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UPHEAVAL IN THE CHURCH

Dissatisfaction with the leadership and policies of theRoman Catholic Church led to the ProtestantReformation. In response, the Catholic Church initiatedthe Counter-Reformation. A facet of the Counter-

Reformation was the activity of the Society of Jesus, areligious order known as the Jesuits, which promotededucation and missionary work. To deal with heretics,the Catholic Church also established a Church courtcalled the Holy Office of the Inquisition. The Catholic

Counter-Reformation exploited the use of art to promoteand reinforce religious and ideological claims.



Painters / Sculptors

• Leonardo DaVinci

• Michelangelo Buonarroti

• Raphael• Giovanni Bellini

• Giorgione

• Titian



Leonardo Da Vinci

• Synthesizing the temporal and spiritual

worlds of the 15th Century

• Scientist and Artist

• True Renaissance Man

• Idea’s and reality merge into a grand

concept.



“Painting can give a more complete description of nature”- Leonardo Da Vinci

22-3 LEONARDO DA VINCI, Last Supper (top, uncleaned; bottom, cleaned),

ca. 1495 –1498. Fresco (oil and tempera on plaster), 29' 10" x 13' 9".

Refectory, Santa Maria delle Grazie, Milan.



21-39 ANDREA DEL CASTAGNO, Last Supper , the Refectory,

Monastery of Sant'Apollonia, Florence, Italy, 1447.

Fresco, approx. 15' x 32'.



22-1 LEONARDO DA VINCI,

Virgin of the Rocks, ca. 1485.

Oil on wood (transferred to

canvas), approx. 6' 3" x 3' 7".

Louvre, Paris.



Andrea Mateggna’s Madonna of the Victory



Filippo Lippi’s

Madonna and Child with

angels and Saints



The Birth of Scientific Illustration:

In one of Leonardo's notebooks

containing his anatomical studies

is a drawing of an Embryo in th e

Womb . It is an early example of

scientific illustration.Leonardo also worked as both

architect and sculptor.

22-5 LEONARDO DA VINCI, Embryo in the Womb,

ca. 1510. Pen and ink on paper. Royal Library, Windsor Castle.



Michelangelo Buonarroti

• Master of the Male form

• Art Center shifts from Florence to Rome

• Medici’s and Pope Julius II his SugarDaddy’s



22-9 MICHELANGELO BUONARROTI,

David , 1501 –1504. Marble, 14' 3" high.

Galleria dell'Accademia, Florence.

Subduing a Giant: The

monumental nude statue

of David reveals Michelangelo's

early fascination with the male

body. The detailed play of muscles

over the figure's torso and limbs

serves to enhance the mood and

posture of tense expectation as

David watches for the approach of

Goliath. The pent-up energy ofDavid's psychic and muscular

tension is contrasted with his

apparently casual pose. David is

also represented as the defiant

hero of the Florentine republic.



Donatello Michelangelo Verrochio



So you think you can paint?

Ladies and Gentleman

May I present theSistine Chapel



22-14 MICHELANGELO BUONARROTI, Creation of Adam (detail),

ceiling of the Sistine Chapel, Vatican City,

Rome, 1511 –1512. Fresco, approx. 18' 8" x 9' 2".



Raphael

• Patron Julius II

• Achieved the Pope’s hope for the church

reconciliation.(Between the protestants

and the Papacy) Through a coherent and

rational image.



A Congregation of Classical Thinkers: In the suite of rooms forming

Pope Julius II's papal apartments, Raphael painted a series of

frescoes. On one of the four walls of the Stanza della Segnatura, he

painted the so-called School of Athens, which shows a congregation

of philosophers and scientists of the ancient world conversing and

arguing in a vast vaulted hall decorated with colossal statues of

Apollo and Athena. In the center, silhouetted against the sky, are

Plato and Aristotle. Other recognizable figures gathered around them

include Pythagoras, Socrates, Heraclitus, Diogenes, Euclid,

Zoroaster, and Ptolemy; their dignified poses and eloquent gestures

communicate moods that reflect their various beliefs. In the Stanzadella Segnatura, Raphael reconciled and harmonized paganism and

Christianity.

22-17 RAPHAEL, Philosophy (School of A thens )



22-17 RAPHAEL, Philosophy (School of Athens )



Giovanni Bellini

• From Venice

• Continues to synthesize the elements of

15th and 16th century



22-32 GIOVANNI BELLINI, Feast of th e Gods , 1514. Oil on canvas,

approx. 5' 7" x 6' 2". National Gallery of Art, Washington, D.C.(Widener Collection).



Giorgione• Venitian Tradition Continues

• Use of Soft Light



22-33 GIORGIONE DA CASTELFRANCO (and/or TITIAN ?),

Pastora l Sympho ny , ca. 1508. Oil on canvas, approx. 3'7" x

4'6". Louvre, Paris.



Titian

• Undisputed leader of Venetian painting



22-35 TITIAN,

Assump t ion of the

Virgin , Santa Maria

Gloriosa dei Frari,

Venice, ca. 15167 –

1518. Oil on wood, 22'

6" x 11' 10".



22-36 TITIAN,

Madonna of th e

Pesaro Fam ily ,

Santa Maria dei

Frari, Venice,1519 –1526. Oil

on canvas,

approx. 16' X 9'.



Mannerism

• Mannerism took the devices developed by

Michelangelo and Titian and made them

even more staged and contrived. Two

works by Parmigianino and Bronzinoillustrate this contrivance and sleek

designs that were favored by the

Mannerists.



Mannerist Cont.

• Mannerist art and architecture generally places anemphasis on staged and contrived imagery, on eleganceand beauty, on imbalanced compositions, and onunusual visual and conceptual complexities. Space in

Mannerist paintings may appear ambiguous, andtraditional themes may be presented in unconventionalor unexpected ways. Mannerist art may be restless, withfigures shown distorted, exaggerated, and with affectedbut often sinuously graceful postures. Mannerism's

requirement of "invention" led artists to produce self-conscious stylizations involving complexity, caprice,fantasy, elegance, perfectionism, and polish.



22-42

PARMIGIANINO,

Madonna with theLong Neck , ca. 1535.

Oil on wood, approx. 7'

1" x 4' 4". Galleria

degli Uffizi, Florence.



22-43 BRONZINO,

Venus, Cup id, Folly,

and Time

(Expos ure of

Luxury ) , ca. 1546.

Oil on wood,approx. 5'1" x

4'83/4". National

Gallery, London.



22-45 SOFONISBA

ANGUISSOLA,

Portrait of the

Artist's Sisters

and Brother , ca.

1555. Methuen

Collection,

Corsham Court,

Wilshire.



22-44 BRONZINO,

Portrait of a YoungMan, ca. 1530s. Oil

on wood, approx.

3'11/2" x 2' 51/2".

Metropolitan

Museum of Art, New

York (H. O.Havemeyer

Collection, bequest

of Mrs. H. O.

Havemeyer, 1929).

Image courtesy of



Reviving "Beautiful Architecture": Bramante's design for the Tempietto in

the cloister of the church of San Pietro in Montorio, Rome, was inspired by

ancient Roman round temples Bramante would have known in Rome and

in its environs. The rational design is balanced and harmonious in the

relationship of the parts (dome, drum, and base) to one another and to the

whole. The Tempietto was originally planned to stand inside a circular

colonnade.

Bramante



22-8 DONATO D'ANGELO

BRAMANTE, Tempietto, SanPietro in Montorio, Rome, 1502

(?).



Sculptor's Finishing Touch: During his supervision of the building of

the new Saint Peter's, Michelangelo preserved Bramante's originalcentralized plan but reduced and unified the central component to a

compact, domed Greek cross inscribed in a square and fronted with a

double-columned portico. On the exterior, he employed the colossal

order, the vertical extension of which extends up through the attic

stories into the drum and the dome to unify the whole building.

Michelangelo's final plan for a hemispheric dome was not adopted byGiacomo della Porta, who, long after Michelangelo's death, built a

dome with an ogival section.

Michelangelo

The Architect



22-28

MICHELANGELOBUONARROTI, plan

for Saint Peter's,

Vatican City, Rome,

1546



22-29

MICHELANGELO

BUONARROTI,Saint Peter's (view

from the northwest),

Vatican City, Rome,

1546 –1564. Dome

completed by

GIACOMO DELLAPORTA , 1590.

chapt22 high italian renn

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