Renaissance Test 1

Tempietto crypt

Crypt is not the same size as the tempietto above but is larger o So crypt probably is not by Bramante whose design for tempietto above it has a very proportional system and this mismatch is even further accentuated because out of all his sketches he only has one with stairs to the crypt o Before the tempietto was erected, the underground shrine was more accessible o Another theory is that in 1502, ferdinand and Isabella wanted to make the underground cavern a more respectable shrine and could have done it the same year since the buried inscription is there and says that year ♣ No reason to suggest Bramante's involvement at this point o small, underneath o decoration isn't related to Bramante, added later in baroque era o hole in the middle, goes in the ground, takes you from main floor of tempietto to see down into the crypt o Bramante gives us in this small space a wonderful functional version of a martyrium in an early Christian style • Theme of unity between interior and exterior

• Ignudi o

Nudes o They are there as a kind of framing advice around smaller narrative panels o Like in his doni tondo piece o They are holding yellow silk ribbons with medallions and are stories from book of macabbees ♣ Arlands of oak leaves, pun on coat of arms of pope Julius II ♣ Rovere is word for oak ♣ Tip of the hat to his patron ♣ Ignudi reallydo become kind of a workshop to play with these eincredibly fanciful dynamic poses

cangiante

angiante is characterized by the painter's changing to a different, lighter, hue when the original hue cannot be made light enough or, on the converse, changing to a darker hue when the original hue cannot be made dark enough. c

chiaroscuro

extreme light and dark, chiaroscuro used overall to unify large figure group and unify composition

• Underground crypt in tempietto

o A whole in the ground that makes he spots that the base of the crucifixion of where he was martyred was embedded

• Sistine tapestries

o Grandest of pictorial projecs assigned to Raphael o Series of ten tapestrices o Produced full scale caroons in color o Scenes from acts o the apostles o Prestigious commissions o Lower walls of istine chapel o Completed iconographic cycle that depicte the lives of moses and Christ, ancestry of Christ, prophets and sibyls, scenes from gensis • Raphael understood that his compistions would be on display with botticielli, Perugino, Signorelli, micehlangelo • Development of figural compstions • Tapestries more expensive thatn frescoes or oil paintings • Raphaels work would hv elite status in chapel o Currently they are rarely displayed • Tpestrices combine large and dramatic figures ith backgrounds , o Landscape, new architecture of high renaissance • Became inspiration for later artist • Original cartoons were cutinto strips for weavers, some lost, 7 acquired by king in 1630 • Cartoons painted in watercolor over charcoal drawings • Some color by rapahel some by assistants • New sketchy freedom, related to ancient roman paintin techniques o His immersion into antiquity brought him into ctact with roman first century painting • He studied masaccios frescoes • Kept fiures large o In front or large architecture o Classical order

Differences between Michelangelo and Leo

o His character and style opposed Leonardo's o Leonardo was skeptical o Michelangelo believed o Where Leo was apolitical, Michelangelo was a loyal Florentine o Leo detached from world, Michelangelo obsessed by guilt o Leo was intellectually and physically charming but didn't care for others o Michelangelo was spare, irritable, tacitable but had a deep love for others o Leo loved landscape and nature and Michelangelo hated landscape oMichelangelo more interested in life of human soul and movements in human body oIn 1549, Michelangelo was old, said sculpting is like painting and should be equal o Wasn't as interested in painting in oil and preferred the fresco technique o No soft shadows like Leonardo, More on clarity of form and characteristic of Florentine tradition • Leonardo's sculptural qualities of monochrome figures influenced Michelangelo

elationship between painting and sculpture,more of those relaion

o Michelangelo believe sculpture was first of arts because of the illusion of relief was the goal of painting o So paragon between Raphael and michelangeo was comparison between coloristic values versus sculptural quities---michelangelo Frustrated with issues of oil painting and coloirto • Raphael risen to such credit as a painter o Pleasing in color, invention, charming, design in keeping with rest, some said he did this better than Michelangelo • People acknowleged that Raphael was at least an equal to Michelangelo

relationships: Raphael and leonardo

o Raphael looking a lot at Leonardo o In terms of creating dynamic and unified composition o Unfinished adoration of magi was inspiration for Raphael, probably last supper too o Arrangement of central rounding of picture and technique of taking dozens of figures and putting them into clusters and then within those groups anchoring them o Content, nature of two philosophical schools o Other recognizable greats, in groups in foregrounded at edge of painting o Branches of learning, fundamental to this new approach to humanist study o Purposeful showcasing of that art in foreground, as liberal art played into visual arts, artist who wanted to be considered the forefront of his craft o Geometry and mathematics are working as tools for painter o Illusions to ideas of unions between visual arts and liberal arts o All Raphael, michelangelo, Leonardo conscious of increasing and changing notion of the status of the artist, moving out of realm of being considered a craftsmen and someone who blends their craft with intellectual ability o Raphael also using his contemporaries in art, creating bands of alliances, showcasing himself too, inserts himself in this group of people, anchored in historical terms o Direct reference o a knowledge of liberal arts is raiding status of painter or architect

About Leonardo

o continuing heritage of exploring natural world with scientific bend o Study of optics, color science, mechanics, water studies, he was the first the put towards idea of synthesis is in the art o Period he introduces is very short, 1480-1520 o He will take subject from natural world, and then understand mechanics of body, body is organic machine and see him make sketches of manmade machines next to those so comparing mechanical systems, how things connect like ropes and pulleys—mechanics of human body vs machine o Very interested in behavior of water and light o Sfumato

The Sforza Monument Leonardo 1482-1499

o finished drawing o different from these sculptures in Venice because he drawing is much more dynamic, rather than walking trotting horse, horse is reading up, dramatic image of defeated soldier about to be trampled, • Leonardo had studies for the equestrian monument to Francesco Sforza c. 1482- 93 o Shows some vivid and spontaneous detail • Studies for the casting of the horse o Set up of how you would build armatures for casting this figure o Wanted to build something underground and pour it on the cast, but need heaters, and if you did above ground, if you don't keep the mold sufficiently hot, then if it backs up and heat in one spot the mold would explode, so better for it to be underground o In year 1498-99- Ready to start preparations for building kilns and pouring bronze on horse got as far as constructing plaster cast of horse - Serve cast as mold for hose ♣ Got a lot of bronze, French ten come and take over city from Milan Sforza's ♣ So had to melt all the bronze and use it for cannon balls ♣ The 18 foot caster, French shot it as target practice, just a pile of rubble ♣ Sad story of grandiose project

• Sfumato

o vanished in smoke", a technique of defining form and shape by gradations of light and dark);Appearance and disappearance of smoke o Diffusion into atmosphere o Something Leonardo applied this paintings A softer style made possible by oil painting o he saw the main goal of painting to capture the three dimensional relief ♣ Impression on relief s result of shadows o shadow revealing form ♣ Sfumato gave delicate effects ♣ Beyond one layer of painting ♣ Translucent layers of oil paint

Sfumato

oAppearance and disappearance of smoke o Diffusion into atmosphere o A softer style made possible by oil painting o Leonardo wanted the technique to reproduce natural conditions because he saw the main goal of painting to capture the three dimensional relief o Sfumato gave delicate effects o For Leonardo, trace of artist hand in work was failure to make it look completely natural

bramante

• Bramante's relationship to Michelangelo and to the Sistine ceiling must rely on the early secondary sources, and the inaccurate and often contradictory accounts given by Vasari and Condivi • Bramante plays an even more important role in the story, but now as an enemy. Along with others envious of the artist he persuades Julius II that Michelangelo would do a great job painting the ceiling . • Michelangelo would have been impressed by Bramante personally • Rome is not Florence, not Milan and has a very distinct history of ancient roman architecture o Bramante could celebrate and have a fully classical agenda in his building styles so he gives his patrons that o He Christianizes a fully roman language of architecture o Purely classical with Christian inflection in terms of symbolism and ornamentation

relationships, raphael and sebastiano

• Look at raphaels geinus from different perspective o View of competition engaged with Michelangelo and Sebastiano del piombo o Competition caused developments in artistic style of both Raphael and sebastiano o Artistic confrontation o rivalry was consequence of challenges of great painters, technical innovations, new methods of design, unprecedented effects of light and color, and intense quest for original new aesethetic ideals and artistic expressions o Transfiguration of Raphael and raising of lazarus by sebatian were two atlarpieces that represented the culmination of their rivalry , huge scale, never before see ni n rome, innovative compositions and theatrical effects • Sebastiano was only painter who could rival Raphael in both coloirto and with michelangelo's help, disegno o Perfect synthesis of sculptura qualities and coloristic values

raphael and michelangelo

• Raphael's predella for the Entombment underscores his allusions to Michelangelo while recalling his debts to Leonardo • He rejected Michelangelo's sharp tonalities just as he renounced the extremes of Leonardo's chiaroscuro, but for the holy woman and for Christ himself - that is, those figures in the altarpiece who are most indebted to Michelangelo- Raphael evoked Michelangelo's sharp white highlighting (in the loincloth) and cangianti (in the woman's garments). For the most part, however, in the Entombment as in other works, Raphael did not sacrifice his own luminous colorism or his painterly handling to Michelangelo's heightened palette and crystalline contours. Raphael also preserved his interest in landscape, always a significant element for the composition and the psychology of his works, but always minimalistic in Michelangelo • Entombment marked the beginning of Raphael's overt challenge to Michelangelo

julius

• Spanish pope Borgia and afar his passing, get an Italian pope, the Della Rovere family and new pope takes papal name of Julius II o Not the first in family, hi uncle sixtus the IV was pope o He wants a monumental tomb o Engaged with political landscape of entire Italian peninsula ♣ Relation with French is bad o Continual encroachment of ottoman Turks- enormous threat to Italian peninsula o Image of pop suffered under the Borgia pope - decadence, decay, corruption o Julius had an idea to reestablish papacy as dominant European and world power ♣ Political entity that held sway with same level as king ♣ Refurbishing Rome because papacy wasn't in me for a while, vid of money and power ♣ Focuses on Vatican itself ♣ Rebuilding St. peters and pulls Bramante for that ♣ Wants to make city of Rome ♣ Wants to make Vatican to a courtly environment- cultivate center of learning and arts ♣ Start to look to best artists around like Michelangelo and Raphael

The cumaean sibyl

• The cumaean sibyl o Very old and incredibly muscular o Turns wrinkled face towards altar o Reading a book o She was hot when she was young and had a thing with Apollo but she didn't want him so he made her look old o She symbolized age and strength of the roman church o Next to creation scene of eve and Adam ♣ Both completed around 1510 when pope came back to Rome

o Belvedere torso

♣ Fragment ♣ See torso o figure sitting on a rok and over that rokc, draped skin of lion ♣ Typical attributes of Hercules ♣ So originaly been figure of seated Hercules ♣ Massive powerful musculature in torso ♣ Can see aside from enourmous powerful monumental scale of figure that this idea o twisting turning figure and with all f hat motion and dynamis originating from center of body

Stanza della Segnatura

♣ Room of signatures ♣ See hint of beautifully decorated highly ornate painted ♣ Architecua esign not too much different for what was envisioned for mihcleangelo • Decorative framework for 12 apostles • Under control of different artists • Barmate brought him in to bring in young raphel, an duknown in rome,a nd have handed over to him, coissiont aken away from other artist, to give yo young Raphael o Each of four walls painted in this room with domed ceiling o Raphael uses walls to paint them away ♣ Illusionist architectural setting or landscape in other ♣ In this room the room of signature, patiuclar functioneahc room did something different ♣ This one housed libraries, organized according to subject and walls reflected that ♣ Aside form library, he would sign important documents ♣ Each of the walls-a llegories of different subject tmatters