APAH Chapter 22 // Beauty, Science, and Spirit in Italian Art
22.16 Detail of the Azor-Sadoch lunette's left side over one of the Sistine Chapel windows at various stages of the restoration process
- 1977-1989 - Vatican City, Rome, Italy - Controversy accompanied the execution of this restoration, and the vivid colors take many viewers aback - This unwelcoming reaction probably came from the familiar soot and grime covered ceiling
22.40 Madonna of the Harpies
- Andrea Del Sarto - 1517 - Oil on wood - Shows Madonna standing majestically on an altar like base decorated with sphinxes. - The composition is based on a massive and imposing figure pyramid, the static qualities of which are relieved by the opposing contrapposto poses of the flanking saints - a favorite and effective High Renaissance device to introduce variety into symmetry. - The soft modeling of forms is based on Leonardo but does not affect the colors, which are warm and rich. - Andrea's sense of and ability to handle color set him apart from his contemporaries in central Italy.
22.41 (charlie again lol) Assumption of the Virgin
- Antonio Allegri Da Correggio - Dome fresco of Parma Cathedral - Parma, Italy - ca. 1526-1530 - Opening up the cupola, the artist showed his audience a view of the sky, with concentric rings of clouds where hundreds of soaring figures perform a wildly pirouetting dance in celebration of the Assumption - Versions of these angelic creatures became permanent tenents of numerous Baroque churches in later centuries - Correggio was also an influential painter of religious panels, anticipating in them many other Baroque compositional devices
22.44 (charlie p) Venus, Cupid, Folly, and Time (The Exposure of Luxury)
- Bronzino - ca. 1546 - Oil on wood - Manifests all the points made thus far about Mannerist composition - The artist demonstrates the Mannerist's fondness for extremely learned and intricate allegories with lascivious undertones, a shift from the simple and monumental statements and forms of the High Renaissance - Bronzino depicts Cupid fondling his mother, while Time draws back a curtain to reveal incest in progress. - Other figures represent Envy and Inconstancy - The masks (a common device used by Mannerists) symbolize deceit - Suggests that love, accompanied by envy and inconstancy, is foolish and lovers will discover its folly in time - Meaning is ambiguous and interpretations vary - Figures placed around the front plane block space - The contours are strong and sculptural, the surfaces of enamel smoothness - Special interest: heads, hands, and feet --> Mannerists considered the extremities the carriers of grace
22.45 (charlie p) Portait of a Young Man
- Bronzino - ca. the 1530s - Oil on wood - Mannerist painters achieved the sophisticated elegance they sought in portraits, this is a prime example! - The subject is a proud youth, a man of books and intellectual society - Cool demeanor seems carefully affected, a calculated attitude of nonchalance toward the world - This staid and reserved formality is a common component of Mannerist portraits - Asserts rank but not the personality of the subject - The haughty poise, graceful long-fingered hands, the carved faces of the furniture, and the severe architecture all suggest the traits and environment of the highbred, disdainful, patrician (noblemen) MANNERISM: chalky white and huge body parts
22.51 Plan of I1 Gesù
- Giacomo Da Vignola - 1568/ Rome, Italy - Michelangelo was going to design the church but had bad time management so they turned to Giacomo Da Vignola, who designed the ground plan and Giacomo Della Porta, who designed the facade - The church belongs to the late Renaissance but it's influence on later Baroque works make it a significant monument to be included - The plan shows the nave taking the most volume of the space, which can make the church be a great hall with side chapel - A dome is included to put emphasis on the approach to the altar - The large nave makes the entrance to the church and all a very theatrical setting for priestly functions - The overall point of the church is to include crowds of people, which is seem in the large nave
22.34 The tempest
- Giorgione da castelfranco - 1510, oil on canvas - manifests interest in the poetic qualities of natural landscape inhabited by humans - landscape with stormy skies and lightning - young woman nursing a baby and a man carrying a halberd (spear/battle-ax) - debate on whether there was a woman originally standing where the man is now. this has led people to believe that no definitive narrative exists
22-4 Mona Lisa
- It's her - LEONARDO DA VINCI - 1503-1505 -Oil on wood - worlds most famous portrait - she is Lisa di Antonio Maria Gherardini, the wife of Francesco del Giocondo, a wealthy Florentine - Mona (an Italian contraction of ma Donna "my lady") Lisa - convincing representation of an individual rather than serving as an icon of status - the ambiguity of the famous "smile" is really the consequence of Leonardo's fascination and skill with chiaroscuro and atmospheric perspective shown in (22-1 and 22-2) - these groups of figures serve to disguise rather that reveal a human phyche - subtly adjusted the light and blurred the precise planes— Leonardo's famous smoky sfumato (misty haziness) rendering the facial expression hard to determine - backdrop of mysterious uninhabited landscape - the landscape with roads and bridges lead nowhere is reminiscent of his Virgin of the rocks, and recalls Fra fillipo lippi's portrait of Madonna and child (21-38) with figures seated in front of a window that the viewer looks through into a distant landscape - originally Mona Lisa was in a loggia with columns—when the painting was trimmed these columns were eliminated
22.42 Descent from the Cross
- Jacopo Da Pontormo - Capponi Chapel, Santa Felicità - Florence, Italy - ca. 1525-1528 - Oil on wood - Exhibits almost all the stylistic features characteristic of Mannerism's early phase in painting - Rather than the action taking place across a perpendicular plane, Pontormo rotated the figural groups along a VERTICAL axis - In contrast with High Renaissance artists, who had focused their masses in the center, Pontormo leaves a void. This accentuates the hands that fill that hole, calling attention to the void—symbolic of loss and grief - The artist enhanced the paintings ambiguity with the curiously anxious facial expressions the figures cast in all directions - Athletic bending and twisting, an elastic elongation of the limbs and heads rendered as uniformly small and oval - The contrasting colors (light blues and pinks) add to the dynamism and complexity - Represents a departure from the balanced, consistently structured compositions of the earlier Renaissance
22.55 the Mint (la Zecca) and State Library
- Jacopo Sansovino - 1535- 1545R and 1536L/ Piazza San Marco, Venice - Mint (M) has three story facade, and reminiscent of a medieval castle in it's machicolated galleries - SL has Tuscan-style columns attached to arch-supporting piers - these two are across river from Doge's Palace, which looks very similar to the Mint, but has a more flat facade
22-1 Virgin of the Rocks
- LEONARDO DA VINCI - 1485 - Oil on wood (transferred to canvas) - the painting builds pn Masaccio's understanding and usage of chiaroscuro, the subtle play of light and dark (helped show emotion) - a good painter has two chief objects to paint— man and the intention of his soul - figures are presented in pyramidal grouping and as sharing the same environment - the unified representation of objects in an atmospheric setting - light simultaneously veils and reveals the forms, immersing them in a layer of atmosphere that exists between them and the viewer's eye - used atmospheric perspective - figures pray, point, and bless, although the meanings are not certain, visually unite the individuals portrayed - the melting mood of tenderness, enhanced by the caressing light, suffuses the entire composition - Leonardo succeed in expressing "the intention of his soul"
22-3 depicts Last Supper (top, uncleaned; bottom, cleaned)
- LEONARDO DA VINCI - 1495-1498 - Fresco (oil and tempera on plaster) - Christ and his 12 disciples in a plain simple spacious room - highly dramatic action by placing the group in an austere setting - The artist's careful conceptualization of the composition imbued this dramatic moment with force and lucidity - the central window in the back, whose curved pediment arches above Christ's head, frames his figure - the pediment is the only curve and with the diffused light it is a halo - Christ's head is the focal point of all converging perspective in the composition - the artist sacrificed traditional iconography to pictorial and dramatic consistency by placing Judas on the same side of the table as Jesus and the other disciples - the two disciples at the table ends are more quiet than the others, as if to bracket the energy of the composition, which is more intense closer to Christ, whose calm both halts and intensifies it - the disciples register a broad range of emotional responses, including fear, doubt, protestation, rage, and love - he thought of each figure as carrying a particular charge and type of emotion - Leonardo revealed his extraordinary ability to apply his voluminous knowledge about the observable world to the pictorial representation of a religious scene, resulting in a psychologically complex and compelling painting
22-2 cartoon for Virgin and Child with Saint Anne and the Infant Saint John
- LEONARDO DA VINCI - 1505-1507 - Charcoal heightened with white on brown paper - cartoon style - the glowing light falls gently on the majestic forms, on a scene of tranquil grandeur and balance - intellectual pictorial Logic that results in appealing visual unity - the figures are robust and monumental reminiscent of the Phidias statues of goddess in the pediments of the Parthenon (5-47) - Leonardo's infusion of Greek principles doesn't not mean he had specific knowledge of these Greek monuments
22-5 Embryo in the Womb
- LEONARDO DA VINCI - 1510 - Pen and ink on paper - does not meet 21st standards of accuracy (uterus is a sphere and the characterization of the lining is incorrect) but it was an astonishing achievement in its day - although he was not the first scientist of the modern world, he certainly originated a method of scientific illustration - Leonardo was well known as an architect and a sculptor even though no sculptures or buildings survived - interested in central planned buildings - sculptor: left numerous drawings of equestrian statues
22.03 (charlie p) Last Supper
- Leonardo Da Vinci - ca. 1485-1498 - Fresco (oil and tempera on plaster) - Christ and his 12 disciples are seated at a long table set parallel to the picture plane in a simple, spacious room - Leonardo amplified the dramatics by placing the group in an austere setting - Christ appears isolated from the disciples and in perfect repose, the still eye of the swirling emotion around him - The central window frames his figure - Christ's head is the focal point of all converging perspective lines - The disciples register a broad range of emotional responses --> including fear, doubt, protestation, rage, and love
22.04 (charlie p) Mona Lisa
- Leonardo Da Vinci - ca. 1503-1505 - Oil on wood - Notable because it stands as a convincing representation of an individual, rather than an icon of status - Mona Lisa appears in half-length view, her hands quietly folded and her gaze directed at observers, engaging them psychologically - The ambiguity of the smile is really the consequence of Leonardo's fascination and skill with chiaroscuro and atmospheric perspective, which he revealed in 'Virgin of the Rocks' and 'Virgin and Child with Saint Anne and the Infant Saint John - Disguises rather than reveals a human psyche - The artist subtly adjusted the light and blurred the precise planes, Leonardo's famous smokey sfumato (misty haziness) renders the facial expression hard to determine
22.02 (charlie p) Cartoon for Virgin and Child with Saint Anne and the Infant Saint John
- Leonardo Da Vinci - ca. 1505-1507 - Charcoal heightened with white on brown paper - Glowing light falls gently on the forms - A scene full of tranquil grandeur and balance - Ordered the cartoon with an intellectual pictorial logic that results in an appealing visual unity - Figures are robust and monumental - Leonardo's infusion of Greek principals into his designs cannot be attributed to specific knowledge of Greek monuments because he never saw those particular sculptures
22.05 (charlie p) The Fetus and Lining of the Uterus
- Leonardo Da Vinci - ca. 1511-1513 - Pen and ink with wash, over red chalk and traces of black chalk on paper - The drawings in his notebooks served to record and preserve his ideas - Although incorrect, it was an outstanding achievement in this day - Analytical anatomical studies like this enhanced the scientific spirit of the Renaissance, establishing that era as a prelude to the modern world and contrasting against the middle ages
22.01 (charlie p) Virgin of the Rocks
- Leonardo da Vinci - ca. 1485 - Oil on wood (transferred to canvas) - Louvre, Paris - The central panel of an altarpiece for the chapel of the Confraternity of the Immaculate Conception - Builds on Masaccio's understanding of Chiaroscuro (the subtle play of light and dark) - Pyramidal grouping, sharing the same environment - The Madonna, Christ Child, infant John the Baptist, and angel emerge through nuances of light and shade from the half-light of the cavernous visionary landscape - The melting mood of tenderness, enhanced by the caressing light, suffuses the entire composition.
22.53 Christ in the House of Levi
- Paolo Veronese - 1573/ Venice, Italy - Oil on canvas - In a great open loggia framed by three monumental arches, Christ sits at the center with a dim halo (no significance) - Robed lords, colorfully dressed people crowd the area - The church was angry abt how close people were to Jesus so he simply renamed the piece
22.54 Triumph of Venice
- Paolo Veronese - 1585/ Venice, Italy - Oil on canvas - Ceiling of the hall of the grand council, palazzo ducale - Perspective is from 45 degree angle which will later be a hallmark of the Baroque era
22.43 (charlie p) Madonna with the long neck
- Parmigianino - ca. 1535 - Oil on wood - The elegance and stylishness was a principal aim of mannerism - He smoothly combined the influences of Correggio and Raphael in a picture of exquisite grace and precious sweetness - Madonna --> small oval head, long slender neck, delicate hand, and the elongation of her frame are ALL marks of the aristocratic mannerism - Parmigianino amplified this elegance by expanding Madonna's form as viewed from head to toe - LEFT --> A group of creatures: melting with emotions + smooth skin = Angelic - RIGHT --> The artist included a line of columns w/out capitals and an mysterious figure w/ a scroll, whose distance from the foreground is ambiguous - Why is her neck so long??? While the elegance of the painting is due to her long figure, the long neck is derived from medieval hymns that compared her neck to a great ivory tower or column - Contains religious meaning as well as power derived from beauty alone
22.18 Marriage of the Virgin
- RAPHAEL - 1504 - Florence, Italy - Oil on wood - From the Chapel of Saint Joseph in San Francesco in Citta di Castello - Raphael depicted Joseph with his flowering rod and about to place Mary's wedding ring on her extended hand - Other virgins congregate at the left, and the unsuccessful suitors stand on the right - One breaks his rod in half over his knee in frustration, giving Raphael an opportunity to demonstrate his majesty of foreshortening and of the perspective system he learned from his teacher, Perugino - The temple in the back is Raphael's version of a centrally planned building
22.19 Madonna in the Meadow
- RAPHAEL - 1505-1506 - Oil on panel - Under Leonardo's influence, Raphael began to modify the Madonna compositions he had learned in Umbria - Used pyramidal composition composition, like Leonardo's Virgin of the Rocks - Placed large, substantial figures in a Peruginesque landscape, with older artist's typical feathery trees in the middle ground - Raphael preferred clarity to obscurity, not fascinated, as Leonardo was, to mystery
22.17 Philosophy (School of Athens)
- RAPHAEL - 1509-1511 - Santa della Segnatura, Vatican Palace, Rome, Italy - Fresco - Depicts luminaries conversing and explaining their various theories and ideas - Features a vast hall covered by massive vaults that recall Roman architecture, and colossal statues of Apollo and Athena (gods of arts and wisdom) - Plato and Aristotle serve as the central figures whom Raphael carefully arranged the others around - Raphael placed himself among the mathematicians and scientists - The convincing depiction of a vast perspectival space on two-dimensional surface was made possible because of the union of mathematics with pictorial science - All of the figures communicate moods that reflect their beliefs - The perspectival vanishing point falls on Plato's left hand
22.20 Galatea
- RAPHAEL - 1513 - Rome, Italy - Fresco - From Sala di Galatea, Villa Farnesina - Based on Metamorphoses by the Roman poet Ovid - Galatea flees from her uncouth lover, Cyclops Polyphemus, on a shell drawn by leaping dolphins - The painting erupts unrestrained pagan joy and exuberance - Raphael conceived his figures sculpturally and in supple, strong, and vigorously in motion - This contrasts Bottecelli's delicate, hovering, almost dematerialized Venus
22.21 Baldassare Castiglione (Abby)
- Raphael - 1514 - Oil on wood transferred to canvas - Subject = scholars & courtiers who surrounded Pope Leo 10 - looks directly at the viewer w/ philosophers benign gaze - muted tones benefit the man portrayed
22.52 Last Supper
- Tintoretto (Jacopo Robusti) - 1594/ Venice, Italy - Interior of Andrea Palladio's Church of San Giorgio Maggiore - Oil on canvas - The only light on the dark space is located on the left from the ceiling and jesus' halo, which indicates a biblical nature of the scene - Mannerist devices include: imbalanced composition, visual complexity - Contrasts with Leonardo's last supper, this one is more experimental and instructive in comparision to leo's balanced and symmetrical space - Christ is tranquil in the center of the, drawing the viewer's eye to Christ above the converging perspective lines
22.37 Meeting of Bacchus and Ariadne
- Titian - 1522-1523 - Oil on canvas - Bacchus, accompanied by a boisterous and noisy group, arrives to save Ariadne, whom Theseus has abandoned on the island of Naxos. - He derives one of his figures, entwined with snakes, from ancient sculpture of Laocoon. - Titian's rich and luminous colors add greatly to the seniors appeal of this painting, making it perfect for Alfonso's "pleasure chamber"
22.39 Isabella d'Este
- Titian - 1534-1536 - Oil on canvas - Titian sharply highlighted Isabella's face, while her black dress fades into the undefined darkness of the background. - The unseen light source also illuminates Isabella's hands, and the artist painted her sleeves with incrideble detail to further draw viewers' attention to her hands. - painted when Isabella was 60 years old, it depicts her in her 20s as requested.
22.38 Venus of Urbino
- Titian - 1538 - Oil on canvas - No evidence suggests that the duke intended the commission as anything more than a female nude for his private enjoyment. - Based his version on an earlier painting of Venus by Giorgione - Titian established the compositional elements and the standard for paintings of reclining female nude. - She reclines one the gentle slope of her luxurious pillowed couch, the linear play of the draperies contrasting with her body's sleek continuous volume. - The red tones of the matron's skirt and the muted reds of the tapestries against the neutral whites of the matron's sleeves and the kneeling girl's gown echo deep Venetian reds set off against the pale neutral whites of the linen and the warm ivory gold of the flesh. - Titian used color not simply for tinting preexsisting forms but also to organize his placement of forms.
22.36 Madonna of the Pesaro Family
- Titian - Venice, Italy - 1519-1526 - Oil on canvas - Pesaro, Bishop of Pathos in Cyprus and commander of the papal fleet, had led a successful expedition in 1502 against the Turks during the Venetian- Turkish war and commissioned this painting in gratitude. - The Madonna receives the commander, who kneels dutifully at the foot of her throne. A soldier (Saint George?) behind the commander carries a banner with the escutcheons ( shields with coats of arms) of the Borgia and of Pesaro. - Sain Peter appears on the steps of the throne, and Saint Francis introduces other Pesaro family memebers, who kneel solemnly in the foreground. - Titian places figures on a steep diagonal, positioning the Madonna, the focus of the composition, well off the central axis. - Titan drew viewers' attention to her with perspective lines, the inclination of the figures, and directional lines of gaze and gesture. - In his rendering of the rich surface textures, Titan gave a dazzling display of color in all its nuances.
22.33 Pastoral Symphony
- by Giorgione da castelfranco - 1508, oil on canvas - shows poesia and inspired late Arcadian scenes by Bellini, his teacher - two nude women and two clothed men occupy the landscape where shepherds pass - artist evoked pastoral mood - the shepherd symbolizes the poet, the pipes and lute symbolize his poetry - the two women may be thought of as their invisible inspiration, their muses - these bodies of the women became the standard in venetian art - giorgione praised the beauty of nature, music, women, and pleasure
22.32 The feast of the gods
- by Giovanni Bellini and Titian - oil on canvas - he drew from the work of one of his prior students - the duke of ferrara commissioned this for a room in the Palazzo Ducale - he drew some of the figures from standard repertoire of Greco-Roman art - olympian gods appear as peasants - figures spread across the foreground, colorful draperies, smooth skin and polished metal - green tree glades in the distance and at the right, a line of trees creates shelter - countryside providing a setting for the never-ending pleasure of the immortal gods - venetian artists painted the poetry of the senses and delighted in nature's beauty and humanity
22.31 San Zaccaria Altarpiece
- by Giovanni Bellini in Venice Italy, 1505 - oil on wood transferred to canvas - used sacra conversazione (holy conversation) type. unified space joins different saints who converse with each other in the audience - virgin Mary enthroned holding Christ and saints flanking her - at the foot of the throne in an angel playing a viola - sophistication of Bellini's style shown in the color and light, radiates spiritual calm - line is not the main agent of form because outlines dissolve in light and shadow
22.35 Assumption of the virgin
- by titian, Venice Italy - 1516-1518, oil on wood - titian's coloristic sense and his ability to show light through color are shown in this altarpiece - painted for the main altar of Santa Maria Gloriosa dei Frari - shows ascent of the virgin to heaven - god above her and apostles below surprised as they witness this - through this vibrant color, he infused the image with drama and intensity that assured his reputation
22.56 Villa Rotonda (formerly Villa Capra)
-Artist: Andrea Palladio -Date: 1566-1570 -Location: near Vicenza, Italy -Did not follow artists typical style - patron was retired monsignor who wanted villa for social events -located on a hilltop as a beautiful view- w/o wings as usually seen on secondary buildings -central plan: 4 identical facades and projecting porches- sensible and functional- each can be used in order to view different parts of surrounding landscape -central dome-covered rotunda functions as a way for visitors to tun in any direction for preferred view -result: building w/ functional parts SYSTEMATICALLY related to one another in terms of CALCULATED MATHEMATICAL RELATIONSHIPS -embodies all the qualities of self-suffciency and formal completeness sought by most Renaissance architects -influenced by classical roman art Palladio had studies- each facade resembles a Roman temple - reminiscent of the Pantheon by traditional temple porch placed in front of dome-covered interior - artists style mixed elements of mannerism w/ the clarity and lack of ambiguity that characterized classicism at its most "correct"
22.57 Plan of the Villa Rotunda
-Artist: Andrea Palladio -Date: 1566-1570 -Location: near Vicenza, Italy -Did not follow artists typical style - patron was retired monsignor who wanted villa for social events -located on a hilltop as a beautiful view- w/o wings as usually seen on secondary buildings -central plan: 4 identical facades and projecting porches- sensible and functional- each can be used in order to view different parts of surrounding landscape -central dome-covered rotunda functions as a way for visitors to tun in any direction for preferred view -result: building w/ functional parts SYSTEMATICALLY related to one another in terms of CALCULATED MATHEMATICAL RELATIONSHIPS -embodies all the qualities of self-suffciency and formal completeness sought by most Renaissance architects -influenced by classical roman art Palladio had studies- each facade resembles a Roman temple - reminiscent of the Pantheon by traditional temple porch placed in front of dome-covered interior - artists style mixed elements of mannerism w/ the clarity and lack of ambiguity that characterized classicism at its most "correct"
22.59 Interior of San Giorgio Maggiore
-Artist: Andrea Palladio -Date: begun in 1565 -Location: Venice, Italy - above reflects within the interior arrangement- coolly logical however the intersection of two temple facades is irrational and ambiguous in regards to Mannerist fashion - design created illusion of 3-D depth, intensified by strong projection of the central columns and the shadows they cast -this play of shadow across the buildings surfaces, reflection on water, and gleaming white against sea and sky creating a colorful effect prefigures the Baroque style - interior lacks the same ambiguity as the facade- exhibits strong roots in High Renaissance architectural style -natural light w/n defines contours of wall decorations - pedestals, bases, shafts, capitals, and entablatures- -correctly profiled - exemplar of what classical architectural theory meant by "rational" organization
22.58 West Facade of San Giorgio Maggiore
-Artist: Andrea Palladio -Date: begun in 1565 -Location: Venice, Italy - dramatically placed directly across a broad canal from the Piazza San Marco - Palladio superimposed a tall, narrow classical porch on a low broad one in order to solve problems of integrating a high central nave and lower aisles into a unified facade design - read below for reflection of interior arrangement
22.47 Genius of Fontainebleau
-BENVENUTO CELLINI -a mannerist sculptor, was originally a goldsmith -depicts Diana, goddess of the hunt and classically, spring -immense contrapposto, with long limbs and tiny head -female nudes become common in Renaissance
22.07 Medal showing Bramante's design for the new Saint Peter's
-CHRISTOFORO FOPPA CARDOSSO -1506 -The dome is hemispherical like that of the Pantheon -The massive unity of the building is broken up here by towers and a medley of domes and porticos -Revives the Roman practice of placing images of important imperial building projects on the reverses of Roman coins -Renaissance humanists avidly collected these coins -Not until the 17th century did the Chruch oversee the completion of Saint Peter's (passed down from architect to architect, eventually leading to Michelangelo)
22.23 Palazzo Farnese (Abby)
ANTONIO DA SANGALLO Rome, Italy 1530-1546 - Pope Paul 3 = commissioner - Antonio became Bramate's draftsman and assistant - contributed to modern method of constructing bastioned fortifications - Set standards for high renaissance palazzo - express classical order - facade encapsulates aristocratic epoch that followed middle class democracy of European cities - window casements are not flush with the wall like (fig. 21.20) but project from the surface
22.08 Tempietto
-DONATO D'ANGELO BRAMANTE -1502 -San Pietro in Montorio, Rome, Italy -Considered the perfect prototype of classical domed architecture for the Renaissance and subsequent periods -Received its name because it had the look of a small pagan temple from antiquity -Lower story was inspired by the round temples of Roman Italy -Commissioners: King Ferdinand and Queen Isabella of Spain -Commissioned this to mark the conjectural location of Saint Peter's Crucifixion -Focused on the composition of volumes, masses, and on a sculptural handling of solids and voids -Resembles a sculptured reliquary and Greek tholos (5-71)... However Greek tholoi had neither drum nor balustrade -Circular stylobate and Tuscan style colonnade -Rhythmical play of light and shadow, seen around the columns and balustrade and across the deep-set rectangular windows alternating with shallow-shell capped niches in the cella walls and drum -Early Renaissance style: emphasis on detailing flay wall surfaces -High Renaissance style: sculptural handling of architectural masses
22.06 Plan for the new Saint Peter's
-DONATO D'ANGELO BRAMANTE -1505 -The Vatican, Rome, Italy -Pope Julius II wanted to replace the Constantinan basilica, Old Saint Peter's, with a new structure -Julius II had an interest in the Roman Empire -Julius wanted to gain control over the whole of Italy and "to make the Rome of the popes reminiscent of (if not more splendid than) the Rome of the Caesars" -As the symbolic seat of the papacy, Saint Peter's represented the history of the Chruch -Julius II hired Bramante for the commission -Influenced by Filippo Brunelleschi, Leon Battista Alberti, and Leonardo, BRAMANTE DEVELOPED THE HIGH RENAISSANCE FORM OF THE CENTRAL-PLAN CHURCH -Bramante used the Pantheon as a model for the dome -Designed the plan to consist of a cross with arms of equal length, each terminated by an apse -Large dome would have covered the crossing, and smaller domes over subsidiary chapels would have covered the diagonal axes of the roughly square plan -Interior space had the design of the intricate symmetries of a crystal -9 interlocking crosses, 5 of them supporting domes -Julius II intended the new building to serve as a martyrium to mark Saint Peter's grave and also hoped to have his grave in it
22.50 Il Gesù
-GIACOMO DELLA PORTA -Jesuit order, a major participant in the counter-reformation needed a church to emphasize it's new prominence -Giacomo Da Vignola designed the ground plan because Michelangelo was late turning in his designs -Both Giacomo's built the structure -Is marked as late renaissance, but it's one of the most significant models for Baroque architecture -Unifies the two stories and synthisizes scroll buttresses and pilasters
22.48 Abduction of Sabine Women
-GIOVANNI DA BOLOGNA -exemplifies Mannerist principles of figure composition -was not intended to represent the abduction of Sabine women by the Romans, but instead classical depiction of mythological beings -includes references to Laocoön, with three bodies and sprialing movement -to fully appreciate the sculpture, a viewer must walk around it, with it's open spaces and height
22.49 Interior courtyard facade of the Palazzo del Té
-GUILIO ROMANO -formulated the vocabulary of mannerist architecture -intended to serve as a suburban summer palace and stud farm for his famous stables -pleased the Duke so much with his design he was commissioned to enlarge it -serves as the focal point of the design as a small urban influence -divergences from architectural convention are so pronounced they're almost an architectural parody of Bramante's classical style, announcing the artifice of the design -the building is laden with structural surprises and contradictions with the courtyard being the most unconventional of all -many devices invented for the palace became standard features in the formal repertoire of later mannerist buildings
22.29 Saint Peter's (view from the northwest)
-MICHELANGEL BUONARROTI - Vatican City, Rome, Italy, 1546-1564. Dome Completed by Giacomo Della Porta in 1590 -The giant pilasters seem to march around the undulating wall surfaces, confining the movement without interrupting it. The architectural sculpturing here extends up from the ground through the attic stories and into the drum and the dome. -Baroque architects later learned much from this kind of integral design, which Michelangelo based on his conviction that architecture is one with the organic beauty of the human form.
22.27 Museo Capitolino
-MICHELANGELO BUNOARROTI - Capitoline Hill, Rome, Italy. Designed ca. 1537. -Facing the piazza, the two lateral palazzi, the Palazzo dei conservatori and Museo Capitolino, have identical two facing facades - Michelangelo introduced viewers again to the giant order, the tall pilasters first seen in more reserved fashion in Alberti's Sant' Andrea in Mantua. The pilasters not only tie the two stories together but also provide a sturdy skeleton that actually functions as the structure's main support -At ground level, he interposed columns to soften the transition from the massive bulk of the pilaster-faced piers to the deep voids between them -He embellished the façade, incorporating the same design elements that he had employed for the other two palazzi buildings but in a less sculptural fashion.
22.09 David
-MICHELANGELO BUONARROTI -1501-1504 -Marble -Commissioner: Florence Cathedral -Reveals his fascination with the human form -David's formal references to classical antiquity appealed to Julius II, who associated himself with humanists and with Roman emperors (led to major papal commissions) -Political dimension: with the stability of the republic in some jeopardy, Florentines viewed David as the symbolic defiant hero of the Florentine republic (especially given the placement near the west door of the Palazzo della Signoria) -Despite the traditional association of David with heroism, he is portrayed before he even fought Goliath -MICHELANGELO'S STYLE: energy in figures that resemble a coiled spring -His muscular anatomy amplifies the psychological energy of the David's pose -Michelangelo greatly admired Greco-Roman art and based David off a classical nude -Captured the tension of Lysippan athletes (5-65), and the psychological insight and emotionalism of Hellenistic statuary (5-80, 5-81) -Abandoned the self-contained compositions of earlier Davids by giving his David's head and abrupt turn toward his gigantic foe (Goliath) -Compositionally and emotionally connected to presence outside the figure (Goliath) -Pent-up emotion rather than calm ideal beauty
22.10 Moses
-MICHELANGELO BUONARROTI -1513-1515 -San Pietro in Vincoli, Rome, Italy -Marble -Commission that was originally ordered by Julius II was interrupted and sporadically resumed in 1513 -Meant to be seen from below and to be balanced with seven other massive forms related to it in spirit.. Its new setting does not have its originally intended impact -Horns were a sculptural convention in Christian art that helped Renaissance viewers identify Moses -Influenced by Hellenistic sculpture (5-86), where it seems as if Moses may rise out of his seat and convey his anger on the world -Characteristically pent-up energy: both emotional and physical
22.26 Aerial view of Capitoline Hill (Campidoglio)
-MICHELANGELO BUONARROTI -Rome, Italy, designed ca. 1537. - The pope wanted to transform the ancient hill, which had once been the site of the Roman Empire's spiritual capitol, the greatest temple to Jupiter in the roman world, into a symbol of the power of the new Rome of the popes -The buildings formed an 80-degree angle. Such preconditions may have defeated a lesser architect, But Michelangelo converted what seemed a limitation into the most impressive design for a civic unit formulated during the entire Renaissance -His obsession with the human form eventually showed into his architecture. This meant organizing their units symmetrically around a central and unique axis, as the arms relate to the body or the eyes or the nose. - To achieve balance and symmetry in design, Michelangelo placed the new building so that it stood at the same angle to the Palazzo dei Senatori as the Palazzo dei Conservatori. This yielded a trapezoidal plan, rather than a rectangular one.
22.28 Plan for Saint Peter's
-MICHELANGELO BUONARROTI -Vatican City, Rome, Italy, 1546 - Among Michelangelo's difficulties was his struggle to preserve and carry through Bramante's original plan, which he praised. He recognized the strength of the initial design and chose to retain is as the basis for his design -Michelangelo reduced the central component from a number of interlocking crosses to a compact domed Greek cross inscribed in a square and fronted with a double-columned portico.
22.30 Drawing of south elevation of Saint Peter's
-MICHELANGELO BUONARROTI -Vatican City, Rome, Italy, 1546-1564. Engraving by Etienne Duperac ca. 1569 -Originally, Michelangelo had planned a dome with an ogival section, but in his final version he decided on a hemispheric dome to temper the verticality of the design of the lower stories and to establish a balance between dynamic and static elements -His art style provided the foundation of art production for centuries.
22.11 Bound Slave
-Michelangelo Buonarroti -1513-1516 -marble -scholarly uncertainty about the sculpture -orginally connected with with Julius tomb, but that's now doubted -some reject their classifications as slaves or captives -move away from the abstract to embodying powerful emotional states associated with oppression -violent contraposto -communicated emotions through the human figure
22.13 Ceiling of the Sistine Chapel
-Michelangelo Buonarroti -Vatican City -Rome, Italy -1508-1512 -fresco - book gave the same notes as above as they were grouped together
22.14 Creation of Adam
-Michelangelo Buonarroti -ceiling of the Sistine Chapel, Vatican City -Rome, Italy -1511-1512 -detail of the ceiling (a central panel) -not traditional representation instead its very humanistic -God and Adam confront each other in a primordial unformed landscape -the Lord transcends the earth, wrapped in billowing cloud of drapery while Adam is very much a part of the earth -concrete communication between gods and heroes shown throughout classic myths -classical trappings do not obscure the essential Christian message
22.46 Portrait of the Artist's Sisters and Brother
-SOFONISBA ANGUISSOLA (a WOMAN!) -not meant for official display, was only for private familial means -relaxed poses and expressions, personal presentation and graceful treatment of forms -was a pupil of Michelangelo and later on in life gave advice to Anthony Van Dyck
22.15 Cleaning of the ceiling of the Sistine Chapel
-Vatican Chapel -Rome, Italy -1977-1989 -revealed much brighter colors -controversial because of the vivid colors -soot and grime covered ceiling was familiar (this is all there was on the page)
22.12 Interior of the Sistine Chapel
-Vatican City -Rome Italy -1473 -suspension of the tomb project ==> Michelangelo was given the ceiling assignment, but he still insisted that painting was not his profession -he had challenges as he was inexperienced -expressed the patron's agenda, Church doctrine, and the artist's interests -themes: Creation, Fall, Redemption of Humanity (selected by Julius 2 with the consult of Michelangelo) -weaved together more than 300 figures in a grand drama -hebrew prophets and pagan sibyls & David, Judith, Haman, and Moses, and the Brazen surface + other lesser known biblical figures
22.24Courtyard of Palazzo Farnese (Abby)
ANTONIO DA SANGALLO Rome, Italy 1530-1546 Third story attic by MICHELANGELO BUONARROTI - Stately column en framed arches on first 2 levels compare to Colosseum (fig. 10.34) - Third level has overlapping pilasters (Michelangelo) that were replaced by weighty columns (Antonio)
22.22 Tomb of Guiliano de'Medici (Abby)
MICHELANGELO BUONARROTI (Medici chapel) San lorenzo Florence, Italy 1519-1534 Marble - Interpreted as the souls ascent through levels of the universe -> Neoplatonism = school teaching plato's beliefs - lower river god layer of tomb symbolizes the underworld - Two statues on sarcophagi symbolize realm of the day and night -> never relaxed tensions -> symbol of Humanities pain - Fidura Serpentinata - twisting of body masses - personification of night and day = ultimate death - guiliano Sculpture represents how humanity might achieve union with god -> meditation or an active life
22.25 Last judgment (Abby)
MICHELANGELO BUONARROTI fresco on the altar wall of Sistine chapel Vatican city Rome, Italy 1534-1541 - Christ= judge - right arm raised in damnation -> destroy all creation - Revive demons of Romanesque tympanum (fig 17.25) - Terrifying vision of fate awaits sinners goes beyond Fig 21.51 - St. Bartholomew hold self portrait of Michelangelo (st. bartholo. is being tormented) - Figs are huge and twisted - contorted figures - Fresco evokes fear but also holds hope because there is a select amount of saved souls in the corner of the fresco
