The Changing Role of the Artist ¬ Giorgio Vasari’s ¬ Lives of the Artists, ¬ 1568.

The Changing Role of the Artist ¬ He believed that the artist was no longer just a member of a crafts guild.

The Changing Role of the Artist ¬ The artist was an equal in the courts of Europe with scholars, poets, & humanists.

The Changing Role of the Artist ¬ Therefore, the artist should be recognized and rewarded for his unique artistic technique [maneria].

Background ¬ Late Renaissance [Pre- Baroque]. ¬ Art was at an impasse after the perfection and harmony of the Renaissance.

Background ¬ Antithetical (contradictary) to the principles of the High Renaissance. ¬ From the Italian de maneria. ´ A work of art done in the artist’s characteristic “touch” or recognizable “manner.”

Background ¬ First used by the German art historian, Heinrich Wölfflin in the early 20c. ¬ Influenced by Michelangelo’s later works.

Michelangelo’s “Last Judgment” (Sistine Chapel)

Michelangelo’s “Last Judgment” (Sistine Chapel – left side)

Michelangelo’s “Last Judgment” (Sistine Chapel – right side)

1. Replace Harmony With Dissonance & Discord ¬ “Susanna & the Elders” ¬ Alessandro Allori ¬ Twisted bodies or “weight shift” [contrapposto]

2. Replace Reason with Emotion ¬ “Pietà” by Rosso Fiorentino ¬

¬ “Pietà” by El Greco ¬

3. Replace Reality with Imagination ¬ “The Mystic Marriage of St. Catherine” ¬ Parmigianino ¬

4. Create Instability Instead of Equilibrium ¬ “The Rape of Helene” ¬ Francesco Primaticcio ¬

5. Bodies Are Distorted ¬ “Christ in Agony on the Cross” ¬ El Greco ¬ 1600s. ¬ An attempt to express the religious tensions of the times.

¬ “Adoration of the Name of Jesus” ¬ El Greco ¬

¬ “The Baptism of Christ” ¬ El Greco ¬

¬ “Portrait of a Cardinal” ¬ El Greco ¬ 1600

6. Colors are Lurid ( vivid or sensational ) ¬ “The Tempest” ¬ Giorgione ¬ 1510

¬ “The Calling of St. Matthew” ¬ Caravaggio

¬ “The View from Toledo” ¬ El Greco ¬ 1597

7. Pictoral Space is Crowded ¬ “Madonna with the Long Neck” ¬ Parmagianino ¬

¬ “Joseph in Egypt” ¬ Jacomo Pontormo

¬ “The Last Supper” ¬ Tintoretto ¬ 1594

8. A Void in the Center ¬ “Bacchus & Ariadne” ¬ Titian ¬ ? ?

¬ “Pastoral Concert” ¬ Giorgione ¬ ? ?

9. Hanging Figures ¬ “The Annunciation” ¬ Jacopo Tintoretto ¬

¬ “Moses Drawing Water form the Rock” ¬ Jacopo Tintoretto ¬ 1577

Characteristics of Mannerist Architecture ¬ Stylishness in design could be applied to a building as well as to a painting. ¬ Showed extensive knowledge of Roman architectural style. ¬ Complex, out of step style  taking “liberties” with classical architecture. ¬ Architecture, sculpture, and walled gardens were seen as a complex, but not necessary unified whole.

¬ Villa Capra [or Villa Rotunda] ¬ By Andrea Palladio ¬ ¬ “Palladian” architectural style [popular in England]

¬ Entrance to the Villa Farnese at Caprarola ¬ By Giacomo Vignola ¬ 1560

¬ Giacomo da Vignola ¬ Wrote The Rule of the Five Orders of Architecture ¬ 1563 ¬ Became a key reference work for architects.

The Fontainebleau School ¬ French Mannerism  flourished from 1531 to the early 17c.

The Fontainebleau School ¬ Characteristics: ´ Extensive use of stucco in moldings & picture frames.

The Fontainebleau School ´ Frescoes. painting on a moist, plaster surface with colors ground up in water or a limewater mixture ´ An elaborate [often mysterious] system of allegories and mythical iconography. ¬ Centered around the Royal Chateau of Fontainebleau.

The Royal Chateau at Fontainebleau ¬ Gallery [right] by Rosso Fiorentino & Francesco Primaticcio ¬

Jean Goujon “Nymph,” “Nymph & Putto,”

Baroque  1600 – 1750  From a Portuguese word “barocca”, meaning “a pearl of irregular shape.” 

Baroque  Implies strangeness, irregularity, and extravagance.  The more dramatic, the better!

Baroque Style of Art & Architecture  Emotional.  Colors were brighter than bright; darks were darker than dark.

Baroque Style of Art & Architecture  Counter-Reformation art.  Paintings & sculptures in church contexts should speak to the illiterate rather than to the well- informed.  Ecclesiastical art.

St. Peter’s Basilica, Vatican City by Gialorenzo Bernini

Church of Santiago de Compostella, Spain

Church of Veltenberg Altar, Germany

Interior of a Dominican Church in Vilnius

“St. Francis in Ecstasy” Caravaggio, 1595

“The Flagellation of Christ” by Caravaggio

“David and Goliath” by Caravaggio

“Salome with the Head of the Baptist” by Caravaggio

“The Cardsharps” Caravaggio, 1595

“Self-Portrait: The Artist” Artemisia Gentileschi, The 1st woman accepted into the Academy of Drawing in Florence

“Susanna & the Elders” Artemisia Gentileschi, 1610

“The Dead Christ Mourned” Annibale Carracci, 1603

“Joseph’s Bloody Coat Brought to Jacob” Diego Vel á zquez, 1630

“Christ on the Cross” Diego Vel á zquez, 1632

“Las Meninas” or “The Maids of Honor” Diego Vel á zquez 1656

Student Report Rubens, Valaquez, Bernini

“St. Bonaventure on His Deathbed” Francisco de Zurbarn, 1629

“The Elevation of the Cross” by Peter Paul Reubens

“The Lamentation ” by Peter Paul Reubens

“Battle of the Amazons” Peter Paul Reubens

“A Village F ê te” Peter Paul Reubens

“The Ecstasy of St. Theresa of Avila” by Gianlorenzo Bernini

“A Bust of Louis XIV” by Bernini

“A Bust of Cardinal Richelieu” by Bernini

Baroque Furniture

A Baroque Room

Giovanni Francesco Marchini,

Nicolas Poussin greatest French artist of the 17th century, the founder of his country's classical school.

Student Report Poussin & Rembrandt Rembrandt, “Self Portrait”

Nicolas Poussin With him, French painting shook off its provinciality and became a European affair, mirroring the power of its grand century, the age of Louis XIV.

“Abduction of the Sabine Women” by Poussin Also referred to As “The Rape of the Sabine Women.”

Student Report Michel de Montaigne

Student Report Cervantes & Shakespeare Shakespeare