ARCHITECTURE

SPECIFIC GOALS: Give examples of major architectural projects undertaken in ITALY (MOSTLY ROME AND VENICE). note the sculptural aspects of renaissance architecture IDENTIFY IMPORTANT ARCHITECTS AND THE DISTINCTIVE ELEMENTS OF THEIR STYLES IDENTIFY THEORIES AND ELEMENTS OF RENAISSANCE ARCHITECTURE THAT INFLUENCE MODERN ARCHITECTURE

BRAMANTE CREATED Innovative central-plan designs based MOSTLY on classical sources (influence of GREEK tholoi and Roman circular temples), and FIRST ARCHITECT OF NEW SAINT PETER’S.

DONATO D’ANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, © 1502. Martyrium: marks spot of st. peter’s martyrdom Closer to Roman temple or greek tholos? “sculptural” balance and awareness of light and shadow

CLASSICAL ROMAN CIRCULAR TEMPLES HAD MORE OBVIOUS FRONTAL ORIENTATION PANTHEON, © 118-125 TEMPLE OF VESTA, TIVOLI, EARLY 1ST CENTURY B.C.E.

TEMPIETTO PLAN

TEMPIETTO: TUSCAN COLUMNS AND DORIC FRIEZE (TRIGLYPHS AND METOPES)

TEMPIETTO: BALUSTRADE, AND DRUM (ALTERNATING RECTANGULAR “WINDOWS” AND SHELL-CAPPED NICHES – LIGHT AND SHADOW!

BRAMANTE, PLAN FOR NEW SAINT PETER’S: RECALL THE EARLY RENAISSANCE ARCHITECTS' DESIRE TO FUSE CENTRAL AND AXIAL PLANS

MICHELANGELO

CHRISTOFORO FOPPA CARADOSSO, medal showing Bramante’s design for the new Saint Peter’s, 1506. Bronze, 2 1/4” diameter. British Museum

MICHELANGELO’S PLAN FOR NEW SAINT PETER’S, 1546 "CULT OF THE AXIS" - RELATION OF BUILDING TO HUMAN BODY

COMPARE BRAMANTE AND MICHELANGELO PLANS

MICHELANGELO, SAINT PETER’S (LOOKING NORTHEAST), VATICAN CITY, 1546-64 MICHELANGELO, SAINT PETER’S (LOOKING NORTHEAST), VATICAN CITY, 1546-64. SCULPTURAL! UNDULATING WALLS, UNIFYING COLOSSAL PILASTERS (AND WOULD HAVE HAD “CALM” HEMISPHERICAL DOME)

VIEW OF SAINT PETER’S FROM THE TIBER (EAST) VIEW OF SAINT PETER’S FROM THE TIBER (EAST). OGIVAL DOME BY GIACOMO DELLA PORTA. 1590. DOME IS APPROX. 446' HIGH (AVERAGE STOREY = 10')

ANTONIO DA SANGALLO THE YOUNGER, Palazzo Farnese (looking southeast), Rome, 1517-1546; completed by MICHELANGELO, 1546-1550.

DA SANGALLO, courtyard of the Palazzo Farnese, © 1517–1546 DA SANGALLO, courtyard of the Palazzo Farnese, © 1517–1546. Third story and attic by MICHELANGELO BUONARROTI, 1546-1550. PATRON? A CARDINAL

MICHELANGELO, PIAZZA DEL CAMPIDOGLIO, CAPITOLINE HILL. ROME, © 1537. "CULT OF THE AXIS" MICHELANGELO'S SOLUTION FOR TRAPEZOIDAL, UNEVEN SPACE – CREATED WHEN HE REVERSED ORIENTATION TO FOCUS ON VATICAN RATHER THAN SENATE

ÉTIENNE DUPÉRAC, PIAZZA DEL CAMPIDOGLIO, ENGRAVING, 1568 ÉTIENNE DUPÉRAC, PIAZZA DEL CAMPIDOGLIO, ENGRAVING, 1568. PAVING DESIGN = OVOID (NOT INSTALLED UNTIL 20TH CENTURY – MUSSOLINI)

PALLADIO VENETIAN ARCHITECT ANDREA DI PIETRO. INSPIRED BY VITRUVIUS. HIS RATIONAL, SYMMETRIC VERSION OF CLASSICISM STYLE LATER BECAME THE MODEL AND GAVE A NAME TO FOR NEO-CLASSICICAL (PALLADIAN) ARCHITECTURE. COGNOMEN FROM ATHENA PALLAS, GODDESS OF WISDOM. WROTE HIS OWN ARCHITECTURAL TREATISE, WHICH PARTIALLY ACCOUNTS FOR HIS CONTINUING INFLUENCE.

PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, © 1566–1570. BELVEDERE – FORM FOLLOWS FUNCTION!

VILLA ROTUNDA, PERFECTLY RADIALLY SYMMETRIC. PATRON? A PRIEST

INTERIOR OF DOME, VILLA ROTUNDA: NICE WEEKEND HOUSE FOR A PRIEST INTERIOR OF DOME, VILLA ROTUNDA: NICE WEEKEND HOUSE FOR A PRIEST! NOTE BALUSTRADED AMBULATORY IN DOME

PLAN, VILLA ROTUNDA? GREEK CROSS, SQUARE, CIRCLE

THOMAS JEFFERSON, ROTUNDA, UNIVERSITY OF VIRGINIA, 1822.

PALLADIO, aerial view of San Giorgio Maggiore, Venice, Italy, begun 1566.

FAÇADE, SAINT GIORGIO MAGGIORE = DUAL FAÇADE PALLADIO'S SOLUTION FOR PROBLEM OF HOW TO PUT A "RATIONAL" FAÇADE ON BASILICA WITH HIGH NAVE AND LOW AISLES (AVOID THE "SCREEN" EFFECT OF CHURCHES SUCH AS SANTA MARIA NOVELLO

ALBERTI, FAÇADE OF SANTA MARIA NOVELLO, 1456 - 70

CHOIR AND APSE, SAN GIORGIO MAGGIORE

MANNERISM

SPECIFIC GOALS: Understand Mannerism as an artificial, IDIOSYNCRATIC style in contrast to the naturalism of the High Renaissance. Examine Mannerism as interested in expressive forms of art rather than classical forms. Explore the lives and works of key artists of the Mannerist style. Recognize the artistic elements of Mannerist painting, sculpture, and architecture.

ARCHITECTURE

GIULIO ROMANO, interior courtyard facade of the Palazzo del GIULIO ROMANO, interior courtyard facade of the Palazzo del Tè, Mantua, Italy, 1525–1535. Anti-classical! GIULIO ROMANO, interior courtyard facade of the Palazzo del

Michelangelo, vestibule of laurentian library, florence, 1524-34; staircase 1558-59. Mannerist elements? FORM DOESN’T FOLLOW FUNCTION: MASSIVE BUT NONSTRUCTURAL COLUMNS, SPLIT COLUMNS, PURELY DECORATIVE VOLUTE CORBELS

PILASTERS FLANKING NICHES TAPER UPWARD. INTERRUPTED STRING COURSES

FORM DOESN’T EVEN ALLOW FUNCTION: STAIRWAY IS LOVELY SCULPTURE, BUT TRY WALKING ON IT! NOTE THAT THE OUTSIDE STAIRCASES DON’T GO ANYWHERE

GIACOMO DELLA PORTA, façade of Il Gesù, Rome, © 1575–1584. this is not mannerist – in same renaissance tradition as alberti

1 2 3 3 GIACOMO DA VIGNOLA, PLAN, IL GESÙ, 1568. DOME ALSO NOT MANNERIST! VERY RATIONAL. MODEL FOR LATER CHURCHES DOME NAVE SIDE CHAPELS 1 2 3 3

PAINTING

SPECIFIC GOALS: Recognize basic features of Mannerism: MANNERED – CONTRIVED, "stylish" Elongated figures Less emphasis on balance, symmetry, and rational composition Unusual lighting effects Compare and contrast Mannerist painting with that of the High Renaissance IDENTIFY MAJOR MANNERIST ARTISTS, THEIR STYLES AND MAJOR WORKS

JACOPO DA PONTORMO, Entombment of Christ, Capponi Chapel, Santa Felicità, Florence, Italy, 1525–1528. Oil on wood, 10' 3" x 6' 4". What's mannered? Unnatural setting, positions Void in center No cross (invisible) Tiny heads, long limbs

PARMIGIANINO, Madonna with the Long Neck, from the Baiardi Chapel, Santa Maria dei Servi, Parma, 1534–1540. Oil on wood, 7'1"x 4'4". Uffizi. Elegance Unnaturally long neck, hand, baby, ANGEL LEG Perspective discarded

BRONZINO, Venus, Cupid, Folly, and Time, © 1546 BRONZINO, Venus, Cupid, Folly, and Time, © 1546. Oil on wood, 5'1"x 4'8 ¼". National Gallery, London. PATRON? COSIMO I DE' MEDICI AS A GIFT FOR ANOTHER MAN (FRAncis I, france) Totally unnatural as well as lascivious "meaning ambiguous"

TINTORETTO, Last Supper, 1594. Oil on canvas, 12' x 18' 8' TINTORETTO, Last Supper, 1594. Oil on canvas, 12' x 18' 8'. San Giorgio Maggiore, Venice.

Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, 1573. Oil on canvas, 18'3"x 42’. Galleria dell’Accademia, Venice. Originally titled the last supper. A very rich, STYLISH, MERRY LAST SUPPER!

DETAIL, HOUSE OF LEVI: DWARF JESTER AND "BLACKAMOOR" ENTERTAINERS – NOT EXACTLY THE RIGHT MESSAGE FOR THE COUNTER-REFORMATION

DOGS, DWARF, FAT RICH LORD, ETC.

PAOLO VERONESE, Triumph of Venice, © 1585. Oil on canvas, 29'8" x 19'. Ceiling of the Hall of the Grand Council, Doge’s Palace, Venice. Awareness of viewer! 45o PROJECTION

BRONZINO, Portrait of a Young Man, © 1530–1545 BRONZINO, Portrait of a Young Man, © 1530–1545. Oil on wood, 3' ½" x 2' 5 ½". Met.

AND SOME MAYBE NOT MANNERIST PAINTERS . . .

WOMAN ARTIST: SOPHONSIBA ANGUISSOLA PORTRAIT OF THE ARTIST'S SISTERS AND BROTHER © 1555. OIL ON PANEL, 2' 5 ¼" X 3' 1 ½". CORSHAM COURT, WILSHIRE

WHAT STYLE?

ANGUISSOLA, SELF PORTRAIT, 1554. OIL ON CANVAS, 19. 5 X 12. 5 CM ANGUISSOLA, SELF PORTRAIT, 1554. OIL ON CANVAS, 19.5 X 12.5 CM. Kunsthistorisches Museum, VIENNA

ANGUISSOLA, PRADO PHILIP II, © 1570. OIL ON CANVAS, 88 X 72 CM ANGUISSOLA, PRADO PHILIP II, © 1570. OIL ON CANVAS, 88 X 72 CM. MUSEO DEL PRADO, MADRID, SPAIN ANGUISSOLA WAS COURT PAINTER TO PHILIP II

ANGUISSOLA, ELISABETH OF VALOIS © 1599 ANGUISSOLA, ELISABETH OF VALOIS © 1599. (DAMAGED) OIL ON CANVAS, 68 × 54 cm. Kunsthistorisches Museum, VIENNA.

ANGUISSOLA, SELF PORTRAIT, 1610

CORREGIO, ASSUMPTION OF THE VIRGIN, CEILING OF PARMA CATHEDRAL, 1526-30. FRESCO. 35' 10" X 27' 11". RENAISSANCE, MANNERIST, EARLY BAROQUE?

CORREGIO, IO AND ZEUS, © 1530. OIL ON CANVAS, 163. 5 × 70. 5 cm CORREGIO, IO AND ZEUS, © 1530. OIL ON CANVAS, 163.5  × 70.5 cm. Kunsthistorisches Museum. ZEUS – INVISIBLE

SCULPTURE

SPECIFIC GOALS: NOTE DISTINCTIVE ELEMENTS IN MANNERIST SCULPTURE, ESPECIALLY GROTESQUERIES AND REVIVAL OF FIGURA SERPENTINATA IDENTIFY THE MANNERIST SCULPTORS AND THEIR MAJOR WORKS

BENVENUTTO CELLINI, Saltcellar of Francis I, 1540-1543 BENVENUTTO CELLINI, Saltcellar of Francis I, 1540-1543. Gold, enamel, and ebony, 10 ¼" X 1' 1' 1/8". Kunsthisotrisches Museum.

CELLINI, PERSEUS WITH THE HEAD OF MEDUSA, 1554-55. BRONZE, 18' HIGH CELLINI, PERSEUS WITH THE HEAD OF MEDUSA, 1554-55. BRONZE, 18' HIGH. LOGGIA DEI LANZI, Piazza della Signoria, FLORENCE. GROTESQUE THEMES ALSO CHARACTERISTICALLY MANNERIST

GIOVANNI DA BOLOGNA, Abduction of the Sabine Women (OR WHATEVER GIOVANNI DA BOLOGNA, Abduction of the Sabine Women (OR WHATEVER!), Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, 1579–1583. Marble, 13'5 ½" high. FIGURATA SERPENTINA (DUE TO REDISCOVERY (OR MICHELANGELO SCULPTING) THE LAOCÖON). FIRST LARGE-SCALE 360o SCUPTURE SINCE ANTIQUITY