MID TERM Chapter 22 - 24 (artists, art pieces, & vocabulary) COMBINED
Antonio da Sangallo the Younger - Palazzo Farnese facade (High Renaissance)
(Venetian) Pope Paul III commissioned this. No rustication. Entrance leads to hallway. Symmetrically arranged rooms. Michelangelo worked on the third floor (note smoother windows, and more sculptural in style.)
3 major spheres:
1. Radical Catholicism in Spain and Italy (counter-reformation) 2. Supremacy of the monarch over the church in France 3. Secularism in the Protestant North
Titian - Pastoral Symphony (Venetian)
2 clothed men (one holds an instrument & seems royal.) Nude flutist woman gazing into the distance. Classical profile nude to the left, preparing to pour water into a well (repurposed ancient sarcophagus.) Are the women muses? Or personification of nature? Allegory of arcadia. Delight of music, perhaps.
Carlo Maderno - East Facade of Saint Peter's (Italian Baroque)
3 extra bays to broad facade, unlike Michaelangelo's plan. Classism is displayed in pediment. Like a classical temple.
pentimento
A perceivable trace of earlier painting beneath subsequent layers of paint on a canvas.
maulstick
A stick used by a painter to steady the hand while painting
Giovanni Bellini - Madonna and Child with Saints (Venetian)
Accompanied by saints in imaginative interiors. Figures naturalistically are standing around. Light skitters across the picture, calm, serene feeling. Intensely glowing colors.
Jean Clouet - Francis I (France)
Ambiguous & mannerism style--sleeves made of stain. Wonderful renders of textures. Indication of Mannerism from tiny head. Very elegant.
Michelangelo Buonarroti - Ceiling of the Sistine Chapel (High Renaissance)
Another project of Julius II. Culmination of what Giotto did. Creation, the Fall of Mankind, and Redemption. Michelangelo complained about how awful it was to paint it. People thought the colors were gaudy. Michelangelo that nobody knew (feminism-related issue, the colors, etc.)........ No determined point of view--"Simulated easel painting". Architectural frames are painted. Minimal landscape, because FIGURE! IS! ALL!
Raphael - Madonna in the Meadow (High Renaissance)
Based on pyramid/triangle composition (triangle within triangle). Very inspired by Leonardo. John the Baptiser presenting his staff to the Christ Child, prefiguring of the Crucifixion. Soft modeling.
Pieter Bruegel the Elder - Hunters in the Snow (The Netherlands)
Best known of 5 surviving of a series. Covering numerous activities of the country folk. Dogs returning home with masters who didn't get anything. Bird helps the transition from foreground to background. Mountains play homage to his journey to Italy, his sophistication of wealth to travel to Italy.
Hieronymus Bosch - Garden of Earthly Delights (The Netherlands)
Bizarre, and no single interpretation to explain it. Sexual overtones with marital themes. When closed, it is the earth represented in a lifeless container. Pharmacy possibly shown. Left: Creation of Eve, with several odd creatives below. Inside the fountain is an Owl. Owl is a symbol of evil and witchcraft. Middle: GIANT FRUITS! Imaginary modes of transportation (bubble, clam?) Mermaid. Living things all crammed together. May signify selfish humanity blissfully being indulgence (fruit = sexuality, etc.) Right: Graphic tortures for the damned. Egg man. Everything is on fire in the background, and in the foreground are the denizens of Hell and their torments. Pig dressed as nun sexually assaulting a man. Humanity is destined for Hell if salvation does not come, the Sobering final word.
Francesco Borromini - San Carlo alle Quattro Fontane facade (two views) (Italian Baroque)
Borromini rejected the notion that a church should have a flat frontispiece. He set San Carlo's facade in undulating motion, creating a dynamic counterpoint of concave and convex elements. In fact, San Carlo has not one but two facades, underscoring the functional interrelation of the building and its environment. The second facade, a narrow bay crowned with its own small tower, turns away from the main facade and, following the curve of the street, faces an intersection.
Gianlorenzo Bernini - Ecstasy of Saint Teresa (Italian Baroque)
Bronze and gold in the background to illuminate sculpture while also giving illusion of the sun & the hidden window above to show the light source. Arrow into her heart repeatedly, giving her feelings of pain and ecstasy.
quadro riportato
Ceiling paintings that mimic framed easel paintings placed on vaults
Francesco Borromini - facade of Sant'Ivo alla Sapienza (Italian Baroque)
Combines two opposing curves stacking one upon another. Concave and condensed. Less organic the higher up you go. He spiralized the top.
Titian - Venus of Urbino (Venetian)
Commission for a private Patron. Duke's mistress as the model. Identification of her as Venus is because of a previous painting that depicts Venus sleeping in a similar pose. Yappy Little Lap Dog is a balancing element. Bisection of space is done through the curtain. Use of the color red is important as it is apparent throughout the composition.
Matthias Grünewald - Isenheim Altarpiece (Germany)
Commissioned for a Hospital. Uber Catholic work--saints shown who have miraculously cured diseases. St. Anthony's Fire was an old name of a disease (eating fungus on rye bread)--Jesus has said disease to comfort patients. Note: Body of Christ is off-center, implying the amputation that can happen from the illness.
(Various Architects) - Aerial view of Saint Peter's (Italian Baroque)
Compensates for horizontal facade. The piazza is to be like a welcoming hug into the church. Its like its his arms. Overall effect is like taking steps on a PROFESSIONAL JURY!
Titian - Isabella d'Este (Venetian)
Daughter of a powerful [x]. Hired 3 masters to make her likeness. She was like 60 when this was painted. Featureless dark background, thigh-up commission.
Titian - Assumption of the Virgin (Venetian)
Death does not corrupt Mary in any way, due to her assumed innocence and what not. Transitional central space = Mary - due to heaven above and the world below. Contrast of dark and light help emphasize the lighting of this photo.
Raphael - Philosophy (School of Athens) (High Renaissance)
Deceptive because of the sense of scale. Commission from 1508. Painting of private apartment rooms for Julius II--Raphael only painted one of the rooms. Four separate compositions, half circle forms (lumiete) - Raphael presented images symbolizing the four branches of human knowledge and wisdom under the headings Theology, Law (Justice), Poetry, and Philosophy—the learning required of a Renaissance pope. School is a gathering of great philosophers and people who were admired during the time. Painted at the same time of Michelangelo. Scenic of Renaissance. "That without which without nothing." Classical architecture, ancient Roman inspired interior. Plato (Leonardo) & Aristotle in the center. Vanishing point appears at Plato's book. Apollo and Athena are also there. Steps have humanists there. Michelangelo resting on block of stone, an afterthought that was added later. Raphael at ¾ view gazing at the viewer on the right. Left: Art Right: Wisdom
Lucas Cranach the Elder - Law and Gospel (Germany)
Difference between Catholic and Protestantism perspectives. Note the tree's liveliness as the border. Judgement day.
Characteristics of Mannerism
Disjunctive, ambiguous space Often utterly impossible perspective High key, bilious, unnatural colors Figures based on Michelangelo, et al Figure 8, off-center, crowded compositions Attenuated figures Instability Restless, unsettled compositions Ambiguous and artificially fanciful Stagy, bizarre, distorted poses Preference for elegance and polish, caprice and complexity
Hans Holbein the Younger - The French Ambassadors (Germany)
Double portrait. Sophisticated stuff on the shelves (globes, a book, sundial, musical and astronomical instruments). Upper left corner appears to be a person (Christ?) behind the curtains (religious turmoil representation). Lute is missing strings (disharmony). Skull represents the inevitability of death.
Andrea Palladio - Villa Rotonda (Venetian)
Draining war with the church was happening during this.
Tintoretto - Last Supper (Mannerist)
Dramatic lighting. Dynamic. Not majesty settled. Spatial ambiguity emphasized by the amount of figures. Right of place for the anonymous servants, unlike the other Feast painting. Judas on the opposite side of the table to identify him.
Baroque:
Dynamic, flavorful, dramatic, and surprising elements. TURBULENT MOTION. Organic shapes.
Albrecht Dürer - Fall of Man (Adam and Eve) (Germany)
Excuse to portray figures with his own ideal proportions and his knowledge of classical sculpture is shown. Based off of Greek descriptions... Fruit is not yet consumed, tension of what's about to happen (throwback to Renaissance). Theme is of apocalyptic, sinful mankind, which is common in his works. Dramatic forest background (based off of German countryside) Note: tiny moose, cow, rabbit, cow/ox. Reason for these animals being off-scale is to represent the dictate temperaments of human beings. "The choleric cat, the melancholic elk, the sanguine rabbit, and the phlegmatic ox..."
Gianlorenzo Bernini - David (Italian Baroque)
Exemplifies drama. First to integrate negative space fully with positive since the time of Hellenism. Corkscrew. Twists and turns into space as he prepares to kill that Goliath. He used his own face as a model.
Michelangelo Buonarroti - aerial view of Saint Peter's Basilica (High Renaissance)
Exterior is beautified, giant order. Application of colossal for giant order.
Bolognese Academy
First institution predicted on the assumption that art can be taught, through the study of art from the past and applied study of anatomy and life drawing. It was founded by the members of the Carracci family in Bologna.
Plateresque
From the Spanish word "platero", silversmith. Spanish architectural style derived from Gothic, Italian Renaissance and Islamic examples characterized by intricate, delicate, detailed carving
Italian Baroque Characteristics
High contrasting rich colors Implied movement, turbulent motion Heavy doses of theatricality Dramatic use of light, rich ornamentation Preference for organic forms Diagonal, spiral or serpentine compositions Themes: saints, restatement of Catholic doctrine
Giulio Romano - courtyard of the Palazzo del Tè (Mannerist)
His best known work. Tests one knowledge of classical knowledge. Odd intervals for pillars. Added windows that are not consistently spaced. A very strange support system that isn't really supported by anything... Broken from rhythm consistently. Fast and loose, as Shakespeare would say.
quadrature (sing. quadratura)
Illusionistic paintings of the 16th - 18th century that appear to extend the actual architecture of an interior, usually on ceilings, sometimes on walls
Bronzino - Venus, Cupid, Folly, and Time (Mannerist)
In this painting of Cupid fondling his mother, Venus, Bronzino demonstrated a fondness for learned allegories with lascivious undertones. As in many Mannerist works, the meaning is ambiguous. Far removed from renaissance in terms of composition. Composition is off-balance. Time flies. Envy, Incest, and Truth in the background. Masks signify deceit. Two left hands on Constantine. Love is fraught with perils (metaphorical).
Andrea Palladio - San Giorgio Maggiore (Venetian)
Inspired by Gothic Church.
Caravaggio - Conversion of St. Paul (Italian Baroque)
Internal conversion. Paul is knocked off his horse, showing a very good, dramatic foreshortening. Mimics light from a real window in the chapel, which amplifies the effect. Pitch dark night and blinded spotlight onto Paul. Spiraling composition, very serpentine-like.
figura serpentinata
Italian for a serpentine or spiraling pose
Leonardo da Vinci - Last Supper (High Renaissance)
Largest work of Leonardo's. Real light source used. Combined oil and tempera on plaster because he was just one to stare at his painting for ages after painting like one stroke. Idiot... Because it wasn't integrated with the tempera it was deteriorating. Judas is the one looking away and reaching for the food. Jesus... Isolated... BUT HE IS A TRIANGLE (HOLY TRINITY!) Jesus Head Heaven Meets Earth. JUDAS HAS 6 FINGERS!!! VANDALIZED BY NAPOLEON'S SOLDIERS!!! THREW ROCKS AND SCRATCHED IT!!! WWII THE BUILDING GOT HIT WITH A BOMB!! POOR LEONARDO... FUDGED PERSPECTIVE!
Titian - Madonna of the Pesaro Family (Venetian)
Male members of Bishop family adorning the Christ Child who is held by Madonna. Illusion of space creates an opening in actual wall of the church--acting as a frame. Courtly tone. Mary and Christ are off-axis, and St. Peter's bald head going into the sky is unusual for French Renaissance. It is a steep diagonal composition to place the figures. Is symbolically ambiguous.
Raphael - Marriage of the Virgin (High Renaissance)
Mary had many suitors, worthy spouse is someone who can bring a staff that can miraculously flower (Joseph, typically symbolized by lillies). Foreshortening showed by the sad suitor who's breaking that stick on his knee.
sfumato (Italian for "smoke")
Misty haziness in a painting that softens contour lines, creating lineless areas of tone.
Michelangelo Buonarroti - David (High Renaissance)
Monument to create civic pride. Florentines referred to it as "the Giant"—that Michelangelo created from that block forever assured his reputation as an extraordinary talent. Signals innovative shift of sculpture, in terms of content and space. He portrays tense moments BEFORE showdown with the Goliath. Gazes intensely outside of himself. Michelangelo is NOT gonna show a decapitated head. His bangs and hair are exaggerated to help show his face. David struggling INTERNALLY. Prefers tension of moment over release
Michelangelo Buonarroti - Creation of Adam from the Sistine Chapel (High Renaissance)
Most studied of all the images among the Chapel. Quintessentially humanist image. A shapeless earth with Adam upon it, where he is visited by God, who derived from Zeus. (Classical within a thoroughly Christian theme). Christianize. Same curve to their figures. Creator and the Creature share an intimate bond, famous off-center composition. Pent up tension theme found again, them slowly getting to touch each other but the moment BEFORE. What is being transmitted from Adam to God, as Adam has already been made? Michelangelo portrays that what God is giving to Adam is the intellect, and thus man is able to "plan the best and highest" and to "try all things received." Serpentine arch from Adam to God's arms, eventually to the child (Possibly Christ?) One end, the problem, the other end, the solution. The people around God could be wingless Angels, or His Genie's eyes. The woman could be Eve but it doesn't match the fresco, so it could be the Virgin Mary
Leonardo da Vinci - Mona Lisa (High Renaissance)
Never received payment for this so he just kept it. 15 yr old bride and widower. Face and body are offset of each other. Chiaroscuro. 24 when this was painted. She ain't got no eyebrows! Fancy fine clothes. WIFE OF A SILK MERCHANT Eyes are set at viewer. "Made every brave artist tremble."
Jacopo da Pontormo - Entombment of Christ (Mannerist)
No cross. No tomb. Colors are very bright, but the space is very ambiguous and irrational. Shallow space, vertical space (opposing Jesus's horizontal body). Indistinct depth. Emotionally charged and eyes are not to the viewer/body of Christ. Bodies are twisting in artificial poses. Confection of artifice (not paying attention to naturalism)
Sofonisba Anguissola - Portrait of the Artist's Sisters and Brother (Mannerist)
One of many family portraits. No stable triangle or pyramid. Interior is featureless green background. Charming informality with personalities in each family member. They look very similar and left in an ambiguous space. Limited, muted color range. Genre (generic) painting, everyday life.
Michelangelo Buonarroti - Moses (High Renaissance)
Originally meant to be a 2-story thing for Julius II when he was dying with 40 lifesize figures. Only a third was made. Not actually properly made by Michelangelo. Moses SEETHING! Also he totally took the attention away from Julius II. Twist of the body. The horns on Moses's head were a convention in Christian art (based on a mistranslation of the Hebrew word for "rays"). Just came from the gym because of his muscular figure.
Paolo Veronese - Triumph of Venice (Mannerist)
Oval format (which is new). Prestigious place to be displayed. Venice portrayed as a heroic woman in a lavish (first time a woman to be dressed to represent a governed state). Military on lower part. Absolute control of composition, color, etc.
Raphael - Galatea in the Villa Farnesina (High Renaissance)
Pagan theme entirely. Depicts mythological flight of Galateo as she flies away on a shell (THINK: VENUS!). Wealthy Roman banker Agostino Chigi commissioned this piece. Implied motion and vuberence. Compositions depends more on a figure-8 composition. Spiraling trunk/spine. Snapshot of a very "active" scene. Galateo does not look at the viewer, she rather looks behind her. Voyeuristic gaze-type image. THE GAZE....
Giovanni Bellini - Feast of the Gods (Venetian)
Pagan theme that dominates foreground. Lightful, serene landscape... "Outdoor peace." Why are the men like this, they're doing a lot. Lifting up skirts, etc. Sexual harassment. poesia, or painting meant to operate in a manner similar to poetry.
Michelangelo Buonarroti - Last Judgement (High Renaissance)
Paul III's first papal commission. Just judge of all humanity, Christ appearing as a semi-nude giant who rises up from his barely visible throne to dismiss the damned to their fates. Different because of his harshness, in comparison to other pieces. Michelangelo has a self portrait of himself being flayed by St. Bartholomew. Figures are no longer idealized, and the heads are too small--bodies are broad and bulky, grotesquely exaggerated. Dramatic, vivid. Damned appear in the corner, pulled from their tombs by angels and dragging them to hell.
Juan de Herrera and Juan Bautista de Toledo - El Escorial
Plays homage to Rome. Conceived by Charles V and built by Philip II, El Escorial is a royal mausoleum, church, monastery, and palace in one. The complex is classical in style, with severely plain walls and massive towers. The vast structure is in keeping with Philip's austere character, his passionate Catholicism, his proud reverence for his dynasty, and his stern determination to impose his will worldwide. He insisted that in designing El Escorial, the architects should focus on simplicity of form, severity in the whole, nobility without arrogance, and majesty without ostentation. The result is a classicism of Doric severity, ultimately derived from Italian architecture and with the grandeur of Saint Peter's implicit in the scheme, but without close parallel in European architecture.
Parmigianino - Madonna with the Long Neck (Mannerist)
Polish and finesse. Vase handed to the elongated Madonna and dead-looking child. Elastic Madonna Fingers and Christ. FIGURE IN BACK WITH A SCROLL? HOW DID HE GET THERE? WHAT IS GOING ON. Ambiguity of space. Platform with row of columns in background, referring to ancient hymn comparing Mary's neck to a tower of ivory. Spacial inconsistency.
Michelangelo Buonarroti - Pieta (High Renaissance)
Popular theme in France and Germany--especially German. Theme took Italy by surprise, and got a lot of attention. Only carving he ever signed, as it was for Jean de Bilhères Lagraulas. Mary appears fresh and youthful, because of her "holiness and virginity"--and looks to be the same age as Christ. Presentation to the viewer of the body of the dead Christ. Mary is composed, resigned, and faithful. Her experience of sorrow is internal. Christ is supposed to be larger, but nothing seems imporportional. Wrap-around method to keep the proportions believable. Incredible robe carving that covers up how large she is to remain ambiguous, even if her proper measurements would be 10ft tall. Wounds of Christ are not visible, or at least, not easily. Michelangelo hated showing violence with his art, and tried to minimize it. He shows veins, despite Christ being dead (perhaps related to resurrection, or his model being alive.)
Levina Teerlinc - Elizabeth I as a Princess (The Netherlands)
Precise textures, good likeness of princess, harmonious color palette, etc. Northern style. Pose and expression conveys her regal presence.
Characteristics of the High Renaissance
Rational space Linear perspective Natural, harmonious colors Figures based on nature or Classicism Solid, triangular or pyramidal compositions Balance Serene compositions Readable and logical Normative postures Reports natural appearance
Donato Bramante - Tempietto (High Renaissance)
Resembles ancient Pagan temple. A sculptural monument. Allowing interchange of light and dark.
Caravaggio - Calling of Saint Matthew (Italian Baroque)
Scene set at night in a dingy tavern (A JOINT). Profound use of dark manner/shadowy manner. A spotlight piercing through the inky darkness. Christ is in the shadow, pointing at Matthew. Light of Christ coming towards Matthew.
Gianlorenzo Bernini - Baldacchino (Italian Baroque)
Sculpture and architecture. 8 stories tall. TWISTED COLUMNS, IT'S THE BAROQUE, BABIE
Caterina van Hemessen - Self-Portrait (The Netherlands)
Shows her self-portrait. Using all her tools of the trade. She had a lot of professional success. Gives her age, date, and etc. in the top left. Not religious in the slightest.
tenebroso
Source for our word tenebrous, Italian for "dark manner", refers to emphatic use of high contrasting value of dark and light in Baroque painting
Albrecht Altdorfer - Battle of Issus (Germany)
Space is being subverted. Puny display of humans, emphasized by their smallness. Plaque above the people... "Fast and loose with the truth". Scene has a meaning: About the end of time and deposition in humanity and souls. Persians represent chaos, destruction. Alexander represents victory. Spectacle of upper sky, the beautiful landscape, and nice cloud coverage. Good sense of atmospheric conditions.
retable
Spanish for "altarpiece"
Carlo Maderno - Facade of Santa Susanna (Italian Baroque)
Stresses verticality. Light and big shadow available. Single narrow staircase within. Minimalist. Message of powerful church to the world.
Francesco Borromini - View into Dome of San Carlo alle Quattro Fontane (Italian Baroque)
Stretched out into an oval shape, rather than a circle.
El Greco - Burial of Count Orgaz
Synthesis of strong lighting. Homage to Count Orgaz, buried by Steven and Augustine. Temporary nobility shown all around. Angel holding the soul of the Count. Christ waiting with outstretched arms. St. Peter dangling keys.
Leonardo da Vinci - Madonna [Virgin] of the Rocks (High Renaissance)
There are two versions of this painting. Christ Child, John, and Angel. Not a triangular composition--he has upped the ante! More pyramid-like in composition. Virgin's head is the apex. Implied line from the head of Virgin to Christ Child. Chiaroscuro. Continuous example of illusion of life and depth. Decorum in gestures. Serene, solemn, gracious. [Angel looking at the camera like in The Office] Perspective of disappearance...
Caravaggisti
Those painters who imitated the tenebrous style of Caravaggio. Also called "night painters"
Giambologna - Abduction of the Sabine Women (Mannerist)
Title was made after it was displayed. Demonstration piece without context. "Drawn from the legendary history of early Rome, the group of figures received its current title—relating how the Romans abducted wives for themselves from the neighboring Sabines—only after its exhibition. Earlier, it was Paris Abducting Helen, among other mythological titles. His goal was to achieve a dynamic spiral figural composition involving an old man, a young man, and a woman, all nude in the tradition of ancient statues portraying deities and mythological figures. Abduction of the Sabine Women includes references to that ancient statue in the crouching old man and in the woman's up-flung arm. The three bodies interlock on a vertical axis, creating an ascending spiral movement."
Annibale Carracci - Loves of the Gods (Italian Baroque)
Transferred frame easel paintings. Pagan God on a shallow, curved vault. Pagan themes with Christian overtones. Divine love is the theme, expressed metaphorically. Inspired by Sistine Chapel. 4 small lateral scenes that show the Gods, where mortals decline the love of Gods, etc... The central panel has the most important panel--mixed raphael's drawing style and a different approach to animated figures.
Pierre Lescot - west wing of the Cour Carrée (France)
Use of classicizing elements. Roman-round arches. Alternating curved and triangular reminiscent of Michelangelo's Dome of St. Peters. Large windows are not Italian
poesia ("poetic" art)
Usually found in Venetian Renaissance paintings that function as poetry and stress sensuality and lyricism.
Giorgione da Castelfranco - The Tempest (Venetian)
Visual poem. Emphasis on lyric and poetic landscape, but figures play second figure to the landscape. Deep city landscape. Unique upper section due to the storm in the sky. First depiction in Western art of a bolt of lightning. Ancient place shown by the broken ruins at the edge of the wilderness. No literature example that conforms to the figures. The figures do not interact in any way that is visible. Guard gazes at woman, and woman gazes at viewer.
Giacomo della Porta - west facade of Il Gesù (Mannerist)
Wide and spacious interior, similar to the Sant Andrea. 200 years influenced church facades. Mannerist conceit, a thrown together church with random elements--"free-wheeling". "The activity of the Society of Jesus, known as the Jesuits, was an important component of the Counter-Reformation (see The Counter-Reformation)."
Correggio - Assumption of the Virgin (Mannerist)
Working long before Veronese, Correggio, the teacher of Parmigianino, won little fame in his day, but his illusionistic ceiling designs, such as this one in Parma Cathedral, inspired many Baroque painters. Dizzying composition that comploits contless angels and figures of Adam and Eve. Descending is Christ from heaven with the Virgin (but its really hard to see her, she's in the middle-ish.) "Opening up the cupola, the artist showed worshipers 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."
Francesco Borromini - view of dome from below of Sant'Ivo alla Sapienza (Italian Baroque)
star-shaped floor plan.
