1. The Late Renaissance and Mannerism in 16th Century Italy
Events:
Reorientation of trade routes from the east (Italy in prime location) to the west (discovery of America)
Ever increasing threat of Turkish invasion
Machiavelli publishes The Prince 1532: advocates that each situation determines whether one should be good or bad-moral and economic relativity
Classical calm, harmonious images no longer in fashion
Artistic license practiced more freely and openly (for a little while at least)
Map of 16th Italy

2. Protestant Reformation
Events:
Martin Luther 95 Theses, 1517
Founder of Lutheranism
95 arguments against the Catholic church
Indulgences
Role of artworks, abuse of power/idolatry
Access to the Bible
Lucas Cranach, Portrait of Martin Luther, Oil on 14 ½” x 18.” Galleria degli Uffizi, Florence.

3. Michelangelo, plan for new Saint Peter’s,1546.
Rome
Example:
Adjusts Bramante’s central plan
Greek cross inscribed in square
Dome over crossing
Colossal order
Michelangelo, plan for new Saint Peter’s,1546.

4. Michelangelo, plan for new Saint Peter’s, 1546.
Italy
Donato d’Anegelo Bramante, Original plan for St. Peter’s, Rome, Fig. 15.5
Michelangelo, plan for new Saint Peter’s, 1546.

5. Italy Dates and Places: 1500 to 1600 Rome, Florence, Milan, and Venice
People:
Humanism
Reformation/Counter-Reformation
Powerful courts
Artist-genius
Interior, Sistine Chapel showing Interior of the Sistine Chapel with frescoes by Michelangelo, Perugino, Ghirlandaio, Botticelli, and others, Fig.15.9

6. Rome Example: Commissioned by Pope Paul III (Farnese)
Subject reflects time based on Matthew
New take on traditional topic with possible pagan references
Compression of space
Dynamic design
Dramatic composition
Michelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco, –1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 16.5

7. Rome
Michelangelo, detail scenes from Last Judgment, with detail of Christ and the Virgin Mary. Fresco, –1541, 48’x44.’ Sistine Chapel, Vatican City.

8. Rome Self-portrait of Michelangelo
Michelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco, –1541, 48’x44.’ Sistine Chapel, Vatican City. Fig

9. Italian Mannerism General characteristics: c. 1520-1580
Elegant and refined, sophisticated
Artificial (versus naturalism of High Renaissance style)
Courtly style
Overelaborate distortion
Compositional tension, not clarity
Psychological tension
Impresses one with a feeling of awkwardness
Self-conscious stylishness, not window onto world
Complex, exaggerated, difficult
Unstable composition, unnatural color
Rosso Fiorentino, Descent from the Cross, Oil on panel, 11’ x 6’5 ½.” Pinacoteca Comunale, Volterra, Italy. Fig. 16.2

10. Agnolo Bronzino (1503-1572) Elegant conception
Example:
Florence
Elegant conception
Figures elongated and have energetic, angular postures
Arranged to create a decorative pattern
No strong emotions, superficial
Shallow space
Forms tend to adhere to the vertical plane
Mannerist refinement and artifice prevail over nature and feeling
Bronzeeno
Agnolo Bronzino , Allegory of Venus: Venus, Cupid, Folly, and Time, ca Oil on panel, 5’1” x4’8 ¾.” National Gallery, London. Fig. 16.3

11. Tiziano Vecellio (Titian 1488/90-1576)
Example:
Oil on canvas glows
Voluptuous body with smoky shadow, framed by curtain
The artist was extremely successful and was even given the freedom of the city of Rome during a visit in The last twenty-five years of Titian's life were spent mainly as a portrait-painter and in the service of Philip II of Spain. He had painted Philip's portrait in 1550 and had also painted Philip's father The Holy Roman Emperor, Charles V. The artist's later paintings are executed with great freedom. He was so comfortable with his medium that one of his pupils, who had watched him work, stated that he finished the pictures 'more with his fingers than his brush'.
Vicheleeo Tishuhn
Titian, Venus of Urbino, Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence. Fig

12. Giorgione, Sleeping Venus, c. 1509. Oil on canvas, 3’6 ¾” x 5’ 9.”
Titian, Venus of Urbino, Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence. Fig
Manet, Olympia, Oil on canvas, 4’ 3” x 6’ 3.” Musée d'Orsay, Paris

13. Venice
Teentoretto
Tintoretto, Last Supper, Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13

14. Jacopo Robusti “Tintoretto” (1518-1594)
Example:
“Paint like Titian, design like Michelangelo”
Counter-Reformation painting
Strong diagonals, site specific
Strong use of light and dark
Mysterious light source
Natural and supernatural worlds
Exaggeration of poses
Judas again in the dark
Teen torette o
Tintoretto, Last Supper, Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13

15. Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8
Tintoretto, Last Supper, Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13
Leonardo da Vinci, Last Supper, c. 1495–1498. Fresco (oil and tempera on plaster), 15’ 1 1/8” x 28’ 10 ½.” Refectory of Santa Maria delle Grazie, Milan. Fig. 15.2

16. Vicenza
Vin chenza
Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig

17. Andrea Palladio (1508-1580) Example:
Greatest architect of late 16th century
Synthesizes elements of Mannerism with High Renaissance ideals
Near Venice
Central plan
Dome over crossing
Four facades like temple portals
Pantheon likely model
Wrote architectural treatise, Four Books of Architecture (1570)
Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig

18. Reconstruction of an Etruscan temple after Vitruvius
Andrea Palladio, Villa Rotonda, ca. 1567–1570. Vicenza, Italy. Fig
Pantheon, CE, Rome.

19. Andrea Palladio ( )
Example:
Design aesthetic based on humanist education
Private residence, built for Venetian cleric
Classic temple portico (porch) with Ionic columns support entablature crowned by pediment
Symmetry in design=dignity and grandeur
Strict symmetry is both Classical and Renaissance element
Andrea Palladio, floor plan Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig