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Chapter 22 High Renaissance and Mannerism in Cinquecento Italy.Pdf High Renaissance and Mannerism in Cinquecento Italy Chapter 22 Rome with Renaissance and Baroque Monuments The High Renaissance in Italy • High Renaissance lasted from 1495 – the deaths of Leonardo ca Vinci in 1519 and Raphael in 1520. • Interest in classical culture,,p persp ective, ,p pro portion , and human anatomy dominated16th century art. • No single artistic style characterized this period– regional differences especially between central Italy (Florence and Rome) andVd Ven ice. • Humanistic scholars and art patrons adopted Plato’s view of the nature of artistic creation in general: “All good poets . Compose their beautiful poems not by art, but because they are inspired and possessed. For not by art does the poet sing , but by power divine.” • Thus, the notion of “fine arts” and the exaltation of the artist-genius originated during the Renaissance. • Artists first became international celebrities, i.e. Leonardo di Vinci, Raphael, and Michelangelo. Key Ideas • The revitalization of the city of Rome under the patronage of Pope Julius II led to one of the most creative outbursts in the history of art. • High Renaissance artists seek to emulate Roman grandeur by undertaking awe-inspiring artistic projects • High Renaissance compositions are marked by balance, symmetry, and ideal proportions. Triangular compositions are also favored. • Venetian painters stress sensuous forms and sophisticated color harmonies. • Portraits reveal the likenesses of the sitters as well as the character and personality. LEONARDO • Born in the small town of Vinci in 1452, trained in the studio of Verroccio (David sculpture). • A “Renaissance man” and an artist/scientist, Leonardo kept notes/sketchbooks dealing with botany, geology, geography, cartography, zoology, military engineering, animal lore, anatomy, and aspects of physical science, including hydraulics and mechanics. He understood perspective, light, and color through his exploration of optics. • Great ambition was to discover the laws underlying the processes and flux of nature. Studied the human body and contributed to physiology and psychology. • He believed reality in an absolute sense is inaccessible, huma n s can onl y kn ow i t fr om ch an gin g im ages. Thr ough the eyes individuals can grasp reality most directly and profoundly. Builds on Masaccio’s use of chiaroscuro; modeling with light and shadow and expressing emotional states were Leonardo’s goals. Pyramidal grouping sharing the same environment – unified representation of objects with atmospheric Cue Card perspective, was a manifest ati on of his scientifi c curiosity about the invisible substance surrounding things. 4 figures pray, point, and bless – uniting them visually. Infant John’s outward glance involves the viewer. LEONARDO DA VINCI, Leonar do da Vinc i, MdMadonna of the Rocks, central panel from altarpiece of San Francesco Grande, Milan, Italy, begun 1483. Oil on wood (transferred to canvas) 6’6 ” x 4’ LEONARDO DA VINCI, Last Supper, ca. 1495–1498 Oil and tempera on plaster, 13’ 9” x 29’ 10” Refectory, Santa Maria delle Grazie, Milan Commissioned by the Sforza of Milan Cue Card • Great drama of the moment: Jesus says, One of you will betray me. (Matthew 26:21) • Jesus is isolated – the calm eye of swirling emotion of disciples. Curved pediment of window arches above his head, serving along with the diffused light, as a halo. • Jesus’ head is the focal point of all converging perspective lines. orthogonals of ceiling and floor point to Jesus • Disciples are in 4 groups of 3, the placement of Judas breaks with traditional iconography. He is in green and blu e, falls back clu tching his bag of coins, face in darkness. • Leonardo acted as a stage director, reading the Gospel story carefully, and casting his model/actors in their roles. The disciples’ emotional responses include fear, doubt, protestation, rage, and love. • Leonardo’s experiment to mix oil and tempera applied a secco (dry fresco), so the painting would look more like an oil painting, failed. The paint quickly began to flake and the humidity of Milan quickened the process. • 80% of what is visible today is the work of restorers, not Leonardo. Identity is still debated, but Vasari stated in his biography of Leonardo that she was Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. Mona is a contraction of the Italian ma donna, “my lady.” Not solely as an icon of status, as earlier portraits – she is wearing no jewelry, or attributes of wealth. Renaissance etiquette dictated a woman should not look directly into a man’s eyes. She engages the audience psychologically. Mysterious uninhabited landscape prime example of Leonardo’s famous sfumato (misty haziness). Chiaroscuro and atmospheric perspective in the background. Pyramidal composition A three-quarter turn toward the viewer, relaxed. Engages the viewer directly, Cue Card seems to smiling but she isn’t. LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood 2’ 6” x 1’9” In late 15th century less expensive paper made of fibrous pulp was available for the printing industry, so artist s experiment ed more and drew with greater freedom using pen and ink, chalk, charcoal, brush, graphite, or lead. Previouslyyy they used expensive parchment or vellum and their drawings were detailed and meticulous, executed with a Cue Card silverpoint stylus. LEONARDO DA VINCI, The Fetus and Lining of the Uterus, ca. 1511–1513. wash, over red chalk and traces of black chalk on paper, 1’ x 9” Observe similarities between Cue Card Raphael’s work and his teacher, Perugino’s (1481 – 1483), Sistine Chapel. Centrally planned temple features Brunelleschian arcades. (Loggia of the Osedale degli RAPHAEL, Marriage of the Virgin, from Innocenti, Florence, the Chapel of Saint Joseph in San begun 1419) Francesco, Città di Castello, Italy, 1504 Oil on wood, 5’ 7” x 3’ 10” RAPHAEL The Marriage of the Virgin • Probably learned his craft with father, Giovanni Santi, a painter connected with ducal court of Federico da Montefeltro. • Trained in Umbria by Perugino (Christ Delivering the Keys the Kingdom to Saint Peter) • The subject of The Marriage of the Virgin was from the Golden Legend, a 13th century collection of stories about the lives of the saints – it filled in the holes from the Biblical passages. • The high priest was to give the Virgin to the suitor who presented a rod that had miraculously bloomed. Joseph holds the wedding ring in his right hand. • Other virgins congregate on the left, unsuccessful suitors on the right. • The suitor breaking his rod shows off Raphael’s skill in foreshortening. Commissioned by Julius II’s for his papal library in the papal apartments, where he signed official documents. Julius II wanted to be recoggpnized as a spiritual and secular leader, Theology and Philosophy frescos face each other. Painting originally called “Philosophy “ because the pope’s philosophy books were meant to be housed on the shelving below.. Open, clear light uniformly spread throughout the composition. RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’ Cue Card RAPHAEL Philosophy (School of Athens) Colossal statues of App,p,ollo and Athena, patrons of the arts and wisdom, oversee interactions of figures in ellipse who display calm reason, balance, and measure – the heart of philosophy. In the center to of the greatest leaders: Plato (with features of Leonardo on the l eft) and A ri st otl e. Pl at o h old s hi s boo k Timaeus, with his le ft han d – the vanishing point, and points to Heaven – his inspiration, with his right hand. Aristotle carries his book, Nichomachean Ethics, and gestures toward the earth – his observations of reality. Heraclitus, in the foreground, is probably a portrait of Michelangelo. He is resting on the stone writing a poem. Raphael on extreme right by astronomers Zoraster and Ptolemy. Buildi ngs be hin d mig ht reflect Bramante’s plan for Saint Peter’s Commissioned by Agostino Chigi, Cue Card wealthy banker who managed Vatican’s financial affairs, to decorate palace on Tier River with scenes from classical mythology. Based on poetry by Poliziano, who also inspired Botticelli’s Birth of Venus. Galatea is escaping her uncouth lover, cyclops Polyphemus. Spiraling composition of figures and Galatea’s complex figural pose (hair/head facing left, arms right, one leg raised and one straight. Composition rests on a series of triangles Lively vibrant bodies energetically and playfully arranged RAPHAEL, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, 1513. Fresco, 9’ 8” x 7’ 5” 15 MICHELANGELO • Ldt“PitiittftLeonardo wrote, “Painting is a matter of greater men tllifttal analysis, of greater skill, and more marvelous than sculpture, since necessity compels the mind of the painter to transform itself into the very mind of nature, to become an interpreter between nature and art.” • Michelangelo considered sculpture superior since it shares in the divine power to “make man.” Artists find their ideas in the natural world, reflecting the absolute idea, which is beauty. He observed that the artist must find their idea – the image loc ke d in the s tone. By remov ing excess s tone, scu lp tors extricate the idea from the block. • He set aside Vitruvious, Alberti, and Leonardo – who sought the perfect measure, and felt artist’ s inspired judgment could identify other pleasing proportions. This artistic license to aspire beyond “rules” derived from the pursuit of fame/success humanism fostered. • Although Michelangelo later claimed he owed nothing artistically to anyone, he was an apprentice of painter Ghirlandaio, but left prior to completing training. Made detailed drawings of Giotto and Masaccio, studied sculpture under one of Lorenzo the Magnificent’s favorite artists, Bertoldo di Giovanni (Donatello’ s collaborator), and when the Medici fell in 1494, he fled to Bologna where the sculptures of a Sienese artist, Jacopo della Quercia impressed him.
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