Italian Renaissance Final

Antonio del Pollaiuolo (1431/32-1498)

"Antonio, son of the Poulterer" (pollo in Italian means "chicken") The name is hard to spell but easy enough to pronounce: Pole-eye-wo-lo. Trained as a goldsmith, but sometimes described in contemporary documents as a maestro di disegno ("master of design"). Worked as a painter, sculptor in bronze and silver, and copper-plate engraver; even designed a famous set of embroideries for the Florentine Baptistery. Hercules and the Hydra (1460s) Hercules and Antaeus (painting) Hercules and Antaeus (statue) Battle of the Nudes (engraving) (1470s?)

Bellini, Madonna and Child Enthroned with Saints

Bellini, Madonna and Child Enthroned with Saints San Zaccaria Altarpiece (1505) located in the Venetian church of San Zaccaria, hence known as the San Zaccaria Altarpiece (1505). This originally stood by itself on a blank wall and now there is stuff all surrounding it. The painting was cut out of it's original frame and shipped to paris in the 1800s and it was reframed and they had to cut it down. After the death of napoleon it ws sent back to venice but top and bottom are missing in the trash of parish. When the great German artist Albrecht Dürer visited Venice in 1506, he wrote about Bellini in a letter to a friend back in Nuremburg, saying, Er ist sehr alt und ist noch der best im gemoll - "He is very old and is still the best in painting." In fact, Bellini was in his mid-70s at the time. It almost looks as though the frame and the painting were made for each other. The painted archtecture is the continuation of the real architecture of the frame Just updated there is more space in the later piece. More archtecture. Th irgin is also raised up whih Is new. There are less saints bc of the patron's preference. Both works are semestrical. Note a segment of St. Catherine's wheel, as well as a cartellino with Bellini's signature and the date, 1505. Color is amajor feature in venetian art.

Giorgio da Castelfranco, nicknamed Giorgione

First painter to exploit canvus and really get into it. The Tempest (1505-10) Sleeping Venus (1510?)

"Rebellious" Slave and "Dying" Slave

Michelangelo

Pietà (1498-99)

Michelangelo Commissioned by a French cardinal for a chapel in St. Peter's

Moses (1513-16)

Michelangelo In deep thought and then suddenly turns his head. The horns are often discussed. Ranging from the ethnic slur that jews have horns. It may also have been a mistranslation of a text that led to an iconography. He could be listening to the voice of god as he plays with his beard

Sandro Botticelli (1445-1510; Florentine)

Note that the name Sandro is a diminutive form of Alessandro (Alexander). The artist's full name was actually Alessandro di Mariano Filipepi. His more familiar name derives from the nickname, il Botticello ("the keg"), of an older brother who cared for him in his childhood. c. 1460 (age 15) - Botticelli enters the workshop of Fra Filippo Lippi. 1472 (age 27) - Running his own workshop in Florence with Fra Filippo's son, Filippino Lippi, as an assistant. 1481-82 - Active in Rome, painting frescoes on the walls of the Sistine Chapel along with Ghirlandaio, Perugino, and other Florentine artists. 1510 - Death of Botticelli at age 64 or 65. Like Pollaiuolo, Botticelli was a favored artist of the Medici during much of his career. Lorenzo de' Medici portrait Giuliano de' Medici portrait La Primavera

Crucifixion (1502-03)

Raphael Altarpiece for the chapel of Domenico Gavari in the church of San Domenico, Città di Castello Note: the painting is about 9 ft. high Peruginesque period. Same subject matter but different as well as similar. Ideal nude christ with no pain shown. Body of christ is fully int eh sky. Th figures below are similar. The figures make a V. which echos the background. Perugino has more detaila nd harder edges. Style reflects more perugino from fthe 1490s. Empier landscape, more generalized. The angels are perugino like too but just not any that we've seen. They aren't important they're for decoration. There are many implied arches and curves, the angels, christ's arms, the heads of figures. Angels hold cups for communion. To capture the blood come from wounds. Sun and moon appear at top. INRI: Jesus of naz came for the Jews. The fourt figure of st. jerome is there as an old man. Neither is a historical crucifixion. No crowds, no hill, no jerusalem in background, no theives around christ, an anacronistic st. jerome. This is standard practice.

Andrea del Verrocchio

(1435-88; active in Florence) Verrocchio was principally a sculptor and, like Pollaiuolo, a favorite artist of the Medici. One of his chief works is the lavish tomb of Piero and Giovanni de' Medici, father and uncle of the famous Lorenzo and Giuliano, who commissioned the monument for the Florentine church of San Lorenzo. Colleoni Monument (c. 1481-95) Baptism of Christ (c. 1470)

Pietà (1570s) Titian

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Sistine Chapel

Begun in 1473, the chapel takes its name from Pope Sixtus (Sisto in Italian), who, because of such ambitious projects, was nicknamed il gran fabbricatore (the great builder). The building was meant to accommodate the ceremonies of the capella papalis, or Papal Chapel, which included the Pope and about 200 high-ranking clerical and secular officials. The group originally met 42 times per year.

Last Supper (1480)

Ghirlandaio If boticelli is poetic, ghirlandaio is prosaic, solid and straightforward. There is almost a standard iconography Vase of flowers with the monogram of the Ognissanti community: the letters OSSCI, standing for OmneS SanCtI (the Latin version of Ognissanti) Hard to tell what is real architecture an dwhat is painted architecture. Almost looks as though the painting is an extention of the real room. This was great and you can tell he was michelangelo's teacher for a bit.

Madonna and Child with St. Anne (c. 1508?)

Intermingling figures, body gestures. Note again - as in the Mona Lisa - the shadowy, "smoky" atmosphere dubbed sfumato

St. Philip Exorcizing the Demon in the Temple of Mars

Legends of st philip are not well known. . Here he is performing an exorcism on the temple to the roman god of war, mars. Note that St. Philip is pointing to a tiny apparition of Christ in the sky at the upper right. There is a legendary realism to filippino's style Dragon-demon and hole in step This is supposed to be a statue but filippino made it look like living man. He has all of mar's iconography, wolf and woodpecker, broken lance. Standing on a pedastal with wreath of leaves. A lot of imagination went into this portion of the painting. Details of Roman trophies and other pseudo-classical motifs Real ancient roman reliefs woul d look nothing like this so we call it pseudo classical bc it is what filippino thought roman relief looked like. The facial expressions are reminiscent of pallaiuolo. Complex intertwining of figures in multicolored outfits. There are jittery nervous effectsgiven off in filippino's works. There are also turkish influences with the man on the far right. ETHNICITIES ARE BEING SHOWN.

Crucifixion (c. 1482-85)

Perugino (originally in the church of San Domenico in a small town near Siena)

MICHELANGELO BUONARROTI (1475-1564)

"Among all those artists, living and dead, he who wins the prize, transcending all others, is Michelangelo Buonarroti; he reigns supreme not only in one art, but in all three [i.e. painting, sculpture, and architecture]. He has triumphed not only over all those artists who have almost vanquished Nature herself, but without a shadow of a doubt he has surpassed the most celebrated ancients whose works are so praised."—Vasari (1550) • Born in the village of Caprese in Florentine territory • Apprenticed to Ghirlandaio at age 13 (1488) • Taken into the household of Lorenzo de' Medici at age 15 (1490), remaining till Lorenzo's death two years later (1492) • In Rome 1496-1501; return to Florence at age 26 (1501) Michelangelo is named after an angel. Micheal the angel, michelangelo. Was Vasari's hero. Lived 89 years. He didn't just imitate classical art, he surpassed it. Vasari thought nobody could be better than michelangelo. Art is supposed to immitate nature but michelangelo created works greater than nature and beat nature at her own game. We know a lot about michelangelo bc we have three biographies. Sculpted only in stone. Stone. Stone. Stone. Battle of Lapiths and Centaurs (c. 1492) Bacchus (1496-97) Pietà (1498-99) David (1501-04) The Doni Madonna or Doni Tondo (c. 1503-04) ceiling of the sistine chapel Tomb of Pope Julius II (Rome, San Pietro in Vincoli) (erected 1545) Moses (1513-16) "Rebellious" Slave and "Dying" Slave the Tombs of Lorenzo and Giuliano de' Medici (1519-34)

The School of Athens

("Philosophy") Raphael Stanza della Segnatura We can identify most of them but we cannot be certain. Scene is in this vase beautiful rennaisance ideal architecture. Vanishing point right int eh center in the two principle heads. This is a great example of the summation of renn art, contraposto, vanishing points, cast shadows, realism. This painting is such rich and complex and diverse while also so unified by the princples which were established by davinci in the last supper. Figures are moving and grooving and making gestures and glances. Note: Plato holds a copy of his treatise Timaeus (labeled TIMEO); Aristotle holds a copy of his Ethics (labeled ETICA). Greatest philosphers in the eyes of the rennaisance, practiclly diefied. They carry books which are their books. They are tied to the architecture. Gestures of the figures might be significant. Plato's finger points upward as a way of suggestig the philosophy of plato, which is ideal and almost other worldly. Aristotle is more earthbound and pragmatic, and aristotle's gesture points to the world. They are walking, MOVEMENT Controposto but lying down. Detail 1: Pythagoras and others, including the turbaned figure of Averroës (a medieval Arab philosopher and astronomer); also, looking out at the viewer, Pope Julius's nephew, Francesco Maria della Rovere. This is a pose many people are experimenting with. There is way too much going on here to fully lecture about the whole painting Detail 2: "spherical" group of figures, including Bramante - the great High Renaissance architect - in the guise of the philosopher-mathematician Euclid. Euclid draws on the blackboard while people watch. Euclid is seen as a slightly idealized portraid of the architect of st. peters. Detail3 including Raphael's self-portrait, making eye contact with the viewer Raphael makes eye contact with the viewer. He chose to put himself in the philospher category bc that's where he though tartists belong. Contemporary statements about the nature of painting: Leonardo da Vinci: Painting is una cosa mentale ("a mental thing") Michelangelo: Si dipinge col cervello, e non con le mani ("you paint with your brain, and not with your hands") Detail of the philosopher Heraclitus: presumed portrait of Michelangelo This figure loooks like the personification of thought. It aslso looks like it was done in michelangelo's style.

Domenico del Ghirlandaio (1449-94; Florentine)

(son of a ghirlandaio: a maker of, or trader in, gold garland-like ornaments) Refectory of the Convent of Ognissanti ("All Saints") in Florence, with fresco of the Last Supper by Ghirlandaio Sassetti Chapel in Santa Trinita, with frescoes and altarpiece by Ghirlandaio (1483-86) Ghirlandaio's altarpiece of the Nativity and Adoration of the Shepherds Confirmation of the Franciscan Rule

Leonardo da Vinci

1452: Born in Vinci, near Florence. He would have been approximately 7 years younger than Botticelli and Perugino, 3 years younger than Ghirlandaio, and 5 or 6 years older than Filippino Lippi; also 23 years older than Michelangelo and 31 years older than Raphael. Circumstances of his "illegitimate" birth: His mother, Caterina, was a farmer's daughter; his father, Piero, was a prominent local notary or lawyer. Piero married soon after Leonardo's birth, and the boy was brought up in his father's household. c. 1469-82 (ages 17-30): Pupil of Verrocchio in Florence; collaborates with him on the Baptism of Christ; becomes an independent master in 1472 (at age 20). 1482-99: In Milan, working in the service of Duke Ludovico Sforza; paints the Last Supper. 1500-07: Back in Florence on and off; paints the Mona Lisa. 1508-13: Back in Milan, working in the service of King Louis XII of France, who had taken over the duchy; probably executes the Madonna and Child with St. Anne. 1516-19: In France, in the service of King Francis (François) I. 1519: Dies in France at age 67. Vasari: "He would make clay models of figures, draping them with soft rags dipped in plaster, and then he would draw them patiently . . . with the point of the brush." the Last Supper Mona Lisa Madonna and Child with St. Anne

Pietro Perugino (c. 1450-1523)

Born in the small Umbrian town of Città della Pieve, but associated mainly with Perugia, the capital of the region, from which he takes his nickname. Eventually, Perugino became one of the most famous Italian painters of the later 15th century. He was celebrated as such in a rhymed chronicle written c. 1490 by Giovanni Santi (court painter at Urbino and father of Raphael). An excerpt: "Then in this present age in Italy . . . . Two young ones, equal in their gifts and ages, Leonardo da Vinci and Perugino, That Pietro from Pieve, godlike painter. Ghirlandaio, younger Filippino, Sandro di Botticello . . . ." Crucifixion The Delivery of the Keys or Christ Giving the Keys to St. Peter (1480-82) Vision of St. Bernard

Giuliano de' Medici: younger brother of Lorenzo (1445-78)

Botticelli

La Primavera (Allegory of Spring) (c. 1482)

Botticelli Described by Vasari (1568) as representing "Venus in company with the Graces and flowers, denoting Spring," the painting is believed to have been commissioned by Lorenzo the Magnificent on the occasion of Lorenzino's wedding in 1483, or perhaps by Lorenzino himself. Was built into a giant bed. Over 40 different species of plant and flowers. Venus standing against an arbor of myrtle, with blindfolded Cupid, her son, flying above her: she makes a welcoming gesture; he shoots a flaming arrow. The West Wind Zephyr, the nymph Chloris, and the goddess Flora Flora strewing flowers; 42 different varieties of flora (plants or flowers) have been identified in the painting. Mercury: the god who presides over the month of May, as does Venus over April. Read it from right to left and it is the passing of the seasons. Mercury stirring miniature clouds with his caduceus (serpent-entwined staff) The Three Graces, handmaidens of Venus Botticelli's conception of the Graces likely derives from the Roman philosopher Seneca, who described them as having "their hands interlocked," being "clad in loosened and transparent garb," and dancing "hand in hand in a ring." With these buttons that we see, there are random details which accurately reflect modern clothes. So there is an engagin gblend of the real and the ideal. Delicacy is botticelli's middle name.

Lorenzo de' Medici, nicknamed il Magnifico ("the Magnificent") (1449-92)

Botticelli Terracotta portrait, probably after a model by Verrocchio

The Birth of Venus (c. 1484-86)

Botticelli The origin of the painting is uncertain, but circumstantial evidence points to Lorenzo de' Medici as the patron. Titled The Birth of Venus at least since the time of Vasari, its subject is more accurately described as Venus's arrival, after her birth, on the shore of the island of Cyprus. There's no iconography precedent for these gods so they take from other places such as the baptism of christ. Wind god and breeze blowing Venus ashore Goddess or nymph of spring about to cloak Venus as she arrives onshore The image relates to a literary description by Angelo Poliziano (called Politian in English): renowned Florentine poet, scholar, and tutor of Lorenzo de' Medici's children. Poliziano's most famous poem, La Giostra ("The Joust"), celebrates a tournament won in 1475 by Giuliano de' Medici, Lorenzo's younger brother. Here Venus emerging from the sea is described as "wandering across the waves, . . . a damsel of unearthly countenance, borne upon a shell, urged on by playful zephyr breezes . . . pressing her hair with her right hand, covering with the other her sweet apple." Traditionally identified as an idealized portrait of Simonetta Cattaneo Vespucci (1453-76), a great beauty, celebrated in contemporary poetry, who was the wife of a Florentine named Marco Vespucci but the lover Lorenzo de' Medici's younger brother Giuliano (1453-78). Simonetta died of tuberculosis at age of 22 or 23. Giuliano was assassinated at the age of 25.

Titian

Contemporary praise (by the Venetian writer Lodovico Dolce) for a certain painting by Titian held that it contained la grandezza e terribilità di Michelangelo, la piacevolezza e venustà di Raffaello, e il colorito proprio della natura: "the grandeur and sublime power of Michelangelo, the pleasing grace and beauty of Raphael, and the very color of nature itself." According to another 16th-century critic, the perfect painting would be an Adam and Eve, with Adam drawn by Michelangelo and painted by Titian, together with an Eve drawn by Raphael and painted by Correggio (Correggio being an important 16th-century artist known for his skill in painting beautiful women and his ability to suggest the softness of their flesh). Titian devised his own impresa (a pictorial emblem combined with a motto) representing a mother bear licking a cub "into shape," with the Latin motto Natura Potentior Ars: "Art more powerful than nature." Sacred and Profane Love (1514) Assumption (1516-18) Madonna of the Pesaro Family (Pesaro Altarpiece) (1519-26) Venus of Urbino (completed 1538) Nymph and Shepherd (1570s) Pieta

Sistine Chapel ceiling

Everything above the windows is painted by michelangelo. Everything else is girlandio, perugino etc. He also later he painted the end all, the last judgement. The mains scenes are in the center. Alternate small and large. Read starting above the alter and moving towards the original entrance. The way you enter the chapel today is backwards. He painted the story backwards. The farther he gets the bigger the figures get. First three acts of creation. He uses continuous narrative. God fling out hisarms to create sun and moon and then creates plants all int eh middle scene. Third scene shows god seperating land from waters Central section shows adam and eve. Creatio of adam, creation of eve, and the temptation oan dexplulsion of adam and eve. Prophets are of the pre-christian era, and sibyls were also prophets who were women and pagan rather than hebrew. The idea is the whole world, male/female, hebrew/pagan, came together to predict jesus. Three scenes from the story of Noah Busier and harder to make out. The flood is in the center. There is very little precedent for this whole layout. It is by and large an original creation. The ignudi are seen in pairs. We will look at the earliest ones painted Ignudo His painting have sculptural qualities bc he saw himself as a sculpture. He worked from live people osing and drew them and then painted from his drawing. We are not really sure why these nude men are there. It is possible they are representing angels. Later characters hold great bundles out of which spill the oak leaves and acorns. Later is not graceful or elongated, but heaftier and beefier. More massive and ponderous proportions. The later figurs also seems to zig zag in and out of spae. Prophet Zechariah and Prophet Jonah (Also note "sculpted" Della Rovere acorns lining the "architectural" borders.) Later is 50% larger, much more energetic and complicated. There is weird foreshortening happening, Jonah is accompanies by the whale and two compantions in motion and more impressionistically painted, less sculptural. He is also playing with light and color. Prophet Isaiah and Jeremiah Jeremiah is The essence of the thinker. Bulky body. Accompanying figures done loosly just like with jonah. The compantions here however, have tragic or meloncoly expressions. Libyan Sibyl Created a graceful interesting pose. Unmotivated actions are typical later michelagnelo. Fall of Adam and Eve and Expulsion from the Garden of Eden Continuous narrative. The central stem clearly separates the two scenes. Creation of Adam Eve is still in god's mind and is looking at adam. There are theories that the child is the christ child. Figures are enclosed but there are protruding forearms. Adam is lifeless and limp. Contrasted to the tense figure of god who is straining. God is passing the essence of life and god into man.

Vision of St. Bernard (c. 1485-90)

Filippino The altarpiece in its original frame, but not its original location (a church of the Cistercian Order near Florence). St. Bernard (1090-1153) was the Order's most illustrious member. Note that Cistercians wear all-white habits and are therefore nicknamed White Monks. St. bernard was a real person and a tireless writer of sermons and other things and one day he is writing a sermon of the annunciation and low and behold the virgin mary appears to him to help him write his sermon. Portrait of the donor, Francesco del Pugliese He just pops out of nowhere. Lol. Shows the new style of accuracy and detail in painting. Here we have the feeling of boticelli's influence with the beautiful mary with with an elongated body, delicate transparent veil, movement of cloth and hair. The angels are much less boticelli. Filippino's faces seem like real children while the hair is not as graceful as botticelli. There are so many details you almost don't know where to look first. The letern is made of a gnarled tree stump. Devil gnawing on chains, and owl: symbols of heresy combated by Bernard. Owl is very realistic. Owls are birds of the night and used to symbolize darkness and heresy. These are icons of st. bernard bc he is well known for combatting heresy. The rocks are also jutting out everywhere. There is no neat nature, it is all sporatic which is how he sees atual nature. The books mimic the rocks. It is messy. Note the Latin inscription Substine et Abstine ("Bear and forbear" or "Be patient and abstain"), a maxim by the Stoic philosopher Epictetus that serves as a sort of motto for Bernard himself and for the Cistercian Order. Manuscript of the Bible open to Luke 1: 26-31, describing the Annunciation to the Virgin. Note especially the words Missus est Angelus Gabriel ("The Angel Gabriel was sent") on the left side, and Ave gr[ati]a plena ("Hail full of grace") on the right.

Pope Sixtus IV

Founder of the Vatican Library At the left is Sixtus's nephew, Cardinal Giuliano della Rovere, who became Pope Julius II in 1503. The third figure is another papal nephew, Cardinal Raffaele Riario, an early patron of Michelangelo's. In the 15th cent popes were rulers and raged wars and were kings! The deal with popes and newfews is where we get the word nepotism. Della Rovere coat of arms The Sistine Chapel (Cappella Sistina) in Rome, named after Pope Sixtus IV

Stanza della Segnatura ("Room of the Signature") in the Vatican Palace, originally the study of Pope Julius II (1508-11)

Frescoes by Raphael representing the four principal fields of Renaissance learning: • Philosophy • Theology • Poetry (or Literature) • Law Philosophy and theology are are across the room. They are complimenting each other.

The Tempest (1505-10)

Giorgione, Described by Marcantonio Michiel as "a little landscape with a tempest and a soldier and a gypsy woman by Giorgio da Castelfranco." Michiel was a Venetian nobleman and connoisseur who went around visiting various art collections in Venice and Padua in the 1520s and 1530s. His notes describing what he saw are our primarysource for attributions to Giorgione. Venetians paint alla prima instead of planning out on paper first. They are more modern painters. They may alsohave acted like modern painters in painting whatever they wanted and then selling it.

Giorgione,

Giorgione, Venus is life sized. Color is somewhat different bc of reasons but originally they would have been very similar. We have no signed work by Giorgione and little documentation so it is only a good historical guess that these are both giorgione. Described by Michiel as follows: "The canvas representing Venus, nude, sleeping in a landscape with Cupid, is by Giorgio da Castelfranco, but the landscape and the Cupid were finished by Titian." The Cupid was painted over in 1843 but is visible in x-rays.

St. Francis in Ecstasy (1470s)

Giovanni Bellini, Distinction between early and high renn art isn't as distinctive in venetian art. The modern patron saint of italy. Emphasized nature nd landsape. The human presence inthis picture is a small part of the lager whol.e Bellini's has no broth erleo to witness, no flaming cross. So we don't actually know if he is receiving stigmata in this picture. Instead of the stigmatization, the painting possibly shows St. Francis chanting his famous "canticle" or hymn to the Sun: "Be praised, my Lord, through all Your creatures, especially through my lord brother Sun, who brings the day; and you give light through him. And he is beautiful and radiant with great splendor: of You, Most High, he bears the likeness." —Excerpt from The Canticle of the Sun A cartelino with bellini's signature

Hercules and the Hydra (1460s)

Iconography of Hercules: • muscular, athletic, nude or semi-nude • club • lion skin Note: The panel is only about 6½ inches high. The Medici Inventory of 1492 This exhaustive inventory of the contents of the Medici Palace includes a record of three paintings on canvas by Pollaiuolo of the deeds of Hercules: his battles with the hydra, with the Nemean lion, and with the giant Antaeus.

RAFFAELLO SANZIO (or SANTI)

Known to the English-speaking world as Raphael (1483-1520) Born in Urbino, son of the painter Giovanni Santi (who died when Raphael was 11); apprenticed to Perugino soon thereafter. Raphael's career divides itself into three phases (of unequal length): 1500-04: "Peruginesque" period. Active in Urbino, Perugia, and Città di Castello and working in a style indebted Perugino. 1504-08: Florentine period. Active principally in Florence, where he falls under the influence of Leonardo, Michelangelo, and other local painters. 1508-20: Roman period. Active in Rome, where he becomes the leading painter of the Western world but dies prematurely at the age of 37. Crucifixion (1502-03) Marriage of the Virgin (1504) Madonna of the Meadow (Madonna del Prato) (1505 or 1506) The School of Athens Galatea La Donna Velata ("The Veiled Woman") (c. 1513) Transfiguration

Raising of the Son of Theophilus

Masaccio (1427) and Filippino (1484) Still has a whif of boticelli but is very filippino. He was comissioned to finish the brancacci chapel. All of filippino's figures areon the right and they are longe, the faces are individualized and realistic. Masaccio had more generic faces. Filippino is making his stuff compadible with massaccio.

Battle of Lapiths and Centaurs (c. 1492)

Michelangelo (Note: Lapiths were a tribe of ancient Greeks; centaurs are mythical creatures with bodies that are half human and half horse.) This has a quality that it would have been an exercise to train himself in nudes and layering figure and such. Not finished. Michelangelo left a lot of things unfinished in his lifetime. Not many horse bodies depicted, michelangelo was much more interested in the male nude form. This was a scene at a wedding where the centaurs are trying to grab women but there are no women inthis picture. Studying the anatomy was popular at this time and michelangelo does a much better job at this than pollaiuolo. In general michelangelo's relief portrays a sarcophagus mentality. There's no background at all, no suggestion of perspective. Everythingis crammed and there are no empty spaces. Nonfinitio canbe spun in a positive way. It makes pieces loook more organic, like the figures are growing out of the rock

David (1501-04)

Michelangelo Note: the statue is about 14 feet high, without its modern pedestal strap of sling running down back David in its original location, "guarding" the entranceway to the Florentine city hall "Nowhere does God, in his Grace, reveal himself to me more clearly than in some sublime human form, which I love solely because it is a mirror image of Himself." —Excerpt from Michelangelo's sonnet On Heaven-Born Beauty

the Tombs of Lorenzo and Giuliano de' Medici (1519-34)

Michelangelo The Medici Chapel in San Lorenzo Only the two seated figures are completed. The sacristy is like an extra room the church uses for storage. The new sacristy of this church was the burial chamber for the medici family. He was criticized at the time bc these statues don't look like the real life people. Giuliano ("active")-night and day Lorenzo ("contemplative")-twilight and dawn

The Doni Madonna or Doni Tondo (c. 1503-04)

Michelangelo The earliest painting definitely by Michelangelo Commissioned by Angelo (or Agnolo) Doni, probably in connection with his marriage to Maddalena Strozzi, which took place at the end of 1503 or the beginning of 1504. The frame, which may have been designed by Michelangelo, includes Strozzi crescent moons as part of its decoration. Note that the panel is about 4 ft. in diameter (not including the frame). Mary and bbay jesus and joseph. Earliest painting in his late 20s. Completely proficient. Definitely trained as a painter. Michelangelo may have seen leonardo as a competitor. The figures are all strainging and look tense. Bc michelangelo is a sculpture, his paintings almost look like sculptures. His figures are hard and stoney and edgy. The colors are brighter or michelangelo. Both are taking a group of figures and unifying them into a solid mass. You can see how his painting style is so much like his sculptural style. Exagerated oontroposto. You can also see the genitals here which is a new thing, you don't look at jesus's junk usually. Detail: note the young John the Baptist We don't know if joseph is handing th echild to mary or if mary is handing the child to joseph. The virgin is betweeen his huge legs. The holy family also occupies a grassy foreground, then there is a strip of stone that divies them from the background. Behind this wall is the young john the baptist. John is in the other realm of space. The holy family representst the new era fo grace. John the baptist is the in the background almost representing the last figure of the old testament world. You can't be forgiven of original sin without baptism, there was no baptism before jesus, then everyone born before jesus can't go to heaven. So jesus has to go to limbo to save the people that came before him. There are nude dudes int eh background. Why are they there? We think they may symbolize the pagen world which john the baptists acts as a bridge between that and christianity.

Bacchus (1496-97)

Michelangelo, Carved from one block. Base is a rocky terrain with no front or back bc he wanted it to be in the round. Heroic youth in contraposto, supported by a buttress and weight bearing leg. Angles are all contraposto. This is only the second known life size freestanding statue of a nude in the renn. The first being donatello's david. The anatomy is great and I think there is a playfulness with the fact that bacchus has a beer/wine belly. He also looks a little drunk in his contraposto pose. Glazed eyes. Lips slightly open. Grapes in his hair. Satyr child munching grapes Drawing of Michelangelo's Bacchus in the sculpture garden of Jacopo Galli, Rome (1530s) (Note, however, that the original commission came from Cardinal Raffaele Riario, one of the cardinal nephews of Pope Sixtus IV.) Jthis statue is amidst old broken fragments of classical art. If you didn't know better you'dthink michelangelo's was classical as well. His statue dominates the garden. The arm as broken off at the timebut since has been replaced but this would have made it look even more classical.

Tomb of Pope Julius II (Rome, San Pietro in Vincoli) (erected 1545)

Michelangelo, Must go to santa croce in florence and see michelangelo, machiavelli, dante's tombs. This tomb took 40 years, half of michelagnelo's life. Int eh church of st. peter in chains. This was all planned around 1505 and then he did the sistine ceiling and you can see similariities between his seating figures here and in the chaptel. After finishing the ceiling he returns to the tomb and then another pope came by and took him off the project. In 1512 michelangelo did get a chance to carve the three original figures, the moses and two of the slaves. The slaves remain unfinished and were never incorporated into the tomb.

Mona Lisa

Mona Lisa, Leonardo DaVinci Nicknamed Mona Lisa, but "Mona" is not a name in Italian; it is a contraction of monna or madonna, and translates more or less as "lady." She is also nicknamed La Gioconda, because (a) she seems to be "jocund" (cheerful, merry) and (b) she was the wife of Francesco del Giocondo — assuming that her identity has been correctly established, which is by no means certain. If she is who we think she is, was the Giocondo / Gioconda pun intentional? Note the sfumato. A term derived from the Italian fumo ("smoke"), sfumato can perhaps be translated as "lost in smoke." It is used to describe the shadowy, "smoky" atmosphere that typifies Leonardo's paintings.

Strozzi Chapel (1487-1502)

One of the most lavish private family chapels of the Florentine Renaissance, it was only completed eleven years after Filippo's death. There are many details in this chapel and you almost don't know where to look first. There are the strozzi cresens everywhere. Stained glass window designed by Filippino, with images of the Virgin Mary (dedicatee of Sta. Maria Novella) above St. John the Evangelist (dedicatee of the chapel) and St. Philip (Filippo Strozzi's name saint). Note also the Strozzi coat of arms. Scenes from the legend of St. John the Evangelist Scenes from the legend of St. Philip In each case we have miracles performed by saints then up top the martydom of the saints. St. Philip Exorcizing the Demon in the Temple of Mars

The Delivery of the Keys or Christ Giving the Keys to St. Peter (1480-82)

Perugino, The Delivery of the Keys or Christ Giving the Keys to St. Peter (1480-82) "And I say unto thee, that thou art Peter . . . . And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever that shalt loose on earth shall be loosed in heaven" (Matthew 16: 18-19). Perugino's self-portrait Triumphal arch Arch of Constantine Together, the inscriptions read, "You, Sixtus IV, unequal in wealth but superior in wisdom, have consecrated this vast temple to Solomon."

Hercules and Antaeus (statue)

Pollaiuolo

Battle of the Nudes (engraving) (1470s?)

Pollaiuolo (one of the largest prints of the 15th century: about 2 ft. wide) The Battle of the Nudes is a printed picture of a type called an engraving. Engravings are made by cutting a design into a metal plate (usually copper) with a pointed steel tool known as a burin. After cutting the design, ink is rubbed into the grooves and wiped off the surface. The plate, covered by a damp sheet of paper, is then run through a printing press, and the image from the inked grooves is imprinted onto the paper in reverse. The process is then repeated up to several hundred times. Pollaiuolo's signature is inscribed in Latin on a classical tabula ansata ("ansate tablet"): OPVS ANTONII POLLAIOLI FLORENTINI ("[The] Work of Antonio Pollaiuolo [the] Florentine") This is the earliest Italian print to be signed.

Hercules and Antaeus (painting)

Pollaiuolo Vasari called Pollaiuolo's lost canvas of the subject "a splendid representation of the force of the hero, the muscles and nerves all braced for the effort, while the grinding of the teeth and the attitude of the head accord with the tension of the other members of the body." ". . . the grinding of the teeth and the attitude of the head accord with the tension of the other members of the body."—Vasari, 1568

La Donna Velata ("The Veiled Woman") (c. 1513)

Raphael Although the identity of the woman has never been established, she was once thought to be Raphael's mistress, nicknamed La Fornarina ("the baker's daughter"). Vasari, for example, called her Raphael's donna amata. Raphael may have chosen to cover his model with a veil in the ancient Roman style in order to proclaim that she, too, was a Roman matron. Much warmer, and pulsating with life. Softness of the flesh and blush of cheeks, she really looks real. This sleeve is just a painter's holiday

Transfiguration

Raphael Commissioned by Cardinal Giulio de' Medici for the Cathedral of Narbonne in France Commissioned by Leo X. never sent to france bc we liked it too much so we kept it. He added to the transfiguration iconography the earthly foreground along with the trasfiguration in the sky. This incorporates the story of the possessed boy and how e need faith. This scene has never been shown before. Christ transfigured (given a new, more exalted appearance) between the Prophets Elijah and Moses, witnessed by three of his disciples: James, Peter, and John Detail: non-healing of the boy possessed by a demon

Marriage of the Virgin (1504)

Raphael Made for a chapel dedicated to St. Joseph in the church of San Francesco, Città di Castello (Note: about 5½ ft. high) Peruginesque. Marriage of the virgin. Features mary and joseph inside the chapel dedicated to joseph. Bland faces. Soft drapery. Almost identical poses especially for birgin. Similar treatment of landscape. Similar treatment of perspective although raphael's is more complicate. Different subject matter but such similar style/design. Heads align in middle. Similar buildings. High priest holding both handsa nd joseph giving her the wedding ring. It's hard to see but joseph's wand has a flower. That one guy is pissed off by his wand. Seperated women from men. Note Raphael's signature: RAPHAEL VRBINAS (= Raphael of Urbino) followed by the date MDIIII (= 1504) What raphael would have seen when he moved to florence. This would have inspired him.

Madonna of the Meadow (Madonna del Prato) (1505 or 1506)

Raphael Not absent of perugino but at the same time woul dnot be confused with perugino. Landscape is peruginesque. Figures are still soft but less perugino. Leonardo made tehm a quadreladeral. Raphel made a strict pyramid. Johnt eh bapist is the other baby. Seems 2D almost as if they don'thave a back. The foot is similar. Mary is sideways again. The children make a smaller triangle. Usually it was John the baptist with a lamb but these artists try to incorporate john the baptist less awkwardly. Inone the child plays with a lamb in the other the children are playing with john's staff. John is almost kneeling to christ. Raphael is almost a great mix of leonardo and perugino. Note the lettering on the collar. Does it read ·M·D·V· (1505) or ·M·D·V· ·I· (1506)? More individualized than perugino. The virgin mary is more idealized Raphaels is so different from leonardo. So he is adapting leonardo but also is putting his own twist on things.

Galatea

Raphael She had him on the hook.she is leaving and she looks back at he giant. They can be seen by themselves but also together. Here raphael is showing that new contraposto. There are many suggestions of circles around her. This has to do with ideal geometries. Earlier renn: delicate, later renn: hardier shell. There are things which are supposed to just be delightful and meant to enjoy.

Filippino Lippi (1457/58-1504)

Son of Fra Filippo Lippi; named after his father. Note that the suffix ino is a diminutive. Initially trained by Fra Filippo, then by Sandro Botticelli, an assistant of Fra Filippo's. Filippino's early works are so close to Botticelli's in style that they were once attributed to Botticelli himself, and then, by the pioneering art historian Bernard Berenson, to a fictitious painter nicknamed Amico di Sandro—"Friend of Sandro." Masaccio (1427) and Filippino (1484), Raising of the Son of Theophilus Vision of St. Bernard The Strozzi clan played a part in Florentine history and art patronage up to the middle of the 16th century second only to that of the Medici. However, many of the Strozzi, including Filippo's father, were exiled from Florence after Cosimo de' Medici's coup in 1434. Filippo (1428-91) grew up in Naples, amassed a fortune from banking and trade, was allowed to return to Florence in 1466, and soon became a close adviser to Lorenzo the Magnificent. His son, also called Filippo, eventually married one of Lorenzo's granddaughters. Filippo's palace was patterned on the Palazzo Medici, but it is larger and "more superb" (più superba). So as not to provoke Lorenzo's resentment, Filippo consulted him on the project, showing him a more modest design. This prompted Lorenzo to recommend a grander one, which Filippo had in mind from the start. He died before the palace was completed, but named Lorenzo in his will as the executor responsible for finishing it. Scenes from the legend of St. John the Evangelist in Strozzi Chapel Scenes from the legend of St. Philipin Strozzi Chapel St. Philip Exorcizing the Demon in the Temple of Mars in Strozzi Chapel

Giovanni Bellini

St. Francis in Ecstasy (1470s) Venetian artist Bellini, Madonna and Child Enthroned with Saints

Leonardo's Last Supper

The Dominican convent of Santa Maria delle Grazie in Milan, with its refectory housing Leonardo's Last Supper Though technically commissioned by the Dominicans of Santa Maria delle Grazie, the painting was financed by Ludovico, who also dined in the refectory twice a week. Leonardo, Last Supper 1495-98 .\looks like it could be an extention of the real room. Lighted by the windows of the refectory. Perspective of painting is in line with perspective of features of the room. Thiscopy helps us to understand the parts of the painting that we don't really get form the old damaged original. Such as the realization that the big brown spots are tapestries. "Verily I say unto you that one of you will betray me. And they were exceedingly sorrowful, and began every one to say unto him, Lord is it I?" Matthew, Mark, and John all record variants of this fateful pronouncement. The significance of the last supper is that it is the first ever communition. It is sort of a continuous narrative but it is a very short one! Traditional in iconography. Christ with long hair, blude cloack over red shirt. Mouth talking. The apostles do react. The paint is really badly chipped away. Phillip rises to his feet. James rearing back. Thomas points upward. Judas, Peter, and John "Simon Peter therefore beckoned to him [John] that he should ask who it is of whom he speaketh" (John 13: 23). Note also that Judas clutches a money bag and Peter grasps his knife. Judas is black, as usual. John is the beloved apostle who is a young man and looks affememinent. Red cloack and blue shirt. Peter is recognizable bc he is an older man wih a short curly white beard, blue tunic and yellow cloack. Here we have The face of judas is ugly and satan like. Judas holds a moneybag. Peter is also grabbing his knife. "He that dippeth his hand with me in the dish, he shall betray me" (Matt. 26: 23). Note the hands and the dish It may also portray a part of jesus's answer to people asking. He telescopes a sequence of events into a timeless image. Christ gesturing toward a piece of bread and reaching for a glass of wine: "This is my body. . . . this is my blood" (Matt. 26) The middle line also runs through the head of all the figures. God is the center of the circle. Judas is not on the other side of the table. John doesn't lean on Jesus. There aren't those right angles in the table. A year after completing the Last Supper Leonardo left Milan and soon returned to Florence, where he painted . . . the Mona Lisa.

Ghirlandaio's altarpiece of the Nativity and Adoration of the Shepherds

The Latin inscription at the top of the frame reads, "Mary adored the one whom she had borne." In Sassetti chapel

Nymph and Shepherd (1570s)

Titian,

Sacred and Profane Love (1514)

Titian, (probably painted for the marriage in 1514 of a Venetian couple named Niccolò Aurelio and Laura Bagarotto) The painting's popular title first appears in an inventory of 1693. However, the earliest reference (in an inventory of 1613) calls it Beltà ornata e beltà disornata: "Beauty adorned and beauty unadorned." Cupic playing in the sarcophogus turned fountain. What the hell is that about?

Assumption (1516-18)

Titian, Church of Santa Maria Gloriosa dei Frari (Glorious St. Mary of the Friars), commonly known as "the Frari": the principal church of the Franciscan Order in Venice. Apse of the Frari with Titian's high altarpiece of the Assumption of the Virgin The painting is over 22 feet high.

Venus of Urbino (completed 1538)

Titian, Thought to be connected with the marriage of Guidobaldo della Rovere, Duke of Urbino. Referred to in a letter by the Duke of Urbino as la donna nuda ("the nude woman").

Madonna of the Pesaro Family (Pesaro Altarpiece) (1519-26)

Titian, Took conventional ideas of what an alterpiece should be nd really mixed it up. The pavement is the same. Painted weird bd of theway the viewer was to see it. The donor in the painting is where the observer would be if the painting were straightforward. Jacopo Pesaro and St. Peter Banner with arms of Pope Alexander VI (Borgia); note also the Moorish captives Madonna and Child with Sts. Francis and Anthony of Padua

Colleoni Monument (c. 1481-95)

Verrocchio (Colleoni was a pupil of Gattamelata's in the art of war and also served as a condottiere for the Republic of Venice.)

Baptism of Christ (c. 1470)

Verrocchio, In addition to his activity as a sculptor, Verrocchio ran a large painting workshop in which numerous artists of a younger generation were either trained or found employment. The altarpiece of the Baptism of Christ is the most important surviving product of the Verrocchio shop. In all likelihood two or three painters collaborated on it, including Verrocchio himself, but also the young Leonardo da Vinci. According to Vasari, the quality of Leonardo's angel surpassed Verrocchio's own ability to such a degree that "This was the reason why Andrea would never again touch colors, being most indignant that a boy should know more of the art than he did."

Vision of St. Bernard:

altarpiece for the Florentine Cistercians (c. 1490-95) Perugino

Confirmation of the Franciscan Rule

ghirlandio Sassetti chapel St. Francis presenting his "rule" to Pope Honorius III Onlookers, including Francesco Sassetti and Lorenzo de' Medici The sons of Lorenzo de' Medici with their tutors, including Angelo Poliziano Background: Piazza della Signoria