AD451 – ITALIAN RENAISSANCE ART Fall 2016 Slide List 3 PART

AD451 – ITALIAN RENAISSANCE ART Fall 2016 Slide List 3 PART III: The First Half of the Sixteenth Century 18. Florence: Mannerism and the Medici 1. Madonna of the Harpies, 1517, Andrea del Sarto, fig. 18.1 2. Visdomini Altarpiece, 1518, Jacopo Pontormo, fig. 18.2 3. Capponi Chapel, Sta. Felicita, 1525-8, Pontormo, fig. 18.0 4. Deposition, 1521, Rosso Fiorentino, fig. 18.8 5. Medici Chapel (New Sacristy), 1519-34, Michelangelo, figs. 18.10,12,13 6. Laurentian Library, San Lorenzo, 1523-59, Michelangelo, fig. 18.14 19. Mantua and Parma: The Arts at Court 1. MANTUA: Wedding Feast of Cupid and Psyche, 1527-30, Giulio Romano, fig. 19.1 2. Fall of the Giants, 1530-32, Giulio Romano, fig. 19.2 3. Jupiter and Io, c. 1530, Correggio, fig. 19.0 4. Palazzo del Te, beg. 1525. Giulio Romano, fig. 19.3 5. PARMA: Assumption of the Virgin, 1522-30, Correggio, fig. 19.6 6. Self Portrait in a Mirror, 1524, Parmigianino, fig. 19.7 7. Count of Fontanellato, 1524, Parmigianino, fig. 19.9 8. Madonna of the Long Neck, c. 1534, Parmigianino, fig. 19.10 20. Venice: Vision and Monumentality 1. La Tempesta, c. 1509, Giorgione, fig. 20.1 2. Sleeping Venus, c. 1510, Girorgione, fig. 20.3 3. Pastoral Concert, c. 1510, Giorgione (or Titian?), figs. 20.4 4. Sacred and Profane Love, c. 1514, Titian, fig. 20.5 5. Enthroned Madonna and Child with Saints, 1504, Giorgione, fig. 20.6 6. Enthroned Madonna and Child & Saints, San Zaccaria, 1505, Giovanni Bellini, fig. 20.7 7. Assumption of the Virgin, 1516-18, Titian, fig. 20.9 8. Pesaro Altarpiece, 1519-26, Titian, 20.0 9. Feast of the Gods, 1514/29, Giovanni Bellini, fig. 20.16 10. Meeting of Bacchus and Ariadne, 1522, Titian, fig. 20.17 11. Reclining Nude (Venus of Urbino), c. 1538, Titian, fig. 20.20 12. Equestrian Portrait of Emperor Charles V, 1548, Titian, fig. 20.26 13. Danae, 1554, Titian, fig. 20.27 14. Rape of Europa, 1559-62, Titian, fig. 20.28 15. Self Portrait, 1560s, Titian, 20.29 16. Pieta, begun 1570, Titian, fig. 20.31 17. Miracle of St. Mark, 1548, Jacopo Tintoretto, fig. 20.32 18. Villa Rotunda, Vicenza, c, 1565, Palladio, fig. 20.45 PART IV: The Later Sixteenth Century 21. The Rome of Paul III 1. Last Judgment, 1534-41, Michelangelo, figs. 21.1 - 21.4 2. Deposition, c, 1546-55, Michelangelo, fig. 21.5 3. St. Peter’s, Rome, New project of 1546, Michelangelo, fig. 21.12 22. Northern Italy: Reform and Innovation 1. Noli mi Tangere, 1581, Lavinia Fontana, fig. 22.1 2. Feast in the House of Levi, 1573, Paolo Veronese, fig. 22.2 3. Bernardo Campi Painting Sofonisba Anguissola, c. 1550, Sofonisba Anguissola, fig. 22.12 4. Portrait of the Artist’s Sisters Playing Chess, 1555, Sofonisba Anguissola, fig. 22.13 23: Florence under Cosimo I 1. Cosimo I, c. 1545, Agnolo Bronzino, fig. 23.1 2. Eleonora Toledo and her Son Giovanni, c. 1546, Bronzino, fig. 23.2 3. Portrait of a Young Man, c. 1540-45, Bronzino, fig. 23.3 5. Allegory with Venus and Cupid, c. 1545, Bronzino, fig. 23.10 6. Perseus, 1545-54, Benvenuto Cellini, figs. 23.11 7. The Rape of the Sabines, 1579-83, Giambologna, fig. 23.18 8. Martyrdom of St. Lawrence, 1565-69, Bronzino, fig. 23.19 .

Copy Link

Recommended publications

Art 6H Study Guide – Exam 2 – the Era of Faith
Art 6H Study Guide – Exam 2 – The Era of Faith Be sure to know each item thoroughly – Terms: know the image(s), history, meaning, etc. Icon(s) Iconoclasm Early Christianity Pantocrator Theotokos - Synagogue, Dura Europos pendentive - Christian community house, Dura Visigoths/Ostrogoths Europos - Sarcophagus with philosopher, orant, Old & New Testament scenes Medieval Europe - Old St. Peter’s, Rome - Mosaic in the ambulatory of Sta. - Monte Cassino, Italy Constanza - Man (symbol of Saint Matthew), Book of - Christ as the Good Shepherd, Mausoleum Durrow, Scotland of Galla Placidia - Chi-rho-iota (XPI) page, folio 34 recto of - Christ before Pilate, Rossano Gospels the Book of Kells, Scotland - Rabbula Gospels - Saint James, Santiago de Compostela, - Woman sacrificing at an altar, diptych of Spain the Nicomachi & the Symmachi - Saint-Sernin, Toulouse, France Terms: - St.Denis Orant - Chartres Cathedral cubicula - Saints Martin, Jerome, and Gregory, (jamb statues) Porch of the Confessors, Chartres Cathedral Byzantium - Notre-Dame , Paris - Virgin with the Dead Christ (Röttgen - Hagia Sophia, Constantinople Pietà), from the Rhineland, Germany (architects: Anthemius of Tralles & Terms: Isidorus of Miletus) Scriptorium - Justinian, Bishop Maximianus, and St. Benedict attendants, mosaic, San Vitale, Ravenna Zoomorphism - Theodora & attendants, mosaic, San Nave Vitale, Ravenna Radiating Chapel - Barberini Ivory Tympanum - Ascension of Christ, Rabbula Gospels Reliquary - Virgin (Theotokos) & Child between Sts. Aisle Theodore and George, icon Apse
[Show full text]
Titian and Veronese Two Venetian Painters
Titian and Veronese Two Venetian Painters Titian Veronese Garry Law Sack of Rome 1527 – end of the Renaissance in Rome Timeline and Contemporaries / Predecessors Titian - ~1488-1576 • Born Tiziano Vecellio in Pieve di Cadrone – Small fortified town dating back to the Iron Age. • Father a soldier / local councilor / supplier of timber to Venice • Named after a local saint Titianus • Went to Venice aged 9, apprenticed to Zuccato then Gentile Bellini then Giovani Bellini • Partnership with Giorgione – shared workshop – ended with G’s early death • Together redefined Venetian painting • Their work so similar have long been disputes over authorship of some paintings They did undertake some joint works – frescoes Titian was asked to complete some unfinished works after Giorgione’s death – only one such is known for sure – otherwise we don’t know if he did finish others. The Pastoral Concert - Once considered Giorgione – now considered Titian – though some have considered as by both (Louvre). • Portraits - Royal and Papal commissions late in career • Cabinet Pictures • Religious art • Allegorical / Classical Isabella d’Este “La Bella” • Lead the movement to having large pictures for architectural locations on canvas rather than Fresco – which lasted poorly in Venice’s damp climate • Sought to displace his teacher Bellini as official state painter – declined, but achieved on B’s death. • Married housekeeper by whom he already has two children • Wife dies young in childbirth – a daughter modelled for him for his group pictures • Does not remarry – described as flirting with women but not interested in relationships • Ran a large studio – El Greco was one pupil • Of his most successful pictures many copies were made in the studio Penitent Mary Madelene Two of many versions Christ Carrying the Cross.
[Show full text]
SYMBOLIC HISTORY Through Sight and Sound
SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) CHARLES G. BELL ST. JOHN'S COLLEGE SANTA FE, NEW MEXICO or 1260 CANYON ROAD SANTA FE, NEW MEXICO 87501 September 1995 Last Revised January ‘96 1 Charles Greenleaf Bell, 1260 Canyon Rd., Santa Fe, NM 87501 SYMBOLIC HISTORY Through Sight and Sound 16. Giants in the Earth (16th Century) 1) Giulio Romano, 1530-32, Fall of the Giants, frescoed room, corner and two walls, Palazzo del Te, Mantua (CGB '86) 1a) Same, detail, stream and Giant under rocks, (CGB '86); video brings in another detail from the last slide of the show, 80+1. Music: Ant .de Cabezon, c. 1540, Tiento de Primer Tono, Videro on HMV DA 5207 In The Winter's Tale, the living Hermione is presented as a statue "by that rare Italian master Julio Romano, who, had he himself eternity, and could put breath into his work, would beguile Nature of her custom, so perfectly is he her ape." In this 1530 Mantuan vault, his heaven-storming giants fall under the rocks of Pelion and Ossa. (music) In the tientos of Cabezon, we feel what turned the loves and thought of that century toward Prometheus, Icarus, Phaeton and Faust. 2) Titian, 1543-44, David and Goliath, Santa Maria della Salute, Venice; + V detail) (music continued) There were giants in the earth in those days...when the sons of God came in unto the daughters of men. And when the spiritual force stored in medieval creed-condensers struck through the physical, it stirred Gargantuan prodigies: the arts of space and mass, Hermetic and Lucretian science, Reformation, Utopias, world conquest, Platonic love, the Age of Gold.
[Show full text]
Body, Identity, and Narrative in Titian's Paintings
Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works.
[Show full text]
THE EARLIER WORK of TITIAN by CLAUDE
THE EARLIER WORK OF TITIAN By CLAUDE PHILLIPS Keeper of the Wallace Collection 1897 [Illustration: _Flora_] [Illustration: The Portfolio Artistic Monographs With many Illustrations] LIST OF ILLUSTRATIONS PLATES PAGE page 1 / 110 Flora. Uffizi Gallery, Florence ....................... Frontispiece Sacred and Profane Love. Borghese Gallery, Rome..................... 36 Virgin and Child, with Saints. Louvre............................... 54 Le Jeune Homme au Gant. Louvre...................................... 62 ILLUSTRATIONS PRINTED IN COLOUR Design for a Holy Family. Chatsworth................................ 86 Sketch for the Madonna di Casa Pesaro. Albertina.................... 96 ILLUSTRATIONS IN THE TEXT The Man of Sorrows. In the Scuola di S. Rocco, Venice............... 23 Virgin and Child, known as "La Zingarella." Imperial Gallery, Vienna 25 The Baptism of Christ. Gallery of the Capitol, Rome................. 29 page 2 / 110 The Three Ages. Bridgewater Gallery ................................ 35 Herodias with the Head of John the Baptist. Doria Gallery, Rome..... 39 Vanitas. Alte Pinakothek, Munich.................................... 41 St. Anthony of Padua causing a new-born Infant to speak. Fresco in the Scuola del Santo, Padua............................................. 43 "Noli me tangere." National Gallery................................. 45 St. Mark enthroned, with four Saints. S. Maria della Salute, Venice. 49 The Madonna with the Cherries. Imperial Gallery, Vienna............. 51 PAGE Madonna and Child, with St. John and
[Show full text]
Core Knowledge Art History Syllabus
Core Knowledge Art History Syllabus This syllabus runs 13 weeks, with 2 sessions per week. The midterm is scheduled for the end of the seventh week. The final exam is slated for last class meeting but might be shifted to an exam period to give the instructor one more class period. Goals: • understanding of the basic terms, facts, and concepts in art history • comprehension of the progress of art as fluid development of a series of styles and trends that overlap and react to each other as well as to historical events • recognition of the basic concepts inherent in each style, and the outstanding exemplars of each Lecture Notes: For each lecture a number of exemplary works of art are listed. In some cases instructors may wish to discuss all of these works; in other cases they may wish to focus on only some of them. Textbooks: It should be possible to teach this course using any one of the five texts listed below as a primary textbook. Cole et al., Art of the Western World Gardner, Art Through the Ages Janson, History of Art, 2 vols. Schneider Adams, Laurie, A History of Western Art Stokstad, Art History, 2 vols. Writing Assignments: A short, descriptive paper on a single work of art or topic would be in order. Syllabus created by the Core Knowledge Foundation 1 https://www.coreknowledge.org/ Use of this Syllabus: This syllabus was created by Bruce Cole, Distinguished Professor of Fine Arts, Indiana University, as part of What Elementary Teachers Need to Know, a teacher education initiative developed by the Core Knowledge Foundation.
[Show full text]
Titian: Venus Anadyomene (Venus Emerging from the Sea), C 1525
Art Appreciation Lecture Series 2015 Meet the Masters: Highlights from the Scottish National Gallery Titian: Venus Anadyomene (Venus emerging from the sea), c 1525 Louise Marshall 18/19 February 2015 Lecture summary: “In 1524 Federico Gonzaga, Duke of Mantua, commissioning a work from Sebastiano del Piombo, wrote that he did not want ‘saint’s stuff [cose di sancti]’ but ‘some pictures which are attractive and beautiful to look at’. He seems to have been part of a trend.” (Peter Burke, The Italian Renaissance: culture and society in Italy,165.) Federico Gonzaga would certainly have approved of Titian’s Venus, which exemplifies the new genre of the poesie, or painted poetry, developed in Venice in the early sixteenth century with the paintings of Giorgione (d. 1510) and Titian (c. 1490?-1576). This lecture discusses the ways in which Renaissance patrons and artists looked back to the classical past for inspiration while at the same time transforming and adapting classical subject matter to suit their own purposes. We will look at the way Titian’s deceptively simple composition engages in the paragone (debate/competition) between ancient and modern art, and between painting and sculpture—since it is a recreation of a lost work by Apelles, the most famous and celebrated of all Greek painters, whose composition was known through Roman sculpted copies. In this sense it can be seen as a kind of manifesto, a triumphant proclamation of Titian’s superiority over all comers, a celebration of the power of his brush and its power to transmute paint into living, palpable flesh.
[Show full text]
Titian (Tiziano Vecellio)
Titian (Tiziano Vecellio) a biography Timeline Tiziano Vecellio, known in English as Titian [TI-shuhn], was born where he entertained members of Venetian elite, men of rank, and fellow artists. Subsequently, Titian quickly between 1488-1490 in Pieve di Cadore, a town in the Dolomite became the most well-known painter in Venice, earning commissions from the doges of Venice, and the noble 1490 Mountains just outside Venice. His parents recognized his artistic families of Italy. Nobility such as Federico II Gonzaga, the Duke of Mantua and Francesco Maria della Rovere, 1488/90 Titian (Tizanio Vecellio) abilities and, at age 9 or 10, sent him to Venice with his brother. the Duke of Urbino, commissioned him to create portraits. Titian’s prestigious reputation as a talented por- is born in Pieve de Cadore, Italy Venice was a wealthy, prosperous city boasting of a flourishing traitist spread throughout Europe, and members of the Royal Courts, including Queen Isabella of Portugal, economy that attracted merchants, artists, and craftsmen. the Holy Roman Emperor Charles V and his son Phillip II of Spain, and Pope Paul III, commissioned Titian Titian began his apprenticeship under a minor painter, for his portraits. Sebastian Zuccato, who quickly recognizing his artistic talents, In addition to being known for his portraiture, Titian also c. 1498 Moves to Venice with his and arranged for Titian to work under the guidance of the most painted religious themes, and scenes of mythical and allegori- holder brother to begin apprenticeship prominent painters in Venice, the Bellini brothers. At first Titian cal figures, such as Venus of Urbino and Danaë.
[Show full text]
Mary Magdalene in Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 5-20-2004 Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images Michelle Lambert-Monteleon University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Lambert-Monteleon, Michelle, "Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images" (2004). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/1124 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Heavenly Venus: Mary Magdalene In Renaissance Noli Me Tangere Images by Michelle Lambert-Monteleon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and American Studies College of Arts and Sciences University of South Florida Major Professor: Naomi Yavneh, Ph.D. Mario Ortiz, Ph.D. Ruth Banes, Ph.D. Date of Approval: May 20, 2004 Keywords: magdalen, women, art, gender, sexuality © Copyright 2004 , Michelle Lambert-Monteleon Acknowledgments I would like to thank the entire Humanities department at USF for inspiring me as an undergraduate and graduate student to pursue my dream of becoming a professor of the humanities. Special thanks to Drs. Helena Szépe and Mario Ortiz for helping me to achieve my goal without any prior knowledge of my abilities. Your dedication is laudable. Dr. Ruth Banes, thank you for your guidance and for keeping me on the right track throughout my journey.
[Show full text]
Venus Anadyomene: the Mythological Symbolism from Antiquity to the 19Th Century
VENUS ANADYOMENE: THE MYTHOLOGICAL SYMBOLISM FROM ANTIQUITY TO THE 19TH CENTURY By Jenna Marie Newberry A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements of the Degree of MASTER OF ARTS IN ART HISTORY University of Wisconsin – Superior December 2011 2 3 Title: Venus Anadyomene: The Mythological Symbolism from Antiquity to the 19th Century Author: Newberry, Jenna Marie Advisors: Famule, Olawole and Morgan, William Abstract: This thesis includes reading the chosen artworks as a visual interpretation of the written mythological birth of Venus by the sea. Reading the selected painting as visual novels, the pictorial symbolism helps prove or disprove the true theme of the Venus. The writer bases her theory on the inclusion of mythological symbols that represent the Venus Anadyomene; scallop shell, dolphins, Aros, dove, sparrow, girdle, mirror, myrtle, and roses. The comparison of various artists‟ interpretations of this theme and the symbols they use to recognize the Venus as such is a substantial part of the research. The writer concludes in this thesis that the chosen art pieces are or are not a Venus Anadyomene, and in fact just a female nude entitled and themed fallaciously for an allure or ambiance. Through extensive research in the mythological symbolism of the Goddess of Love, the above-mentioned symbols used by various artists across several eras prove the Venus a true character of mythological history. Description: Thesis (M.A.) – University of Wisconsin, Superior, 2011. 30 leaves. 4 CONTENTS TITLE
[Show full text]
The Allure of Artifice: Titian's Half-Lengths and the Courtesan As
19 The Allure of Artifice The Allure of Artifice: Titian’s Half-Lengths and the Courtesan as Masquerader* Maureen McVeigh MacLure Introduction Titian’s Flora (Figure 1) depicts a young, fair-skinned and fair-haired woman dressed in a diaphanous white camicia, an undergarment commonly worn by Renaissance women. Although the camicia fully covers the woman’s arms and torso, it has fallen from her left shoulder, exposing most of her left breast. A length of rose-colored damask is draped loosely over her shoulder and around her waist, an incongruous adornment given her partial nudity. The subject’s half-undone coiffure, with much of her golden hair loose over her shoulders, implies that she is situated in an intimate setting. However, Titian (ca. 1488-1576) has omitted any details that would confirm a specific context. Instead, the figure appears against a simple backdrop of subtly modulated brown tones. In the absence of a clearly articulated environment that would illuminate the figure’s identity, her gestures and the few attributes that Titian imparts to her are the only means of interpretation. The small bouquet the subject clutches in her right hand has prompted her traditional identification with Flora, the Roman goddess of flowers and spring.1 However, the contemporary gold ring she wears on the knuckle of her middle finger belies her connection with this mythological figure, as Flora is usually portrayed fully immersed in the natural world, outside the realm of material adornments. Although Flora is one of Titian’s most well-known female
[Show full text]
1. This Case Prompted Two Vehement Dissents from Benjamin Curtis and John Mclean
2008-2009 ACF-Format Set #4 Round 10 Tossups 1. This case prompted two vehement dissents from Benjamin Curtis and John McLean. One party was the brother of Irene Emerson, whose late husband had moved the family from Missouri to the free territory of Wisconsin. It concluded with Chief Justice Roger Taney declaring the Missouri Compromise to be unconstitutional, and thus Congress had no power to prohibit slavery in the territories. For 10 points, name this 1857 Supreme Court case in which a black slave unsuccessfully attempted to gain his freedom. ANSWER: Dred Scott case [or Dred Scott v. Sanford; or Sanford v. Dred Scott] 2. An author from this country told of a title character who strangles her husband at the Ermita after he refuses to have children. Another author from here wrote of Prince Sigismund, who claims that living is a “frenzy” and an “illusion” after being drugged and installed on the Polish throne. Another play from this home country of the author of Yerma tells of a commander who is killed by the residents of the title town. For 10 points, name this country, home to the authors of The Sheep Well and Life is a Dream, Lope de Vega and Calderon de la Barca. ANSWER: Kingdom of Spain [or España] 3. This phenomenon can gather interstellar helium together in the so-called helium focusing cone. This phenomenon interacts with a large magnetic field to produce the Parker spiral. The effect of ICMEs can disrupt its formation, and when this phenomenon slows to below the speed of sound, it produces the termination shock.
[Show full text]