Introduction Renaissance (1400–1600) Humanism Religion Means “rebirth” Refers to the time period and the style of art A renewed interest in Classical thinking, mythology, and art Humanism Philosophical approach that stressed the intellectual and physical potential of human beings Religion Reformation and Counter-Reformation Catholic and Protestant beliefs were reflected in the art of the Italian Renaissance and the northern Renaissance

Introduction Baroque (1600–1750) Refers to the time period and the style of art Increase in trade, advancements in science Permanent split between Roman Catholics and Protestants Baroque art tends to be full of motion and emotion

3.117 Map of Renaissance and Baroque Europe

3.118 Portrait of Michelangelo from Giorgio Vasari’s Lives of the Great Artists, second edition, 1568. Engraving

Portrait of Michelangelo from Lives of the Great Artists The Lives of the Most Excellent Painters, Sculptors, and Architects Written by Italian artist and historian Giorgio Vasari Published in 1550 Known as the first art history book Emphasized the intellectual ability required to make art Encouraged the view of artists as creative geniuses

The Early Renaissance in Italy Renewed interest in the Classical past Study of mathematics and science encouraged the systematic understanding of the world Art was a balance of the real and ideal Realistic depictions of three-dimensional space and perspective Idealistic portrayal of mythological or religious subjects, and the nude figure The artist Giotto represents the transition between the art of the Middle Ages and the early Renaissance (see chapter 3.2)

3.119 Arnolfo di Cambio and others, Florence Cathedral, view from south, begun 1296

Florence Cathedral Building the cathedral began in 1296, but it was still incomplete more than 100 years later No one had figured out how to build its enormous dome In 1419 a competition to design the dome was held Italian sculptor and architect Filippo Brunelleschi won He designed the dome, devised the machinery used to build it, and oversaw the construction

3.120 Filippo Brunelleschi, Dome of Florence Cathedral, 1417–36

Dome of Florence Cathedral The construction of Brunelleschi’s dome began in 1420 It took 16 years to complete Dome was a great technological challenge 140 feet in diameter, and 170 feet above ground at its top Brunelleschi designed the system and equipment for building it The dome structure was built layer by layer

3. 121 Masaccio, Tribute Money, c. 1427. Fresco, 8’1” × 19’7” 3.121 Masaccio, Tribute Money, c. 1427. Fresco, 8’1” × 19’7”. Brancacci Chapel, Santa Maria del Carmine, Florence, Italy

Masaccio, Tribute Money Masaccio is a nickname, meaning “Big Clumsy Tom” Masaccio applied linear perspective (Brunelleschi’s invention) in Tribute Money All elements use the same scale Vanishing point and focal point Atmospheric perspective Creates the believable illusion of three-dimensional space Chiaroscuro Used to create realistic shading and modeling Continuous narrative Three separate moments in time are depicted in one unified space

The High Renaissance in Italy Beginning of the 16th century Continued development of making art look “believable” Rules of perspective Ideal and real Religious and mythological subject matter Three great Italian artists dominated this period: Leonardo da Vinci Michelangelo Raphael

3. 122 Leonardo da Vinci, The Last Supper, c. 1497 3.122 Leonardo da Vinci, The Last Supper, c. 1497. Refectory of Santa Maria delle Grazie, Milan, Italy

Leonardo da Vinci, The Last Supper Commissioned by Dominican friars For their refectory in the monastery of Santa Maria delle Grazie, Milan, Italy Story of the Last Supper Christ’s last meal with his disciples before crucifixion Visual structure: Christ at the center Christ as a stable and calm triangular form Christ’s head framed by natural light from three windows Vanishing point directly behind Christ’s head

3.123 Michelangelo, Detail of Creation of Adam, Sistine Chapel ceiling, 1508–12. Vatican City

Michelangelo, Creation of Adam Michelangelo was commissioned by Pope Julius II to paint the ceiling of the Sistine Chapel, Vatican City, Italy Michelangelo preferred sculpting to painting Three-dimensionality of his painted figures Painted architectural and sculptural elements Nine central panels depict the Old Testament story of Genesis More on Michelangelo in chapters 2.1, 2.2, 2.9, and 4.4

3.124 Michelangelo, Sistine Chapel, Vatican City, with view of Last Judgment (1534–41)

Michelangelo, Last Judgment, Sistine Chapel Around 20 years after completing the ceiling, Michelangelo was commissioned to return to the Sistine Chapel and paint the altar wall Last Judgment Souls called up on the left Blessed remain in heaven Damned cast down into hell on the right Energetic, chaotic effect of the scene Reflects uncertainty of the late Renaissance

3.126 Michelangelo, Detail of Last Judgment showing self-portrait in St. Bartholomew’s skin, 1536–41. Sistine Chapel, Vatican City

Detail of Last Judgment showing self-portrait in St. Bartholomew’s skin Flayed skin of St. Bartholomew Located at the center-right of the composition Face is a self-portrait by Michelangelo Possible meanings: Michelangelo was a tortured artist Indication of his dissatisfaction with painting commissions (his favored process was sculpting) May refer to the artist’s homosexuality

3. 125 Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’ 3.125 Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’. Stanza della Segnatura, Vatican City

Raphael, The School of Athens Past and Present in the Painting Reference to the Classical past Gathering of great philosophers and scientists Lived at different times in history A fictional scene Raphael made the scene believable Followed the rules of perspective Used features of contemporary people he knew Plato modeled after Leonardo Heraclitus after Michelangelo Self-portrait as Apelles

The Renaissance in Northern Europe Northern European countries we now know as the Netherlands, Germany, France, and Belgium During the fifteenth century, artists in northern Europe: Continued using methods established in the Middle Ages Those used for illuminated manuscripts (see chapter 3.2) Paid careful attention to texture and fine detail Developed oil painting techniques Depicted everyday objects with religious symbolism Were considered the finest artists in Europe at the time

3. 127a Jan van Eyck, Analysis of The Arnolfini Portrait, 1434 3.127a Jan van Eyck, Analysis of The Arnolfini Portrait, 1434. Oil on panel, 32⅜ × 23⅝”. National Gallery, London

3.127b Detail of Jan van Eyck, The Arnolfini Portrait

Jan van Eyck, The Arnolfini Portrait Enigmatic subject matter Believed to be Giovanni Arnolfini and his wife Perhaps a legal document, possibly a marriage certificate Highly symbolic (see annotations on figs. 3.127a and 3.127b) Jan van Eyck was a master of oil paint Details, such as the mirror, give the illusion of reality The artist’s presence can be felt in the work (see 3.127b)

3. 128 Pieter Bruegel the Elder, Netherlandish Proverbs, 1559 3.128 Pieter Bruegel the Elder, Netherlandish Proverbs, 1559. Oil on oak, 3’10” × 5’2”. Gemäldegalerie, Staatliche Museen, Berlin, Germany

3.129a Detail from Pieter Bruegel the Elder, Netherlandish Proverbs, illustrating the proverb the “world turned upside down”

3.129b Detail from Pieter Bruegel the Elder, Netherlandish Proverbs, illustrating the proverb “beating his head against a wall”

3.129c Detail from Pieter Bruegel the Elder, Netherlandish Proverbs, illustrating two women gossiping: the proverb “one winds the distaff, the other spins it”

Pieter Bruegel: A Sampling of Proverbs Bruegel was interested in “types” Such as farmers and townspeople The people are general and universal figures Not idealized individuals Over 100 proverbs are illustrated in this painting Some are now obscure Some are still in use

3. 130 Matthias Grünewald, Isenheim Altarpiece (closed), c. 1510–15 3.130 Matthias Grünewald, Isenheim Altarpiece (closed), c. 1510–15. Oil on panel, center panel: Crucifixion, 8’9⅝” × 10’; predella: Lamentation, 29⅞” × 11’1⅞”; side panels: Saints Sebastian and Anthony 7’6⅝” × 29½” each, Musée d’Unterlinden, Colmar, France

Matthias Grünewald, Isenheim Altarpiece Made for the chapel of the Abbey of St. Anthony in Isenheim (northeastern France) Hospital for patients with skin diseases Very graphic depiction of Christ’s crucifixion Patients could relate to his suffering Green pallor of his skin Thorns piercing his flesh Deformed bones from hanging Opening the altarpiece makes Christ’s limbs appear amputated

3. 131 Albrecht Dürer, The Last Supper, 1523. Woodcut, 8⅜ × 11⅞” 3.131 Albrecht Dürer, The Last Supper, 1523. Woodcut, 8⅜ × 11⅞”. British Museum, London, England

Albrecht Dürer, The Last Supper Dürer traveled to Italy twice He was influenced by Classical subject matter And Italian Renaissance rules of perspective and composition This woodcut was made 25 years after Leonardo’s painting The Last Supper Reflects the ideas of the Protestant Reformation The doctrine of the Lutheran Church emphasizes that communion is only a re-enactment, not the literal receiving of Christ’s body and blood

Late Renaissance and Mannerism A time of historical upheaval 1527 Sack of Rome 1530 Charles V crowned Holy Roman Emperor Late Renaissance art A reaction to the high Renaissance Dissonance instead of harmony Distortion rather than precision Mannerism From the Italian “di maniera,” which means charm, grace Exaggeration for emotional effect

3.132 Sofonisba Anguissola, Portrait of the Artist’s Sisters Playing Chess, 1555. Oil on canvas, 28⅜ × 38¼”. National Museum, Poznań, Poland

Sofonisba Anguissola, Portrait of the Artist’s Sisters Playing Chess Italian Mannerist artist Achieved success rare for a Renaissance woman Known for her portraits Was appointed at the court of the Queen of Spain Portrait of the Artist’s Sisters Playing Chess Everyday scene Details and textures: fabric, jewelry, fashion of the day Emphasizes personality and expressions of the girls

3. 133 Paolo Veronese, Christ in the House of Levi, 1573 3.133 Paolo Veronese, Christ in the House of Levi, 1573. Oil on canvas, 7’3⅜” × 16’8⅞”. Galleria dell’Accademia, Venice, Italy

Paolo Veronese, Christ in the House of Levi Originally painted as a Last Supper scene Veronese included unconventional characters, including clowns and dwarves Church officials objected and the Inquisition charged the painter with irreverence Veronese changed the title to portray the Feast in the House of Levi Classical architectural structure Roman arches Formally balanced

3. 134 Tintoretto,The Last Supper, 1592–4 3.134 Tintoretto,The Last Supper, 1592–4. Oil on canvas, 11’11¾” × 18’7⅝”. San Giorgio Maggiore, Venice, Italy

Tintoretto, The Last Supper The Catholic Counter-Reformation believed in religious images as powerful teaching tools Especially to dissuade followers from converting to Protestantism Intensely dramatic quality of this painting is characteristic of Counter-Reformation art Diagonal lines Asymmetrical balance Extremes of light and dark Supernatural light Active and dynamic Versus the calm and order of Leonardo’s Last Supper (fig. 3.122)

3.135 Jacopo da Pontormo, Deposition, 1525–8. Oil on wood, 123¼ × 75⅝”. Capponi Chapel, Santa Felicita, Florence, Italy

Jacopo da Pontormo, Deposition Mannerist depiction of the deposition scene Unstable composition Swirling pattern Bright, unnatural colors Sense of anxiety and disorder

3. 136 El Greco, Laocoön, c. 1610/14. Oil on canvas, 54⅛ × 68” 3.136 El Greco, Laocoön, c. 1610/14. Oil on canvas, 54⅛ × 68”. National Gallery of Art, Washington, D.C.

El Greco, Laocoön Domenikos Theotokopoulos, called El Greco Laocoön Mannerist painter from Greece Worked in Venice and Rome Eventually moved to Spain Laocoön Story from Greek myth of a Trojan priest Mannerist exaggeration Elongated and distorted forms Expressionistic use of color and modeling

3. 137 Donatello, David, c. 1430. Bronze, 5’2¼” high 3.137 Donatello, David, c. 1430. Bronze, 5’2¼” high. Museo Nazionale del Bargello, Florence, Italy

Depictions of David Biblical story of David and Goliath Interpreted by three different artists at different times Donatello’s David Early Renaissance Inspired by the art of ancient Greece and Rome Revives the ancient technique of bronze casting Idealized depiction of the human body

3. 138 Michelangelo, David, 1501–4. Marble, 14’2⅞” high 3.138 Michelangelo, David, 1501–4. Marble, 14’2⅞” high. Galleria dell’Accademia, Florence, Italy

Depictions of David Michelangelo’s David High Renaissance Classical athletic body Idealized proportions Poised in contemplation before battle

3. 139 Gianlorenzo Bernini, David, 1623. Marble, 5’7” high 3.139 Gianlorenzo Bernini, David, 1623. Marble, 5’7” high. Galleria Borghese, Rome, Italy

Depictions of David Bernini’s David Baroque Designed to be viewed in the round Dynamic energy of pose Even the muscles in his face are tensed

Depictions of David Compare and contrast: Characteristics of the different time periods Medium Size Moment depicted Overall effect

The Baroque Time of exploration and discovery Religion Warfare Theory that the sun was the center of the universe now accepted Religion Post-Reformation Warfare Battles throughout Europe Artwork characteristics: Emphasis on light Diversity of approaches Dramatic movement and theatrical compositions

3. 142 Caravaggio, Judith Decapitating Holofernes, 1599 3.142 Caravaggio, Judith Decapitating Holofernes, 1599. Oil on canvas, 4’9” × 6’4¾”. Galleria Nazionale d’Arte Antica, Rome, Italy

Gentileschi, Judith Decapitating Holofernes The Influence of Caravaggio Innovative painter, tumultuous personal life Developed stylistic technique called tenebrism Dramatic light Dark background, figures seem to be lit with a spotlight Caravaggio’s Judith Decapitating Holofernes Italian Baroque Dramatic light calls attention to the violence of the scene 17th-century (present-day) clothing

3. 143 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620 3.143 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620. Oil on canvas, 6’6⅜” × 5’3¾”. Uffizi Gallery, Florence, Italy

Gentileschi, Judith Decapitating Holofernes The Influence of Caravaggio Gentileschi’s Judith Decapitating Holofernes Influenced by Caravaggio’s use of realism and tenebrism Both scenes emphasize violence Gentileschi’s Judith appears physically stronger and more active in the murder

3. 140 Nicolas Poussin, The Funeral of Phocion, 1648 3.140 Nicolas Poussin, The Funeral of Phocion, 1648. Oil on canvas, 44⅞” × 68⅞”. National Museum of Wales, Cardiff

Nicholas Poussin, The Funeral of Phocion French Baroque Nicholas Poussin Carefully planned his compositions Specialized in subjects from Classical antiquity The Funeral of Phocion Story of an Athenian general falsely executed for treason Space organized to guide the viewer through the landscape Balance and order

3.141 Peter Paul Rubens, center panel from The Raising of the Cross, 1610–11. Oil on canvas, 5’1⅛” × 11’1⅞”. Cathedral of Our Lady, Antwerp, Belgium

Peter Paul Rubens, The Raising of the Cross Flemish Baroque Peter Paul Rubens Very prolific artist Operated a large workshop with assistants Received many commissions from wealthy merchants The Raising of the Cross Center panel of an altarpiece for a church Focus on Christ’s body Strong diagonal lines Bright light Muscular body, immaculate flesh

3.144 Rembrandt van Rijn, The Company of Frans Banning Cocq and Willem van Ruytenburch (The Night Watch), 1642. Oil on canvas, 11’11” × 14’4”. Rijksmuseum, Amsterdam, Netherlands

Rembrandt van Rijn, The Night Watch Dutch Baroque Rembrandt Impressive reputation as an artist The Night Watch Commissioned by the Dutch civic militia Depicts a gathering of officers and guardsmen Skillful use of lighting techniques Chiaroscuro, tenebrism Believed to be a night scene Until it was cleaned after WWII, when it was revealed that the dark atmosphere was a result of years of accumulated dirt and layers of varnish

St. Peter’s Basilica and the Sistine Chapel The following videos will show you more about the art and architecture of the Renaissance and the Baroque: St. Peter’s Basilica and the Sistine Chapel

Gianlorenzo Bernini: The Ecstasy of St. Teresa

Sandro Botticelli: The Birth of Venus

Diego Velázquez: Las Meninas

Discussion Question Find two examples of artwork in this chapter in which linear perspective plays an important part. Point out the parts of the composition that use linear perspective to create the desired illusion. Discuss what the artist wants to communicate by using linear perspective.

Discussion Question From this chapter choose a northern Renaissance artwork and an Italian Renaissance work. List the prominent characteristics of each. Include information about both the form and the content of the artworks in your lists.

Discussion Question Select three artworks that deal with subject matter from the Bible. Consider how they portray their biblical themes: examine style, medium and technique, content, and any other aspects that the artist emphasizes. You might choose works from this chapter, or elsewhere in the textbook. For example: 1.70, 2.148, 4.163.

Discussion Question Select a Renaissance work and a Baroque work from this chapter. List their similarities and differences. Consider their subject matter, style, content, and emotional impact.

Discussion Question Select three Renaissance artworks that draw on the artistic and intellectual heritage of Classical Greece and Rome. Make a list of the ways in which they use the Classical past. Make another list of any Renaissance innovations, either in terms of form or content. You might choose one work from another chapter in the textbook, for example: 4.133, 4.136.

Gateways to Art: Understanding the Visual Arts This concludes the PowerPoint slide set for Chapter 3.6 Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson

Picture Credits for Chapter 3.6 3.117 Drazen Tomic 3.118 From Vasari, G., Lives of the Great Artists, 1568 3.119 © Michael S. Yamashita/Corbis 3.120 Libreria dello Stato, Rome 3.121 Brancacci Chapel, Church of Santa Maria del Carmine, Florence 3.122 Refectory of Sta Maria delle Grazie, Milan 3.123, 3.124 Vatican Museums, Rome 3.125 Stanza della Segnatura, Vatican Museums, Rome 3.126 Vatican Museums, Rome 3.127a, 3.127b National Gallery, London/Scala, Florence 3.128, 3.129a, 3.129b, 3.129c Gemäldegalerie, Staatliche Museen, Berlin 3.130 Musée d’Unterlinden, Colmar 3.131 British Museum, London 3.132 Museum Narodowe, Poznan´/Bridgeman Art Library 3.133 Galleria dell’Accademia, Venice 3.134 Cameraphoto/Scala, Florence 3.135 Capponi Chapel, Church of Santa Felicità, Florence 3.136 National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1946.18.1 3.137 Photo Scala, Florence, courtesy Ministero Beni e Att. Culturali 3.138 © nagelestock.com/Alamy 3.139 Photo Scala, Florence, courtesy Ministero Beni e Att. Culturali 3.140 The Earl of Plymouth. On loan to the National Museum of Wales, Cardiff 3.141 Royal Institute for the Study and Conservation of Belgium’s Artistic Heritage 3.142 Galleria Nazionale d’Arte Antica, Rome 3.143 Galleria degli Uffizi, Florence 3.144 Rijksmuseum, Amsterdam