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

2. 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

3. 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

4. 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.

5. 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?

6. 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

7. 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

8. 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
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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

9. 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 ( )

10. 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

11. 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

12. 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

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

14. 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

15. Sistine Chapel, Vatican, Rome
Michelangelo, Last Judgment and ceiling (45’ x 128’)
Ceiling ; end wall
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

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

17. 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

18. 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

19. Commissioned for tomb of Julius II
Moses, Michelangelo, , ,
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

20. 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

21. 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 cm)
Date: c. 1500
Source/ Museum: The National Gallery, London

22. 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

23. 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

24. 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

25. 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

26. 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

27. 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)

28. 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

29. 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

30. 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

31. 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 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

32. 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

33. 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

34. 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

35. 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

36. 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

37. 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.

38. 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, ,
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

39. 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

40. 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

41. 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

42. Small head, long neck, delicate, graceful gestures
Madonna with the long Neck, Parmigianino, oil on wood, , 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

43. 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 ( )