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PRESS IMAGES Mannerism and Modernism: The Kasper Collection of Drawings and Photographs January 21 through May 1, 2011 DRAWINGS 3. Maarten van Heemskerck (1498–1574) 1. 2. Susanna and Her Relatives Praising the Lord (Daniel Baccio Bandinelli (1493–1560) Giulio Romano (Giulio Pippi) 13:63), 1562 Head of a Woman Wearing a Ghirlanda (ca. 1499–1546) Pen and brown ink over black chalk with some of the Red chalk Cupid and Psyche and Other Figures, 1524–40 outlines incised; later addition of framing lines in 11 1/4 x 7 1/8 inches (28.6 x 18.1 cm) Pen and brown ink, brown wash brown ink Kasper Collection 8 1/2 x 7 1/8 inches (21.6 x 18.1 cm) 7 5/8 x 9 7/8 inches (19.3 x 25 cm) Kasper Collection Kasper Collection 4. 5. Paolo Veronese (1528–1588) Hans Hoffmann (1540/50–1591/92) Sheet of studies for The Consecration of David and for figures An Affenpinscher, 1580 and architecture at Villa Barbaro, Maser, ca. 1558–62 Watercolor and gouache on vellum Pen and brown ink. Laid down. 10 x 14 1/4 inches (25.5 x 36 cm) 8 7/16 x 12 1/4 inches (21.4 x 31.1 cm) Kasper Collection Kasper Collection 6. 7. 8 Giuseppe Cesari (il Cavaliere d’Arpino) Edgar Degas (1834–1917) Pablo Picasso (1881–1973) (1568–1640) Study for a Dancer Adjusting Her Glass and Bass Bottle on a Table, 1913 An Angel in Flight, ca. 1596–1599 Bodice, ca. 1897 Collage, wash, sawdust, and graphite pencil on Black and red chalk Charcoal cardboard 15 3/8 x 14 1/4 inches (39.1 x 36.2 cm) 18 1/2 x 10 1/4 inches (47 x 26 23 1/2 x 17 1/2 inches (59.7 x 44.4 cm) Kasper Collection cm) Kasper Collection Kasper Collection, Promised © 2010 Estate of Pablo Picasso / Artists Rights gift to The Morgan Library & Society (ARS), New York Museum 9. 10. 11. Jean Dubuffet (1901–1985) Juan Gris (1887–1927) Henri Matisse (1869–1954) Coffee Grinder, 1916 Large Nude, 1935 Clairvoyant Beard (Barbe de Voyance), 1959 Gouache and graphite pencil Pen and black ink Paper collage and black ink 20 x 13 3/8 inches (51 x 34 cm) 18 ¼ x 11 5/8 inches (45.7 x 27.9 cm) 17 3/4 x 22 1/4 inches (45.1 x 56.5 cm) Kasper Collection Kasper Collection Kasper Collection, Promised gift to The © 2010 Succession H. Matisse / Artists Rights Society Morgan Library & Museum © 2010 Artists Rights Society (ARS), New (ARS), New York York / ADAGP, Paris PHOTOGRAPHS 12. 13. László Moholy-Nagy (1895–1946) Hiroshi Sugimoto (b. 1948) Untitled photogram, ca. 1939 Beacon Theatre, New York, 1979 Gelatin silver print Gelatin silver print 15 1/4 x 19 1/4 inches (38.7 x 48.9 cm) 16 1/2 x 21 1/4 inches (41.9 x 54 cm) Kasper Collection Kasper Collection © 2010 Artists Rights Society (ARS), New York / VG © Hiroshi Sugimoto Bild-Kunst, Bonn Courtesy The Pace Gallery 14. William Eggleston (b. 1939) Stage 14, Parking Lot, Hollywood, 1999–2000 15. Iris print Adam Fuss (b. 1961) 24 x 30 inches (61 x 76.2 cm) Untitled, 2003 Kasper Collection Pigment print 72 x 44 inches (182.9 x 111.8 cm) © Eggleston Artistic Trust Courtesy Cheim & Read, New York Kasper Collection © Adam Fuss Courtesy Cheim & Read, New York For high resolution images, please contact Sandra Ho, The Morgan Library & Museum at [email protected] or (212) 590-0311. .

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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.
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Lesson 09: Michelangelo- from High Renaissance to Mannerism
East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
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E. H. Gombrich, Review of Frederick B. Artz, From the Renaissance to Romanticism: Trends in Style, in Art, Literature and Music 1300 - 1830, History, Vol. 49, 1964, pp.130-2 [Trapp no.1964F.1] FROM THE RENAISSANCE TO ROMANTICISM: TRENDS IN STYLE, IN ART, LITERATURE AND MUSIC, 1300-1830. By Frederick B. Artz. University of Chicago Press. 1962. 311 pp. 37s. 6d. When classical learning was threatened with extinction some knowledge of past achievements was rescued through such compendia as Pliny's Natural History or Isidorus' Etymologies. Today we must hope for similar success from similar compendia while new and urgent topics are crowding out the memories of our civilization. The volume under review presents on its 287 pages of text a survey of 500 years of European architecture, painting, sculpture, prose, poetry, drama and music, mentioning close on 500 artists, authors and composers and giving such diverse information as the tradition of the ottava rima in poetry from Boccaccio to Wieland and the exact number of string quartets, piano, cello and violin sonatas (but not trios) composed by Beethoven. The scaffolding which is used by the author to accommodate this vast amount of material was erected by art historians in the nineteen twenties. It was then that the labels for styles - Renaissance, Mannerism, Baroque, Neo-C1assicism and Romanticism -were increasingly used to characterize historical periods, in the Hegelian conviction that a new style always heralds a new 'age', manifesting itself in all aspects of life. It must be said at once that the author does not hold with this assumption.
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