Art History ch 20-22 test

Leonardo da Vinci, Mona Lisa, c. 1503-05, oil on wood, 30x21 inches, Louvre Museum, Paris

"Ma donna Lisa" ("my lady" Lisa) wife of an Italian banker. Seated in chair, grazed at viewer, smile, not in profile, no trappings of wealth. Medical knowledge, study evident in hands. Fantastic(cool) background as per Madonna of Rocks, viewed through window, warm foreground. (painting has darkened over time; women did pluck hairline, eyebrows). Kept with him until end of life.

Michelangelo Buonarroti, David, c. 1501-1504, marble, from Piazza della Signoria, Florence, marble, 17' high, Galleria dell'Accademia, Florence

"The Giant" block. Always symbol of liberty for Florence. Before encounter with Goliath, David is watchful, holds his stone, and sling. Oversized hands, meant for views from below. Pent-up emotion (Hellenistic) instead of calm.

The Renaissance in Quattrocento Italy- 1475-1500

- Botticelli paints classical mythological allegories for the Medici - Savonarola condemns humanism, and the Medici flee Florence - Pope Sixtus IV employs leading painters to decorate the Sistine Chapel - Bellini founds the Venetian High Renaissance school of painting

Late Medieval and Early Renaissance Northern Europe 1395-1425

- Claus Sluter carves life-size statues of biblical figures with portraitlike features, and Jacques de Baerze and Melchior Broederlam carve and paint the Retable de Champmol for Philip the Bold, duke of Burgundy - The Limbourg brothers expand the illusionistic capabilities of manuscript illumination for Jean, duke of Berry

The Renaissance in Quattrocento Italy- 1450-1475

- Federico da Montefeltro brings Piero della Francesca to the Urbino court - Alberti applies the principles of his On the Art of Building to architectural projects in Florence and Mantua - Mantegna creates illusionistic paintings for the Camera Picta in Mantua - Pietro Lombardo and his sons carve tombs for the doges of Venice

The Renaissance in Quattrocento Italy- 1425-1450

- Ghiberti installs the Gates of Paradise facing Florence Cathedral - Donatello revives freestanding nude male statuary - Michelozzo builds the new Medici palace in Florence - Alberti publishes his treatise on painting Marino Contarini builds his "House of Gold" in Venice

The Renaissance in Quattrocento Italy- 1400-1425

- Ghiberti wins the competition to design new doors for Florence's baptistery Nanni di Banco, Donatello, and others create statues for Or San Michele - Masaccio carries Giotto's naturalism further in the Brancacci chapel - Brunelleschi develops linear perspective and designs the Ospedale degli Innocenti, the first Renaissance building

Renaissance and Mannerism in Cinquecento Italy- 1575-1600

- Giambologna uses spiral compositions for Mannerist statuary groups - Tintoretto and Veronese are the leading painters in Late Renaissance Venice - The Jesuits construct Il Gesù in Rome, which will have a profound influence on the design of church facades and interiors in the Baroque era

Late Medieval and Early Renaissance Northern Europe 1475-1500

- In Flanders, Hans Memling specializes in paintings of the Madonna and Child and portraits of wealthy merchants - The Late Gothic style lingers in Germany in the large wood altarpieces carved by Veit Stoss and Tilman Riemenschneider - Martin Schongauer becomes the first Northern European master of metal engraving

Late Medieval and Early Renaissance Northern Europe 1425-1450

- In Flanders, Robert Campin, Jan van Eyck, and Rogier van der Weyden use oil paints to record the exact surface appearance of objects, fabrics, and faces - Flemish painters establish portraiture as a major art form - German graphic artists pioneer woodcut printing, making art affordable to the masses

Renaissance and Mannerism in Cinquecento Italy- 1495-1520

- Leonardo da Vinci paints Last Supper in Milan and Mona Lisa in Florence - High Renaissance art emerges in Rome under Pope Julius II - Raphael paints School of Athens for the papal apartments - Michelangelo carves a colossal statue of David in Florence and paints the ceiling of the Sistine Chapel in Rome

Renaissance and Mannerism in Cinquecento Italy- 1520-1550

- Paul III launches the Counter-Reformation - Michelangelo paints Last Judgment in the Sistine Chapel - In Venice, Titian uses rich colors and establishes oil on canvas as the preferred medium of Western painting - Mannerism emerges as an alternative to High Renaissance style in the work of Pontormo, Parmigianino, Bronzino, and Giulio Romano

Renaissance and Mannerism in Cinquecento Italy- 1559-1575

- The Council of Trent defends religious art - Andrea Palladio becomes chief architect of the Venetian Republic - Giorgio Vasari publishes his Lives of the leading Italian painters, sculptors, and architects, from Cimabue to Titian

Lorenzo Ghiberti, Sacrifice of Isaac, east doors, Baptistry of San Giovanni, Florence, 1401-1402, gilded bronze, 21x15 inches, Bargello, Florence, Italy

-Florence: Birth place of Renaissance -bronze with gilding -poses are controlled and choreographed -harmonious pairing of son and father -isacc, fully idealized Classical figure exuding calm composure -Brunelleschi withdrew from competition or lost, Ghiberti WON, and his piece was stronger, lighter and less expensive to produce

Well of Moses, Claus Sluter

1396-1406 — Asnières limestone, painted and gilded Life-size biblical statures, portrait like features; for duke of Burgundy, monastery, Dijon. Symbolic fountain of life, more realistic than French Gothic; Moses (horns), other prophets. Christ, Mary, etc., were above (25 ft tall); "blood" of Christ washed down on prophets below. "Mystery plays" that depicted Christ's life may be an influence. Piety and naturalism.

Michelangelo Buonarotti

1475-1564

Raffaello Santi

1483-1520 Called Raphael in English. Artist as "genius", but artists still work for Church, others.

High Renaissance

1495-1520

Man in a Red Turban, Jan van Eyck

1st time in 1000 years, sitter looks directly at viewer, 3/4 pose. Frame: "As I can," Jan van Eyck made me. "Is this a self portrait?

Masaccio, Tribute Money, c. 1424-1427, fresco, c. 8x20 feet, Brancacci Chapel, Santa Maria del Carmine, Florence

3 parts to story. Light source "outside" picture (shadow), Vasari; "Living , real, natural." Figures move through space around Jesus. Linear and aerial perspective (sky, clouds).

Perspective

A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located with reference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the farther from the viewer they are intended to seem. Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases.

Antonio del Pollaiullo, Battle of Ten Nudes, c. 1465, engraving, 15x23 inches

All muscles flex, study of body, no "winner", multiple poses. Engraving, broad distribution & reach.

Guilds

An association of merchants, craftsperson's, or scholars in medieval and Renaissance Europe.

Guild

An association of merchants, craftsperson, or scholars in medieval and Renaissance Europe.

Luca Signorelli, The Damned Cast into Hell, San Brizio chapel, Orvieto Cathedral, 1499-1502, fresco, 23 feet wide

Angels cast life-sized damned into Hell. Figural studies, narrative composition. Demons' rotting bodies.

Raphael, Madonna in the Meadow, 1505-1506, oil on wood, 44x34 inches, Kunsthistorisches Museum, Vienna, Austria

Artist died young; more famous than Leonardo or Michelangelo (less tortured and personal), called to Rome. No sfumato, clear background, calm and rational, pyramidal composition. Use of primary and secondsry colors. Note cross.

Titian, Meeting of Bacchus and Ariadne, from Palazzo Ducal, Ferrara, 1522-1523, oil on canvas, 69x75 inches, National Gallery, London

Bacchus arrives on island of Naxos to save Ariadne, based on ancient Latin poem. Figures based on classical art as well, especially man attacked by snakes. This photograph is a really good example of the oil technique in Venice.

Michelangelo Buonarroti, Pietà, c. 1547-1555, marble, c. 7.5 feet high, Museo dell'Opera del Duomo, Florence

Begun in70s, Left unfinished, intended for his tomb. Self-portrait as Nicodemus supporting Christ. Attempt to cut four full sized figures from one block of marble.

Fra Angelico, Annunciation, San Marco, Florence, Italy, c. 1438-1447, fresco, c. 7x10.5 feet

Brother Angel, frescos for his monastery. Top of stairs to monks' cells, looks like courtyard, but lighting is not naturalistic, clear, sacred event, note says 'say a Hail Mary.'

Andrea Palladio, Villa Rotonda, Vicenza, Italy, c. 1550-1570

Built for Social events, on hilltop with beautiful views. Central plan, for identical facades (fronts), echoes the Pantheon in Rome with facades and dome. Rotated 45 degrees from cardinal points, allows natural light in all rooms (really smart!).

Deposition, center panel of a triptych from Notre-Dame hors-les-murs, Louvain, Belgium

Center panel of a triptych, crossbows of archer's guild. - Shallow space focuses attention on event; not "realistic," but amplifies emotion. Curves of Jesus, Mary, Mary M. Fabric, flesh, emotion!

Benvenuto Cellini, Saltcellar of Francis I, 1540-1543, gold, enamel and ebony, 10x13 inches, Kunsthistorisches Museum, Vienna

Crazy life, autobiography. Saltcellar for Francis I. Naptune and Tellus, or Sea and Land. Slender figures, especially Tellus, very Mannerist. (Salt was in bowl, pepper in arch).

Ghent Altarpiece, closed.

Donor portraits at bottom. Annunciation in center, text upside down. Grisaille, to match gray stone of John the Baptist, John the Evangelist (or Beloved).

Jean Fouquet, Melun Diptych, c. 1452, oil on wood, each c. 36x34 inches

Etienne (Stephen) Chevalier is Royal Treasurer to French king, Charles VII. St. Stephen has a rock, his attribute, since his martyr's death was stoning. Looking across to Virgin and Child. Recalls Flemish 3/4 portraiture.

Rogier van der Weyden, Portrait of a Lady, c. 1460, oil on wood, 13x10 inches, National Gallery of Art, Washington, DC

Fig. 20-12A: Portrait of a Lady — Rogier Van Der Weydenca. 1460 — Oil on wood

Filippo Brunelleschi, Ospedale degli Innocenti (Foundling Hospital), Florence, Italy, begun 1419

First building in new Renaissance style. Also responsible for dome at Cathedral. Modules, classical columns.

Donatello, David, from the Palazzo Medici, Florence, c. 1440-1460, bronze, 62 inches

First free-standing nude, male figure of Renaissance. Reinvented classical nude, but not shown as a Greek god. Sponsored by the Medici; David id the symbol of Florence.

Europe in the 1400s

Flanders part of Duchy of Burgundy, wool trade with England, banking, wine. Very wealthy and powerful.

Italy, c. 1350-1600

Florence, Republic of Florence. Venice, Republic of Venice. Rome, Papal States. Not one country, but shared language and culture.

Michelangelo Buonarroti, Moses, from the tomb of Pope Julius II, Rome, Italy,1513-1515, marble, 7 feet, 8 inches tall, San Pietro in Vincoli, Rome

For massive planned tomb of Julius II. Many sculptures by Michelangelo were left unfinished. Moses body turns in multiple directions. Very dynamic! Idea of letting figures out of the marble. Moses has the horns again.

Sandro Botticelli, The Birth of Venus, c. 1484, tempera on canvas, c.6x9 feet, Uffizi Gallery, Florence

For the Medici. First monumental (large) nude goddess since ancient times; nudity means purity. Neo-Plantonic (Plato); rebirth (renaissance) of Classical philosophy and culture. Venus is therefore the idea and ideal spiritual, divine, and physical beauty.

Fra Filippo Lippi, Madonna and Child with Angels, c. 1460-1465, tempera on wood, 35x26 inches, Uffizi Gallery, Florence

Forgery, embezzlement, abduction of a nun. Figures recognizable as people and types, not "holy figures"; Arno Valley in background. Use of line, tempera is good for this. Where is Madonna's halo?

Bronzino, Allegory with Venus and Cupid, c. 1545, oil on wood, 61x56 inches, National Gallery, London

Gift from Medici duke to Francis I of France. Mannerism frequently learned allegories with erotic undertones. Here, adolescents Cupid fondles his mother Venus, Folly showers with rose petals, Time reveals incenst in progress. Envy, others, also shown. Love is inconstant and foolish, and lovers will discover folly in time (ambiguous)? Shallow space, sculptural figures with enamel-like surfaces; hands, heads, feet carries of grace, demonstration of skill.

Titian, Pastoral Symphony, c. 1508-1511, oil on canvas, 43x54 inches, Louvre Museum, Paris Titian, Meeting of Bacchus and Ariadne, from Palazzo Ducal, Ferrara, 1522-1523, oil on canvas, 69x75 inches, National Gallery, London

Greatest Venetian Painter, influenced by Giorgione-this is an early Titan. Dense shadows, soft forms, masterly of oil. Musician is poet, women are muses (water is inspiration), directly on canvas.

Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, The Vatican, 1481-1483, fresco, c. 11.5 x18 feet

In Sinstine Chapel. Christ handing the key represents the power of poses (sacred and secular). Roman triumphal arches.

Il Magnifico

Italian, "the magnificent one," the epithet of Lorenzo de' Medici.

Leonardo da Vinci, Madonna of the Rocks, from San Francisco Grande, Milan, Italy, 1483-1490, oil on wood, transferred to canvas, c. 6.5x4 feet, Louvre Museum, Paris

Leonardo was multitalented (engineer, inventor, painter, scientist, medicine). Florence, but works primarily in Milan. Leonardo experimented with media. "Fantastic" background grotto. Figures fit within oval, also Renaissance triangle. Leonardo frequently uses hands as important part of storytelling.

Leonardo da Vinci, Last Supper, c. 1495-1498, oil and tempera on plaster, c.14x30 feet, refectory, Santa Maria delle Grazie, Milan, Italy

Linear and one-point perspective. Judas on same side of table. Triads (3's). Experimented with materials. Refectory is dining hall. Tradition of Last Suppers in art.

Rogier van der Weyden, Deposition, c. 1435, oil on wood, 87x103 inches, Prado, Spain Dieric Bouts, Last Supper, Altarpiece of the Holy Sacrament, St. Peter's, Louvain, Belgium, 1464-1468, oil on wood, 6x5 feet

Linear perspective & vanishing point; orthogonal lines converge on point above the head of Jesus. Two groups, no one at center (TV show): Jesus as a priest, blessing the bread, instead of talking about Judas, comforting John, etc. 4 "servants" are members of Brotherhood of Holy Sacrament (Last Supper).

The Limbourg Brothers, January, from Les Tres Riches Heures du Duc de Berry, 1413-16, colors and ink on vellum, c.9x5 in, Musee Conde, Chantilly, France

Made for art collector; brother of king of France, duke of Burgundy. Private prayer book, called "book of hours," told what prayers to say when. Costly, eventually became available to merchants, bankers, etc. These full-page "calendar pictures" are the most famous in history of manuscript illumination. Lunette, top, zodiacal signs, chariot of sun moving through year. Alternates nobility and peasants, here, spatial recession ("approach, approach").

Jacopo da Pontormo, Entombment of Christ, Capponi chapel, Santa Felicita, Florence, 1525-1528, oil on wood, c.10x6.5 feet

Mannerism: originally had negative connotations, invented term, not used by artists at the time. Mannerism is artifice, not naturalistic, revealing constructed nature of their artwork. Imbalanced compositions, complex visually and spatially, ambiguous space, elongated or distorted forms, unusual treatment of traditional themes. Here, no cross or tomb, figures "float" around center, elongated bodies, small heads, anxious, & contrasting light blues and pinks. Self-portrait?

Italy, c. 1300

Many separate city-states, kingdoms, Florence, Vnice, other cities become extremely wealthy through international banking and commerce. Cities, wealthy merchants competed to patronize arts, music, architects, gifts to churches, etc. This wealth was an important part of funding the Renaissance, led to major changes through all of Europe.

Jan van Eyck, Giovanni Arnolfini and His Wife, 1434, oil on wood, 33x22 inches, National Gallery, London

Medici financier in Bruges and 2nd wife. Jan van Eyck was here' above convex mirror; plus two witnesses reflected in mirror. Dog, fidelity; bedpost has saint of childbirth; but she is probably not pregnant. Is this a marriage scene? Since public room, empowering business in his absence? Posthumous after her death in childbirth? This is a spectacular oil painting!

Michelozzo di Bartolommeo, Palazzo Medici-Riccardi, Florence, c. 1445

Medici, Rustication; lightens as it rises. Roman influences.

Parmigianino, Madonna with the Long Neck, from the Baiardi Chapel, Sant Maria dei Servi, Parma, 1534-1540, oil on wood, c. 7x4.5 feet, Uffizi Gallery Florence

Medieval hymn, Virgin's neck a great ivory tower or column. Spatial ambiguity of background figure. Long slender, attenuated figures.

Giovanni Bellini, Saint Francis in the Desert, c. 1477-1479, oil and tempera on wood, c. 4x5 feet

Mix of tempera and oil, Venetians and oil paintings. St. Francis founder of Franciscan order, received "stigma" on his hands and feet. Filled with other symbols.

The Alps

North or south of the Alps

Oil painting

Northern Europe adopts "oil painting" which allows warm, glowing colors, darker colors, implied textures, glazing, detail, and dries much more slowly(you can make changes!). Older media were tempera, fresco, in which you can do none of these things. (See Tempera and Oil Painting).

Hubert and Jan van Eyck, Ghent Altarpiece, Saint Bavo Cathedral

Note the fountain of life; Lamb of God bleeds into chalice. Saints from four corners of the earth, together the whole of Christian world goes from fall of humans to redemption. Meticulous attention to detail in oil is hallmark of Flemish painting 15th century.

Raphael, Pope Leo X with Cardinals Guiliano de'Medici and Luigi de'Rossi, c. 1517, oil on wood, 60x46 inches, Uffizi Gallery, Florence

Oil on wood (Low Countries). 3 members of Medici Education, beauty, wealth

Sandro Botticelli, Primavera, c. 1482, tempera on wood, c. 6.5x10.5 feet, Uffizi Gallery, Florence

Oranges wordplay on "medici." Greek and Lation allusions; Venus, Cupid, 3 Graces, Zephrys (blue) marries Flora? Wedding portrait? Seek God through love? Elegant, beautiful, linear style, flat patterns- NOT perspective, depth, shaodows, etc.

Leonardo da Vinci, The Fetus and Lining of the Uterus, c. 1511-1513, pen and ink with wash over red and black chalk on paper, 12x9 inches, Royal Library, Windsor Castle

Originates modern methods of scientific illustration, especially anatomy. (This if first proper depiction of human fetus in the womb, uterine lining, blood vessels, fetus is breech, etc.). See Materials and Techniques, Renaissance Drawing in textbook.

Michelangelo Buonarroti, vestibule of Laurentian Library, Florence, 1524-1534; staircase, 1558-1559

Painting, architecture, sculpture no longer rational. This is Mannerism in architecture. Michelangelo dies aged 89, after Quattrocento, High Renaissance, Mannerism

Raphael, Philosophy (School of Athens), 1509-1511, fresco, Stanze della Segnatura, Vatican City, Rome, 19x27 feet

Papal apartments. Renaissance humanists. (Remember Plato) Plato-Up Aristotle-Down Michelangelo and Raphael both in this painting. Reason, balance , measure.

Leonardo da Vinci, cartoon for Madonna and Child with Saint Anne and the Infant Saint John, c. 1505-1507, charcoal heightened with white on brown paper, c. 4.5x3 feet, National Gallery, London, England

Paper is light-sensitive (this has its own room at the National Gallery!). A "cartoon" is a preparatory drawing for a fresco, but this appears to be a completed work. Highlights importance of artist's thoughts and ideas, the new prominence of artists in Renaissance.

Michelangelo Buonarroti, Pietà, c. 1498-1500, marble, 68 inches high, Saint Peter's, Vatican City

Polith, texture of stone into flesh, other. Youthfulness of Mary. Christ "too small" Only signed sculpture

When they were born, nobody in Europe, Asia or African had ever seen:

Potatoes, tomatoes, tobacco, corn, sweet potatoes, cassava, cacao (chocolate), pumpkins, chili peppers, peanuts, pineapples, turkeys, tequila, Native Americans, North and South America!

Martin Schongauer, Saint Anthony Tormented by Demons, c. 1480, engraving, 12x9 inches

Prints on paper are lightweight, can be produced in numerous impressions, can be produced in numerous impressions, can be sold at much lower prices, and reach much wider audiences. In engraving (c. 1430 and after), artist uses a burin to incise lines in a copper plate (physically hard to do). Schongauer is very good at achieving values and texture with lines only, including cross-hatching. Other terms and concepts to know: intaglio, relief, etching, and woodblock.

Michelangelo Buonarroti, Last Judgement, altar wall of Sistine Chapel, Vatican City, Rome, Italy, 1536-1541, fresco, 48x44 feet

Private chapel of the Pope; new popes are also elected here. 5,800 square feet. Viewed by looking up, walking toward altar, other views on sides.

Titian, Venus of Urbino, 1536-1538, oil on canvas, 47x65 inches, Uffizi Gallery, Florence Jacopo da Pontormo, Entombment of Christ, Capponi chapel, Santa Felicita, Florence, 1525-1528, oil on wood, c.10x6.5 feet

Probably woman in her bedchamber, based on Giorgione, this becomes the standard for showing classical female nude. Lapdog instead of Cupid, clothing chest. Rectangular shapes get smaller as we go "back' red in foreground, back.

Donatello, Saint Mark, Or San Michele, Florence, Italy, 1411-1413, marble, figure 7 feet, 9 inches

Prominent building, with niches for statues representing guilds; this one is for the guild of linen markers and tailors. Contrapposto "weight shift." Robe "moves" with body, does not hide but instead emphasizes body underneath. Linen pillow!

Andrea del Castagno, Last Supper, Refectory of the Monastery of Sant'Apollonia, Florence, 1447, fresco, c. 15x32 feet

Refectory is dining hall, in a convent for nuns. Ceiling, roof; not true linear perspective. "Marble panels" (very abstract!). Judas in traditional location.

Gentile da Fabriano, Adoration of the Magi, altarpiece, Strozzi chapel, Santa Trinità, Florence, 1423, tempera on wood, c. 12x9 feet

Richest family in Florence. Gold and decorated. International Gothic. Naturalism and foreshortening

Europe

Rise of nation-states. Glowing wealth of merchants, bankers, guilds, who join kings, church to support arts

Raphael, Marriage of the Virgin, from the Albizzini Chapel, San Francesco, Citta di Castello, Italy, 1504, oil on wood, c. 67x46 inches, Pinacotecta di Brera, Milan, Italy

Rod blooms, foreshortened figure breaks stick. Perugino temple.

Donatello, Feast of Herod, panel, Baptistry, Siena Cathedral, 1423-1427, gilded bronze, 23x23 in.

Salome, head of John the baptist to Herod. Invention or re-discovery of linear perspective, horizon line, vanishing point, orthogonal lines (diagonal lines). Emergence of modern science.

Limbourg Brothers, October

Seasons and jobs. Naturalism, details and shadows, remember, this tiny. Louvre in background

Giorgione da Castelfranco, The Tempest, c. 1509-1511, oil on canvas, 32x28, Galleria dell'Accademia, Venice, Italy

Short-lived artist, devised poetic manner of painting. Lush landscapes, can be hard to know what art "means". Here, stormy skies, lighting, but "pastoral setting", oddly posed woman nursing baby, and soldier, gypsy, shepherd with staff. X-rays show many changes: is his Eve, Adam, Cain; Greek hunter with goddess lover; Mary, Jesus, shepherd; Venus and Cupid" symbols of Venice?

Parmigianino, Self-Portrait in Convex Mirror, 1524, oil on wood, 9 inches diameter, Kunsthistorisches Museum, Vienna

Technically amazing portrait, based on barber's mirror. Wooden panel, oil grazes to appear like glass reflection. Emphasis on hand-painter's hand fashioned artwork. Impressed Pope! Because of his personal charm and skill, became favorite in Rome after Raphael.

Late Medieval and Early Renaissance Northern Europe 1450-1475

The second generation of Flemish master painters—Petrus Christus, Dieric Bouts, and Hugo van der Goes—continues to use oil paints for altarpieces featuring naturalistic representations of religious themes - In Germany, Johannes Gutenberg invents moveable type and prints the first Bibles on a letterpress

Michelangelo Buonarroti, Saint Peter's, Vatican City, Rome, Italy, 1546-1564; dome 1590

Tomb of St. Peter, replacing fourth-century basilica. Michelangelo inherited previous work for central plan church; basilica was long, narrow. Felt building should follow form of human body; Greek cross on square, fronted with double-columned portico. Changed in Baroque.

Michelangelo Buonarroti, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508-1512, fresco, 128x45 feet

Totally new interpretation; God as classical figure Man and ground not yet formed. Off-center hands. Eve or Virgin, Curves and diagonals

Piero della Francesca, Resurrection, Palazzo Communale, Borgo San Sepolcro, Italy, c. 1463-1465, fresco, c. 7.5x6.5 feet

Town connected with Christ's tomb. Viewed from below, foreshortened guards, compositional triangle, but Christ head-on. His torso is Greco-Roman. May include self-portrait!

Tintoretto, Last Supper, 1594, oil on canvas, c. 12x19 feet, San Giorgio Maggiore, Venice, Italy Paolo Veronese, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, 1573, oil on canvas, c.18x42 feet

Venetian artist, In this late painting, spiritual, visionary forms dissolved in dark, shot with light. Mannerist in imbalanced composition, visual complexity. We are moving from the architectonic clarity of space and neutral lighting of the Renaissance to the dramatic perspectives and chiaroscuro of the Baroque.

Paolo Veronese, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, 1573, oil on canvas, c.18x42 feet

Venetian, note colors. Refectories of wealthy monasteries; huge art! Charged by Inquisition for disrespect, changed title instead. Venice had/has festivals, so they were OK about it!

Giovanni Bellini, Madonna and Child with Saints (San Zaccaria Altarpiece), 1505, oil on wood, c. 16.5x8 feet, San Zaccaria, Venice

Venice is gateway to the east (spices, silks, etc,). Turkish, Byzantine, Islamic art, more. Major retail market for pigments; use of oils; ground glass (!) vibrant colors differ from Rome, Florence. Bellini leading Venetian painter, c 1500. Sacre conversazione (holy coversation), saints, different times and regions, converse and with us. Painted architecture coodinated with real. Mary and Child, Peter holds book and key, Catherine, martyr's palm and wheel, Jerome, translated Bible to Latin. Balance of light and color; line does not play same role as fresco and other art of Florence and Rome.

Rogier van der Weyden, Saint Luke Drawing the Virgin, c. 1435-1440, oil and tempera on wood, 54x43 inches, Museum of Fine Arts, Boston

Wealthy Flemish merchant household. For Guild of Saint Luke, patron saint of artists; Luke's attribute in an ox. Luke creates preparatory drawing in silverpoint, just as Rogier would have done. Rogier was one of the best portrait painters; is this a self-portrait?

Condottieri

an Italian mercenary general

Flemish Art

in Medical Florence Adoring Jesus (instead of holding) Titled Ground (mystery plays) Shepherds' naturalism symbolism throughout, hierarchy of scale, but incredibly real to the Florentines

Leonardo da Vinci

1452-1519

quattrocento

the 1400s, or fifteenth century, in Italian art