Chapter 13 The High Renaissance and Mannerism in Italy Culture and Values, 8th Ed. Cunningham and Reich and Fichner-Rathus

Italy 1494

Leo X (1513–1521) Son of Lorenzo the Magnificent; patronized Michelangelo and excommunicated Martin Luther. HadrianVI (1522–1523) Born in the Netherlands; a ferocious reformer and the last non-Italian pope until the 1970s. Clement VII (1523–1534) Grandson of Lorenzo the Magnificent; commissioned the Medici tombs in Florence, and The Last Judgmentfor the Sistine Chapel just before his death; excommunicated Henry VIII. Paul III (1534–1549) Commissioned Michelangelo to build the Farnese Palace in Rome; called the reform Council of Trent, which first met in 1545. Julius III (1550–1555) Patron of the composer Palestrina; confirmed the constitutions of the Jesuits in 1550; appointed Michelangelo as chief architect of Saint Peter’s. Marcellus II (1555) Reigned as pope for 22 days; honoree of Palestrina’s Missa Papae Marcelli. Paul IV (1555–1559) A fanatical reformer; began the papal reaction against the Renaissance spirit; encouraged the Inquisition and instituted the Index of Forbidden Books in 1557.

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

Pieta 1498-9, marble St. Peter’s Vatican Rome

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

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

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

1534-41 The Last Judgement, fresco, Sistine Chapel, Vatican.

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

Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666 Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666. (I) Bramante’s plan, 1506–1514, shows a compact plan of a Greek cross with arms or transepts (b) of equal length meeting at a central altar (a) set under a dome, with each arm ending in a semicircular apse (e) opening to a portal or entrance (c), and including several chapels (d) for smaller services. (II) Antonio da Sangallo’s plan, 1516–1546, imposed a Latin cross, adding Raphael’s choir (f) to surround the altar on three sides, closing the portals in favor of a formal entrance (c), and forming a nave (g) from the arm proceeding from a huge vestibule or narthex (h). (III) Michelangelo’s plan, 1547–1564, rejected Sangallo’s design and returned to a centralized domed Greek cross inscribed within a square but retained the vestibule (c), now fronted by a portico with giant columns. (IV) Carlo Maderna’s plan, 1606–1615, returned to a Latin cross with elongated nave (g), narthex (h), portico (c), and Baroque façade. This plan also shows Gian Lorenzo Bernini’s piazza (j) with colonnades, 1656–1667. Maderna’s final additions, especially the elongated nave, narthex, and large façade, obscured Michelangelo’s original design. Artwork by Cecilia Cunningham.

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

Andrea Palladio Palazzo Chiericati begun 1550s. Vicenza, Italy.

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

1592-94, Tintoretto, The Last Supper, oil on canvas, San Giorgio Maggiore, Venice, Italy.

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)

Jacopo Pontormo (born Carucci), Entombment, 1525–1528 Jacopo Pontormo (born Carucci), Entombment, 1525–1528. Oil on panel, 123″ × 76″ (312.4 × 193 cm). Capponi Chapel, Santa Felicità, Florence, Italy.

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

Giovanni da Bologna, Abduction of the Sabine Women, ca. 1581–1583 Giovanni da Bologna, Abduction of the Sabine Women, ca. 1581–1583. Marble, 13′5″ (409 cm) high. Loggia dei Lanzi, Florence, Italy.

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

Worcester Museum of Art, Worcester, Mass. Tintoretto,  Veronica Franco, late 16th century. Oil on canvas, 18″ × 24″ (46 × 61 cm). Worcester Museum of Art, Worcester, Mass. 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

Compare & contrast

Compare & contrast

Compare/ contrast

Investigations

Chapter Thirteen: 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.