 Art during this period was focused on Christian faith.  Art during this period appealed to the emotions and stressed on the importance of faith.  Churches were the center of everything and led to the development of several important architectural styles:  Byzantine  Romanesque  Gothic

 Byzantine: refers to the Eastern Christian or Roman Empire, ruled by Constantine  Romanesque: refers to “Roman like”  Gothic: refers to a way to describe the art, culture of the time.

 Almost everything seemed to revolve around religion  Emperors supported the restoration of religious images and refurbishing of churches  This strong movement reinforced the spread of renewed religious faith

 Byzantium:  Centered on a domed central plan  Small and vertical  Domed structure rising above a square base  Exterior surfaces were decorated with elaborate, rich pattern (probably influenced by earlier Islamic architecture)

 Romanesque:  Were made with brick and stone with roofs of stone  The rectangular cross floor plan was based on roman basilica  The style grew and became popular for; Buttresses Galleries Clerestory windows Barrel vaults Groin vaults  A characteristic of Romanesque architecture is the use of arches over doors and windows

 Gothic architecture reflected the desire of the church leaders to emphasize the idea of seeking salvation form the God above.  Pointed arches  Windows; Gothic builders used many stained glass windows  Flying buttresses

The Renaissance

  Europe strongly influenced by religious views of the world.  Architecture: grandeur, stained glass windows emerged.  Sculptures containing Bible stories were created  Known as the “rebirth” period, because of classical ideas and freedom of thought

 Growth of independent city-states  Better economy  Families, power seekers and wealthy individuals were main patrons to the arts  Patronage: Support, encouragement and financial assistant for the creation of artistic works.

 Classicism- The art and architectural styles of ancient Greece and Rome.  Domed buildings  Cathedral of Florence Was the first large domed Structure to be built since Ancient Rome.

 Built on innovative architectural techniques of Ancient Greece and Rome:  Arch: a structure with a curved, pointed or squared upper edge to an opening that supports the weight above it.  Vault: in architecture, an arched roof or covering of masonry construction.  Dome: in architecture, a hemispherical ceiling over a circular opening

 Humanism was the major influence for the renaissance.  Humanism embraces the concept of reviving the human values of classical antiquity that provide a path for living in the world with a human focus.  Humanism was the basis for intellectual and scholarly growth.

 Realism: A 19 th century art movement in which artist focused on ordinary people, such as peasants and laborers. Realists depicted real scenes from the contemporary life, from city street scenes to the country. They tried to show

 Abundant with artist  The artist of the renaissance were well versed in several mediums.  “Renaissance man” (or woman)-describes someone who has broad and diverse talents and skills.  Fresco: A method of mural painting (commonly used during the Renaissance) in which pigments are applied to a thin layer of wet plaster so that they will be absorbed.

 Moved to Milan in 1482 to paint  Sculptures, courtly paintings and portraits  Duke Ludovico Sforza commissioned him to build weapons, machinery and buildings.  Wealthy patron Giuliano de Medici.  The last supper

 A fresco painted by Leonardo da Vinci depicting Jesus and his disciples at the moment Jesus announces that one of them has betrayed him.frescoLeonardo da VinciJesusdisciples  Restoration of the deteriorating fresco has caused great controversy. Some art critics claim that the colors are now “too bright” and that Leonardo's original work has been mutilated. The restoration has been open to the public on a limited basis since 1999.

 The Mona Lisa is a famous 16th-century portrait by Leonardo da Vinci. The Mona Lisa's mysterious smile has beguiled generations of viewers, but the true identity of the woman pictured in the portrait remains unknown, despite intensive research by art historians. Many believe the Mona Lisa to be a portrait of Lisa Gherardini Giocondo, the wife of a wealthy Florentine merchant, Francesco del Giocondo. Leonardo da Vinci

 Others have suggested the subject was a mistress of da Vinci, or even a self-portrait, with da Vinci imagining himself as a woman.  It is known that Leonardo began the portrait in Florence in 1503, continued work on it through 1506, and then kept the painting until his death in  Over the next three centuries the Mona Lisa passed through many hands, even hanging for a time in the bedroom of Napoleon, but since 1804 its home has been the Louvre Museum in Paris.Napoleon  Leonardo's painting is famous among artists for its innovative techniques, including sfumato (shown in the painting's distinctive hazy, soft- focus effect) and chiaroscuro (use of light and shadow).  The Mona Lisa was stolen from the Louvre in 1911, but recovered in Italy in 1913

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 Worked under painter Domenico as apprentice.  Built on the innovative architectural techniques of Ancient Greece and Rome  Considers himself:  Sculptor  Painter  architect  Studied human anatomy

 Built on innovative architectural techniques of Ancient Greece and Rome:  Arch: a structure with a curved, pointed or squared upper edge to an opening that supports the weight above it.  Vault: in architecture, an arched roof or covering of masonry construction.  Dome: in architecture, a hemispherical ceiling over a circular opening

 The famous Sistine ceiling is divided into nine sections in which nine stories of Genesis - from the stages of Creation to the Drunkenness of Noah - are depicted. The scenes begin from the altar wall and proceed toward the entrance; Michelangelo painted them in reverse order since he started from the area near the entrance wall. The twisting ignudi or male nudes that decorate the corners of the ceiling were highly controversial at the time. In total, Michelangelo's work on the Sistine Chapel includes:  9 scenes from Genesis  4 corner pendentives  4 pairs of bronze nudes above the pendentives  8 triangular spandrels with pairs of bronze nudes  7 prophets (4 major: Isaiah, Jeremiah, Ezekiel and Daniel; and 3 minor: Zechariah, Joel and Jonah)  5 sybils  20 ignudi  10 medallions

 Sistine Chapel Video Sistine Chapel Video

 The focal point of the episode of the Creation of man is the contact between the fingers of the Creator and those of Adam, through which the breath of life is transmitted. God, supported by angels in flight and wrapped in a mantle, leans towards Adam, shown as a resting athlete, whose beauty seems to confirm the words of the Old Testament, according to which man was created to the image and likeness of God.

 By: Michelangelo  The Statue of David is perhaps one of the most famous sculptures in the world. It is a Renaissance masterpiece sculpted by Micheangelo from 1501 to It is considered as one of the greatest works of the famous Renaissance artist along with his other sculpture, the Pieta.

 The statue was first started on at around 1464 and Michelangelo was awarded the commission sometime in the 1500’s. By this time, the previous artists were able to form the legs, feet and the figure from the huge block of statue. Michelangelo started working on it in 1501 and was able to finish it in a span of three years.  Michelangelo’s David was created following the style of the artistic discipline called disegno which tries to mimic divine creation. Its positioning is based on the contrapposto style of human pose depicted as a human form standing with most of its weight on one foot giving the figure a more dynamic appearance. With this style, Michelangelo was able to create a statue that became widely known as a symbol of strength and youthful human beauty.

 In 1498, came Michelangelo's first important commission: the Pietà now in St. Peter's Basilica. The term pietà refers to a type of image in which Mary supports the dead Christ across her knees; Michelangelo's version is today the most famous one. In the Pietà the effects of hard polished marble and of curved yielding flesh coexist. Over life size, the Pietà has mutually reinforcing contrasts: vertical and horizontal, cloth and skin, allude to the living and the dead, female and male, but the unity of the pyramidal composition is strongly imposed.coexistallude

 Studied the works of Da Vinci and Michelangelo.  Apprenticed with Pietro Perugino  Developed his own distinct style  Series of Madonna paintings is what he is best known for.

 Commentators have suggested that nearly every great Greek philosopher can be found within the painting, but determining which are depicted is difficult, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting.

The School of Athens was painted by Raphael Sanzio or Raffaello Santi ( ) for Pope Julius II ( ). In this fresco, Raphael depicts the great philosophers and mathematicians of ancient Greece as colleagues in a timeless academy: Plato is in the center pointing his finger to the heavens while holding the Timaeus, his treatise on the origin of the world. Next to him, his younger pupil Aristotle holds a copy of his Ethics while describing the earth and the wide realm of moral teaching with his extended hand in an elegant horizontal gesture, Pythagoras contemplates his system of proportions at the lower left and Euclid draws a circle on a slate at the lower right.

 To the Greeks mathematics was essentially geometry, and it was in Elements, Euclid's treatise on the subject, that the notion of an axiomatic system was first laid out In this system certain self-evident statements called axioms are assumed to be true and new statements called theorems are derived from them using the Aristotelian rules of inference.  The Fresco of Raphael's School of Athens is a masterpiece of Art. However, over the centuries it has posed many problems to know all details of the persons who are depicted. Unfortunately Raphael did not leave any personal notes on this work but some of the persons can be identified.

 The identity of some of the philosophers in the picture, such as Plato or Aristotle, is uncontroversial, but scholars disagree on many of the other figures. According to Lahanas, they are usually identified as follows:  Zeno of Citium or Zeno of Elea?  Epicurus  Frederik II of Mantua?  Anicius Manlius Severinus Boethius or Anaximander or Empedocles  Averroes  Pythagoras  Alcibiades or Alexander the Great?  Antisthenes or Xenophon?  Hypatia — (Francesco Maria della Rovere or Raphael's mistress Margherita.)  Aeschines or Xenophon?  Parmenides?  Socrates?  Heraclitus — (Michelangelo)  Plato holding the Timaeus — ( Leonardo da Vinci)  Aristotle holding the Ethics?  Diogenes of Sinope?  Plotinus?  Euclid or Archimedes with students ( Bramante)?  Strabo or Zoroaster? (Baldassare Castiglione or Pietro Bembo)  Ptolemy? - Apelles — (Raphael)  Protogenes — (Il Sodoma or Perugino).

Baroque

 The Baroque period reflected the turmoil of the time  Great political and religious shifts created an unstable environment across Europe.  Thirty years of war took place during this period  World wide trade increased during this time

 Science  Philosophy  Politics  Strengthening of the Catholic church  Diversity and variety

 Baroques artist enjoyed a prominence and popularity much like the artist of the Renaissance.  Popular artist of this time  Caravaggio  Diego Velasquez  Rembrandt  Vermeer

 Italian Baroque painter  Used extreme contrast of light and dark, called Chiaroscuro  He used light much like a spot light in order to create dramatic effects.  Painted with the technique of realistic naturalism chiaroscuro helped achieve this  Received controversy over a work of art called The Calling of St. Matthew, which depicted Christ entering a tavern to summon Matthew as an apostle.

 The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside (following the Biblical text) summoning him through a window. The subject traditionally was represented either indoors or out; sometimes Saint Matthew is shown inside a building, with Christ outside summoning him through a window.

 Caravaggio represented the event as a nearly silent, dramatic narrative.  The tax-gatherer Levi (Saint Matthew's name before he became the apostle) was seated at a table with his four assistants, counting the day's proceeds, the group lighted from a source at the upper right of the painting.  Christ, His eyes veiled, with His halo the only hint of divinity, enters with Saint Peter. A gesture of His right hand, all the more powerful and compelling because of its languor, summons Levi.  Surprised by the intrusion and perhaps dazzled by the sudden light from the just-opened door, Levi draws back and gestures toward himself with his left hand as if to say, "Who, me?", his right hand remaining on the coin he had been counting before Christ's entrance.

 The two figures on the left, derived from a 1545 Hans Holbein print representing gamblers unaware of the appearance of Death, are so concerned with counting the money that they do not even notice Christ's arrival;Hans Holbein  symbolically their inattention to Christ deprives them of the opportunity He offers for eternal life, and condemns them to death.  The two boys in the center do respond, the younger one drawing back against Levi as if seeking his protection, the swaggering older one, who is armed, leaning forward a little menacingly.  Saint Peter gestures firmly with his hand to calm his potential resistance. The dramatic point of the picture is that for this moment, no one does anything.  Christ's appearance is so unexpected and His gesture so commanding as to suspend action for a shocked instant, before reaction can take place.  In another second, Levi will rise up and follow Christ--in fact, Christ's feet are already turned as if to leave the room

 The Deposition, considered one of Caravaggio's greatest masterpieces, was commissioned by Girolamo Vittrice for his family chapel in S. Maria in Vallicella (Chiesa Nuova) in Rome. In 1797 it was included in the group of works transferred to Paris in execution of the Treaty of Tolentino. After its return in 1817 it became part of Pius VII's Pinacoteca.

 Caravaggio did not really portray the Burial or the Deposition in the traditional way, inasmuch as Christ is not shown at the moment when he is laid in the tomb, but rather when, in the presence of the holy women, he is laid by Nicodemus and John on the Anointing Stone, that is the stone with which the sepulchre will be closed. Around the body of Christ are the Virgin, Mary Magdalene, John, Nicodemus and Mary of Cleophas, who raises her arms and eyes to heaven in a gesture of high dramatic tension.  Caravaggio, who arrived in Rome in 1592, was the protagonist of a real artistic revolution as regards the way of treating subjects and the use of colour and light, and was certainly the most important personage of the "realist" trend of seventeenth century painting.

 Dutch Baroque artist  A master of light and shadow  Painted:  Landscapes  Portraits  Self-portraits  Religious subjects  Was known for being able to capture the subjects character  Was also known for his use of Chiaroscuro  His landscape provided a record of what life was like in 17 th century Dutch life

 Rembrandt HARMENSZOON VAN RIJN (b. July 15, 1606, Leiden, Neth.--d. Oct. 4, 1669, Amsterdam), Dutch painter, draftsman, and etcher of the 17th century, a giant in the history of art. His paintings are characterized by luxuriant brushwork, rich colour, and a mastery of chiaroscuro. Numerous portraits and self-portraits exhibit a profound penetration of character. His drawings constitute a vivid record of contemporary Amsterdam life. The greatest artist of the Dutch school, he was a master of light and shadow whose paintings, drawings, and etchings made him a giant in the history of art.

 What techniques did Rembrandt use in this work?