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THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists. -
The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
Problems of the Baroque in 1975
T HESAVRVS BOLETÍN DEL INSTITUTO CARO Y CUERVO TOMO XXX Mayo-Agosto 1975 NÚMERO 2 PROBLEMS OF THE BAROQUE IN 1975 The following article does not try to continué the "Cri- tical survey of the Baroque theories" which I presented in this periodical IV (1948), 461-491, since this survey actually was continued in my book Estudios sobre el Barroco (Madrid, Gre- dos 1966, second edition 1973). Today I am rather interested in actual problems generally recognized as central, and in the attempt at their Solutions. There is agreement now on the fact that the transition from Renaissance to Baroque is such a slow process that it filis a whole period (roughly 1520 to 1600) which art historians cali Mannerism. One tried there- fore first to find criteria for the distinction of these two histo- rical phaenomena, Mannerism and Baroque, and to explain their fundamental differences and their possible overlappings. The second problem was, how the thus chronologically new- ly fixed Baroque fades out into something new which some believe to be the Classicism (particularly in France), which others, like the art historians, believe to be the Rococó. The latter still very debated concept supposes in retrospect a kind of coincidence between Classicism and Baroque. Furthermore, envisioning all this from a European and comparative view- point supposes time lags between the domination of a style trend in different countries, supposes the concept of dying and 210 HELMUT HATZFELD BICC, XXX, 1975 upcoming literatures, supposes the reckoning with the un- settled question of originis, and most of all, the importance of the psychological and sociological background which can- not be everywhere the same. -
Maria Vittoria Brugnoli
©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte FIG. 1 - ROMA, TRINITÀ DEI MONTI - PERIN DEL VAGA: ANNUNCIAZ.IONE (PARTICOLARE DELLA VOLTA DELLA CAPPELLA puccr) (Fot. G. F . N.) MARIA VITTORIA BRUGNOLI GLI AFFRESCHI DI PERIN DEL VAGA NELLA CAPPELLA PUCCI NOTE SULLA PRIMA ATTIVITÀ ROMANA DEL PITTORE L FATTO che gli affreschi di Perin del Vaga nel confronti dell'attività di Perino e dello stesso am nella Cappella Pucci in Trinità dei Monti a Roma biente romano in quegli anni. I siano collocati a circa 14 metri da terra in condi- Gli affreschi della cappella Pucci assumono viceversa zioni di luce non certo favorevoli - in parte anzi tutto il loro significato qualora vengano posti a fuoco pressochè invisibili dal basso, per la loro posizione (mi nello stretto giro di anni che seguì il ritorno di Peri no riferisco alle pitture che sovrastano l'oculo aperto in da Firenze, periodo concluso bruscamente dal funesto alto sulla parete sinistra, e a quelle terminali del sot Sacco del '27 cui seguì la partenza del pittore per tarco di ingresso) - spiega come questa opera non Genova: e sono gli stessi anni nei quali cade il soggiorno abbia trovata la considerazione che merita anche da romano del fiorentino Rosso, del parmense Mazzola. parte di quella critica che ha appuntato il suo interesse Una stagione breve ma di estrema importanza per la con acutezza di indagine e di giudizio sui fatti della pittura a Roma, a tutt'oggi ancora non ben chiarita pittura toscana e romana degli anni intorno al '20. -
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The J. Paul Getty Trust 1200 Getty Center Drive, Suite 400 Tel 310 440 7360 Communications Department Los Angeles, California 90049-1681 Fax 310 440 7722 www.getty.edu [email protected] NEWS FROM THE GETTY DATE: September 14, 2007 FOR IMMEDIATE RELEASE GETTY EXHIBITION HIGHLIGHTS THE TRIALS AND TRIBULATIONS OF A YOUNG ARTIST’S JOURNEY AS TOLD BY HIS BROTHER Taddeo and Federico Zuccaro: Artist-Brothers in Federico Zuccaro Renaissance Rome Italian, about 1541 - 1609 Taddeo Rebuffed by Francesco Il Sant'Agnolo, about 1590 Pen and brown ink and brown wash over black chalk The J. Paul Getty Museum At the J. Paul Getty Museum, Getty Center 99.GA.6.5 October 2, 2007 – January 6, 2008 LOS ANGELES—The journey to becoming an artist in Renaissance Rome during the 16th century was fraught with daily hardships and struggles. These tribulations are best exemplified in the tale of Taddeo Zuccaro, a young lad who left his home on the eastern coast of Italy at the tender age of 14 to pursue a career as an artist in the great metropolis of Rome. His tenuous journey of starvation, deprivation, sickness, and ultimately triumph—sensitively recounted by his younger brother, Federico, who would himself become an artist of great significance—will be celebrated in a major international loan exhibition organized by the J. Paul Getty Museum. On view at the Getty Center, October 2, 2007 through January 6, 2008, Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome is the first exhibition devoted to the artist-brothers that focuses on their relationship and brings together some of their greatest drawings. -
Mannerist Architecture and the Baroque in This Lecture I Want To
Mannerist Architecture and the Baroque In this lecture I want to discuss briefly the nature of Mannerist architecture and then begin to consider baroque art. We have already paid some attention to Mannerist painting and sculpture; and have seen how in the work of painters like Rosso Fiorentino, Bronzino and Parmigianino; and sculptors like Giovanni Bologna and Cellini, that after 1527, classical forms came to be used in a spirit alien to them; each artist developing a highly personal style containing capricious, irrational and anti-classical effects. Although the term Mannerism was first applied to painting before it came to be used to describe the period style between 1527 and 1600; it is possible to find similar mannerist qualities in the architecture of the time. And again it is Michelangelo whose work provides, as it were, a fountainhead of the new style. Rosso’s Decent from the Cross, which we have taken as one of the first signs of Mannerist strain and tension in the High Renaissance world, was painted in 1521. Three years later Michelangelo designed his Laurentian Library,* that is in 1524. It was designed to house the library of the Medicis; and we may take it as the first important building exhibiting Mannerist features.* We can best consider these features by comparing the interior of the library with the interior of an early Renaissance building such as Brunelleschi’s S. Lorenzo. Consider his use of columns. In Brunelleschi they are free standing. When he uses pilasters they project out from a wall as you expect a buttress to. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
7 X 11 Long.P65
Cambridge University Press 978-1-107-00119-0 - Classical Myths in Italian Renaissance Painting Luba Freedman Index More information t INDEX Achilles, shield by Hephaistos, 61, 223n23 two versions, Italian and Latin, 223n15 Achilles Tatius on verisimilitude, 94, 98 on grouping of paintings, 172, 242n53 De re aedificatoria on painting depicting the myth of Philomela, on fabulae, 38 188. See also Europa on historiae, 38 translated by Dolce, 172 on paintings in villas, 38 Acrisius, legendary King of Argos, 151 humanistic painting program of, 38, 59 ad fontes, 101 Aldrovandi, Ulisse, Adhemar,´ Jean, 19, 227n90 All the Ancient Statues ...,12 Adonis on antique statues of Adonis and Venus, 114 Death of Adonis by Piombo, 215n4. See also description of Danae,¨ 127, 128 Venus and Adonis description of Europa, 91 Adriani, Giovanni Battista, 152–153, 169, 170, description of Marsyas, 135–136 174 description of Proserpina, 106 Adrian VI (pope from 9 January 1522 to 14 description of statues compared with Lucius’s, September 1523), 44 114 dispenses with antiquities from Rome, 44 on gardens, 153 tutor of Charles V, 246n6 identification of mythological subjects by, 12 Aesop, 197, 200 Alexander the Great, 42 Agostini, Niccolodegli,` 65 armor of, 138 Alamanni, Luigi, Favola di Narcisso and Favola di and Roxana. See Sodoma (Giovanni Antonio Fetonte, 211, 248n48 Bazzi) Alberti, Leon Battista alla franceze. See Warburg, Aby De pictura, 4 all’antica on art practices, 56 accumulated interest in antiquity required for, on brevitas, 190 2, 131 on historia, 58–59 -
1. Compare and Contrast the High Renaissance Period with the Baroque Period
Preliminary Handout: David and Goliath Summarize the story of David and Goliath: How is David significant in Medici Florence? High Renaissance Period The Baroque Period Dates of the period: Dates of the period: Locations: Locations: Influences on the period: Influences on the period: Stylistic Characteristics: Stylistic Characteristics: Compare Donatello's David, Michelangelo's David, and Bernini’s David Donatello's David Michelangelo's David Bernini’s David Date Period Material Height Nude? Contrapposto? Moment in story: David represents... Original location: Stylistic Characteristics: Short Answer Essays: Please write a concise paragraph essay answering each of the questions below. You will work in groups and do a short two-minute presentation to the class on one question. 1. Compare and contrast the High Renaissance period with the Baroque period. What are the important influences and stylistic differences? 2. What are the primary defining elements of Italian Baroque sculpture and architecture? Select one Baroque sculpture and one Baroque building in Italy and discuss how they exemplify the style. 3. Compare and contrast Donatello, Michelangelo, and Bernini's David. How does each work embody the stylistic principles of its age? 4. Describe Bernini's Apollo and Daphne. What moment does it depict in Ovid's myth? Why would the Church approve of such a work? 5. How has Bernini drawn from his knowledge of theater, writing plays, and producing stage designs to create an emotionally dramatic experience for worshipers that involve architecture, sculpture, and painting at the Cornaro chapel? 6. How is Gianlorenzo Bernini’s work typical of the Baroque period? Give several examples of his work that support your answer. -
The Holy Family with Saint Elizabeth
The Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels, a copy of Raphael Technical report, restoration and new light on its history and attribution José de la Fuente Martínez José Luis Merino Gorospe Rocío Salas Almela Ana Sánchez-Lassa de los Santos This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 2 and 5-19 © Groeningemuseum, Brugge: fig. 21 © Institut Royal du Patrimoine Artistique, Bruxelles: fig. 20 © Museo Nacional del Prado, Madrid: fig. 55 © RMN / Gérard Blot-Jean Schormans: fig. 3 © RMN / René-Gabriel Ojéda: fig. 4 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 17-64. Sponsored by: 2 fter undergoing a painstaking restoration process, which included the production of a detailed tech- nical report, the Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels1 A[fig. -
Polidoro Da Caravaggio's 'Way to Calvary'
National Gallery Technical Bulletin Volume 25, 2004 National Gallery Company London Distributed by Yale University Press This volume of the Technical Bulletin is published with the generous support of the Samuel H. Kress Foundation and the American Friends of the National Gallery, London, Inc. Series editor Ashok Roy © National Gallery Company Limited 2004 All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publisher. First published in Great Britain in 2004 by National Gallery Company Limited St Vincent House, 30 Orange Street London wc2h 7hh www.nationalgallery.co.uk British Library Cataloguing in Publication Data A catalogue record for this journal is available from the British Library. isbn 1 85709 320 8 A note on the reproductions issn 0140 7430 525045 The reproductions of complete paintings from the National Gallery’s collection in this book have been printed from Senior editor Jan Green colour-correct, high-resolution digital scans made with Project manager Tom Windross the MARC II Camera. This process was described in ‘The Editor Diana Davies MARC II Camera and the Scanning Initiative at the National Designer Tim Harvey Gallery’, National Gallery Technical Bulletin, 23, 2002, Picture research Kim Klehmet pp. 76–82. Production Jane Hyne and Penny Le Tissier Infrared examinations were performed by Rachel Billinge, Printed in Italy by Conti Tipocolor Rausing Research Associate in the Conservation Department. Infrared reflectography was carried out using a Hamamatsu front cover C2400 camera with an N2606 series infrared vidicon tube.