late renaissance to mannerism
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Art of the Late Renaissance through MannerismTRANSCRIPT
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Chapter 16: 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
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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, 1533. Oil on 14 ½” x 18.” Galleria degli
Uffizi, Florence.
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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.
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Italy
Michelangelo, plan for new Saint Peter’s, 1546.
Donato d’Anegelo Bramante, Original plan for St. Peter’s, Rome, 1502-1511. Fig. 15.5
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ItalyDates 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, 1473-1541. Fig.15.9
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RomeExample:• 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 compositionMichelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco,
1534–1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 16.5
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Rome
Michelangelo, detail scenes from Last Judgment, with detail of Christ and the Virgin Mary. Fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City.
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Rome
Michelangelo, Last Judgment, with detail of St. Bartholomew from the Sistine Chapel, fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City. Fig. 14.28
Self-portrait of Michelangelo
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Rome
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Rome
Michelangelo, detail scenes from Last Judgment, with detail of Minos (left) and Charon (right). Fresco, 1534–1541, 48’x44.’ Sistine Chapel, Vatican City.
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Italian MannerismGeneral 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, 1521. Oil on panel, 11’ x 6’5 ½.” Pinacoteca Comunale, Volterra,
Italy. Fig. 16.2
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Florence
Example: • Medici court• Mannerist complicated
allegory or pun • Folly of love revealed by
time• Lascivious, sensuous• Strong contours,
undulating and exaggerated limbs, complex pose shows artist’s skill
Agnolo Bronzino , Allegory of Venus: Venus, Cupid, Folly, and Time, ca. 1546. Oil on
panel, 5’1” x4’8 ¾.” National Gallery, London. Fig. 16.3
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Agnolo Bronzino (1503-1572) Example: • Elegant conception • Agitated composition, full of incidents
but, little sense of dramatic unity • 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 • Removes the event from the realm of
flesh and blood • Mannerist refinement and artifice
prevail over nature and feeling
Agnolo Bronzino , Allegory of Venus: Venus, Cupid, Folly, and Time, ca. 1546. Oil on
panel, 5’1” x4’8 ¾.” National Gallery, London. Fig. 16.3
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Parmigianino (1503-1540)
Example: • Odd spatial juxtapositions and non-
Classical proportions• Mismatched bodies• Mary’s clothing strays from convention• Tiny man?• Column? Mary as architectural
structure of church, column of childbirth, flagellation
• Vessel-Mary as vessel that gave birth to Christ, body echoes shape
• Christ as sleeping baby foreshadows death
• Modern Pietà? Parmigianino, Madonna with the Long Neck, c. 1535. Oil on panel, approx. 7’1” x 4’4.” Galleria
degli Uffizi, Florence. Fig. 16.9
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Tiziano Vecellio (Titian 1488/90-1576)
Example: • Commissioned by Guidobaldo
II della Rovere, Duke of Urbino• Venetian painters love color
(colorito), atmosphere, texture
• Oil on canvas glows• Voluptuous body with smoky
shadow, framed by curtain • Portrait or mythology?• New genre of female nude• Color organizes composition
Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence.
Fig. 16.11
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Giorgione, Sleeping Venus, c. 1509. Oil on canvas, 3’6 ¾” x 5’ 9.”
Titian, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5.” Galleria degli Uffizi, Florence. Fig. 16.11
Manet, Olympia, 1865. Oil on canvas, 4’ 3” x 6’ 3.” Musée d'Orsay, Paris
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Venice
Paolo Veronese, Christ in the House of Levi, Italy, 1573. Oil on canvas, 18’ 2” x 42.’ Galleria dell’ Accademia, Venice. Fig.16.12
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Paolo Cagliari “Veronese” (1528-1588)Example: • Late Venetian painting• Naturalism of Titian• Pageantry of event• Classical setting• Invented characters• Renaissance balanced
composition• Interest in detail• Symmetry of Leonardo and
Raphael• Inquisition challenges subject so
changes title– “Paint pictures as I see fit”
Paolo Veronese,Feast in the House of Levi, Italy, 1573. Oil on
canvas, 18’ 2” x 42.’ Galleria dell’ Accademia, Venice. Fig.16.12
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Venice
Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig 16.13
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Jacopo Robusti “Tintoretto” (1518-1594)Example: • Nickname “Little Dyer”• “Paint like Titian, design
like Michelangelo” • Counter-Reformation
painting• Moment depicted:
demonstration of body and blood
• 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
Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore, Venice. Fig
16.13
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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
Tintoretto, Last Supper, 1592-1594. Oil on canvas, 12’x18’8.“ San Giorgio Maggiore,
Venice. Fig 16.13
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Vicenza
Andrea Palladio, Villa Rotonda, ca. 1567–1570.Vicenza, Italy. Fig.16.14.
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Andrea Palladio (1508-1580)
Example: • Greatest architect of late 16th
century• Vitruvius main influence• 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.16.14.
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Andrea Palladio, Villa Rotonda, ca. 1567–1570. Vicenza, Italy. Fig.16.14.
Reconstruction of an Etruscan temple after Vitruvius
Pantheon, 118-125 CE, Rome.
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Andrea Palladio (1506-1580)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.16.14.