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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. -
The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
Exploring the Eucharist with Sacred Art
Exploring the Eucharist with Sacred Art UNIT 5, LESSON 1 Learning Goals Connection to the ӹ The narrative of the Last Supper and Catechism of the the Institution of the Eucharist help us Catholic Church to understand the source and summit ӹ CCC 1337-1344 of our Catholic Faith, the Blessed Sacrament. ӹ The Eucharist is the true Body and Vocabulary Blood of Jesus Christ, who is truly ӹ The Last Supper and substantially present under the ӹ The Eucharist appearances of bread and wine. ӹ The Paschal Mystery ӹ We receive the Eucharist in Holy ӹ Mannerism Communion as spiritual food at each and every Mass. BIBLICAL TOUCHSTONES When the hour came, he took his place at table “You call me ‘teacher’ and ‘master,’ and rightly so, with the apostles. He said to them, “I have eagerly for indeed I am. If I, therefore, the master and desired to eat this Passover with you before I teacher, have washed your feet, you ought to suffer, for, I tell you, I shall not eat it [again] until wash one another’s feet. I have given you a model there is fulfillment in the kingdom of God.” Then to follow, so that as I have done for you, you he took a cup, gave thanks, and said, “Take this should also do.” and share it among yourselves; for I tell you [that] JOHN 13:13-15 from this time on I shall not drink of the fruit of the vine until the kingdom of God comes.” Then he took the bread, said the blessing, broke it, and gave it to them, saying, “This is my body, which will be given for you; do this in memory of me.” And likewise the cup after they had eaten, saying, “This cup is the new covenant in my blood, which will be shed for you.” LUKE 22:14-20 237 Lesson Plan Materials ӹ The Last Supper ӹ Christ’s Claims and Commandments ӹ The Scriptural Rosary DAY ONE Warm-Up A. -
Cathedrals and the Last Supper
Cathedrals and the Last Supper Expressive use of the Elements and Principals of Art in the Renaissance and other eras By Marcine Linder The Middle Ages • Occurred from approx. 500’s – 1500’s ce • During the middle ages (that preceded the Renaissance) people in western Europe thought of the Church as the center of their existence, guiding them over the rough road of life to salvation. • During the middle ages, they saw life as preparation for heaven (or hell) • Human observations, were de-emphasized in favour of divine truths from the bible and the religious clergy. Gothic Cathedras from the middle ages The Renaissance • French for “re-birth” • By the beginning of the 15th century (1400’s), people began to rediscover the world around them and realize that they were an important part of the world • This led to an interest in the “here and now” as opposed to strictly the afterlife, hence a re-awakening • The Renaissance is characterized by a philosophical movement called “Humanism” in which man was considered to be “a measure of all things” (taking the focus away from God) Renissance Cathedral: St. Paul’s Renissance Cathedral: painting by De Lorme Renissance Cathedral: Tuscany The Last Supper • Has been interpreted and painted in many ways over the centuries • Both the prevailing ideologies/moods of the times and the medium/media chosen (or available) to painters over the centuries has greatly influenced the paintings they have created • “In the Christian Gospels, the Last Supper was the last meal Jesus shared with his Twelve Apostles and disciples before his death. -
Learning to Trust God's Unseen Hand a Study of Esther Esther 6:113
Learning to Trust God’s Unseen Hand A Study of Esther Esther 6:113 Lesson #8: Always trust the timing of God. Verses 13 The unstated reason for the king’s insomnia was God’s providence. To pass the sleepless night, servants brought the royal annals where Mordecai’s deed of saving the king was 1 read (see 2:19–23). The kings of the great ancient empires always kept annals of their reigns. Apparently the 2 king delighted in hearing the records of his own reign. Verses 46 It is quite odd that Mordecai was on the mind of both Xerxes and Haman, and both had their own opinion as to what should be done to him. Who was right? God was. He knew how to bring the actions of all involved to bring about Glory for His name. I would rather not quote you Romans 8:28, but rather Genesis 12:23. See also John 11:4. Read from Piper, “Brothers, We are Not Professionals,” pp 69. When He was on the cross, He was on His mind. More on this later. Verses 79 Haman was only ultimately concerned with Haman. So when asked of how the King should honor the person whom the King delights, Haman immediately thought of what he would have wanted. Selfish desire nearly always supersedes common sense. Haman had not yet asked about the death sentence for Mordecai because he was so caught up in his own honor. To be given a royal robe previously worn by the king was a sign of great honor and the king’s favor. -
Decoding the Last Supper
HOUSE OF TRUTH | TOTUUDEN TALO Decoding the Last Supper The Great Year and Men as Gods House of Truth | www.houseoftruth.education 21.6.2013 Table of Contents Introduction ....................................................................................................................................................... 2 The Last Supper and the Great Year .................................................................................................................. 3 36 engravings on the roof ............................................................................................................................. 4 Elements of the Last Supper .......................................................................................................................... 5 Hands of Christ .............................................................................................................................................. 6 The Lesser Conclusion ................................................................................................................................... 7 Men as Gods in the Last Supper ........................................................................................................................ 8 Roman trio of gods ........................................................................................................................................ 9 Evidence number 153 ................................................................................................................................. -
Tintoretto: Artist of Renaissance Venice March 24, 2019 - July 7, 2019
Updated Thursday, January 31, 2019 | 10:24:35 Tintoretto: Artist of Renaissance Venice March 24, 2019 - July 7, 2019 To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned. Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Important: The images displayed on this page are for reference only and are not to be reproduced in any media. ID: 4764-018 Jacopo Tintoretto A Young Man of the Doria Family, c. 1560 oil on canvas overall: 107 x 73 cm (42 1/8 x 28 3/4 in.) framed: 148 x 107 x 22 cm (58 1/4 x 42 1/8 x 8 11/16 in.) Museo Cerralbo, Madrid ID: 4764-019 Jacopo Tintoretto Man with a Golden Chain, c. 1560 oil on canvas overall: 104 x 77 cm (40 7/8 x 30 1/4 in.) framed: 120 x 91.7 x 6.5 cm (47 1/4 x 36 1/8 x 2 9/16 in.) Museo Nacional del Prado, Madrid © Museo Nacional del Prado ID: 4764-061 Jacopo Tintoretto Venus and Vulcan, c. -
The Last Supper Maundy Thursday – 7:00 P.M
The Last Supper Maundy Thursday – 7:00 p.m. ORDER OF WORSHIP Maundy Thursday – 7:00 p.m. The Last Supper Please Enter the Upper Room in Silence The Preparation The setting is the chapel in the Convent of Santa Maria Delle Grazie in Milano where Leonardo Di Vinci toils over his painting - The Last Supper. The Supper Jesus washes the feet of His disciples as they enter. He then tells them one of them will betray Him. Andrew Don Clem Matthew Ryan Norwood James the Lesser Russ Bullis Musical Interlude Phillip Bruce Smithson Peter Nick Clemmer Simon the Zealot Bob Peters Musical Interlude Bartholomew Jim Weeks Thaddeus Stu Bischoff John Fred Gossman Musical Interlude James Dave Russell Judas Bob Jelenchick Thomas Tom Hoffmann Jesus Chris Romig The Invitation Communion is extended to all who receive our Lord’s invitation and desire to partake. As Christ welcomed all people to follow Him, so He invites all people to His table. Please remain seated while the elements are passed. There is no need to hold the ele- ments until all are served. Tbe Closing Hymn – Go to Dark Gethsemane Leonardo and Francesca Is it finished? Please Exit in Prayerful Silence Credits Producer Sheryl Morford Director Harley Allen Technical Director Conrad Knapp Musical Director Jamal Sarakoki Costumes Cindy Bischoff Arlene Yates Karen Dietrich Janis Allen Sheila Cunningham Sheryl Morford Holy Week Schedule April 14 Palm Sunday, 9:00am & 11:00am April 18 Maundy Thursday, 7:00pm April 19 Good Friday 6:15pm, We will have an extended prelude featuring music for 2 flutes, piano and organ. -
The Scientific Narrative of Leonardoâ•Žs Last Supper
Best Integrated Writing Volume 5 Article 4 2018 The Scientific Narrative of Leonardo’s Last Supper Amanda Grieve Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/biw Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classical Archaeology and Art History Commons, and the International and Area Studies Commons Recommended Citation Grieve, A. (2018). The Scientific Narrative of Leonardo’s Last Supper, Best Integrated Writing, 5. This Article is brought to you for free and open access by CORE Scholar. It has been accepted for inclusion in Best Integrated Writing by an authorized editor of CORE Scholar. For more information, please contact library- [email protected]. AMANDA GRIEVE ART 3130 The Scientific Narrative of Leonardo’s Last Supper AMANDA GRIEVE ART 3130: Leonardo da Vinci, Fall 2017 Nominated by: Dr. Caroline Hillard Amanda Grieve is a senior at Wright State University and is pursuing a BFA with a focus on Studio Painting. She received her Associates degree in Visual Communications from Sinclair Community College in 2007. Amanda notes: I knew Leonardo was an incredible artist, but what became obvious after researching and learning more about the man himself, is that he was a great thinker and intellectual. I believe those aspects of his personality greatly influenced his art and, in large part, made his work revolutionary for his time. Dr. Hillard notes: This paper presents a clear and original thesis about Leonardo da Vinci’s Last Supper that incorporates important scholarly research and Leonardo’s own writings. The literature on Leonardo is extensive, yet the author has identified key studies and distilled their essential contributions with ease. -
Florence's First–Known Woman Painter
ITALY SuorFlorence’s Plautillafirst–known woman Nelli painter A discovery in a Florentine market led Jane Fortune to her first invisible artist, and the birth of the AWA. Here is the story of the first invisible female painter t an antique book fair in of Santa Caterina da Siena in Florence’s Nelli, born Pulisena Margherita Florence, just over thirteen years Piazza San Marco, now a museum, where Nelli, was, instead, the daughter of a ago, I chanced upon a book, her masterwork Lamentation with Saints successful fabric merchant, Piero di Suor Plautilla Nelli (1524–1588), is currently on display. In 1538, when Nelli Luca Nelli, whose ancestors originated The First Woman Painter of took her vows, the convent still devoutly from the Tuscan area of Mugello. There AFlorence, (Ed. Jonathan Nelson, 1998). Based adhered to Fra’ Girolamo Savonarola’s is a modern–day street in Florence, Via on a symposium sponsored by Georgetown (1452–1498) reformist principles which del Canto de’ Nelli, in the San Lorenzo University at Florence’s Villa Le Blaze in deeply influenced the nuns’ spiritual area, named for her family, and the new 1998, it was the first book written about Nelli journey and shaped their convent life, sacristy of the church of San Lorenzo is in 70 years, the previous one, having been for he promoted devotional painting and the original site of her family’s home. authored by Giovanna Pierattini, in 1938. I drawing by religious women as a way for After the death of her mother, and her had not heard of Nelli, but as a Renaissance them to avoid sloth. -
A Multidisciplinary Study of the Tongerlo Last Supper 0722
A Multidisciplinary Study of the Tongerlo Last Supper and its attribution to Leonardo da Vinci’s Second Milanese studio Jean-Pierre Isbouts, Fielding Graduate University, Santa Barbara, CA, and Christopher Brown, Brown Discoveries, LLC, North Carolina This article presents the findings from a two-year study of the Last Supper canvas in the Abbey of Tongerlo, Belgium, including a detailed review of its provenance as well as a digital analysis and multispectral study conducted by the Belgian company IMEC in the Spring of 2019. The design of the study is a composite multidisciplinary approach, with traditional connoisseurship and literary research being augmented by scientific examination, using new digital processing and multispectral imaging techniques. The article argues that based on the available evidence, the Tongerlo Last Supper was produced in Leonardo’s Milanese workshop between 1507 and 1509, as a collaborative project involving the Leonardeschi Giampietrino, Andrea Solario and Marco d’Oggiono under Leonardo’s supervision. Furthermore, the infrared spectography scans suggest that the face of John in the painting may have been painted by Leonardo himself. The study was funded by IMEC Belgium; Fielding Graduate University of Santa Barbara, CA; Brown Discoveries, LLC of North Carolina, and conducted with the gracious permission of the Premonstratensian Abbey of Tongerlo, Belgium. Key words: Leonardo da Vinci (1452-1519); Last Supper; Technical Art History; Multispectral Imaging; the art of the Leonardeschi. Fig. 1. Studio of Leonardo da Vinci, Last Supper (after Leonardo), known as the Tongerlo copy, 1507-1509. Introduction For the last 450 years, the Tongerlo canvas of the Last Supper has been quietly occupying a wall in a chapel on the grounds of the Premonstratensian Abbey of Tongerlo near Westerlo, about an hour’s drive from the Belgian city of Antwerp. -
Intercultural and Interreligious Bonds in the Language of Colors
Colby College Digital Commons @ Colby Honors Theses Student Research 2018 Intercultural and Interreligious Bonds in the Language of Colors Lucy Soucek Follow this and additional works at: https://digitalcommons.colby.edu/honorstheses Part of the Comparative Methodologies and Theories Commons, and the Painting Commons Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation Soucek, Lucy, "Intercultural and Interreligious Bonds in the Language of Colors" (2018). Honors Theses. Paper 914. https://digitalcommons.colby.edu/honorstheses/914 This Honors Thesis (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Colby. Intercultural and Interreligious Bonds in the Language of Colors Lucy Soucek has completed the requirements for Honors in the Religious Studies Department May 2018 Nikky Singh Religious Studies Thesis Advisor, First Reader Ankeney Weitz Art Second Reader © 2018 Soucek ii Table of Contents Table of Contents ii Abstract iii Acknowledgements iv 1: Broadening the Horizons of Interfaith Understanding 1 2: A Visual Venture: the Functionality of Art in Interfaith Understanding 9 3: Getting to Know You: Twindividual Collaboration of the Singh Twins 18 4: Coconut Kosher Curry: a Taste of Siona Benjamin’s Art 31 5: Conflict, Fragility, and Universality: Arpana Caur and the Mending of 47 Religious Fractures 6: Conclusion 61 Works Cited 63 Soucek iii Abstract This thesis explores the interfaith elements of the artwork of three south Asian visual artists, The Singh Twins, Siona Benjamin, and Arpana Caur.