1. Chapter Nine Europe, 1500-1600 Prepared by Kelly Donahue-Wallace Randal Wallace University of North Texas Gardner's Art through the Ages, Concise Edition by Fred Kleiner

2. Italy Dates and Places: 1500 to 1600 Rome, Florence, Milan, and Venice People: Humanism Reformation/Counter- Reformation Powerful courts Artist-genius Interior, Sistine Chapel, 1473. Fig. 9-1.

3. Italy Themes: Life of Christ and the Virgin Mary, saints Portraiture Mythology, antiquity Allegory, poesia Forms: Balance, harmony, ideal beauty Venetian color, Mannerist distortion RAPHAEL, Madonna in the Meadow, 1505–1506. Fig. 9-6.

4. Italy Example: Mathematical linear perspective Compositional emphasis on Christ Unity through pose and movement Studied emotion Capturing the observable world LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Fig. 9-3.

5. Italy Example: Wife of wealthy merchant Convincing likeness Personality, boldness Sfumato, chiaroscuro, atmospheric perspective Window onto landscape LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505.

6. Italy Example: Papal library with Allegories of philosophy, theology, poetry, and law Philosophers of antiquity Semi-circular composition, illusionistic space RAPHAEL, Philosophy (School of Athens), 1509–1511. Fig.9-7.

7. Italy Example: Visually pleasing proportion, not mathematical rules Classical figure with emotion Anticipation of battle with Goliath, not victory Symbol of Florentine liberty MICHELANGELO BUONARROTI, David, 1501–1504. Fig. 9-9.

8. Italy Example: Fresco in pope’s chapel Old Testament scenes on ceiling, Judgment on wall Creation, Fall, Redemption narratives Ignudi, ancestors, prophets, sibyls Architectural framework Expressive human body MICHELANGELO BUONARROTI, ceiling, Sistine Chapel, 1508– 1512. Fig. 9-10.

9. Italy Example: Central plan chapel Classical order Added dome Sculptural architecture of volume and masses, solids and voids Site of St. Peter’s martyrdom DONATO D’ANGELO BRAMANTE, Tempietto, 1502(?). Fig. 9-13.

10. Italy Example: Adjusts Bramante’s central plan Greek cross inscribed in square Dome over crossing Colossal order MICHELANGELO, Saint Peter’s,1546. Fig. 9-14.

11. Italy Example: Private villa Near Venice Central plan Dome over crossing Four facades like temple portals Pantheon likely model Wrote architectural treatise ANDREA PALLADIO, Villa Rotonda, ca. 1550–1570. Fig.9-16.

12. Italy Example: Venetian painters love color (colorito), atmosphere, texture Oil on canvas glows Voluptuous body with smoky shadow Portrait or mythology? Color organizes composition TITIAN, Venus of Urbino, 1538. Fig.9-20.

13. Italy Example: Mannerist painting after 1520 Self-conscious stylishness, not window onto world Complex, exaggerated, difficult Unstable composition, unnatural color PONTORMO, Entombment of Christ, 1525–1528. Fig. 9-21.

14. Italy Example: Mannerist complicated allegory Folly of love revealed by time Lascivious, sensuous Strong contours, undulating and exaggerated limbs, complex pose shows artist’s skill BRONZINO, Venus, Cupid, Folly, and Time, ca. 1546. Fig. 9-23.

15. Italy Example: Late Venetian painting Pageantry of event Classical setting Invented characters Renaissance balanced composition Inquisition challenges subject so changes title PAOLO VERONESE, Christ in the House of Levi, Italy, 1573. Fig.9-26.

16. Holy Roman Empire Dates and Places: 1500-1600 Germany People: Martin Luther Protestant Reformation Political change ALBRECHT DÜRER, Four Apostles, 1526. Fig. 9-30.

17. Holy Roman Empire Themes: Life of Christ, Virgin Mary, Saints Portraits Forms: Renaissance illusionism Surface description Naturalism HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Fig. 9-31.

18. Holy Roman Empire Example: Altarpiece for monastery church with hospital Gruesome description of wounds Emphasize suffering Catholic inclusion of Lamb, Christ’s blood, plague saints MATTHIAS GRÜNEWALD, Isenheim Altarpiece, ca. 1510-1515. Fig. 9-28.

19. Holy Roman Empire Example: Engraving Interest in Renaissance proportion of human body Combine with northern European surface description and disguised symbolism ALBRECHT DÜRER, Fall of Man (Adam and Eve), 1504. Fig. 9-29.