ARTH154_16-20
sogno
(dream; dreaminess-said of Giorgione's figures)
printmaking engraving
intaglio
Work: Saltcellar of Francis Date: 1540-1543 Artist: Benvenuto Cellini (mannerist sculpture) Patron: Francis I of France elongated proportions reveal Mannerist approach to form wrote autobiography
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Work: portrait of the artists sister and brother Date: 1555 Artist:Sofonisba Anguissola
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1) Reinvention of one point perspective (linear perspective) 2) Rediscovery of the antique 3) New civic pride // New type of monument 4) Rise of the status of the accomplishments of the artists
4 Themes of the Renaisssance
1) colossal size and overpowering strength of figures 2) beauty of ancient classical art combined with christian anxiety about the body - conflict becomes deeper in later work 3) articulation of muscles based on looking at classical art, but also by performing dissections and by developing a style that no one else has ever equaled 4) Neopolatonic theory of sculpture of Revealing the idea and form of the body by subtracting the stone layers that "imprison it" (related to the concept of the artist as "devine" who creates with an almost godlike power to give life and reveal truth. 5) One of the periods most accomplished poets. His vame in all fields ends once and for all any doubt about the rights of artist. 6) believed that content cannot be divorced from form
5 Things to Know about Michelangelo
1) New synthesis between descriptive naturalism and idea form // synthesis between natural and idea 2) The body as meaning or idea: the body reveals though, feeling, spiritual inhabitation l3) ight and shadow - new interest in optics 4) science revealing broader concepts of nature and the divine 5) Drawing: new use of drawings for 6) New cult of the artist
6 Di Vinci directions
the aim of art is to portray the actions of noble men.
Aristotle on art
study of symbolic, often religious, of objects, persons and events used in art
ionography
Maneria too confusing - not communicating ideas too eroitic - lots of nudes (fig leaves enhance erotic impact) too artificial - built on copying renaissance masters style for style sake Antimaneria - new naturalism, color rather than designo, iconographically clear
Council of Trent conclusion on art
Two countries from Netherlands 1) Dutch Republic: (northern Netherlands - Holland) Calvinist/Protestant - Rembrandt 2) Flanders: (southern Netherlands) Catholic/Spanish Catholic
Dutch Revolt
illusionism
Frence - trompe-'oeil deceive the eye
maniera greca
Greek Manner What the Renaissance critics called Byzantine art
overblown, exaggerated language
Hyperbole
1535-1570 inspired by later work of Micheangelo
Maniera
apply anticlassical principles (reject balance, order and stability) use of classical architecture in a highly personal and unorthodox manner rejecting balance order and stability.
Mannerist architect
fusion of mythology, ancient mataphysics, Christianity
Neoplatonism
colore, colorito
North Italian colorism - important in Venice and Parma
lofty oration or writing in praise of a person or thing; eulogy.
Panegytic
idealization and antique decorative motives
Raphaelesque
sprezzatura
deftness, speed
order calm subordination of detail to total effect involvement of every part of the design in the meaning of the whole
Renaissance style
the art of oratory - figures of speech used to generate certain meanings/concepts
Rhetoric
1527--(King of Spain/Holy Roman Emperor Charles V ostensibly in Italy to fight the French, invades Rome, imprisons Pope Clement VII de' Medici, and sacks the city)
Sack of Rome
Paul 3rd (1534-1549) dissatisfaction with Roman Catholic Church reformers directly challenged papal authority Council of Trent 1545-1563
The Counter Reformation
close observation of natural world as opposed to depiction based on an idea.
descriptive naturalism vs. Ideal
Mannerism
The first phase of a stylistic movement that follows the High Renaissance. anti-classical phase 1520-1530
Maniera
The stylish style - the second phase of Mannerism from roughly 1530-1580
disegno
drawing, design refers to Central Italian linearity and cult of beautiful draftsmanship associated with contours of classical statuary
cathedral where bishop of city has seat
duomo
fungus that grows on rye
ergot
figura serpentinata
figure "s"; s-curve
flowery; excessively ornate; showy
florid
grazia
gracefulness, beauty, lightness, charm, pleasingness
use of scale to indicate importance
hieratic compositional style
In Florence, disegno, that is, "drawing" or "design," was viewed as the essential beginning of artistic endeavor, the primary means for making art approximate nature. In Venice, colorito, "coloring"—not only color but also its judicious application—was deemed fundamental to conceiving painted images charged with the look of life. Florentine color was frequently more vivid than the palette used in Venetian paintings; typically Venetian, however, was the process of layering and blending colors to achieve a glowing richness.
Venetian vs. Florentine Painting
Gothic
a style that flourished in the later middle ages aspects survive in the early Renaissance
Pope Sixtus IV
accomplishments as pope included building the Sistine Chapel, established the Vatican Archives
manner or style of the ancients
all'antica
camera obscura
ancestor of modern camera
terribilità
awesomeness (said of Michelangelo's overwhelming greatness; the power of his art and personality)
Giorgio Vasari pupil of Sartos
biographer, painter early 16th century
new emphasis on classical literature and culture
humanism
in its original location
in situ
Oil is wider in coloristic range than either tempera or fresco
oil vs. tempera vs. fresco
outlining drawing with pins in wet plaster
pouncing
printmaking woodcut
relief
plasticity
sculptural, sense of mass, substantiality, three-dimensionality
attenuated
slender, elongated
dusty characteristic
spolvero
non-finito
unfinished