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Home , 1450s, 1470s, Deposition (Bellini), Pastoral Concert

ART 485 / 585 ITALIAN ART Fall 2014

Instructor: Jill Carrington [email protected] (use this instead of D2L), tel. 468-4351 Office 117 across from the kitchen. Office hours: MWF 11:00 – 11:30; MW 4:00 – 5:00; TR 9:30 – 10:00, 4:00 – 5:00 other times by appt. Class meets TR 11:00 – 12:15 in Room 106 in the Art Annex building.

Course description Italian art from 1300 to 1600. We will look at art from a variety of perspectives (see below).

Program Learning Outcomes (for art history majors / the art history program) 1. Foundation Skills Undergraduate students will identify major and characteristic works of art and architecture in the western tradition, including the art of minorities and women, to demonstrate competence in the basic historical and chronological framework of art history. Category: Embedded exam / quiz questions

2. Interpretative Skills Undergraduate students will employ various interpretive methodologies to analyze works of art. Category: Embedded exam questions (essay in exam)

3. Research Skills Undergraduate students will conduct art historical research involving logical and insightful analysis of secondary literature. Category: Embedded course assignment (research paper)

Text: Italian Renaissance Art. Laurie Schneider Adams. Westview Press, 2e, 2014. $90 print at B&N; $58.50 rent. 1e, 2001. 1 copy of 2e and 2 copies of 1e on 4-hr. reserve. Find either edition of the book inexpensively online, such as Bookfinder.com. I don’t require you to buy the book; however, you cannot be assured that the reserve copy will be available.

Work: A. 3 non-comprehensive id and terms quizzes. See schedule. Quiz 1 probably syllabus pp. 5 – mid p. 7 Quiz 2 probably syllabus mid p. 7 – end of 9 Quiz 3 probably pp. 10 – 13 Collectively worth 20% if higher than exams or paper, 15% if lower. The extra 5% will count toward the other work with the highest grade. B. Formal analysis in class 10% Comparison and contrast in class 10% C. Take-home essays at the end of the course. Worth 30% D. Formal and iconographical analysis of a work at the Kimbell. Worth 30% Graduate students will answer more questions on the exam, write a paper that is longer and involve more sources and their work will be held to a higher standard than undergraduate work.

Id format: Know the info on the left side of the page. Info on the right is extra. You only need to be able to id the double starred works. ** The part of the artist’s name in capital letters; title; location of the work if it is listed above or next to the work; period; period date. Don’t burden yourself learning the specific date of each work. There are five periods in this course: Proto Renaissance 1260 – 1400; Early Renaissance 1400 – 1500; High Renaissance 1500 - 1600; High Renaissance in 1500 - 1600; Mannerism 1520 – 1600. 30% will be deduced from your grade on each of quizzes 2 and 3 if you give the wrong period date for either or both of the 2 periods that are covered by each quiz.

1% extra credit for participating in bus trip to Ft. Worth museums, Fri. 24. Sign up in the Art office. This is an excused absence unless you have course work that day. Arrange your work schedule so you can attend. It’s free and includes bus, admissions, box lunch and restaurant dinner. Alternative to the bus trip (not in addition to): ½% extra credit to visit on your own one art museum and 1% to visit two art museum or other museum outside Nacogdoches that shows art. Prove it by submitting a photo of yourself at the museum(s), brochure with admission sticker, receipt or signature by museum presonnel by Fri. Dec. 12. Brochure alone is not acceptable. Check with me before you visit a museum that I might not be familiar with. 1% is the maximum extra credit offered. No other extra credit is offered. Most Houston museums are free. Most Dallas museums charge. The Kimbell and Amon Carter in Ft. Worth are free. Where admission is charged, show your student id. and syllabus for a discount or free admission.

Communication: Please use my sfasu email address or telephone number.. I will also occasionally communicate using your Titan email. I don’t have a cellphone to use JackText and rarely check D2L mail.

Attendance Policy: A roll sheet will be distributed every class. Be sure to sign it distinctively. You will be counted absent if you sign in generic printing. “I forgot to sign the roll” is an unacceptable excuse, and you will be counted absent. 6 absences, both excused and unexcused, are the maximum allowed. You will receive no credit / an F if you are absent for any reason 7 or more class periods. 6 absences equals three weeks, which is the maximum the University allows. Save absences for when you need them. Absences and grades will be posted in D2L Grades.

Arriving more than 30 minutes late or leaving more than 20 minutes early will count as an absence unless you provide a legitimate reason for arriving late or leaving early. Still, it benefits you to come late rather than miss the whole class.

Early Academic Intervention: Students who do not attend class regularly or who perform poorly on course work will be referred to the iCare program. This program provides recommended resources or other assistance to help students succeed.

Missed Quiz Policy: A makeup quiz will be given only for a documented reason such as a severe illness or injury, emergency or required-university travel. Weddings, personal travel, oversleeping, etc. do not qualify as legitimate reasons. Evaluation of the validity of an excuse rests with me. If you oversleep, you may take the quiz with 30% deducted from your score. Notify me beforehand if possible. If not, you must notify me within twenty-four hours after the quiz why you missed the quiz by e-mail, phone or note. Otherwise you not be allowed to make up the quiz. If you don’t notify me within 24 hours, talk to me anyway. One makeup quiz per term is allowed per student.

Tips for Success: The course is not difficult if you are engaged in class and do the work.. --Take good notes in class. You are responsible for what is presented in class, not solely the textbook. --Doodle in your notes, particularly doodle the works of art or about ideas. You learn as you doodle. --Rewrite notes after every class while the material is fresh in your mind. --Study your notes and read the book outside class. --Start learning early. You will not do well on the quizzes if you wait until the night before. Make flashcards of the art works, terms and persons as soon as they are introduced in class. --The slide shows are posted on D2L in .pdf format. Use them to practice identifying works. --Get to know classmates to study in a group and borrow notes if you miss class.

Courtesy: --Arrive on time and stay the entire class. However, come late rather than not at all. --Turn off cell / smartphones, laptops, netbooks, and all other digital devices during class unless I ask you to use them or you ask permission. --Avoid private conversations in class, which are distracting to classmates. --Eat and drink elsewhere. Water bottles are acceptable.

I care and want you to succeed. You are welcome to share interests, difficulties, etc.

Emergency Exit: In case of emergency, take a left from the main door of the classroom and proceed down the empty hall to the double doors. You can also exit from the other doors, including the main entrance, the end of the hall where my office is located and near the photography studio/lab.

Acceptable Student Behavior: Classroom behavior should not interfere with the instructor’s ability to conduct the class or the ability of other students to learn from the instructional program (see the Student Conduct Code, policy D-34.1). Unacceptable or disruptive behavior will not be tolerated. Students who disrupt the learning environment may be asked to leave class and may be subject to judicial, academic or other penalties. This prohibition applies to all instructional forums, including electronic, classroom, labs, discussion groups, field trips, etc. The instructor shall have full discretion over what behavior is appropriate/inappropriate in the classroom.

Academic Integrity (A-9.1) Academic integrity is a responsibility of all university faculty and students. Faculty members promote academic integrity in multiple ways including instruction on the components of academic honesty, as well as abiding by university policy on penalties for cheating and plagiarism. Definition of Academic Dishonesty Academic dishonesty includes both cheating and plagiarism. Cheating includes but is not limited to (1) using or attempting to use unauthorized materials to aid in achieving a better grade on a component of a class; (2) the falsification or invention of any information, including citations, on an assigned exercise; and/or (3) helping or attempting to help another in an act of cheating or plagiarism. Plagiarism is presenting the words or ideas of another person as if they were your own. Examples of plagiarism are (1) submitting an assignment as if it were one's own work when, in fact, it is at least partly the work of another; (2) submitting a work that has been purchased or otherwise obtained from an Internet source or another source; and (3) incorporating the words or ideas of an author into one's paper without giving the author due credit.

Withheld Grades Semester Grades Policy (A-54) Ordinarily, at the discretion of the instructor of record and with the approval of the academic chair/director, a grade of WH will be assigned only if the student cannot complete the course work because of unavoidable circumstances. Students must complete the work within one calendar year from the end of the semester in which they receive a WH, or the grade automatically becomes an F. If students register for the same course in future terms the WH will automatically become an F and will be counted as a repeated course for the purpose of computing the grade point average. Students with Disabilities To obtain disability related accommodations, alternate formats and/or auxiliary aids, students with disabilities must contact the Office of Disability Services (ODS), Human Services Building, and Room 325, 468-3004 / 468-1004 (TDD) as early as possible in the semester. Once verified, ODS will notify the course instructor and outline the accommodation and/or auxiliary aids to be provided. Failure to request services in a timely manner may delay your accommodations. For additional information, go to http://www.sfasu.edu/disabilityservices/

ART 485 / 585 schedule fall 2014 T 8/26 Intro; Vasari on Giotto and Masaccio T 10/21 Prepare for examining art at the Kimbell or make other arrangements if not going on the bus trip. R 8/28 R 10/23 F 10/24 Bus trip to Ft Worth museums

T 9/2 Giotto T 10/28 R 9/4 Sienese painting R 10/30

T 9/9 Black Death, painting after the Black Death T 11/4 Quiz 2 R 9/11 R 11/6

T 9/16 T 11/11 R 9/18 R 11/13 Paper due by 6:00 PM in D2L Dropbox

T 9/23 Formal analysis in class T 11/18 R 9/25 R 11/20

T 9/30 Quiz 1 identifying art works and terms T 11/25 R 10/2 R 11/27 holiday

T 10/7 Comparison and contrast T 12/2 R 10/9 R 12/4 Quiz 3 Choose and assign essays

T 10/ R 12/11 Essays due by 6:00 PM in D2L Dropbox R 10/16 Instructor travel. TBA (no meeting during final exam week)

p. 5 PROTO RENAISSANCE 1260-1400 CIMABUE (Cenni di Pepi, active 1272-1302) 1.5 Crucifix 1270s, tempera on panel, 11’ 2 3/8” x 8’ 8”, San Domenico, Arezzo 1.8** Enthroned Madonna and Child c. 1285, tempera on panel, 12’ 7” x 7’ 4” NICOLA PISANO (active 1258-1278) 1.10** Pulpit, Baptistery, Pisa c. 1260, marble 15’ h. 1.11** Adoration of the Magi, Pulpit, Baptistery, Pisa marble, approx. 34” h. 1.12 Fortitude, Pulpit, Baptistery, Pisa marble, 22” h. DUCCIO di Buoninsegna (1255/60 - 1319) 1.14** Enthroned Madonna (Rucellai Madonna), 1285, panel, 14’ 9 7/8” x 9’ 6 9/26”

3.2** Cathedral 1296-1436 1.15** Palazzo Vecchio (City Hall), Florence 1299-1310 1.16 Palazzo Pubblico (City Hall), Siena begun 1298 GIOTTO di Bondone (c.1266/7 - 1337) 1.17 Crucifix c. 1300, tempera on panel, 17’ 11” x 13’ 3 3/4” 2.1** Enthroned Madonna (Ognissanti Madonna) 1310, tempera on panel, 10’ 8” x 6’ 8 1/4” 2.2** Arena Chapel, 1305, fresco 2.3** Expulsion of Joachim from the Temple 2.4 Presentation in the Temple 2.5 Kiss of Judas 2.6** The Last Judgment entrance wall 2.9, 10 Justice and Injustice

THE MASTER OF THE ST. FRANCIS CYCLE 2.12 St. Francis Exorcising Demons, Assisi Upper Church,Basilica of St. Francis, c. 1290s DUCCIO (continued) 2.13** Maestà altarpiece, front, Siena 1308-11, 7 x 13’ 2.14 Maestà altarpiece, back (reassembled), Siena 2.15** , from the Maestà altarpiece, Siena GIOTTO (continued) 2.16** Noli Me Tangere, Arena Chapel, Padua SIMONE MARTINI active 1315-1344 2.17 Maestà, Siena City Hall (Palazzo Pubblico), 1315, 34’ 8 1/2” x 32’ 5/8” 2.18** 1333, tempera & gold leaf on panel, 42 1/2 x 43 1/2” A. LORENZETTI (active c. 1305-1348) 2.19 left side Allegory of Good Government, Palazzo Pubblico, Siena Sala della Nove,1338-9 2.20** Effects of Good Government in the City and Country, Palazzo Pubblico, Siena 1338-9, c.46’ 2.21 2.22 Allegory of Bad Government Painting after the Black Death ANDREA DA FIRENZE (active 1346-1379) 2.23 Way of Salvation, Florence Spanish Chapel, S. M. Novella, 1348-55, 38’ w. A. ORCAGNA 2.24** Enthroned Christ w/ Madonna & Saints or Strozzi Altarpiece 1354-57 tempera on panel, 9’ x 9’ 8”, S. M. Novella, Florence Byzantine influence altarpiece buon fresco linear perspective tempera painting triptych fresco secco crenelations gesso polyptych chiaroscuro gilding predella and predella panels foreshortening contrapposto punching pulpit picture plane

6 EARLY RENAISSANCE 1400-1500 Lorenzo GHIBERTI (1378-1466) 3.3** Sacrifice of Isaac, for Baptistery door competition 1402-3, gilt bronze, 21 x 17 1/2” [wool merchants’ guild] 3.7** North Doors, Florence Baptistery 1403-24, gilt bronze 3.6 Annunciation, North Doors, Florence Baptistery before 1407, gilt bronze, 20 ½ x 17 ¾” Filippo BRUNELLESCHI (1377-1446) 3.4** Sacrifice of Isaac, for Baptistery door competition 1402-3, gilded bronze, 21 x 17 1/2”

DONATELLO (Donato di Niccolo Bardi, 1386-1466) 3.9** David for Cathedral buttress, 1409, reworked 1415, marble, 6’ 3” w/ base 3.10 St. John the Evangelist for Cathedral facade center portal, c.1409-11, marble, 6’ 11”

BRUNELLESCHI (continued) 3.12, 13** Cathedral Dome, Florence 1420-36, lantern completed later compare to 3.11 Pantheon dome 3.14, 15** Foundling Hospital, Florence begun 1419 3.18, 19 Old Sacristy, San Lorenzo, Florence 1421-28 [Florence’s first bishop] 3.17** San Lorenzo, Florence transept 1425, nave designed 1434 3.21, 22**Santo Spirito, Florence model 1434-36, constr. 1446-late15C

3.25 Or San Michele, Florence 1337-80 guild church DONATELLO (continued) 3.26** St. George 1410-15, marble, figure 6’ 10 1/4” [armorers] 3.27 St. George Slaying the Dragon 1410-15, marble, 15 1/4 x 47 1/4” 3.28** St. Mark, formerly Or San Michele 1411-13, marble, figure 7’ 8 3/4” GHIBERTI (continued) [linen drapers] 3.30** St. John the Baptist 1412/13-17, bronze w/ gilding, 8’ 4 1/4” [wool merchants] DONATELLO 3.32, 33 St. Louis of Toulouse originally Or San Michele, c.1423, gilded bronze, figure 8’ 8 3/4” LORENZO MONACO 4.1 Coronation of the Virgin 1414, tempera on panel, 16 9 1/2” x 14’ 9” GENTILE DA FABRIANO (Umbria, 1360/70-1428) 4.2, 3**Adoration of the Magi Strozzi Altarpiece, 1423, 9’ 10” x 9’ 3” (1404-1474) 4.6var Perspective construction described in Della Pittura, 1435 MASACCIO (“slovenly/brutish Tom”) (Maso di Ser Giovanni di Mone Cassai, 1402-1428) 4.4** Pisa Virgin and Child from the Pisa altarpiece, 1426, panel, 53 1/4 x 28 3/4” 4.7, 8**Trinity c.1425-8 fresco, 21’ 10 5/8”x 10’ 5”, S. M. Novella (“I was once what you are and what I am you also will be”) 4.9**Brancacci Chapel, S. M. del Carmine, Florence 1425-8, [P. Brancacci d. 1367] 4.14, 16** Expulsion compare to 4.15 Medici Venus 1st century AD, 5’ h. 4.17** Tribute Money 4.19** St. Peter Baptizing 4.20 St. Peter Healing by the Fall of His Shadow quatrefoil bracket schiacciato relief [squashed] herringbone pattern transept one-point linear perspective Composite [architectural] order crossing vanishing point aerial or atmospheric perspective Corinthian [architectural] order coffers orthogonals chapel Parts of column: base, shaft, capital bays braccia 7 MASOLINO (“Little Tom”) (Maso di Cristoforo Fini, 1383-1440) 4.13** Temptation 4.18 St. Peter Preaching {“the Angelic Friar”) (took name Fra Giovanni da Fiesole) (c. 1400-1455) 5.1** San Marco Altarpiece c. 1438-40, tempera on panel, 86 5/8 x 89 3/8” 5.5 Annunciation 1438-45, fresco, 7’1”x10’6”, hallway, San Marco 5.8 Coronation of the Virgin, San Marco monk’s cell 1438-45, 67 3/8 x 59 1/2” 5.9 Mocking of Christ with the Virgin and St. Dominic, San Marco monk’s cell FILIPPO LIPPI (c. 1406-1469) 5.10** Madonna and Child c. 1455, panel, 35 12/ x 24” 5.12 Madonna Adoring Christ for the Medici Palace Chapel, , 50 x 45 5/8” 5.13 Feast of Herod Prato Cathedral, 1452-66

Developments in the North JAN VAN EYCK (c. 1390-1441) 5.14 Madonna with Chancellor Rolin c. 1435, oil on panel, 26 x 24 3/8” 5.15 Self-Portrait (Man in a Turban) 1433, oil on panel, 13 1/8 x 10 1/8” 5.16, 17 Giovanni Arnolfini and Wife signed & dated 1434,oil on panel,32 1/4 x 23 1/2”

Paolo UCCELLO (Florence, 1397-1475) 6.2 Drawing of a chalice , pen and ink, 13 3/8 x 9 1/2” 6.3** Sir John Hawkwood , 1436, fresco, 24’ x 13’ 3” w/out frame compare to 6.7 Luca della Robbia, Singing Gallery, Florence Cathedral, 1434 6.8** Deluge Green Cloister, S. M. Novella, Florence, , fresco, 7’ x 16’ 9” 6.9** Battle of San Romano for the Medici Palace, left panel, 1440s, 6’ x 10’ 6” 6.10 Battle of San Romano right panel, 5’ 10 7/8” x 10’ 4 3/4” 6.11 Battle of San Romano central panel, 5’ 11 5/8’ x 10’ 6 3/4” ______40 works and also terms for QUIZ 1______

DOMENICO VENEZIANO (Venice, c. 1410-1461) 6.13** St. Lucy Altarpiece c. 1445, panel, 6’ 7 1/2” x 6’ 11 7/8” Andrea del CASTAGNO (Florence, c. 1417/19 - 1457) 6.16** Last Supper 1445-50, fresco, 14’ 9” x 32’, refectory, Sant’ Apollonia monastery 6.22** Nicolo da Tolentino Florence Cathedral, finished 1456, fresco, 27 ‘ 4” x 16’ 9 5/8”

BERNARDO or B. ROSSELLINO 7.1 Tomb of Leonardo Bruni S. Croce, Florence, begun 1444, marble 20’ h. DONATELLO (continued) 8.7 Feast of Herod 423-27, gilded bronze, 23 1/2” sq, baptismal font, Siena Baptistery 7.6, 7** David after 1428 (1440s?), bronze, 62 1/4” 7.8, 9** Gattamelata, Padua c. 1445-53, bronze, 12’ 1”, pedestal 25’ 7” h. GHIBERTI (continued) 7.10** East Doors (“Gates of Paradise”), Florence Baptistery 1425-52, gilded bronze 7.11 Creation, Temptation, Expulsion 31 1/4” sq. compare 7.12 Dionysos, from the Parthenon east pediment, 440s BC 7.13** Meeting of Solomon and Sheba 1438 meeting of E & W churches 31 1/4” sq. istoria = history condottiere (condotta = contract) mazzocchio putto, putti

8 di Bartolomeo 7.18** Medici Palace, Florence 1444-60 Leonbattista ALBERTI (c. 1404-1472) architect, theorist, humanist, doctor of canon law 7.21** Rucellai Palace, Florence 1446-51 built by B. Rossellino compare to 7.22 Colosseum, , begun c. AD 80 7.23 facade, Santa Maria Novella, Florence 1458-70 8.12 Malatesta Temple, Rimini ext designed 1450 (S. Francesco) 8.13 design of Malatesta Temple, Rimini reverse of medal, 1450, bronze, 1 9/16” PIERO DELLA FRANCESCA (Sansepolcro, 1415-1492) 9.6 Baptism of Christ early 1450s, panel, 66 x 45 3/4” 9.8, 9** High altar chapel, S. Francesco, Arezzo, frescoes of the Legend of the True Cross 9.11** Discovery and Proof of the Cross fresco, 1450s, 8 x 26 1/2 feet 9.12 Annunciation 9.13 Dream of Constantine

The Montefeltro court at Urbino Luciano LAURANA (1420-1479) Ducal Palace, Urbino 9.14 West facade begun c. 1465 9.15, 16 Studiolo of Federico da Montefeltro , intarsia, cabinets 7’ 3” 9.17 Courtyard PIERO DELLA FRANCESCA (continued) 9.20** Battista Sforza } 1472-3, oil and tempera on panel, 18 1/2 x 13” 9.21** Federico da Montefeltro } 9.22** Flagellation of Christ signed, late 1440s or (?), panel, 23 1/4 x 32” 9.23 Madonna and Child with Saints (Montefeltro Altarpiece) mid 1470s, oil on panel, 8’ 3” x 5’ 8” [Baptist, Bernardino, Jerome, Francis, Peter Martyr, John the Evangelist]

DONATELLO (concluded) 10.1** Mary Magdalene 1430s-1450s(?), painted and gilded poplar, 6’ 2” 10.3 and Holofernes late 1450s, bronze w gilding, 7’ 9” Antonio del POLLAIUOLO (Florence, 1432-1498) 10.6 Hercules and Anteus probably 1470s, bronze, 18” h incl base 11.5** Battle of the Ten Nudes early 1470s, engraving, 15 1/8 x 23 1/4” 11.6 Martyrdom of St. Sebastian c. 1441, tempera on panel, 9’ 7” x 6’ 8”

Andrea del VERROCCHIO (Florence, 1435-1488) 10.7** David probably early 1470s, bronze, 49 5/8” h 10.8** Doubting Thomas Or San Michele, 1465-83, bronze, Christ 7’ 6 1’2” h, (Inscription: Do not be faithless but believing. My Lord and My God. Blessed are those who did not see and believe.) 10.11, 12** Colleoni, Venice c. 1481-96, bronze, c. 13’ h Colleoni c. 1400-1475 rustication garlands stringcourses instarsia, intarsie mullions engraving pilasters impression entablature = architrave, frieze, cornice garlands studiolo = study, a private room for study

9 Sandro BOTTICELLI (Florence 1445-1510) pupil of Filippo Lippi 11.7 Madonna of the Pomegranate c. 1480, tempera on panel, 4’ 8 1/2” 11.8** Adoration of the Magi probably early 1470s, panel, 43 3/4 x 52 3/4” 11.9** Primavera , Chloris, Zephyr c. 1482(?), tempera on panel, 6’ 8” x 10’ 4” Three Graces represent beauty and goodness, perpetual freshness, cheerfulness 11.10 Birth of Venus c. 1484-86, tempera on canvas, 5’ 9” x 9’ 2” 11.14 Mystic Nativity c. 1500 tempera on canvas 42 3/4 x 29 1/2 in. (Inscription: This picture I, Alessandro, painted at the close of 1500, in the troubles of in the half time after the time, during the fulfillment of the eleventh of John, in the second woe of the Apocalypse, in the freeing of the devil for three and a half years. After that he shall be claimed according to the twelfth [chapter of John] and we shall see him … as in this picture.)

Domenico GHIRLANDAIO (Florence, 1449-1494) 11.17** Sassetti Chapel, [Santa Trinita,] Florence 1483-86 11.18 Confirmation of the Franciscan Rule 11.19** Nativity and Adoration of the Shepherds 1485, 65 3/4” sq. compare to 11.20 Hugo van der Goes, Portenari Altarpiece, 1470s 11.21 Birth of the Virgin 1485-90, fresco, Tornabuoni Chapel, S. M. Novella

ALBERTI (continued) 12.18-20** Sant’ Andrea, designed 1470, begun 1472

Andrea MANTEGNA (Padua, 1431-1506) brother-in-law of ) 12.21** San Zeno altarpiece, Verona 1456-59,tempera on panels,7’ 2 1/2” h, San Zeno, Verona 12.22 St. Sebastian variously 1450s-1470s, panel, 26 3/4 x 11 13/16” 12.24**Camera Picta, Ducal Palace, Mantua [Painted Chamber] 1465-74, fresco and walnut oil 12.24 Lodovico Gonzaga, His Family and Court walnut oil on plaster, c. 20’ w 12.25** Ceiling fresco fresco, dia 8’ 9” 12.26 Parnassus , tempera on canvas, 5’ 3 1/4” x 6’ 3 7/8”

GENTILE BELLINI (Venice 13.6 Potrait of Mehmet II 1479-80 oil on canvas 13.9 Procession of the Reliquary of the True Cross in Piazza San Marco 1496, o/c, 12’ 1/2” x 24 5 1/4” for the Scuola di San Giovanni Evangelista, Venice

GIOVANNI or GIO. BELLINI (Venice, (?)1430s – 1516) 13.14 Madonna adoring the Sleeping Child c. 1455, tempera on panel, 28 1/2 x 18 1/4” 17.2** San Giobbe Altarpiece late 1470s, oil on panel, 15’ 4” x 8’ 4” Enthroned Madonna w/ Sts. Francis, Baptist, Dominic, Sebastian, Louis of Toulouse 13.17 San Zaccaria altarpiece signed & dated 1505,canvas transf fr panel,16’ 5 1/2”x 7’ 9” 13.18**St. Francis 1470s, oil and tempera on panel, 49 x 55 7/8” 13.19 The Doge Leonardo Loredan c. 1501-02, oil on panel, 24 1/4 x 17 3/4” 13.20** addns by , 1514, oil on canvas, 5’ 7” x 6’ 2” Neoplatonism, Platonic Academy (box p 233) barrel vault pediment podium, podia ______30 works, plus terms, for QUIZ 2______

10 HIGH RENAISSANCE 1500 - 1600 (1452-1519) pupil of Verrocchio 14.1 with Verrocchio, Baptism of Christ c. 1470. oil on panel, 69 1/2 x 59 1/2” 14.2 Annunciation late 1470s, panel, 3’ 2 3/4” x 7’ 1 1/2” add** Madonna of the Rocks begun 1483, oil on panel 14.6 Embryo in the Womb c. 1510, pen and brown ink, 11 3/4 x 8 1/2” 14.10 Plans and perspective views of central plan churches c. 1490, pen and ink 14.11**Vitruvian Man c. 1485-1490, pen and ink, 13 1/2 x 9 3/8” 14.17** Cecilia Gallerani (Lady with an Ermine) c. 1483-85, oil on panel, 21 x 15 1/2” 14.18, 19 Last Supper, 1495-98,fresco,oil,tempera,c.15 x 29’, refectory,S.M.delle Grazie 14.20 Study for the Sforza equestrian monument c. 1488-90 14.21 Madonna and Child with St. Anne c. 1508-13 (?), oil on panel, 66 1/4 x 51 1/4” 14.22 c. 1503-15, oil on panel, 30 1/4 x 21”

MICHELANGELO Buonarotti (1475 - 1564) pupil of Ghirlandaio in painting, Bertoldo in sculpture 15.1** Battle of Lapiths and Centaurs c. 1492, marble, 33 1/4 x 35 1/8” 15.2 Bacchus 1496-97, marble, 6’ 8” h. 15.3** Pieta, St. Peter’s, Rome 1498/99-1500, marble, 5’ 8 1/2” h. 15.5** David, orig for Cathedral buttress, erected bef. City Hall 1501-1504, 14’ 3” excl base 15.7** Doni Madonna c. 1503, panel, dia 47 1/4” dia.

RAPHAEL Sanzio (Umbria, 1483-1520) taught by painter-father and Perugino 15.11**Marriage of the Virgin 1504. oil on wood, 7’ 7” x 3’ 10 1’2” Pietro PERUGINO Pietro Vannucci (c. 1445 - 1523) 15.10**Christ Giving the Keys to St. Peter, Sistine Chapel, Vatican Palace 1481,11’5 1/2”x18’8.5” RAPHAEL (continued) 15.13** Madonna of the Meadow 1505, oil on panel, 44 1/2 x 34 1/4” 15.14 Studies of the Madonna and Child 15.15 Maddalena Doni c. 1505, oil on panel, 24 3/4 x 17 3/4” Donato BRAMANTE (Urbino, 1444-1514) 16.2, 4**Tempietto, Rome authorized 1502, compl after 1511, 47’ h., San Pietro in Montorio 16.5, 6**St. Peter’s, Rome 1506-14 cella Greek cross format of a central plan colonnade or peristyle triglyphs

MICHELANGELO 16.8, 9**St. Peter’s, Rome 1537-50 16.10**Reconstruction of Tomb of Julius II, Rome begun 1505 16.11**Moses, Tomb of Julius II, Rome c. 1506-15, marble, 7’ 8 1/2” add Dying Slave, made for Tomb of Julius II add “Cross-Leg” Captive, made for Tomb of Julius II add Tomb of Julius II, Rome erected 1559 in S. Pietro in Vincoli 16.12 Sistine Chapel, Vatican, Rome 16.15** Ceiling, 1509-1512 fresco, 45 x 128’? 27,000 sq ft in artdaily.org 16.16 Diagram of subject matter 16.13 Prophet Zacharias 16.14** Prophet Jonah add Deluge add ** Fall of Adam and Eve and Expulsion 11 16.17** Creation of Adam add Creation of Sun, Moon and Plants 16.18** God Separating Light and Dark add Libyan Sibyl add Study for the Libyan Sibyl red chalk, 11 3/8 x 8 1/2” add Ancestors of Christ, lunette Eleazar and Matthan cartoon ignudi pouncing incision RAPHAEL (concluded) 16.19**Stanza della Segnatura, Vatican, Rome [Room of the Seal] 16.20 Disputa / Disputation over the Sacrament 1510-11, fresco, 25’ 3” x c. 19’ 16.21** School of 1510-11, fresco, 26 x 18’ 16.22**Galatea, Villa Farnesina [Chigi], Rome c. 1512, fresco, 9’ 8 1/2” x 7’ 4” add Sistine Madonna 1513 add c. 1515 16.23 Fire in the Borgo, Stanza dell’ Incendio, Vatican, Rome 1514, fresco, 22’ 1” w. 16.24 Leo X with Cardinals 1517, oil on panel, 60 1/2 x 47” [cousin, nephew] 16.25**Transfiguration 1517-20, oil on panel, 13’ 5 1/2”x9’ 2” deesis HIGH RENAISSANCE in Venice 1500-1600 (of Castelfranco, 1475/77 - 1510) 17.1 Enthroned Madonna with Sts. Liberalis and Francis Castelfranco Madonna, c. 1500-05 Cathedral, Castelfranco, 78 3/4 c 60” compare to 17.2 Giovanni Bellini, San Giobbe Altarpiece late 1470s, 15’ 4” x 8’ 4” 17.3** Tempest c. 1509(?), oil on canvas, 30 1/4 x 28 3/4” 17.4** Concert c. 1510, oil on canvas, 43 1/4 x 54 3/8” 17.5** Sleeping Venus c. 1510, canvas, 42 1/4 x 69”

TITIAN (Tiziano Vecellio, c. 1488-1576) 17.7 1514, o/c, 3’ 11” x 9’ 2” 17.8** Assumption of the Virgin 1516-18, oil on panel, 22’ 6” x 11’ 10”, Frari, Venice 17.9** Pesaro Altarpiece 1519-26, o/c, 16’ x 8’ 10” 17.10 1522-23, o/c, 69 x 75” 17.11**“” finished 1538, o/c, 47 x 65” 17.12 Danae 1554, o/c,46 x 27”, commissioned by Philip II of Spain add Rape of Europa 1559-62, canvas, 73 x 81”, commissioned by Philip II 17.14 Pieta compl by Palma the Elder, 1570-76, o/c, 11’6”x 12’9”, intended for Titian’s tomb

Jacopo TINTORETTO (Jacopo Robusti, 1518-94) 17.15**Last Supper 1592-94, o/c, 12’ x 18’ 8”, S. Giorgio Maggiore, Venice

NEW: PROPERZIA de’ ROSSI (attrib) 17.16 Joseph and Potiphar’s Wife c.1520, marble, 21 ¼ x 23 1/8”

S[ofonisba] ANGUISSOLA (1532/5 – 1625) NEW 17.1** The Artist’s Sister Minerva c. 1559, o/c, 33 ½ x 26”

Paolo VERONESE (Paolo Caliari, 1528-88) 17.20 Apotheosis of Venice c.1585,o/c,29’ 8”x19’,Great Council Hall, Doge’s Palace, Venice

Andrea PALLADIO (1508-1580) 17.21, 22**Villa Rotunda, Vicenza also known as the Villa Almerico or Villa Capra,begun 1560s 17.23 S. Giorgio Maggiore, Venice begun 1565 disegno = drawing, design painterly alla prima cassone, cassoni rotunda colorito glazes poesie figura serpentina portico 12 HIGH RENAISSANCE (continued) 1500-1600 MICHELANGELO 18.1**Medici Chapel, San Lorenzo, Florence 1519-34 18.2 Tomb of Giuliano de’ Medici with personifcationa of Night and Day 1520s 18.3 Tomb of Loreno de’ Medici with personifications of Dusk and Dawn 1520s 18.4 Medici Madonna 1521-34 18.8, 9 Laurentian Library, San Lorenzo 1524 - 1559 18.6** Last Judgment, Sistine Chapel, Vatican, Rome 1534-41, fresco, 48 x 44’ 18.7 St. Bartholomew

MANNERISM 1520-1600 PARMIGIANINO (Francesco Mazzola, 1503-1540) pupil of Correggio 18.15**Madonna of the Long Neck 1534-40, oil on panel, 85 x 52” add Self Portrait in a Convex Mirror 1524, oil on panel, dia. 9 1/2”

GIULIO ROMANO (c. 1499-1546) 18.16**Palazzo del Te, Mantua 1527-34 18.17 Sala dei Giganti 1530-32, fresco

Jacopo PONTORMO (1494-1557) pupil of Andrea del Sarto 18.18**Deposition 1525-8, oil on panel,10’3”x6’4”,Capponi Chapel, S. Felicita, Florence NEW 18.19 Portrait of a Halberdier 1528-1530, oil on panel transf to canvas, 36 ¼ x 28 3/8”

Benvenuto CELLINI (1500-1571) 18.20**Saltcellar of Francis I finished 1543, gold and enamel, 10 1/4 x 13 1/8” 18.21 Cosimo I de’ Medici 1545-47, bronze 3’ 7 1/4” h. 18.22 Perseus 1545-54, bronze, 10’ 6”, 18’ w/ marble pedestal

Agnolo BRONZINO (1503-1572) pupil of Jacopo Pontormo 18.23**Allegory with Venus and Cupid mid 1540s, oil on panel, 61 x 56 1/4” NEW 18.24 Holy Family with John the Baptist c. 1540, oil on wood, 46 x 36 5/8” maniera = style broken pediment brackets blind niches triglyphs figura serpentina

______40 works, plus terms for QUIZ 3______