High Renaissance in Italy Michelangelo, Da Vinci, Raphael, and the Venetian School Mannerism appears late century…

Italian City States were conquered by Spanish & French invaders Italian City States were conquered by Spanish & French invaders.. Venice stayed independent. High Renaissance flourished in courts of princes, dukes & popes… artistic competition Artist: n/a Title: Sixteenth-century Italy Medium: n/a Size: n/a Date: n/a Source/ Museum: n/a

High Renaissance Italy…. 1495-1527 Big Ideas Pope Julius II revitalizes the city of Rome High Renaissance artists try to emulate Roman grandeur with enormous frescoes, statues, and amazing architecture Compositions marked by balance, symmetry, and ideal proportions.. Triangular layout is favored. Venetian painters take up oil with school of painitng with sophisticated color harmonies Portraiture reveals likeness of subject PLUS their character and personality

High Renaissance Italy…. Patronage Pope Julius II is biggest patron.. Powerful force in Roman and European politics and religion. Transformed Rome, a ramshackle medieval town, into an artistic center to rival Florence. Women were also key patrons, such as Queen Isabella d’Este St. Peter’s church in Rome is rebuilt, first by Bramante then by Michelangelo. Medici still have influence; Michelangelo originally studied sculptures on one of their estates Kings and Queens of Europe become patrons of artists such as Da Vinci and Titian.

High Renaissance Italy…. Perspective Artists continue to build on Brunelleschi’s work and Albertis, using architectural & atmospheric perspective. Raphael’s School of Athens is a masterpiece of architectural perspective. Remember this painting from the early Renaissance?

Artist: Raphael Title: Stanza della Segnatura. In the left lunette, Parnassus; in the right lunette, School of Athens Medium: Fresco Size: 19 X 27' (5.79 X 8.24 m) Date: 1510–11 Source/ Museum: Vatican, Rome Stanza della Segnatura, Raphael, Vatican (Fresco view) - Pope’s library

School of Athens Fresco Raphael 1510-11 Artist: Raphael Title: School of Athens Medium: Fresco Size: 19 X 27" (5.79 X 8.24 m) Date: c. 1510–11 Source/ Museum: Stanza della Segnatura, Vatican, Rome School of Athens Fresco Raphael 1510-11

School of Athens, fresco, Vatican Raphael painted this in Pope Julius II library; Philosophy books shelved below Vastness & variety of papal library and interests Buliding behind-Bramant’s plan for st. Peters Nobility & monumentality of forms Plato (w/Leonardo’s face) pointing up and Aristotle flashcard Bramante is bald figure of Euclid Raphael in extreme right corner Michelangelo is resting on stone block writing a poem Overall composition influenced by Da Vinci’s last supper Raphael continued to wrok for Julius II’ successor, born Giovvanie de Medici Artist: Raphael Title: School of Athens Medium: Fresco Size: 19 X 27" (5.79 X 8.24 m) Date: c. 1510–11 Source/ Museum: Stanza della Segnatura, Vatican, Rome

Triangular composition favored in Renaissance Small Cowper Madonna, Raphael, Oil on wood panel, 1505 (high Renaissance) Triangular composition favored in Renaissance Classical allusions; frequently painted holy family Atmospheric perspective behind Mary Raphael was very young Clarity of forms, sweet expressions; chiaroscuro renders modeling. Artist: Raphael Title: The Small Cowper Madonna Medium: Oil on wood panel Size: 23⅜ X 17⅜" (59.5 X 44.1 cm) Date: c. 1505 Source/ Museum: National Gallery of Art, Washington, D.C. Widener Collection (1942.9.57)

Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi Raphael continued working for the next Pope, Leo X (who was a Medici family member)… Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi 1517 Oil on wood Artist: Raphael Title: Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi Medium: Oil on wood panel Size: 5'⅝" X 3'10⅞" (1.54 X 1.19 m) Date: c. 1517 Source/ Museum: Galleria degli Uffizi, Florence

Pyramidal composition Monumental La Pieta, Michelangelo Marble, 1500, 6’ tall St. Peter’s, Vatican, La Pieta in the round Pyramidal composition Monumental Heavy drapery masks Mary’s size as she easily holds Jesus in here lap Only work Michelangelo ever signed Shows Mary’s beauty and grief Michelangelo was Ghirlandaio’s apprentice Patron French cardinal “Set free the image from the stone” Artist: Michelangelo Title: Pietà Medium: Marble Size: height 5'8½" (1.74 m) Date: c. 1500 Source/ Museum: Saint Peter’s, Vatican, Rome

Size: height 17' (5.18 m) without pedestal Date: 1501–04 Michelangelo David (flashcard) Medium: Marble Size: height 17' (5.18 m) without pedestal Date: 1501–04 Source/ Museum: Galleria dell’Accademia, Florence Commissioned as symbol of Florence, representing Florence as she faced enemies like France First colossal nude since ancient world Muscular, tense, at the ready David anticipated challenge of Goliath, great concentration on the face Slight contrapposto, little negative space Marble, not bronze.. Evoked power of ancient art.. Purity of expression Influence of Spear Bearer by Polykleitos 2 minute video on Michelangelo's David Artist: Michelangelo Title: David Medium: Marble Size: height 17' (5.18 m) without pedestal Date: 1501–04 Source/ Museum: Galleria dell’Accademia, Florence

Artist: Michelangelo Title: David Medium: Marble Size: height 17' (5.18 m) without pedestal Date: 1501–04 Source/ Museum: Galleria dell’Accademia, Florence

Close ups of David Artist: Michelangelo Title: David Medium: Marble Size: height 17' (5.18 m) without pedestal Date: 1501–04 Source/ Museum: Galleria dell’Accademia, Florence Close ups of David

Sistine Chapel, Vatican, Rome Michelangelo, Last Judgment and ceiling (45’ x 128’) Ceiling 1508-12; end wall 1536-41 La Capella Sistina (part 1) Botticelli and Perugino, Ghirlandio, and Raphael also painted areas of the Sistine Chapel (not ceiling) New popes are elected here Artist: n/a Title: Interior, Sistine Chapel Medium: n/a Size: The ceiling measures 45' X 128' (13.75 X 39 m) Date: Built 1475–81; ceiling painted 1508–12; end wall, 1536–41 Source/ Museum: Vatican, Rome

Artist: Michelangelo Title: Creation of Adam, Sistine Chapel Ceiling Medium: n/a Size: n/a Date: 1511–12 Source/ Museum: Vatican, Rome

Artist: n/a Title: Diagram of Scenes of the Sistine Chapel Ceiling Medium: n/a Size: n/a Date: n/a Source/ Museum: Vatican, Rome

Last Judgment, Sistine Chapel, Michelangelo 1536-41, Vatican, Rome No cornice divisions like ceiling Mannerism shown in distortions of body, elongations, crowded groups Bottom: dead rising/mouth of hell Ascending elect, desc. Sinners, angels Saved around Jesus Lunette: Angels w/cross Justice shown Spiraling composition a reaction against High Renaissance harmony; disunity of church from the Reformation Drapery added later St. Bartholomew modeled on contemporary critic LOL Michelangelos’ face in St. Bart’s skin Artist: Michelangelo Title: Last Judgment, Sistine Chapel Medium: Fresco Size: 48 X 44' (14.6 X 13.4 m) Date: 1536–41 (cleaning finished 1994) Source/ Museum: Vatican, Rome

Commissioned for tomb of Julius II Moses, Michelangelo, 1513-16, 1542-45, Commissioned for tomb of Julius II Never finished (was to be part of a huge installation of sculptures, he was pulled of this project to do the Sistine Chapel Meant to be viewed from below Horns are mistranslation of Bible; Moses thought to have had HORNS coming out of his head, really RAYS (like a halo) Figure is in awe, heroic body Inspired by Laocoon Artist: Michelangelo Title: Moses Medium: Marble Size: height 7'8½" (2.35 m) Date: 1513–16, 1542–45 Source/ Museum: Tomb of Julius II. Church of San Pietro in Vincoli, Rome

Last Supper, da Vinci, 1495-98, Monastery in Milan, Italy Experiment with tempera and oil on plaster (FAIL) Painted for dining hall of a monastery Linear perspective; orthogonals point to Jesus Groupings of 3 Drama: Jesus says, One of You will Betray ME Judas falls back clutching his bag of coins (bribe to betray Jesus) Artist: Leonardo Title: The Last Supper Medium: Wall painting: Tempera and oil on plaster Size: 15'2" X 28'10" (4.6 X 8.8 m) Date: 1495–98 Source/ Museum: Monastery of Santa Maria delle Grazie, Milan, Italy

This is a charcoal for a painting from around 1500. Leonardo was a genius, scientist, inventor, and artist who was the 1st modern mind… because he wanted to observe, not just take the Greeks word for it. Born illegitimate (bastard), he could not study Greek nor Latin, so could not read much. Instead he learned to observe, draw, and document, filing thousands of pages of sketches of inventions, botanical and anatomical illustrations. This is a charcoal for a painting from around 1500. Da Vinci's Genius Artist: Leonardo Title: Virgin and Saint Anne with the Christ Child and the Young John the Baptist Medium: Charcoal heightened with white on brown paper Size: 55½ X 41" (141.5 X 104.6 cm) Date: c. 1500 Source/ Museum: The National Gallery, London

Mona Lisa, Leonardo da Vinci 1503, Louvre, Paris… 21” x 30” 3/4 profile, triangular composition Sfumato, chiaroscuro used in figure, atmospheric perspective in background Mysterious smile, psychological intensity Lots of mysteries and legends surround this painting (da Vinci code); recently have discovered remains of da Vinci’s model (da Vinci code?) Artist: Leonardo Title: Mona Lisa Medium: Oil on wood panel Size: 30¼ X 21" (77 X 53 cm) Date: c. 1503 Source/ Museum: Musée du Louvre, Paris

amazon video, go to 24 minutes Da Vinci studied anatomy, dissected cadavers, and was in reality a scientist. Vitruvian Man, ink, 1490 He studied and quantified human proportions with the Vitruvian man, based on the work of the Greek schold Vitruvius. amazon video, go to 24 minutes Artist: Leonardo Title: Vitruvian Man Medium: Ink Size: 13½ X 9 ⅝" (34.3 X 24.5 cm) Date: c. 1490 Source/ Museum: Galleria dell’Accademia, Venice

High Renaissance Italy…. Women and the Arts Women generally not allowed to study or apprentice, with a few exceptions Women were also key patrons, such as Queen Isabella d’Este Properzia de’Rossi notable exception - sculptor Sofia Anguissola - skilled painter who did many portraits Queen Isabella d’Este,by Titian, oil on canvas

Joseph & Potiphar’s Wife 1525, Properzia de’ Rossi Bologna Famous woman sculptor; mastered miniature carvings such as the Last Supper on a peach pit! Carving in cathedral of San Petronio in Bologna Only woman included in Vasari’s biography Got over an unhappy love affair by carving this panel, according to Vasari Rival male sculptor kept her from being paid fairly for her work Artist: Properzia de’ Rossi Title: Joseph and Potiphar’s Wife Medium: Marble Size: 1'9" X 1'11" (54 X 58 cm) Date: 1525–26 Source/ Museum: San Petronio, Bologna / Museo de S Petronio, Bologna

Well known portait painter, eventually went to the Spanish court The Chess Game 1525, Sofia Anguissola flashcard Well known portait painter, eventually went to the Spanish court Well educated in the arts, did portraits but due to here social status and gender could not sell them Michelangelo critiqued one of her drawings Court painter in Spain for 20 yers Rivaled Titian Artist: Properzia de’ Rossi Title: Joseph and Potiphar’s Wife Medium: Marble Size: 1'9" X 1'11" (54 X 58 cm) Date: 1525–26 Source/ Museum: San Petronio, Bologna / Museo de S Petronio, Bologna

Self-portrait, Sofonisba Anguissola Oil on cardboard 2.5” x 3.25” 1552 Artist: Sofonisba Anguissola Title: Self-Portrait Medium: Oil on parchment on cardboard Size: 2 ½ X 3¼" (6.4 X 8.3 cm) Date: c. 1552 Source/ Museum: Museum of Fine Arts, Boston. Emma F. Munroe Fund (60.155)

Noli Me Tangere, Lavinia Fontana Oil on canvas 1581 Bologna was center for accopmlished women painters She was in her 20s when she painted scene of Jesus appearing to Mary Magdalen before returning to heaven Tiny figures at tomb in background give plunge into depth and sapce Mannerist style painting Artist: Lavinia Fontana Title: Noli Me Tangere Medium: Oil on canvas Size: 47 ⅜ X 36 ⅝" (120.3 X 93 cm) Date: 1581 Source/ Museum: Galleria degli Uffizi, Florence

Venice & the Venetto Venice was major naval power Rich light, pattern, and color inspired by Byzantium Oil painting universally preferred on both wood and canvas Giorgione & Titian early; later Veronese and Tintoretto

The Tempest, Giorgione (f. card) 1506 (Venetian School) Oil on canvas Studied w/Bellini Meaning debated POESIE- painted poems, viewers enjoyed trying to understand what is happening Emerging use of oil in Venice; softer tones Emerging landscape tradition Lightning, mysterious ruins in landscape Gypsy girl breastfeeding baby Artist: Giorgione Title: The Tempest Medium: Oil on canvas Size: 32 X 28¾" (82 X 73 cm) Date: c. 1506 Source/ Museum: Galleria dell’Accademia, Venice

Pastoral Concert, Allegory on the Invention of Pastoral Poetry Titian, Venetian School, 1510 Oil on canvas Louvre Chiaroscuro, no clear cut edges Artist: Titian Title: The Pastoral Concert, or Allegory on the Invention of Pastoral Poetry Medium: Oil on canvas Size: 41¼ X 54¾" (105 X 136.5 cm) Date: c. 1510 Source/ Museum: Musée du Louvre, Paris Titian was Giogrione’s apprentice. Also studied with Bellini … again poesie, painted poem. Are the 2 nudes the musician’s muses? Mythical world plus real world, landscape

Asymmetrical composition Color not design Pesaro Madonna, Titian, 1526 Oil on canvas Commemorate Venetian victory won by Jacopo Pesaro against the Turks in 1502 Jacobo kneels at L with St. George, members of family w/St. Francis of Assisi St. Peter looks down Asymmetrical composition Color not design Columns added later by another artist flashcard Artist: Titian Title: Pesaro Madonna Medium: Oil on canvas Size: 16' X 8'10" (4.9 X 2.7 m) Date: 1519–26 Source/ Museum: Side-aisle altarpiece, Santa Maria Gloriosa dei Frari, Venice

Artist: Titian Title: Venus of Urbino Medium: Oil on canvas Size: 3'11" X 5'5" (1.19 X 1.65 m) Date: c. 1538 Source/ Museum: Galleria degli Uffizi, Florence

Venus of Urbino, Titian, oil on canvas, 1538. Artist: Titian Title: Venus of Urbino Medium: Oil on canvas Size: 3'11" X 5'5" (1.19 X 1.65 m) Date: c. 1538 Source/ Museum: Galleria degli Uffizi, Florence Venus of Urbino, Titian, oil on canvas, 1538. Sensuous painting, skin tones, probably a courtesan, looks diretly at viewer, deep space in picture, flora motif. Dog = faithful, standard for future reclining female nudes

Titian’s later work became more expressive. This piece has loose brushstrokes and diagonals, finished in late 1570s in Venice Pieta Artist: Titian (finished by Palma Giovane) Title: Pietà Medium: Oil on canvas Size: 11'6" X 12'9" (3.5 X 3.9 m) Date: c. 1570–76 Source/ Museum: Galleria dell’Accademia, Venice

Artist: Veronese Title: Feast in the House of Levi Medium: Oil on canvas Size: 18'3" X 42' (5.56 X 12.8 m) Date: 1573 Source/ Museum: From the refectory of the Dominican Monastery of Santi Giovanni e Paolo, Venice / Galleria dell’Accademia, Venice Feast in the House of Levi, Veronese, oil on canvas, 1573 (Venetian school). Originally last supper, was called before Pope’s Inquisition to question presence of drunks, dwarves, etc. at last supper…. Changed title to another supper instead to avoid being jailed and tortured. Continued classical perspective and painted for Dominican monastery

Artist: Tintoretto Title: The Last Supper Medium: Oil on canvas Size: 12' X 18'8" (3.7 X 5.7 m) Date: 1592–94 Source/ Museum: Church of San Giorgio Maggiore, Venice Last Supper, Tintoretto, 1594, Oil on canvas (Venetto), developed from Titian’s style, mannerist elongated forms, radiant light around Christ and angels, corner view, still life on tables and cat - deep chiariscuro… fast painter, Daughter became artist.

MANNERISM IN ITALY Fall of the Giants Fresco, 1530-32, Intellectually intricate subjects Highly skilled techniques Beauty for beuaty’s sake Elegeant, elongated figures Distortionf of formal conventions Fall of the Giants Fresco, 1530-32, Palazzo del Te, Mantua (Mannerist architecture) Unusual spiraling composition Giulio Romano Artist: Giulio Romano Title: Fall of The Giants Medium: Fresco Size: n/a Date: 1530–32 Source/ Museum: In the Sala dei Giganti, Palazzo del Tè, Mantua

Oil & tempera on wood, altarpiece in church in Florence Entombment, Pontormo Oil & tempera on wood, altarpiece in church in Florence Mannerist painting with twisted, elongated figures and spiraling composition (what’s in center?) Little background. High key colors Yearning Which are men and which are women??? flashcard Artist: Pontormo Title: Entombment Medium: Oil and tempera on wood panel Size: 10'3" X 6'4" (3.1 X 1.9 m) Date: 1525–28 Source/ Museum: Altarpiece in Capponi Chapel, Church of Santa Felicità, Florence

Astronomy, or Venus Urania Bronze gilt, 15” high, 1573 Mannerist sculpture Artist: Giovanni da Bologna (Giambologna) Title: Astronomy, or Venus Urania Medium: Bronze gilt Size: height 15 ¼" (38.8 cm) Date: c. 1573 Source/ Museum: Kunsthistorisches Museum, Vienna

Spiraling composition again typical of mannerism Assumption of the Virgin, Correggio, fresco, dome in Parma Cathedral, Italy, 1530 Spiraling composition again typical of mannerism Saints at bottom, thjen Virgin escorted to heaven with angels, Christ waits for Mary Glowing colors prefigures the Baorque flashcard Artist: Correggio Title: Assumption of The Virgin Medium: Fresco Size: Diameter of base of dome approx. 36' (11 m) Date: c. 1526–30 Source/ Museum: In main dome, interior, Parma Cathedral, Italy

Small head, long neck, delicate, graceful gestures Madonna with the long Neck, Parmigianino, oil on wood, 1534-40, Florence 7 feet by 4 feet Small head, long neck, delicate, graceful gestures Elongated and detahced limbs Column perspective looks odd Pose reminiscent of la Pieta flashcard Artist: Parmigianino Title: Madonna with the Long Neck Medium: Oil on wood panel Size: 7'1" X 4'4" (2.16 X 1.32 m) Date: 1534–40 Source/ Museum: Galleria degli Uffizi, Florence

Portrait of a Young Man, Bronzino, oil on wood, 1540 Mannerist painter. Captures subject’s physical appearance as well as personality. Bronzino worked for the Medici as well as Pontormo. Artist: Bronzino Title: Portrait of a Young Man Medium: Oil on wood panel Size: 37 ½ X 29½" (95.5 X 74.9 cm) Date: c 1540–45 Source/ Museum: The Metropolitan Museum of Art, New York. The H. O. Havemayer Collection (29.100.16)