saint Stephen. The artist's son acts as the young page. The boy points to the body of the deceased, thus bringing together birth and death. The upper and lower zones are brought together compositionally (e.g., by the standing figures, by their varied participation in the earthly and heavenly event, by the torches, cross, . . .). The grand circular mandorla-like pattern of the two Saints descended from Heaven echoes the pattern formed by the Virgin and Saint John the Baptist, and the action is given explicit expression. point of equilibrium is the outstretched hand poised in the void between the two Saints, whence the mortal body descends, and the Soul, in the medieval form of a transparent and naked child, is taken up by the angel to be received in Heaven. The supernatural appearance of the Saints is enhanced by the splendour of colour and light of their gold vestments. The powerful cumulative emotion expressed by the group of participants is suffused and sustained through the composition by the splendour, variety and vitality of the colour and of light.
*Leonardo da Vinci, Human Figure in a Circle and Square / Vitruvian Man, 1485-1490, ink on paper*, Venice, Italy
"The proportions of the human body according to Vitruvius," - depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. - perfect example of Leonardo's keen interest in proportion.-. believed the workings of the human body to be an analogy for the workings of the universe." cornerstone of Leonardo's attempts to relate man to nature- "medical" equilibrium of elements ensures a stable structure. theme of the artistic microcosm (or epitome) emerged as unifying principles of his thought. - universal application design as a master of the arts, sciences, and everything in between, Leonardo da Vinci is often referred to as a "Renaissance man." - scientific sketches illustrate the encyclopedic knowledge and eclectic interests that define him.- part work of art and part mathematical diagram, conveying the belief that "everything connects to everything else." Two blocks of backwards-written text -In the first, the measurements of the ideal body:The length of a man's outspread arms is equal to his height."- the second describes the model body as fractions:
Titian, The Assumption of the Virgin, 1516-1518, Maria della Gloriosa del Fran, Venice
* Republic of Venice appointed Titian as its official painter. commissioned to paint a gigantic altarpiece for the high altar of the church *a fitting theme for the shrine of the "glorious Saint Mary" - *subject is the ascent of the Virgin to Heaven on a great white cloud borne aloft by putti. * coloristic sense and ability to convey light through color are again on display. *golden clouds, seem to glow and radiate light into the church, envelop the Virgin, whose head is on the vertical axis of the composition and is the center of a circle formed by the arched frame and the U-shaped band of clouds. *God the father appears above, slightly off-center, awaiting Mary w/ open arms *below, over life size apostles gesticulate wildly as they witness the glorious event - many have their backs to the worshippers, who join the apostles as observers looking up w/ them at the Virgin's miraculous ascent *through mastery of the oil medium - Titian used vibrant color to infuse the image w/ intensity and amplify the drama
Caravaggio, The Calling of Saint Matthew, 1599-1601, oil on canvas, rome
* highly realistic style of Baroque painting- conservatives considered it too vulgar, although it was much sought after *biblical scene in modern reality * use of tenebrism and chiaroscuro - would become known as Caravaggism *depicts Jesus inspiring Matthew to follow him (Matthew 9:9) -when he sees Christ pointing, he responds as if to say "Me?" indicating his uncertainty -ray of light draws attention to the two youths-one draws back in apprehension,other confronts Christ, causing Saint Peter to gesture for calm./ insight into patterns of human behaviour in the same situation. *Christ's gesture identical to Adam's in The Creation of Adam This hand, unifies the two parts formally and psychologically. *Matthew the tax collector also known as Levi. money-mad, Matthew was to give up possessions and follow Jesus when called- was working at the tax collector's stand. standing figures form vertical rectangle; around the table a horizontal block. Costumes reinforce contrast. Matthew and co. are dressed contemporary, while Christ and Saint Peter, appear timeless. Groups separated by a void, bridged by Christ's hand.
Titian, Madonna of the Pesaro Family, 1519-1526, oil on canvas, Santa Maria della Gioriosa del Frari, Venice
* successful expedition against the Turks -dedicated a chapel and donated altarpiece in gratitude. -in Madonna's palace in Heaven, Mary receives the commander,Saint George carries banner w/ the shields & coats of arms of Pesaro- behind him a prisoner of war- Saint Francis introduces Pesaro family members *Madonna and saints honor a man - a worldly transaction b/n a queen and her court and servants- prime characteristic of HIgh REnaissance - massing of monumental figures, w/in a majestic architecture *placed the figures on a steep diagonal, positioning the focus, well of the central axis- drew attention to her w/ perspective lines, inclination of figures , directional lines of gaze/ gesture * banner balances rightward/upward tendencies of its direction- more dynamic than most High Renaissance-foreshadowed a new pictorial design built on movement- anticipated illusionistic paintings taking viewer's position into consideration * worshipers approach painting from the left,look up at the Virgin in the way Pesaro does - if they turn to the right, they see the Assumption of the Virgin.
Albrecht dUrer, Adam and Eve/The Fall of Man, 1504, engraving
* technical ability combined w/ drawing, enabled him to produce grand work *many were book illustrations and prints in single sheets, which ordinary folks could buy, making him wealthy-"the Apelles [the most renowned ancient Greek painter] of black lines" *study of the Vitruvian theory of human proportions outlined against dark background of the forest, two idealized figures of Adam and eve stand in poses reminiscent of classical statues of Apollo and Venus * attempted to systematize sets of the ideal proportions in balanced contrapposto poses, final print presents concept of the "perfect" male and female figures - tempered with naturalism, *bark of the trees and the leaves authenticate the scene, as do creatures skulking underfoot - represent humanity's temperaments based on the four humors, which prior ot the fall of man are in balance *the tension b/n the cat and mouse in the foreground symbolizes the relation b/n Adam and Eve at the crucial moment before they commit the original sin.
Giulio Romano, Battle of Olympian Gods and Titans, 1530-1532, fresco,
*: High Renaissance painting *: beguiling, erotic nature *: handling colour or at depicting the softness of flesh and the texture of hair. *: In Jupiter and Io, he envelopes himself in a dark cloud in order to seduce the nymph Io - daughter of Inachus, king of Argos. Earlier, he had approached lo in his own guise and asked her to come into the woods with him, but when she fled he turned himself into a cloud and pursued her. *: Correggio's mastery of sfumato which allows him to create a seamless tonality in both Io's body and the cloud which is about to engulf her. Note also the contrast between the chameleon-like immateriality of Jupiter, and the sensual substance of Io's body, which anticipates Rubens' female nudes as well as the euphoria of Bernini's Ecstasy of Saint Teresa (1647-52). *: The use of Leonardesque sfumato, combined with a Venetian sense of color and texture, produces a frank sensuality that exceeds even Titian's Bacchanal. Correggio renders the vaporous form of the god with a remarkable degree of illusionism. The eroticism of the image reflects a taste shared by many courts of Europe
ALbrecht Durer, The Four Horsemen of the Apocalypse, from The Apocalypse series, 1497, woodcut, Italy
*: one of fifteen illustrations for a 1498 edition of the Apocalypse, popular interest at the brink of any new millennium. * distinguishing feature is color; white for conquest, red for war, black for famine, and pale for death- arrive armed; conquest with bow, war with sword, set of balances for famine, pale rider carries pitchfork, despite no weapon in the Biblical account; *genius as artist was his ability to conceive detailed images in the negative- images detailed and textural, as fine as drawings. humanist, painter, print-maker, theorist and observer of nature -referred to as the 'Leonardo of the North' *: sculptural quality *: the physical energy and full-bodied volume of the figures in the Apocalypse *: wide range of hatching marks, varied width of lines, and strong contrasts of black and white produce ambitious pictorial effects. *: enlarged the vocabulary of descriptive marks an engraver could use. lines taper and swell, intersect at varying angels; marks start and stop and dissolve into stipples. -monochrome image with a great tonal and textural range
Rape of the Sabine Women , Giovanni Bologna, 1583, marble
*: technical and creative masterpiece -statue combines classical nude forms of Greek sculpture with the dynamism of Mannerism. * although being a work of Roman mythology, it was not part of the campaign of religious art used by the Counter-Reformation, * perfectly expresses the deep uncertainties of the late 16th century, in complete contrast to the calm confidence exuded by the High Renaissance *: use of exaggerated gestures, along with his ability to convey a sense of intense energy, characterize his style of Mannerism. *: The dynamic figurative composition spirals upward in a twisting figures, with no frontal view. This is one of the unique attributes of the statue - it offers multiple viewpoints, and its impact changes with the viewer's position. *Some art critics are uncomfortable with the tight verticality of the composition - this only adds to the physical drama of the event being illustrated.
Michelangel, The Last Judgement, 1538-1545, fresco, east wall, Sistine Chapel, Vatican, Rome
*Christ as stern judge, as a almost nude, giant who damns, suggests that he will destroy all creation -angel choirs surround him and pulse with anxiety/awe. *trumpeting angels, the ascending figures of the saved, and the downward-hurling figures of the damned. * Virgin is already in heaven, on the side of the blessed -on the opposite side, demons, who torment the damned *martyrs who suffered agonizing deaths crouch below Christ - St. Bartholomew, who was skinned alive, holds knife and the skin, its face a a grotesque self-portrait of Michelangelo *figures huge and twisted, with small heads and contorted figures *Christ's wrath on judgement day // saved souls crowd around Christ, the Thief appears (crucified with christ) or a saint martyred by crucifixion *covers the wall behind the alter in the Sistine Chapel.
Bronzino, Eleonora of Toledo and her Son Giovanni de'Medici, 1545. Oil on panel.
*Cosimo de'Medici marriage to daughter of Charles V's viceroy cemented important alliance - painted w/ their second son, Giovanni (3) *never portrayed portraits w/ daughters (3 daughters/ 8 sons) - dynastic portrait intended to present the duke's wife as mother of heirs * subjects aloof/ emotionless -idealized them, perfect features/blemishless skin that glows *eleanora's figure takes up most of panel- lightened background creates halolike frame associating them w/ the Madonna and Christ *she is richly attired in a brocaded gown/wears a costly pearl necklace tiara// reproduced various textures of fabric, jewels and hair, and flesh w/ skill * boy stands stiffly, staring , suppressing thoughts in order to behave as expected on formal occasion
*Leonardo da Vinci, The Last Supper, 1495-198, fresco, Santa Maria in Milan*
*Jesus and 12 disciples sitting at table parallel to picture plane in a spacious room (simple setting highlights drama) *Jesus has just said, "One of you is about to betray me" -each disciple asks, "Is it I?" to himself and others // coupled w/ the Eucharist ceremony (passing of bread and wine) when Jesus said "do this in commemoration of me" *Jesus is the peaceful center of attention, calm eye of swirling emotion around him - Jesus' head is the focal point of all converging lines - triangle-(psychological focus, cause of the action and perspective focus all the same) *agitated disciples in groups of three, united among themselves by gestures and postures (sacrificed traditional iconography to pictorial and dramatic consistency - placing Judas on the same side of the table- number three is reference to the Holy Trinity in Catholic art. *Judas's face is in shadow and clutches a money bag as he reaches forward to fulfill Jesus's declaration "the hand of him that will betray me is on the table". *disciples at ends are quieter to bracket energy, which isintense closer to Jesus, whose serenity both halts and intensifies it -disciples register a broad range of emotional responses (fear, doubt, protestation, rage, love) - each figure carrying a particular charge and type of emotion. *cast his actors as the Bible described their roles, ability to apply knowledge about the observable world to representation of religious scene *in poor condition after restoration in 1999 -mixed oil and tempera instead of using fresco (and applied much of it to dried plaster)to create an appearance of oil on canvas or wood. *wall didn't absorb pigment and paint began to flake - humidity further accelerated deterioration - 80% is the work of modern restorers, not Leonardo. *: rich landscape beyond the windows interpreted as paradise, - heavenly sanctuary can only be reached through Christ. *: simplified the architecture, eliminating unnecessary and distracting details so that the architecture can instead amplify the spirituality. -window and arching pediment suggest a halo. By crowding figures together, he uses table to separate spiritual realm from the earthly world - emphasis on spirituality results in a painting that is more naturalistic
Raphael, Pope Leo X and His Nephews the cardinals Giulio de Medici and Luigi de Rossi, 1518, oil on wood
*Leo used his position to advance the Medici family's interests. - dynastic portrait *dominates the composition, seated in his study - manuscript, magnifying glass b/c of his impaired eyesight, bell engraved w/ classical decorative motifs *portrayed as man of learning/collector rather than head of state. *to the pope's right is his cousin Cardinal who became Pope Clement VII // behind chair is his cousin on his mother's side, whom the pope appointed cardinal. - the three men look neither are absorbed in their own thoughts *mastery of oil technique is evident in detail - conveys textures. *book is identified as the Hamilton Bible, (with Gospel of Saint JOhn) *light comes from window reflected in the spherical brass -viewer can see the painter *revealed knowledge and admiration of Netherlandish painting, esp. the works on van Eyck
Michelangelo, Pieta, 1498-1500, marble, 69" high
*Mary cradling Christ after his crucifixion, death, and removal from the cross, before placed in tomb. *transformed marble into flesh, hair and fabric because of natural looking folds, curves, and deep recesses. her age, was a subject of controversy-beauty/youth an integral part of purity, - allusion to the Madonna and Child of other works *Christ seems to have drifted off into peaceful sleep in Mary's arms (wounds are barely visible) multi-figured sculptures were rare -figures are carved so as to appear in a unified composition which forms the shape of a pyramid - the Virgin's body is larger than Christ's -she would likely tower over her son. -necessary so that the Virgin could support him idealized bodies despite their suffering. - reflects High Renaissance belief (beauty on earth reflected God's beauty)
*Hans Memling, Tommaso Portinari and Maria Baroncelli Portinari, oil on wood, 1480*, Milan
*Portinari advisor to dukes of Burgundy- approved risky loans & forced bankrupt- commissioned to celebrate marriage to Maria Baroncelli - central panel of Virgin and Child. dark backgrounds accentuate facial features and the skill of the artist. portraits were for private prayer half-length portrait/ three-quarter view turned to left. placed against flat, opaque, dark background, hands clasped in prayer. - Maria (14), - face conforms to ideals of beauty (raised eyebrows/elongated nose)-frame undersized compared to head, jewellery a display of wealth, -serenity common characteristic - idealised license used as comparison b/n the likenesses of the same couple (Portinari Altarpiece) - Maria dressed in best 15th century fashion (long black hennin with transparent veil) three-quarter half-length portrait of Portinari, turned to right, set against a dark background. (black cape, collar and sleeves of dark robe protrude (garments of upper middle class) - hands are clasped- changed hands to make them less vertical.
*Hugo van der Goes, Portinari Altarpiece/Adoration of the Shepards, 1475, oil on wood, Florence*
*Portinari appears on the wings with his family and patron saints *vision in which Mary, kneels to join Joseph, the angels and the shepherds in adoring the Savior, on the ground and glows with divine light. *tilted ground to situate main characters at center of the panel (derived from tilted stage of 15th century mystery plays) *three shepherds enter from the right (represented in attitudes of wonder, piety and curiosity) - lined faces, work worn hands, and uncouth dress/manner are familiar *architecture and continuous wintry landscape unify panels -symbols surface throughout ( flowers symbolize sorrows of the Virgin - angels represent 15 joys of Mary) * wheat stands for Bethlehem ("house of bread" in Hebrew) a reference to the Eucharist // harp of David, emblazoned over the buildings portal in the middle distance signifies the ancestry of Christ *to stress meaning/significance, revived medieval pictorial devices (small scenes in background of altarpiece represent journey of Mary/ Joseph to Bethlehem, the annunciation to the shepherds and the arrival of the magi) -variation in the scale of his figures to differentiate them by their importance *vigorous, penetrating realism to work in a new direction, characterizing human beings according to their social level while showing their common humanity *altarpiece created a considerable stir among Italian artists (seemed unstructured to them) *incredible realism in representing drapery, flowerss, animals and human character and emotion
Michelangelo, Pieta, 1547, Marbe, Florence
*began in his 70s - destined for his own tomb in Santa Maria MAggiore in Rome * unprecedented technical challenge- to carve four life-size figures from a single marble block. *he did not succeed - christ's left leg became detached, b/c of a flaw in the marble and he began to smash the statue - his assistants intervened and eventually permitted one to repair and finish the work in part *in composition and tone, it stands in stark contrast to the work of Michelangelo's youth - the work is vertical, with three figures- the Virgin, Mary Magdalene, and Nicodemus- supporting the lifeless body of Christ. *the Virgin is now a subsidiary figure, half hidden by her son, whose left leg originally rested on her left thigh -the undersized Mary Magdalene is in a kneeling position *forming the apex of of the composition is the hooded Nicodemus, a self-portrait of Michelangelo - a very personal work
Michelangelo, Tomb of Giuliano de' Medici, 1519-34, marble, more than life size, new sacristy, San Lorenzo, Florence
*brother of Lorenzo the Magnificent -intended as a dynastic mausoleum for FLorence's leading family -tombs completed by the master's pupils, face each other on opposite walls * intended to place pairs of river gods at the bottom , balancing the pairs of figures resting on the sloping sides-grand design remains a puzzle. -mirrors the soul's ascent through the levels of the Neo-Platonic universe ( thought embraced i by the humanists in Medici circle) *lowest level, which the river gods represent, signified the Underworld of brute matter, the source of evil statues on sarcophagi symbolize realm of time - cycles of dawn, day, evening and night *humanity's state one of pain, frustration and exhaustion- at left, female Night- male model even for female- at right, male Day chained into never relaxing tensions- exhibit anguished twisting of body's masses in contrary directions (staple of figurial art) *Day, body thickness of a tree and anatomy of Hercules, strains his limbs against each other, unfinished visage rising menacingly above his shoulder. *Night, the symbol of rest, twists as if in troubled sleep, her posture wrenched and feverish *the artist surrounded her with an owl, poppies, and hideous mask of symbolic natures. *some scholars argue that the Night and Day personficiations allude not to humanity's pain but to the lif ecycle and the passage of time leading ultimately to death *on their respective tombs, seated statues of Lorenzo and Giuliano apear in niches athte apex of the structures. *transcending worldly existence, they represent the two idealhuman types - the contemplative man (Lorenzo) nad the active man (Giuliano) *Giuliano wears the armor of a Roman general and holds a commander's baton, his head turned alertly as if in council // Lorenzo appears deep in thought, his face in shadow *together they symbolize the two ways that human beings might achieve union with God- through meditation or through the active life fashioned after that of Christ (in that sense they are not individual portraits) *generic visages of the two are consistent with Michelangelo's lifelong approach to figural art, in painting and sculpture. // less concern for facial features and expressions than for the overall human form
Raphael, The School of Athens, (Philosophy mural) 1509-1511 , fresco, Stanza della Segnatura, Vatican, Rome
*decoration of papal library-images of four branches of human knowledge- Theology, Justice, Poetry and Philosophy - Theology and Philosophy face. - balanced picture of him- knowledgeable/divinely ordained *philosophers/scientists of ancient world - explaining their various theories and ideas. - vast hall w/ massive vaults that recall ancient Roman architecture- statues of Apollo and Athena, patron deities *Plato and Aristotle are central figures - Plato points to Heaven (his inspo), while Aristotle gestures toward the earth (his inspo) -men concerned w/ mysteries that transcend this world, stand w/ Plato - Aristotle's side are men concerned w/ practical matters, - Heraclitus (probably a portrait of Michelangelo) broods alone. *portrait of the architect Bramante - Bramante advised Raphael about the architectural setting- young man wearing a black hat- Raphael's self portrait among the practical men *groups move with eloquent poses and gestures-symbolize doctrines and present variety of figural positions. -self-assurance and natural dignity of the figure convey qualities that REnaissance thinkers admired (reason, balance)
Michelangelo, David, 1501-1504, marble,florence
*during the Medici exile, the Florentine Republic had ordered the transfer of Donatello's David *David a civic symbol -led Florence Cathedral committee to invite him to work a block of marble left over from commission of another David that failed- colossal statue ( "the Giant") assured his reputation as an extraordinary talent *traditional association with heroic triumph over adversary, he chose to represent warrior not after his victory, but before, w/ him watching his approaching foe-exhibits characteristic representation of energy in reserve that imbues his later figures with the tension of a coiled spring Israelites facing the Philistines twice a day for 40 days, Goliath, challenges the Israelites to send out a champion to decide the outcome in single combat and taunts God. David, a young shepherd, accepts declines too large armor, taking only his sling and five stones and his faith in God and his courage. -hits Goliath in the center of his forehead and he falls *anatomy plays an important part in this prelude to action // rugged torso, sturdy limbs and large hands and feet alert viewers to the triumph to come // swelling veins and tightening sinew amplifies the psychological energy of David's pose - classical nude in mind - greatly admired Greco-Roman statues, in particular the skillful and precise rendering of heroic physique *abandoned the self-contained compositions of the 15th century Davids by abruptly turning the hero's head toward his adversary slingshot almost invisible, emphasizing victory was one of cleverness -exceptional self-confidence and concentration, both values of the "thinking man", *compositionally and emotionally connected to an unseen presence beyond the statue *Michelangelo invested his efforts in presenting towering, pent-up emotion rather than calm, ideal beauty. - transferred his own doubts, frustrations, and passions into the great figures he created or planned *contrapposto
Parmigianino, Madonna with the Long Neck, 1534-1540, Florence
*exemplifies the elegant stylishness that was a pricnipal aim of mannerism *this traditional, usually sedate, religious subject became a picture of exquisite grace and precious sweetness *her small oval head, her long and slender neck, the otherworldly attentuiatoin and delicacy of her hand, and the sinuous swaying elongation of her frame - all are marks of the aristocratic, sumptuously courtly taste of mannerist artists and patrons alike. *amplified the elegance by expanding her form as viewed from head to toe *on the left stnads a bevy of angelic creatures, melting w/ emotions as soft and smooth as their lilmbs. / on the right, the artist included a line of columns w/o capitals and a mysterious figure w/ a scroll, perhaps Saint James, whose distance fro mthe foreground is immeasurable and ambiguous - the anithesis of rational REnaissance perspective diminution of size w/ distance *althoug hthe elegance and sophisticated beauty of the painting are due in large part to the Madonna's attenuated neck and arms, that exaggeration is not solely decorative *takes the subject from a simile in medieval humns comparing the Virgin's neck w/ a great ivory tower or column, such as the one depicted to the right
Quinten massys, Money Changer and his Wife, 1514, oil on wood, Loure in Paris
*explored variety of models - yet eclecticism was subtle and discriminating, enriched by inventiveness *man doing business, checking the weight of coins on the table - commentary on Netherlandish values - financial transactions were increasingly prominent and distracted Christians - wife shows more interest in watching than in reading * numerous references to the importance of a spiritual life, including a carafe w/ water and a candlestick, traditional symbols. -the couple ignores them, *detailed rendering of the figures,setting, and objects suggests a fidelity to observable fact, and provides insight into developing commercial practices. *through a window, an old man talks with another man, reference to idleness and gossip.- reflected image in mirror offsets this image - there a man reads what is most likely a Bible or prayer book - behind him is a church steeple *inscription on original read, "let the balance be just and the weights equal" - applies to professional conduct and to judgement day - the balance is in favor of the pursuit of wealth.
Pontormo, Entombment/Deposition, 1525-1528, oil on wood, vatican
*frequently depicted subject -played off expectations- omitted the cross and tomb-debate if he meant to represent Christ's descent or his entombment *instead action taking place across the perpendicular plane, he rotated the conventional figural groups along a vertical axis.- figures seem to float in the air -those that touch the ground do so on tiptoes, enhancing weightlessness * left a void - accentuates the grouping of hands filling that hole, calling attention to the void-symbolic of loss and grief- enhanced ambiguity with anxious glances that figures cast in all directions (bearded young man probably a self-portrait) *many figures have elongated limbs and undersized heads, and move unnaturally - torso of the foreground figure bends in an anatomically impossible way * painting represents a pronounced departure from the balanced and harmoniously structured compositions of the high renaissance.
Titian, The Venus of Urbino, 1538, oil on canvas
*in Venetian paintings ,color plays a prominent role - red tones against neutral whites - record surface appearance/ organize forms - deep reds play critical role as gauge of distance and indicators of an implied diagonal opposed to the real one of the reclining figure *fully aware ,deliberately public proclamation of love. Nudity, in the context is not her normal ; she is, naked, awaiting clothes * her function is articulated by her surrounding attributes. -floral symbols define the love she represents: fruitful passion of marriage. The little dog overtly symbolizes that ideal fidelity. - the house maid symbolizes motherhood. *: eroticism reminds of the marital obligations she would fulfill - evident in representation of Venus, the goddess of love, as a sensual woman staring at the viewer who can't ignore her beauty. The light and warm color of her body is in contrast to the dark background, bringing out her eroticism. ("teaching: painting) *: contrast b/n the curves of the girl and vertical/horizontal lines of the dividing screen, floor tiles and other architectural elements -play of light on the girl's body and chiaroscuro lends a sculptural quality to her figure
Leonardo da Vinci, Fetus in the Womb, 1510, pen and ink, colored chalk, colors on paper, held in London
*interests on science in later years,// investigations in anatomy, based on dissection, and books yielded drawings of precision and beauty - exemplify the scientific spirit of the Renaissance *doesn't meet current standards for accuracy (regularized uterus's shape to a sphere and characterization of the lining is incorrect), it was an astounding achievement for its day- originated modern scientific illustration (cutaway views) -important for development of anatomy as a science first to correctly depict the human fetus in its proper position, draw the uterine artery and vascular system of the cervix and vagina reliance on animal anatomy - botanical drawings along bottom of his embryological drawings, comparison of botanical with human anatomy. uterus cut through/ opened out, ovary in left margin and membranes in cross-section. - uterine membranes unfurling like flower petals.- placenta is shown as multiple - dissected pregnant woman ,never discovered human placenta is single and like a disk. fetus in breech position,umbilical cord wrapped around crossed legs. -puzzled that fetus fit into uterus -compares the human uterus with the cow and horse, in proportion bodies. performed 30 human dissections - criminals, or, had died with no-one to claim their bodies - reputation as anatomist, good terms w/ physicians
Loggia of Galetea in Villa Franesia, showing Sebastiano del Piombo's Polyphemus next toRaphael's Galatea
*patron a wealthy banker who managed the Vatican's financial affairs *scenes from classical mythology inspired by poetry -painting a song in praise of human beauty and zestful love *Galatea flees on a shell drawn by leaping dolphins to escape her uncouth lover, the cyclops Polyhemus (painted on another wall by a different artist) * enhanced the liveliness by placing sturdy figures around Galatea in dashing movements that return to her as the energetic center *the cupids, skillfully foreshortened, repeat the circling motion *figures conceived sculpturally, and Galatea's body - strong and vigorously in motion-contrasts w/ Botticelli's delicate, hovering Venus while suggesting the spiraling compositions of Hellenistic statuary * monumental form, vivacious movement, spirit of passionate delight- resurrects the naturalistic art of the Greco-Roman world.
Tomb of Julius II, Moses
*references to antiquity appealed to Julius II-associated himself humanists and Roman emperors *original design - free standing, two-story structure w/ 40+ statues -unprecedented size and complexity -latitude to sculpt numerous human figures while providing a grandiose memorial that would associate him w/ the first pope, Peter himself. *after he began, the pope interrupted, funds diverted to rebuilding of Saint Peter's *reluctantly reduced the scale until a final contract specified a simple wall tomb w/ fewer than one third of original figures - the spirit of the tomb is summed up in Moses during a sporadic resumption of work on the project * tomb was placed where the pope served as cardinal before papacy - given Julius II's ambitions, had he seen the final design or where it would be located, he would've been bitterly disappointed *meant to be seen from below and to be balanced w/ seven other massive forms related to it in spirit, Moses in its final comparatively paltry setting does not convey the impact originally intended- depicted the Old Testament prophet seated, the Tablets of the Law under one arm and his hands gathering the voluminous beard-horns were a convention in Christian art (based on a mistranslation of Hebrew word for "rays") -helped viewers identify the prophet * turned head-concentrate the expression of awful wrath stirring in the prophet's mighty frame and eyes *muscles bulge, veins swell, and legs seem to begin to slowly to move - not since Hellenistic times had a sculptor imbued a seated figure with so much torsion and emotionalism *intended to incorporate some 20 statues of captives (slaves), in various attitudes of revolt and exhaustion -some scholars now doubt this and some even reject the identification of the statues as "slaves" or "captives"- whatever their identity, these statues testify to the sculptor's ability to create figures embodying powerful emotional states
Michelangelo, Creation of Adam, 1508-1512, fresco, from ceiling of Sistine Chapel, Vatican, Rome
*rejected traditional iconography -bold new interpretations *God and Adam confront each other in landscape of which Adam is still a part - Lord wrapped in a cloud and borne up by his powers -life leaps to Adam like a spark // communication between gods and heroes, is concrete *depiction of Lord as ruler in the classical, Olympian sense indicates High Renaissance thought joined classical and Christian traditions - didn't obscure the Christian message *beneath the Lord's arm is a woman, // believed she is Eve, she is Mary (w/ Christ at her knee) -Adam's sin led to the sacrifice of Christ, made redemption possible *viewer's eye follows the motion, but Adam's extended left arm leads the eye back, to his forefinger, which points to the Christ Child's face. -focal point of this movement - fingertips - is dramatically off-center. *concave body of fits the convex body and "cloak" of God // motion directs figures and whole composition -reclining positions, heavy musculature, and twisting poses are all intrinsic parts of his style
Hans Memling, Altarpiece of Saint John the Baptist and Saint John the Evangelist, 1474-1479, oil on wood, Hospital of St. John, Bruges, Belgium
*symbolic gesture- Jesus places a ring on St Catherine -identified as the Mystic marriage of St Catherine (but clearly dedicated to the Virgin and the two St Johns) *central panel focuses on gathering of saints around the Virgin. -openings b/n columns reveal landscape (episodes from the lives of two male saints) //left wing -Beheading of St John the Baptist/right wing- St John the Evangelist on Patmos *sponsored by four pious citizens of Bruges, who are shown on the back of the wings. *composition as a whole - different components interlocking spatially and thematically; *new portrayal of the Virgin Mary and the Apocalypse - grouping of saints sitting and standing around not usual - forming a tetramorph around the Virgin *this triptych was painted for the High Altar of the chapel of St John's Hospital. *old inscription on the frame gives the date 1479 and the name of the artist Johannes Memling. - this is the only work by Memling to be authenticated by an original inscription. * female saints, Catherine and Barbara, were frequently invoked in adversity -symbolising contemplative and active life of the hospital's monastic community.
Leonardo da Vinci, mona Lisa / Portrait of Lisa Giaconda, 1503-1505, oil on wood, Florence , in Louvre Paris
*world's most famous portrait (one of few paintings completed -perfectionism, experimentation and curiosity-notebooks preserve record of his ideas * wife of wealthy Florentine - "Mona" - contraction of ma donna or "my lady" - 25 years old *not an icon of status - no jewelry/ no attribute associated w/ wealth -focus was a representation of an individual in terms of appearance and personality *sits quietly, hands folded, gentle smile, gaze at viewer (Renaissance etiquette - woman shouldn't look directly into a man's eyes)- self assured young woman w/o the trappings of power but engaging psychologically *enduring appeal from mysterious uninhabited landscape (setting w/ roads and bridges leading nowhere - Madonna of the Rocks)- originally represented in a loggia, but owner trimmed painting, eliminating columns, partial column bases remain *painting is darker than 500 years ago, colors are less vivid, but still reveals his fascination and skill w/ chiaroscuro and atmospheric perspective and sfumato
Gianlorenzo Bernini, David, 1622-1623, marble, 67" high, Rome
Baroque period, defined by dramatic tension captured through exaggerated motion and a strong emotional appeal. -Bernini's style let him approach old subjects in new ways. David, is a Biblical figure who is recognized for his role in slaying the giant Goliath. David has not yet won the battle, but is instead caught the instant before he hurls his sling and defeats his foe. life-size statue carved from marble and displays the face of Bernini himself.- His assistant held up a mirror for Bernini to create this self-portrait. exaggerated motion, the tension, the drama David does not appear to be posing for the sculptor. The motion is extreme to where the subject looks like he is about to break. We can feel the physical tension in David's body. There is emotional tension as well. David's face is as twisted and taut as the rest of his frame, as he concentrates his full effort on the task at hand. meticulously carved exquisite detail into every feature of his depiction of David. -a crease of his frown, facial contortions indicate deep concentration, blue eyes ever on his opponent. marble statue can be viewed from any angle and from all sides, the observer can easily envision the battle this young man was about to engage in.
Pieter Bruegel the Elder, Flemish Landscape with the Fall of Icarus, 1555, oil on wood transferred to canvas, Belgium
Greek mythological figure, Icarus, plunging into the sea in the lower right-hand corner. Icarus, imprisoned on island of Crete. received wings to fly away. Icarus, ambitiously, flew too near the sun. The wax melted and he plunged into the sea and was drowned - you can see his legs as he drowns, in the far distance of the painting. They are dwarfed by the horse's rump ... Trading vessels go about their commercial business. Life goes on. The death is of no more importance than the fall of a sparrow. Mankind deludes itself if it thinks otherwise. Icarus is often used as a metaphor for human pride and ambition. The painting is probably a version of a lost original by Bruegel, probably from the 1560s or soon after. It is in oils whereas Bruegel's other paintings on canvas are in tempera. elaborate landscape scene sitting behind him that contains a traditional harbour and sunlight glowing from the back - Landscape has a slightly inaccurate balance between the character in the foreground and the background ships (deliberate ploy to strengthen the focal points of the work)
Raphael, Baldassare Castiglione, 1514, oil on wood, Louvre, France
Raphael's friend, diplomat/humanist - originally on wood but transferred to canvas - the ideal Renaissance courtier eyes aren't identical, right seems further back - half of personality assertive and in control, and other half reserved and wary. -deliberately cut off at hands, attention on gaze. - waist up in 3/4 profile, folded hands and gaze fixed on artist. pose with soft light of the canvas-homage to Mona Lisa. costume of elegant but unadorned luxury. -captured in shades of grey, white and black, is extended into backdrop , consists of a light and warm grey-beige tone, suffused in soft light practical purpose - left family behind when he had gone to Rome in winter; imagined family consoling themselves with the painting - perceived as vulnerable, possesses humane sensitivity characteristic. - soft contours of attire and rounded beard show the subtlety of his personality elegance of execution consistent with subject's attitude. - delicacy of baroque observation and noble contour and stillness of classic
Albrecht Durer, Knight, Death and the Devil, 1513, engraving
complex iconography and symbolism, the precise meaning of which has been argued over for centuries shows a lone knight riding through an oppressive landscape. A dog runs at his horse's feet, and Death holds aloft an hourglass while the Devil stalks behind. moves through the scene looking away from the creatures lurking around him, appears contemptuous of the threats, and often seen as symbol of courage; the knight's armor, the horse which towers in size , oak leaves and fortress on mountaintop symbolic of resilience of faith, the knight's plight represent Christians' earthly journey towards the Kingdom was widely copied and had a large influence on later German writers. -Friedrich Nietzsche referenced the work in his work to exemplify pessimism skull, a reminder of death, lies on a tree trunk, and a lizard, sometimes seen as a harbinger of danger, scuttles to the right. figures in the foreground are enclosed by the rocky landscape and dead trees. -city seen atop a mountain serves to emphasise the knight's isolation from society. print evokes the 23rd Psalm: 'though I walk through the shadow of the valley of death, I will fear no evil' (Psalms 23:4). The knight seems resigned, and his facial features are downcast. . knights were depicted with a fox tail tied to the tip of their lance.- fox tail was a protective amulet. -this interpretation Death and the Devil are merely the knight's companions on his journey, not omens.
Raphael, Madonna of the Meadow, 1505, oil on wood
executed by a twenty-something Raphael - shows Virgin with Christ and St. John the Baptist in a tender moment against a landscape backdrop in a Tuscan setting. - John the Baptist was patron of Florence -figures arranged in a pyramidal composition -picked up from Leonardo, - also picked up chiaroscuro -figures take up actual space - lighter color palette aerial perspective to show landscape far away - peaceful setting filled with graceful curves connected to Madonna's neckline/shoulders, which curve physical setting and subject matter are pleasant -no pain, struggle, or mysterious tones present - only uneasy sign is Christ grasping the cross foretelling the future -peacefulness of the painting held in high regard by Renaissance patrons first of of full-length compositions that portray the encounter b/n the Child and the Baptist- who worshipped Christ even in childhood. -made clear by Christ taking the cross work as a whole is harmonic, sweeping landscape (made luminous by the mirror-like lake). twisting figures reflect Michelangelo's figurative research.
Diego Velazquez, The Water Carrier of Seville, baroque , c.1619, oil on canvas, 42" x 31¾"
labeled as a bodegón -from the word bodega, tavern in Spanish, used to describe artistic representations of daily life, those associated with food. (genre scenes with still life objects) - not the first to paint bodegones. - gaining momentum in Italy and Spain -pared his down to few figures and objects. - not well-received by traditional artists. earthly color palettes, dramatic lighting and understated backgrounds, reveal the influence of Caravaggio. In center stands the monumental profile of the Waterseller, aged from the sun and donned in a humble brown cloak. - offers a boy a glass of water, freshened by a fig, poured from large clay vessel in the foreground.- watersellers a common feature in early modern Europe, especially prevalent in Seville, known for brutal summers. physically connected, they stare past one another- Perhaps difference in age or perhaps it is difference in social status. - often represented watersellers as beggars or cheats who routinely fought with their customers. -Some argue this is idealized others argue this imbues waterseller with dignity. *young man emerges from the shadows b/n Waterseller and the boy. He stares out at the viewer while drinking from his mug. Within this painting we see three ages of man represented.- light coming from the left illuminates face of the young boy, and draws attention to beads of water trickling down curve of the water vessel. naturalism; the textures of the clothes, jugs, glass, and even the waterseller's face are meticulously rendered using a combination of thick and tiny dabs of paint.
Saint Peter's BAsilica and Plaza, Papal Gardens, and adjacent buildings in the Vatican, Rome by Bramante, Michelangelo, Moderno, della Porta, Bernini
most famous Roman Catholic church in the world and one of the holiest sites in Christendom, dating back to Roman architecture of the early Christian art period. Pope's principal church, built according to tradition above the burial site of St. Peter, one of the twelve disciples and the first Bishop of Rome. To maintain this tradition, Popes are now buried within the basilica. Designed as a replacement for the old Constantinian church Admired for its Renaissance sculpture as well as its fusion of Renaissance and Baroque architecture, - principal church for worshippers who live in Rome, the former serves as focal point for all pilgrims, as well as locals. Christian Church linked with fine arts -became greatest sponsor and patron - Saint Peter's Basilica, the world centre of the Roman Church is endowed with art basilica is cruciform in shape, with an elongated nave in the form of a Latin cross. nave is framed by wide aisles giving access to a number of chapels. huge fund-raising campaign to pay for the cost of the basilica and its contents led to protest and became a factor in triggering the Reformation and birth of Protestantism. Saint Peter's is approached via St. Peter's Square, elliptical court encircled by a Doric colonnade, from Greek architecture - in the centre s an obelisk brought from Egypt to Rome. Originally located in Nero's Circus - site of St Peter's martyrdom - revered as "witness" to Peter's death. facade features order of Corinthian columns and is topped by thirteen statues - Christ flanked by eleven Apostles (excluding Peter) plus John the Baptist. At ground level it is approached by steps guarded by two 18-feet high statues of Saints Peter and Paul. the dome of Saint Peter's - the tallest dome in the world - dominates the skyline of Rome. Some 100 tombs are to be found within St. Peter's Basilica, In a subterranean crypt, directly below the dome and the main altar, is the tomb of St. Peter himself.
Tintorettto, The Last Supper, 1592-1593, oil on canvas, Santa MAria Maggiore, Venice
painted the Last Supper several times in his life. This version a fest of the poors, the figure of Christ mingles with the crowds of apostles. a supernatural scene with winged figures comes into sight by the light around his head. - a visional character differentiating it from paintings of the same subject diagonal position of the table is explained by the installation of the painting - was to be perceived as an extension in perspective of the high altar, or the high altar was to be seen as a prolongation of the table priestly bearing of Christ and the liturgical utensils on the small side table play on the same connection. winged apparitions characterize the Eucharist as the "bread of angels" and indicate the mystery of the transformation of bread and wine into the body and blood of Christ departs drastically from this compositional formula-centre of the scene occupied not by the apostles but by secondary characters (a woman carrying a dish and servants taking dishes from the table. makes use of Mannerist devices, notably its complex and radically asymmetrical composition. In its dynamism and emphasis on the everyday life-setting is similar to a Venetian inn—the painting points the way to the Baroque.
Michelangelo, Expulsion of Adam and Eve from Eden, 1508-1512, fresco, Sistine Chapel, Vatican Rome
rhythm of composition flows left to right. -Eve grasps the apple boldly, Adam greedily, but in misfortune he seems greater -knows that God, has become inaccessible- feels no longer worthy. cherub raised sword pointing the way out, in flight and strongly foreshortened, appears a twin of the tempter and, like her, issues from the tree (the Tree of Life). Good and Evil have divided and become a dual power. style of painting initiated by Michelangelo near the beginning of the Renaissance period. He conceived art, as needing to convey a sense of human drama. intensely physical nude figures for Adam and Eve, contrasts the smooth, young bodies of Adam and Eve to their older and unattractive bodies when they are banished .-does not use more details than necessary and does not crowd message. united the Fall and the expulsion of Adam and Eve in the form of an uncial letter m (perhaps to signify his name) by using three pillars and two arches to unite them. central pillar of the Tree of Life wound round by a veiny serpent with a woman's head. - another pillar made up of Adam and Eve in a mostly luxuriant setting with Eve holding the apple - The other branch extends into an airborne avenging angel with a sword that points to Adam and Eve who make up the right hand column. This side of the scene is desolate. Unlike Genesis 3:24 -the figures are nude and not covered in skins and there is only one cherub
*Leonardo da Vinci, Madonna of the Rocks, 1483, tempera on wood transferred to canvas, Louvre, Paris*
sfumato - smoke/smoky *pyramidal grouping (directive of eye to each focus, one to the next // can be religiously interpreted as a trinity) *figures pray, point and bless, and these unite them *angel points to the infant John and w/ his outward glance draws you in // John prays to Chris, who blesses him in return *the Virgin completes the interlocking gestures by reaching toward Chris and the other hand resting protectively on John's shoulder *mood of tenderness, which the light enhances, spreads throughout *notable achievement was to paint the figures w/ the same environment - unified representation of objects (built on use of chiaroscuro - play of light and dark) // light veils and unveils the forms, immersing in layer of atmosphere *manifestation of his scientific curiosity about the invisible substance surrounding things *emotionally compelling, visually unified, and spatially convincing image (achieved two goals of painting - to paint man and the intention of his soul)
