Chapter Thirteen: The High Renaissance and Mannerism in Italy

Popes and Patronage Vatican as center of wealth, stability Pope Sixtus IV Pope Julius II Beginnings of High Renaissance (1503) “il papa terribile” Raphael, Michelangelo The de’ Medici Family

The Visual Arts Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of the Rocks Orthogonals, chiaroscuro Notebooks Mathematics, natural world and humanity, love for beauty

13. 3 Leonardo da Vinci, The Last Supper, 1495–1498 13.3 Leonardo da Vinci, The Last Supper, 1495–1498. Fresco, post-restoration, 14´5˝ x 28´1⁄4˝. Refectory, Santa Maria delle Grazie, Milan, Italy. Image © The Gallery Collection/CORBIS 13.3 Leonardo da Vinci, The Last Supper, 1495-1498, Refectory, Santa Maria delle Grazi, Milan, Italy

13. 4A Leonardo da Vinci, Madonna of the Rocks, begun 1483 13.4A Leonardo da Vinci, Madonna of the Rocks, begun 1483. Musee du Louvre, Paris, France 13.4A Leonardo da Vinci, Madonna of the Rocks, begun 1483. Panel painting transferred to canvas, 78˝ x 48˝ (198.1 x 121.9 cm). Musée du Louvre, Paris, France//© Scala/Art Resource, NY

13. 5 Leonardo da Vinci, Mona Lisa, 1503-1505 13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France 13.5 Leonardo da Vinci, Mona Lisa, c. 1503–1505. Oil on wood, approx. 30˝ x 21˝ (76.2 x 53.3 cm). Musée du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY

The Visual Arts Raphael Sanzio (1483-1520) From Urbino to Perugia Apprentice to Perugino From Perugia to Florence (1505) Madonna of the Meadow (1508) Pyramidal configuration Rationally ordered Modeling of human forms Human quality of the divine figure

13.7 Raphael, Madonna of the Meadow, 1508, Kunsthistorisches Museum, Vienna, Austria 13.7 Raphael, Madonna of the Meadow, 1508. Oil on panel, 441⁄2˝ x 341⁄4˝ (113 x 87 cm). Kunsthistorisches Museum, Vienna, Austria//© Erich Lessing/Art Resource, NY

The Visual Arts Raphael Sanzio (1483-1520) From Florence to Vatican (1508) School of Athens (1509-1511) Symbolic homage to philosophy Renaissance ideal Balance of philosophy and theology

13. 8A Raphael, Philosophy (School of Athens), 1509-1511 13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy 13.8A Raphael, Philosophy (School of Athens), 1509–1511. Fresco, 26´ x 18´ (7.92 x 5.48 m). Stanza della Segnatura, Stanze di Raff aello, Vatican Palace, Vatican State//© Erich Lessing/Art Resource, NY

The Visual Arts Lorenzo de’ Medici Michelangelo Buonarroti (1476-1564) Pietá Michelangelo’s David Statement of idealized beauty Palazzo Vecchio: symbol of civic power

13.10 Michelangelo, David, 1501-1504, Accademia di Belle Arti, Florence, Italy 12.17 Michelangelo, David, 1501–1504. Marble, 18´ (5.49 m) high. Accademia di Belle Arti, Florence, Italy//© Erich Lessing/Art Resource, NY

The Visual Arts Michelangelo Buonarroti (1475-1564) Tomb for Pope Julius II Moses (1513-1515) Divine fury, divine light Terribilità

13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy 13.11 Michelangelo, Moses, 1513–1515. Marble, 8´4˝ (2.54 m) high. San Pietro in Vincoli, Rome, Italy//© Scala/Art Resource, NY

The Visual Arts Michelangelo Buonarroti (1475-1564) The Sistine Chapel “Michelangelo, Sculptor” Architectural and thematic motifs Interpretation Neo-Platonism Old Testament and pagan prophets Complex tree symbolism Human wisdom + God’s revelation

13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy 13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508–1511. Fresco, 44´ x 128´ (13.44 x 39.01 m), Sistine Chapel, Vatican Palace, Vatican State. Image © Erich Lessing/Art Resource, NY

The Visual Arts Michelangelo Buonarroti (1475-1564) Michelangelesque Masculine anatomy, musculature Physical bulk, linear grace, emotionality Creation of Adam (1508-1511) The Last Judgment (1534-1541) Medici Chapel Architectural and sculptural design Life, death, resurrection

13. 13 Michelangelo, Creation of Adam, 1508–1512 13.13 Michelangelo, Creation of Adam, 1508–1512. Ceiling fresco, detail, c. 8´ x 9´2˝ (2.44 x 2.8 m), Sistine Chapel, Vatican Palace, Vatican State. Image © Erich Lessing/Art Resource, NY 13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy

13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy 13.16

The Visual Arts Michelangelo Buonarroti (1475-1564) The New Saint Peter’s Donato Bramante (1444-1514) Tempietto Michelangelo as architect (1546) Bramante’s plan Ribbed, arched dome Drum to support dome

The High Renaissance in Venice Andrea Palladio Classical Architecture of Greece reflected through Roman structures Four Books of Architecture (1570) Palazzo Chiericati Harmony and balance

The High Renaissance in Venice Painting Tradition of easel painting Use of oil paints Brilliance of color Subtlety of light Eye for close detail Love of landscape

The High Renaissance in Venice Painting Titian (c. 1488-1576) Assumption of the Virgin (1516-1518) Venus of Urbino (1538) Tintoretto (1518-1594) “The drawing of Michelangelo and the color of Titian.” The Last Supper

13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy 13.20 Titian, Venus of Urbino, 1538. Oil on canvas, c. 3´11˝ x 5´5˝ (1.19 x 1.62 m). Galleria degli Uffi zi, Florence, Italy//© Scala/Art Resource, NY

Mannerism Characteristics of Mannerism Distortion and elongation Flattened, two-dimensional space Lack of a defined focal point Discordant pastel hues Jacopo Carucci da Pontormo (1494-1557) Deposition (c. 1528) Il Bronzino Venus, Cupid, Folly, and Time (The Exposure of Luxury)

13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England 13.23

Mannerism Lavinia Fontana (1552-1614) Daughter of Bolognese painter Portrait painter (Rome, Bologna) Exaggerated angles, use of color Sofonisba Anguissola (1532?-1624) Renaissance and Baroque masters Pictorial representations Contrasts of dark and light

13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy

13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland

Mannerism Giovanni da Bologna (1529-1608) El Greco (1541-1614) Sculptor Abduction of the Sabine Women El Greco (1541-1614) Distortion of figures and ambiguous space The Burial of the Count of Orgaz

13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain

Music in the Sixteenth Century Music at the Papal Court Sistine Choir and Julian Choir Male voices, a capella Josquin des Prez (c. 1450-1521) Sistine Choir, composer and director Motet for four voices Structure, balance, lyrical quality

Music in the Sixteenth Century Music at the Papal Court Giovanni Pierluigi da Palestrina (1525-1594) Choirmaster of capella Guilia (Julian choir) 1571-1594 Vatican’s music director Conservative masses in response to Catholic reform movement

Music in the Sixteenth Century Venetian Music Adrian Willaert Andrea and Giovanni Gabrieli Church of St. Mark Split choirs Instrumental music in liturgy Intonazione, toccata Intellectual influence of Italian humanism

Literature Leonardo da Vinci Michaelangelo Buonarroti Vittoria Colonna 13,000 pages of notes Michaelangelo Buonarroti Poetry Vittoria Colonna Baldassare Castiglione The Book of the Courtier Veronica Franco Benvenuto Cellini

13.28 Raphael, Baldassare Castiglione, 1514, Musee du Louvre, Paris, France 13.28 Raphael, Baldassare Castiglione, c. 1514. Oil on panel, transferred to canvas, 291⁄2˝ x 251⁄2˝ (75 x 65 cm). Museé du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY

Chapter 13: Discussion Questions Compare the artistic developments that took place in Rome and those that took place in Venice. To what can we attribute the differences? Explain. To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and works. How did environmental factors and geography contribute to Venetian art during the Renaissance? Consider both visual and aural arts in your discussion.