The Late Renaissance and Mannerism in 16th Century Italy Events: Reorientation of trade routes from the east (Italy in prime location) to the west (discovery of America) Ever increasing threat of Turkish invasion Machiavelli publishes The Prince 1532: advocates that each situation determines whether one should be good or bad-moral and economic relativity Classical calm, harmonious images no longer in fashion Artistic license practiced more freely and openly (for a little while at least) Map of 16th Italy

Protestant Reformation Events: Martin Luther 95 Theses, 1517 Founder of Lutheranism 95 arguments against the Catholic church Indulgences Role of artworks, abuse of power/idolatry Access to the Bible Lucas Cranach, Portrait of Martin Luther, 1533. Oil on 14 ½” x 18.” Galleria degli Uffizi, Florence.

Michelangelo, plan for new Saint Peter’s,1546. Rome Example: Adjusts Bramante’s central plan Greek cross inscribed in square Dome over crossing Colossal order Michelangelo, plan for new Saint Peter’s,1546.

Michelangelo, plan for new Saint Peter’s, 1546. Italy Donato d’Anegelo Bramante, Original plan for St. Peter’s, Rome, 1502-1511. Fig. 15.5 Michelangelo, plan for new Saint Peter’s, 1546.

Italy Dates and Places: 1500 to 1600 Rome, Florence, Milan, and Venice People: Humanism Reformation/Counter-Reformation Powerful courts Artist-genius Interior, Sistine Chapel showing Interior of the Sistine Chapel with frescoes by Michelangelo, Perugino, Ghirlandaio, Botticelli, and others, 1473-1541. Fig.15.9

Rome Example: Commissioned by Pope Paul III (Farnese) Subject reflects time based on Matthew New take on traditional topic with possible pagan references Compression of space Dynamic design Dramatic composition Michelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 16.5

Rome Michelangelo, detail scenes from Last Judgment, with detail of Christ and the Virgin Mary. Fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City.

Rome Self-portrait of Michelangelo Michelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 14.28

Italian Mannerism General characteristics: c. 1520-1580 Elegant and refined, sophisticated Artificial (versus naturalism of High Renaissance style) Courtly style Overelaborate distortion Compositional tension, not clarity Psychological tension Impresses one with a feeling of awkwardness Self-conscious stylishness, not window onto world Complex, exaggerated, difficult Unstable composition, unnatural color Rosso Fiorentino, Descent from the Cross, 1521. Oil on panel, 11’ x 6’5 ½.” Pinacoteca Comunale, Volterra, Italy. Fig. 16.2

Agnolo Bronzino (1503-1572) Elegant conception Example: Florence Elegant conception Figures elongated and have energetic, angular postures Arranged to create a decorative pattern No strong emotions, superficial Shallow space Forms tend to adhere to the vertical plane Mannerist refinement and artifice prevail over nature and feeling Bronzeeno Agnolo Bronzino , Allegory of Venus: Venus, Cupid, Folly, and Time, ca. 1546. Oil on panel, 5’1” x4’8 ¾.” National Gallery, London. Fig. 16.3

Tiziano Vecellio (Titian 1488/90-1576) Example: Oil on canvas glows Voluptuous body with smoky shadow, framed by curtain The artist was extremely successful and was even given the freedom of the city of Rome during a visit in 1546. The last twenty-five years of Titian's life were spent mainly as a portrait-painter and in the service of Philip II of Spain. He had painted Philip's portrait in 1550 and had also painted Philip's father The Holy Roman Emperor, Charles V. The artist's later paintings are executed with great freedom. He was so comfortable with his medium that one of his pupils, who had watched him work, stated that he finished the pictures 'more with his fingers than his brush'. Vicheleeo Tishuhn Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence. Fig. 16.11

Giorgione, Sleeping Venus, c. 1509. Oil on canvas, 3’6 ¾” x 5’ 9.” Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence. Fig. 16.11 Manet, Olympia, 1865. Oil on canvas, 4’ 3” x 6’ 3.” Musée d'Orsay, Paris

Venice Teentoretto Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13

Jacopo Robusti “Tintoretto” (1518-1594) Example: “Paint like Titian, design like Michelangelo” Counter-Reformation painting Strong diagonals, site specific Strong use of light and dark Mysterious light source Natural and supernatural worlds Exaggeration of poses Judas again in the dark Teen torette o Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13

Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8 Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13 Leonardo da Vinci, Last Supper, c. 1495–1498. Fresco (oil and tempera on plaster), 15’ 1 1/8” x 28’ 10 ½.” Refectory of Santa Maria delle Grazie, Milan. Fig. 15.2

Vicenza Vin chenza Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.

Andrea Palladio (1508-1580) Example: Greatest architect of late 16th century Synthesizes elements of Mannerism with High Renaissance ideals Near Venice Central plan Dome over crossing Four facades like temple portals Pantheon likely model Wrote architectural treatise, Four Books of Architecture (1570) Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.

Reconstruction of an Etruscan temple after Vitruvius Andrea Palladio, Villa Rotonda, ca. 1567–1570. Vicenza, Italy. Fig.16.14. Pantheon, 118-125 CE, Rome.

Andrea Palladio (1506-1580) Example: Design aesthetic based on humanist education Private residence, built for Venetian cleric Classic temple portico (porch) with Ionic columns support entablature crowned by pediment Symmetry in design=dignity and grandeur Strict symmetry is both Classical and Renaissance element Andrea Palladio, floor plan Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.