Art Appreciation Lecture Template
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The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
What the Renaissance Knew II
Art of the Rinascimento Piero Scaruffi Copyright 2018 http://www.scaruffi.com/know 1 What the Rinascimento knew • Prodromes of the Rinascimento (Firenze) – Giotto: Naturalism + Classicism – Santa Maria Novella 1278-1360 – Santa Croce 1295-1442 (Arnolfo di Cambio) – Palazzo Vecchio 1299-1314 (Arnolfo di Cambio) – Duomo, except dome 1296-1366 (Arnolfo di Cambio) – Campanile 1334 (Giotto) – Doors of the Baptistery of Firenze (Lorenzo Ghiberti) – Donatello 2 What the Rinascimento knew • Art of the Rinascimento – Medieval mindset • The human race fell from grace and is living in hell, waiting for the end of the world that is coming soon • Contemplative life – The new mindset in Italian city-states • The world is full of opportunities, and paradise is here if you can make it happen • Active life 3 What the Rinascimento knew • Art of the Rinascimento – Medieval aesthetic • Originality is not a value • Imitation is prescribed, almost mandatory • Plagiarism is the way to broadcast ideas • Cooperation among "artists", not competition • The artist is just one of many craftsmen cooperating on building the city • The artist is a servant • Little imagination and little realism • Most paintings are for church walls or wooden panels 4 What the Rinascimento knew • Art of the Rinascimento – The new aesthetic in Italian city-states • Originality • The artist is a creator • Lots of imagination and lots of realism • Rediscovery of Greek and Roman art • Easel painting become more common 5 What the Rinascimento knew • Art of the Rinascimento – Patronage of the -
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. -
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 -
The Leiden Collection Catalogue, 2Nd Ed
Abraham Bloemaert (Gorinchem 1566 – 1651 Utrecht) How to cite Bakker, Piet. “Abraham Bloemaert” (2017). Revised by Piet Bakker (2019). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/abraham-bloemaert/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Abraham Bloemaert was born in Gorinchem on Christmas Eve, 1566. His parents were Cornelis Bloemaert (ca. 1540–93), a Catholic sculptor who had fled nearby Dordrecht, and Aeltgen Willems.[1] In 1567, the family moved to ’s-Hertogenbosch, where Cornelis worked on the restoration of the interior of the St. Janskerk, which had been badly damaged during the Iconoclastic Fury of 1566. Cornelis returned to Gorinchem around 1571, but not for long; in 1576, he was appointed city architect and engineer of Utrecht. Abraham’s mother had died some time earlier, and his father had taken a second wife, Marigen Goortsdr, innkeeper of het Schilt van Bourgongen. Bloemaert probably attended the Latin school in Utrecht. He received his initial art education from his father, drawing copies of the work of the Antwerp master Frans Floris (1519/20–70). According to Karel van Mander, who describes Bloemaert’s work at length in his Schilder-boek, his subsequent training was fairly erratic.[2] His first teacher was Gerrit Splinter, a “cladder,” or dauber, and a drunk. The young Bloemaert lasted barely two weeks with him.[3] His father then sent him to Joos de Beer (active 1575–91), a former pupil of Floris. -
MONTEPULCIANO's PALAZZO COMUNALE, 1440 – C.1465: RETHINKING CASTELLATED CIVIC PALACES in FLORENTINE ARCHITECTURAL and POLITI
MONTEPULCIANO’S PALAZZO COMUNALE, 1440 – c.1465: RETHINKING CASTELLATED CIVIC PALACES IN FLORENTINE ARCHITECTURAL AND POLITICAL CONTEXTS Two Volumes Volume I Koching Chao Ph.D. University of York History of Art September 2019 ABSTRACT This thesis argues for the significance of castellated civic palaces in shaping and consolidating Florence’s territorial hegemony during the fifteenth century. Although fortress-like civic palaces were a predominant architectural type in Tuscan communes from the twelfth century onwards, it is an understudied field. In the literature of Italian Renaissance civic and military architecture, the castellated motifs of civic palaces have either been marginalised as an outdated and anti-classical form opposing Quattrocento all’antica taste, or have been oversimplified as a redundant object lacking defensive functionality. By analysing Michelozzo’s Palazzo Comunale in Montepulciano, a fifteenth-century castellated palace resembling Florence’s thirteenth-century Palazzo dei Priori, this thesis seeks to address the ways in which castellated forms substantially legitimised Florence’s political, military and cultural supremacy. Chapter One examines textual and pictorial representations of Florence’s castellation civic palaces and fortifications in order to capture Florentine perceptions of castellation. This investigation offers a conceptual framework, interpreting the profile of castellated civic palaces as an effective architectural affirmation of the contemporary idea of a powerful city-republic rather than being a symbol of despotism as it has been previously understood. Chapters Two and Three examine Montepulciano’s renovation project for the Palazzo Comunale within local and central administrative, socio-political, and military contexts during the first half of the fifteenth century, highlighting the Florentine features of Montepulciano’s town hall despite the town’s peripheral location within the Florentine dominion. -
The Triumph of Flora
Myths of Rome 01 repaged 23/9/04 1:53 PM Page 1 1 THE TRIUMPH OF FLORA 1.1 TIEPOLO IN CALIFORNIA Let’s begin in San Francisco, at the California Palace of the Legion of Honor in Lincoln Park. Through the great colonnaded court, past the Corinthian columns of the porch, we enter the gallery and go straight ahead to the huge Rodin group in the central apse that dominates the visitor’s view. Now look left. Along a sight line passing through two minor rooms, a patch of colour glows on the far wall. We walk through the Sichel Glass and the Louis Quinze furniture to investigate. The scene is some grand neo-classical park, where an avenue flanked at the Colour plate 1 entrance by heraldic sphinxes leads to a distant fountain. To the right is a marble balustrade adorned by three statues, conspicuous against the cypresses behind: a muscular young faun or satyr, carrying a lamb on his shoulder; a mature goddess with a heavy figure, who looks across at him; and an upright water-nymph in a belted tunic, carrying two urns from which no water flows. They form the static background to a riotous scene of flesh and drapery, colour and movement. Two Amorini wrestle with a dove in mid-air; four others, airborne at a lower level, are pulling a golden chariot or wheeled throne, decorated on the back with a grinning mask of Pan. On it sits a young woman wearing nothing but her sandals; she has flowers in her hair, and a ribboned garland of flowers across her thighs. -
A.P. Art History Simplified Timeline Through 1900 Note: These Are Approximate Dates
Marsha K. Russell 1 St. Andrew's Episcopal School, Austin, TX A.P. Art History Simplified Timeline through 1900 Note: These are approximate dates. Remember periods and styles overlap. Prehistory Paleolithic: up to about 10,000 BCE • Venus/Goddess of Willendorf • Lascaux Cave Paintings • Altamira Cave Paintings Neolithic in England: about 2,000 BCE • Stonehenge Mesopotamia/Near East (ignore time lapses) Sumerian: ~3500 - 2300 BCE • Standard of Ur • Ram offering stand • Bull-headed lyre • Bull holding a Vase • Ziggurats Akkadian: ~2300 - 2200 BCE • Victory Stele of Naram-Sin Neo Sumerian: ~2200 - 2000 BCE • Gudea statues Babylonian: ~1900 - 1600 BCE • Stele of Hammurabi Assyrian: ~900 - 600 BCE • Lamassu (Winged Human-Headed Bull) • Lion Hunt Bas Reliefs Egypt Predynastic: 3500 - 3000 BCE • Palette of Narmer Old Kingdom: ~3000 - 2200 BCE • Khafre • Menkaure and Khamerernebty • Seated Scribe • Ti Watching a Hippo Hunt • Prince Rahotep and his wife Nofret • Pyramid of King Djoser by Imhotep Middle Kingdom: ~2100 - 1600 BCE • Rock-cut tomb New Kingdom: ~1500 - 40 BCE (includes the Amarna Period 1355 – 1325 BCE) • Funerary Temple of Hatshepsut • Temple of Ramses II • Temple of Amen-Re at Karnak • Akhenaton • Akhenaton and His Family Marsha K. Russell 2 St. Andrew's Episcopal School, Austin, TX Aegean & Greece Minoan: ~2000 - 1500 BCE • Snake Goddess • Palace at Knossos • Dolphin Fresco • Toreador Fresco • Octopus Vase Mycenean: ~1500 - 1100 BCE • "Treasury of Atreus" with its corbelled vault • Repoussé masks • Lion Gate at Mycenae • Inlaid dagger -
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE Online Links: Giovanni Bellini - Wikipedia, the free encyclopedia Feast of the Gods – Smarthistory The Tempest - Smarthistory Titian - Wikipedia, the free encyclopedia Bacchus and Ariadne – Smarthistory Titian's Bacchus and Ariadne- National Gallery Podcast Venus of Urbino - Smarthistory Giorgione - Wikipedia, the free encyclopedia Alfonso I d'Este, Duke of Ferrara - Wikipedia, the free encyclopedia Venus of Urbino - Wikipedia, the free encyclopedia MANNERISM Online Links: Introduction to Mannerism - Smarthistory Correggio's Assumption of the Virgin - Smarthistory (no video) Parmigianino's Madonna of the Long Neck – Smarthistory Benvenuto Cellini's Perseus Beheading Medusa Benvenuto Cellini - Wikipedia, the free encyclopedia Pontormo's Entombment - Smarthistory Giovanni Bellini and Titian. The Feast of the Gods, 1529, oil on canvas Above: Map of 16th century Venice Left: Giovanni Bellini. Self-Portrait The High Renaissance in Venice coincided with the decline of the empire and the threat that the city would lose the independent status it had enjoyed for eight hundred years. Formidable foreign powers such as the French and Spanish kings, the pope, the Holy Roman emperor, and the rulers of Milan united against Venice and formed the League of Cambrai in 1509. They took most of the Venetian territory, including the important city of Verona, but not Venice itself. By 1529, peace was restored along with most of the territory, and Venice propagated the myth of its uniqueness in having survived so great a threat. In this illustration of a scene from Ovid’s, Fasti the gods, Jupiter, Neptune, and Apollo among them, revel in a wooded pastoral setting, eating and drinking, attended by nymphs and satyrs. -
Profiling Women in Sixteenth-Century Italian
BEAUTY, POWER, PROPAGANDA, AND CELEBRATION: PROFILING WOMEN IN SIXTEENTH-CENTURY ITALIAN COMMEMORATIVE MEDALS by CHRISTINE CHIORIAN WOLKEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. Edward Olszewski Department of Art History CASE WESTERN RESERVE UNIVERISTY August, 2012 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Christine Chiorian Wolken _______________________________________________________ Doctor of Philosophy Candidate for the __________________________________________ degree*. Edward J. Olszewski (signed) _________________________________________________________ (Chair of the Committee) Catherine Scallen __________________________________________________________________ Jon Seydl __________________________________________________________________ Holly Witchey __________________________________________________________________ April 2, 2012 (date)_______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. 1 To my children, Sofia, Juliet, and Edward 2 Table of Contents List of Images ……………………………………………………………………..….4 Acknowledgements……………………………………………………………...…..12 Abstract……………………………………………………………………………...15 Introduction…………………………………………………………………………16 Chapter 1: Situating Sixteenth-Century Medals of Women: the history, production techniques and stylistic developments in the medal………...44 Chapter 2: Expressing the Link between Beauty and -
New World of Learning: Activities 1
In collaboration with the National Gallery of Art Page 1 of 8 New World of Learning: Activities 1. The Medal: INTERMEDIATE / ADVANCED The Renaissance “Calling Card” The medal was an important part of the PROCEDURE: After viewing and discussing Renaissance visual vocabulary. It allowed for images of various medals in class, divide one’s sense of self to be presented in a small the class into small groups, with each group format for distribution to friends and people given the assignment to design a medal. Have in positions of power. Rulers, intellectuals, each group choose a Renaissance individual, wealthy merchants, married women, and either real or imagined, whom they have widows are all known to have commissioned studied, read about, or discussed in this unit. medals. This activity looks at a variety of Encourage the groups to commemorate a Renaissance men and women in different range of individuals including, for example: levels of society and the kinds of medals they • A powerful aristocratic and autocratic ruler may have ordered for themselves. in control of a territory PURPOSE: to prompt students to consider • A scholar whose favorite occupation is which qualities Renaissance men and women wanted to project in images of and transcribing ancient texts reading but who is also engaged in finding themselves, and why; to prompt students to • A lady-in-waiting to Isabella d’Este, a kind of think about how such characteristics can be social secretary and personal assistant who communicated by symbolic means, helps Isabella with her clothes, reads to her at night, and keeps a list of her personal and political contacts MATERIALS: images of the medals presented in this unit (see unit images) • A wealthy merchant in a city such as Florence (Optionally, you can also consider modern autocratic ruler commemorative medals, which can be seen who is influential and powerful but not an at the websites listed under Resources, below.) Page 2 of 8 New World of Learning: Activities 1. -
Cas Summer Abroad
CAS SUMMER ABROAD Spotlight on Florence Italy, and Florence in particular, has long been a tourist My visit in June coincided with two of the program’s destination, attracting millions to its Renaissance towns included excursions: a day trip to explore the Val D’Orcia, throughout the year. The College’s Summer in Florence pro- with its picturesque Tuscan hillsides, and an overnight jour- gram transcends this one-dimensional definition and exposes ney to Verona and Mantua to experience Giuseppe Verdi’s students to a more authentic experience through language, Nabucco and the regional specialties of the Veneto and history, culture, music, and Lombardy. In 2017, students also ventured south to appreci- art. Centered at NYU’s Villa La ate the monuments and museums of Rome. Pietra, a 57-acre Tuscan estate comprising five refurbished Participants may also take part in NYU Florence’s The Season, villas donated by Sir Harold an annual celebration devoted to arts, literature, and culture. Acton in 1994, students have Open to the wider Florentine community as well, in 2017 ...opportunities access to state of the art facil- the schedule featured readings by internationally acclaimed that take ities and dedicated staff while writers, like Catherine Barnett and Alexander Chee, the engaging in summer study. debut of NYU Tisch professor Sam Pollard’s Sammy Davis Jr: students outside I’ve Gotta Be Me (subsequently shown at the Toronto Film the traditional Our courses offer learning Festival), and a series of theatrical performances by Tisch opportunities that take stu- students and other artists. With everything on offer during classroom to dents outside the traditional the summer months, Florence and Villa La Pietra inspire as engage with the classroom to engage with the the backdrop for your academic and cultural experience.