DOCSLIB.ORG

Art in the Modern World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art in the Modern World Art in the Modern World A U G U S T I N E C O L L E G E Portrait of Michelangelo Daniele da VOLTERRA David 1504 MICHELANGELO David MICHELANGELO | 1504 (copy) “Man is the measure of all things: of those that are, that they are; and of those that are not, that they are not.” Protagoras Creation of Adam Sistine Chapel 1536-41 | MICHELANGELO Rood screen Cathedral of St. Cecilia, Albi, France Pietà 1498-99 | MICHELANGELO Stanza della Segnatura RAPHAEL | 1509-11 Stanza della Segnatura RAPHAEL | 1509-11 Disputation of the Sacrament RAPHAEL | 1509-11 The School of Athens Stanza della Segnatura RAPHAEL | 1509-11 The Cardinal Virtues Stanza della Segnatura RAPHAEL | 1509-11 Parnassus RAPHAEL | 1509-11 Theology Stanza della Segnatura RAPHAEL | 1509-11 Philosophy Stanza della Segnatura RAPHAEL | 1509-11 Justice Stanza della Segnatura RAPHAEL | 1509-11 Poetry Stanza della Segnatura RAPHAEL | 1509-11 Barbieri. On the Discord between Jerome and Augustine. In Latin. 1481 Delphic Sibyl (or Oracle) Sistine Chapel 1536-41 MICHELANGELO Libyan Sibyl Sistine Chapel 1536-41 MICHELANGELO VENICE 1450-1575 THE DISUNITED STATES OF RENAISSANCE ITALY VENICE c 1500 THE GRAND CANAL VENICE C 1900 THE CA’ D’ORO OR GOLDEN HOUSE The Lion of St. Mark 1516 | Vittore CARPACCIO St. Mark in Alexandria 1507 | Giovanni BELLINI St. Mark in Alexandria, detail | 1507 | Giovanni BELLINI Procession in Piazza S. Marco 1496 | Gentile BELLINI Vision of St. Augustine 1502 | Vittorio CARPACCIO | Scuola di San Giorgio degli Schiavoni, Venice Vision of St. Augustine detail Vittorio CARPACCIO 1502 Vision of St. Augustine detail 1502 Vittorio CARPACCIO Vision of St. Augustine detail Vittorio CARPACCIO 1502 Procession in Piazza S. Marco 1496 | Gentile BELLINI Interior of St. Mark’s Basilica Byzantine 11th C Madonna and Child 1450 Jacopo BELLINI Madonna and Child with Saints Madonna and Child Fra ANGELICO | 1438-40 Jacopo BELLINI | 1450 Madonna and Child with Saints | Fra ANGELICO | 1438-40 Madonna & Child with Canon van der Paele 1436 | Jan van EYCK Madonna and Child 1472-73 Carlo CRIVELLI Madonna and Child details 1472-73 Carlo CRIVELLI Madonna and Child 1472-73 Carlo CRIVELLI St. Catherine 1472-73 Carlo CRIVELLI The Archangel Michael Carlo CRIVELLI late 15th C The Agony in the Garden 1459 | Andrea MANTEGNA | London The Agony in the Garden 1459 | Giovanni BELLINI The Agony in the Garden detail 1459 Giovanni BELLINI Annunciation LEONARDO | 1472-75 Mona Lisa 1503-05 Leonardo DA VINCI Pietà 1460 | Giovanni BELLINI 1460 | Giovanni BELLINI 1498-99 | MICHELANGELO Dead Christ with Angels 1474 | Giovanni BELLINI Lamentation over the Dead Christ 1480 | Andrea MANTEGNA Christ Carrying the Cross 1500-10 School of Giovanni BELLINI Isabella Stewart Gardner Museum, Boston Madonna Enthroned Adoring the Sleeping Child 1475 Giovanni BELLINI Pietà 1505 | Giovanni BELLINI Madonna Adoring the Sleeping Child 1475 Giovanni BELLINI Madonna with the Blessing Child 1475-80 Giovanni BELLINI Madonna and Child, detail 1480-85 | Giovanni BELLINI Madonna and Child Giovanni BELLINI 1480-85 Metropolitan Museum, New York Sacra Conversazione Virgin and Child with Two Female Saints 1490 | Giovanni BELLINI Sacra Conversazione detail 1490 Giovanni BELLINI Sacra Conversazione detail 1490 Giovanni BELLINI Sacra Conversazione Virgin and Child with Two Female Saints 1490 | Giovanni BELLINI Madonna of the Meadow 1505 | Giovanni BELLINI Madonna of the Meadow detail 1505 Giovanni BELLINI Madonna of the Meadow detail 1505 Giovanni BELLINI St. Francis in Ecstasy 1480-85 | Giovanni BELLINI The Stigmatization of St. Francis | Jan van EYCK | 1428-29 Perseverance 1490 Giovanni BELLINI Prudence 1490 Giovanni BELLINI Falsehood 1490 Giovanni BELLINI Melancholy 1490 Giovanni BELLINI Sacred Allegory 1490-1500 | Giovanni BELLINI Sacred Allegory detail 1490-1500 Giovanni BELLINI PICO DELLA MIRANDOLA Sacred Allegory detail 1490-1500 Giovanni BELLINI HORAPOLLO, Hieroglyphica (1505) IDEOGRAMS eat # PHONOGRAMS water F ‘n’ wood å ‘ht’ sun HORAPOLLO, Hieroglyphica (1551) An opening HORAPOLLO, Hieroglyphica (1551) Mothers HORAPOLLO, Hieroglyphica (1551) A man who has never travelled HORAPOLLO, Hieroglyphica (1551) A man who has fed on food not his own HORAPOLLO, Hieroglyphica (1551) Silence Falsehood 1490 Giovanni BELLINI Andrea ALCIATI, Emblematum libellus (1534) Andrea ALCIATI, Emblematum libellus (1534) [Unknown subject] detail | c. 1500 Tullio LOMBARDO [Unknown subject] Apotheosis of Antoninus Pius & Faustina detail | c. 1500 Tullio LOMBARDO detail | 161 AD ROMAN [Unknown subject] detail | c. 1500 Portrait of a Flavian Lady Tullio LOMBARDO 90 AD | ROMAN Christ the Redeemer 1500-20 Tullio LOMBARDO.
Load more

Recommended publications
  • Janson. History of Art. Chapter 16: The
    16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
    [Show full text]
  • Ave Maris Stella” (1610)
    “In the Flesh as Well as in Spirit”1: (Meta) Physical Embodiment in Monteverdi’s setting of “Ave Maris Stella” (1610) Gordon Haramaki San José State University In 1610 Monteverdi published his setting of the plainchant hymn, “Ave maris stella” as part of his massive Vespro della Beata Vergine. Based on the thirteenth-century hymn used for vespers on the feast days of the Virgin Mary and of other female saints, the words are in seven litany-like verses that open with praise for the Virgin Mary, implore for intercession in the central verses, and end with a doxological commendation of the Trinity (ex. 1 and 2). Example 1. Monteverdi’s version of the plainchant “Ave maris stella” Example 2. The text of “Ave maris stella” 1 Ave maris stella, Hail, star of the sea, Dei mater alma, Mother of God, atque semper Virgo, and ever Virgin felix coeli porta. joyful gate of heaven. 2 Sumens illud Ave, Receiving that “Ave” Gabrielis ore, spoken by Gabriel funda nos in pace, and reversing the name “Eva” mutans Evae nomen. establish peace in our lives. 1 Jacobus de Voragine, The Golden Legend: Readings on the Saints, trans. by William Granger Ryan (Princeton, New Jersey, 1993) I, 82-83. “In Saint Elizabeth’s Revelations we read that once when the saint was rapt in ecstasy, she had a vision…Not long afterwards Elizabeth asked the angel with whom she frequently talked what the vision had meant. The angel answered: “You were shown how our Lady was assumed into heaven in the flesh as well as in spirit.” American Musicological Society Annual Conference Indianapolis, November 4, 2010 3 Solve vincia reis, Loose the bonds of sin, profer lumen caecis, bring light to the blind, mala nostra pelle, destroy our wickedness, bona cuncta posce, pray for all that is good.
    [Show full text]
  • On the Exhibition Policies for Raphael's Masterpieces
    Renaissance 3/2015 - 1 /lessandra Galiz6i Kroegel “3a.e space #or the great Raphael9& :n the ;*hibition Policies #or Raphael1s 3asterpieces Fig. 1= >iew of the current installation of the 2istine 3adonna in the +emäldegalerie /lte 3eister ?resden @0erbert -oswan., ?resden, 2taatliche 8unstsammlungen ?resdenA. “Raphael, or Ingres, or Picasso are meant Raphael in German and Italian museums during to be meditated upon. !" In order to med- the nineteenth centur) and up to the #irst hal# o# itate on a painting, it is essential to present the t%entieth century.[2] ,his stud) %as inspired it in a #avorable location and %ithin a calm b) (laudia -rin. and /ndreas 0enning1s care#ul atmosphere.& reconstruction o# the various hangings o# the 'e (orbusier[1] 2istine 3adonna #rom 1455, %hen the altarpiece arrived in 2a*on) a#ter its removal #rom the In this essa) I %ill discuss the e*hibition policies church o# 2an 2isto in Piacenza, to the present that %ere developed #or a #e% altarpieces b) day in its current location in the Gem7ldegalerie /lessandra +ali66i 8roegel 3a.e space #or the great Raphael9 .unstte*te.de 3/2015 - 2 <ig. 2= /dol# von 3en6el, Plat6 #Br den groβen Raf#ael9, Raphael in ?resden 1D55/5E, +ouache and pastel on paper, 5F * F2 cm, +er- manisches Gationalmuseum Gurnberg, 'oan o# the cit) of Gurnberg, @3oni.a Runge, +ermanisches Gationalmuseum “3ake space #or the great Raphael9&= a #amous Gurnberg). gouache b) /dolph 3en6el bearing this title (1D55/1D5EA @#ig. 2A illustrates an anecdote %hich ma) have circulated at the court o# 2a*on) #rom /lte 3eister in ?resden, %here it is e*hibited as the middle o# the eighteenth century, and %hich the clima* o# the %estern %ing1s stunning en#i- became %ell-.no%n not onl) in +erman) but to lade o# Italian galleries @#ig.
    [Show full text]
  • Inventive Translation, Portraiture, and Spanish Hapsburg Taste in the Sixteenth Century
    9 © Copyrighted Material Inventive Translation, Portraiture and Spanish Habsburg Taste in the Sixteenth Century Elena Calvillo The Spanish Patron In his autobiography, Benvenuto Cellini recounts how when faced with an angry mob of Spaniards from the household of the bishop of Salamanca, he defiantly pointed his gun into the crowd and cried, ‘You treacherous Moors – so this is how you loot the shops and houses in a city like Rome?’1 According to the artist, the Spaniards had come to collect a vase that had been returned to Cellini to be repaired, but because the patron had not yet paid for it, Cellini declined to release it. The commotion surrounding this exchange soon attracted the attention of a few Roman gentlemen, eager to join the fight. Their offer to help Cellini kill his opponents was made ‘with such vehemence that the Spaniards were terrified out of their wits’ and retreated.2 The Spanish courtiers were subsequently admonished by the bishop, who, Cellini claimed, was angered by both the violence initiated by the brash members of his household and by their failure to finish the job. Cellini’s characterization of the Spanish throughout this part of his text, leading up to the Sack of 1527, is similar to many portrayals of this period.3 For Cellini, such a depiction of the troublesome Spaniards served the rhetorical ends of the autobiography by highlighting his loyalty to Rome and his personal bravery, most spectacularly demonstrated in his account of the defence of the Castel Sant’Angelo against imperial troops. A few themes emerge from Cellini’s anecdote.
    [Show full text]
  • Sacra Conversazione in Venice*
    A New Palma Vecchio in the Chapter Hall Museum, Birgu - Some Observations on the Domestic Sacra Conversazione in Venice* Philip Cottrell A painting attributed to the sixteenth-century Venetian school was recently pub­ lished in Birgu - A Maltese Maritime City.! The work in question. The Virgin and Child with St. Peter and a Donor (PI. 1), is owned by the Chapter Hall Museum, Birgu. 2 It can now be considered as a new addition to the oeuvre of Jacopo Negretti, called Palma il Vecchio (c.1485-1528V The composition of the painting duplicates that of a picture by this artist in the Galleria Colonna, Rome (PI. 2), even down to the portrait of the donor being 'presented' to the Virgin and Child by St. Peter.4 These variants represent a type that has become specifically associated with Palma: the Sacra Conversazione. Although this is a much abused term, often used to describe any picture portraying the Virgin and Child accompanied by attendant figures, it is most often applied to a particular generic type produced by artists working in and * I would like to express my sincere thanks to John Gash of the University of Aberdeen and Peter Humfrey from the University of SI. Andrews for their help in the preparation of this article. I. See M. Buhagiar. "The Artistic Heritage", Bir/!,u -A Maltese Maritime City, Malta University Serv­ ice Ltd. 1993, 516: "The painting is by an unknown sixteenth century Venetian master of consider­ able artistic sophistication. There are echoes of Giorgione ... and the young Titian .. .in the masterly handling of oil paint, in the sensuous response to the textures of fine clothes, and in the evocative peace of the distant landscape".
    [Show full text]
  • Sebastiano Del Piombo and His Collaboration with Michelangelo: Distance and Proximity to the Divine in Catholic Reformation Rome
    SEBASTIANO DEL PIOMBO AND HIS COLLABORATION WITH MICHELANGELO: DISTANCE AND PROXIMITY TO THE DIVINE IN CATHOLIC REFORMATION ROME by Marsha Libina A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland April, 2015 © 2015 Marsha Libina All Rights Reserved Abstract This dissertation is structured around seven paintings that mark decisive moments in Sebastiano del Piombo’s Roman career (1511-47) and his collaboration with Michelangelo. Scholarship on Sebastiano’s collaborative works with Michelangelo typically concentrates on the artists’ division of labor and explains the works as a reconciliation of Venetian colorito (coloring) and Tuscan disegno (design). Consequently, discourses of interregional rivalry, center and periphery, and the normativity of the Roman High Renaissance become the overriding terms in which Sebastiano’s work is discussed. What has been overlooked is Sebastiano’s own visual intelligence, his active rather than passive use of Michelangelo’s skills, and the novelty of his works, made in response to reform currents of the early sixteenth century. This study investigates the significance behind Sebastiano’s repeating, slowing down, and narrowing in on the figure of Christ in his Roman works. The dissertation begins by addressing Sebastiano’s use of Michelangelo’s drawings as catalysts for his own inventions, demonstrating his investment in collaboration and strategies of citation as tools for artistic image-making. Focusing on Sebastiano’s reinvention of his partner’s drawings, it then looks at the ways in which the artist engaged with the central debates of the Catholic Reformation – debates on the Church’s mediation of the divine, the role of the individual in the path to personal salvation, and the increasingly problematic distance between the layperson and God.
    [Show full text]
  • The “Egg” of the Pala Montefeltro by Piero Della Francesca and Its Symbolic Meaning
    The “Egg” of the Pala Montefeltro by Piero della Francesca and its symbolic meaning Sebastian Bock Freiburg i.Br./Heidelberg, 2002 Probably the best-known “egg” in the whole of European art history is the ovoid object depicted in Piero della Francesca’s Montefeltro Altarpiece in the Pinacoteca Brera, Milano (fig. 1). This object, which is shown suspended from the apse by a chain, has formed the subject of so many analyses of Piero’s painting that Shearman’s 1968 observation, that virtually a whole special branch of art history has grown up around the exclusive study of this “egg”,1 appears truly justified. The often passionately argued debate has continued for decades, without reaching a conclusion. At the center of the argument is the identification of the egg-shaped object, which is variously taken to represent a pearl,2 an ostrich egg,3 a hen’s egg,4 the egg of Leda5 as described by Pausanias, or an (unspecific) My sincerest thanks go to Dr. Maria Effinger, Heidelberg, and Dr. Christian Gildhoff, Freiburg i.Br., for a close reading and helpful criticism, as well as Dr. Alexandra Villing, London, for the translation into English. Unless otherwise indicated, all translations from the Greek and Latin are by the author and the translator. Frequently cited sources: — Gilbert, Creighton, “On Subject and Not-Subject in Italian Renaissance Pictures,” Art Bulletin 34 (1952): 202–16. — Meiss, Millard, The Painter’s Choice: Problems in the Interpretation of Renaissance Art [New York. Hagerstown, San Francisco, London: Harper & Row, 1976], 105-129. — Ragusa, Isa, “The Egg Reopened,” Art Bulletin 53 (1971): 435-43.
    [Show full text]
  • Art History 636: Titian Syllabus Fall 2017 Prof
    Art History 636: Titian Syllabus Fall 2017 Prof. Benjamin Paul Office: Art History Dept., 60 College Ave, Room 101 A Office Hours: Wednesday, 2:45-3:45 pm and by appointment Tel.: 732-9320122, ext. 21 Email: [email protected] Course description: Titian is the central figure in sixteenth-century Venetian art. In his long career he redefined virtually every aspect of Venetian painting including history painting, portraiture, the altarpiece, and ducal votive paintings. Together with Giorgione, he also invented the pastoral and introduced a new, much more open brushwork. This seminar will consider all these aspects within their historical context, discuss Titian’s style in relation to contemporary art theory, and investigate his self-fashioning as the Republic’s “Prince of Painters.” Requirements will include the weakly preparation of three questions concerning the readings, an oral report on specified readings and the object of the student’s research, as well as a written research paper (12 pages in double space). Textbook (not mandatory): Peter Humfrey, Titian , London, 2007. Sept. 6 Introduction David Rosand, Titian , New York, 1978 (introductory essay) Sept. 13 Venetian tonalism Marcia Hall, Color and Meaning. Practice and Theory in Renaissance Painting , Cambridge, 1992, pp. 199-236; Paul Hills, “Titian’s Colour,” in Tiziano (ex. cat. Prado 2003), ed. by Miguel Falomir, pp. 308-313; Paul Joannides, Titian to 1518. The Assumption of a Genius , New Haven, 2001, pp. 7-17. Sept. 20 The Pastoral David Rosand, “Giorgione, Venice and the Pastoral Vision,” in: Places of Delight: The Pastoral Landscape , New York, 1998, pp. 21-81; Una Roman D’Elia, The Poetics of Titian’s Religious Paintings , ch.
    [Show full text]
  • Seek the Eyes of Mary': a Widow and a Virgin's Illuminating Invitation
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2020-04-09 'Seek the Eyes of Mary': A Widow and a Virgin's Illuminating Invitation Kristina Gayle Heiss Kryscynski Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Arts and Humanities Commons BYU ScholarsArchive Citation Kryscynski, Kristina Gayle Heiss, "'Seek the Eyes of Mary': A Widow and a Virgin's Illuminating Invitation" (2020). Theses and Dissertations. 8416. https://scholarsarchive.byu.edu/etd/8416 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “Seek the Eyes of Mary”: A Widow and a Virgin’s Illuminating Invitation Kristina Gayle Heiss Kryscynski A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Elliott D. Wise, Chair Martha M. Peacock Jennifer Haraguchi Department of Comparative Arts and Letters Brigham Young University Copyright © 2020 Kristina Gayle Heiss Kryscynski All Rights Reserved ABSTRACT “Seek the Eyes of Mary”: A Widow and a Virgin’s Illuminating Invitation Kristina Gayle Heiss Kryscynski Department of Comparative Arts and Letters, BYU Master of Arts A deep visual analysis of Ludovico Carracci’s 1588 Madonna and Child, Angels, and Saints Francis, Dominic, Mary Magdalene and the Donor Cecilia Bargellini Boncompagni with an emphasis on the role of the patron, the significance of the locality, and the visual semiotics of the Virgin Mary’s gaze in prompting conversion in the repentant prostitutes of the Carmelite convertite convent associated with Ss.
    [Show full text]
  • ITALIAN RENAISSANCE PAINTING by Keith Roberts
    ITALIAN Phaidon RENAISSANCE PAINTIN I •.'-• i^*^ fc F S6-95 ITALIAN RENAISSANCE PAINTING By Keith Roberts With 48 colour plates The Italian Renaissance was a creative epoch of unparalleled brilliance, particularly in the field of painting. It culminated with the works of the three undisputed giants of Italian art, Leonardo da Vinci (1452-1519), Michelangelo 1 475-1 564 and Raphael ( 1 483-1 520). Beginning with the heroic naturalism of Masaccio, who was one of the great Florentine masters of the early fifteenth century, the book surveys the whole of this remarkable era, ending with the glowing, richly coloured canvases of the great Venetian masters, Titian, Tintoretto and Veronese, in the second half of the sixteenth century. A short introduction to the period is followed by notes on the artists and on the works by which they are represented. \V< >t ks by all the major artists - Fra Angelico, Piero della Francesca, Bellini, Leonardo da Vinci, Botticelli, Michelangelo and Raphael are reproduced in this volume, as well as many by artists who are less well known but who also produced works of outstanding quality and beauty. Many of the plates have been juxtaposed so as to show how different artists treat a similar theme, whether it be a Madonna, a portrait or a landscape, and this often makes for fascinating comparisons. The book as a whole, by its judicious choice of illustrations, gives a well rounded and representative picture of a fascinating period in the historv of art. Jacket : The Doge Leonardo Loredan by Giovanni Bellini | London, National Gallery PHAI DON E.
    [Show full text]
  • Renaissance and Mannerism in Cinquecento Italy
    Unit Sheet 17:Chapter 22: Renaissance and Mannerism in Cinquecento Italy High Renaissance Art c. 1500 -1527 Works of Art Artist Medium Date Page # 22-1: Sistine Chapel Ceiling Michelangelo Painting 1512 598 22 -2: Madonna of the Rocks Leonardo da Vinci Painting 1483 601 22-4: Last Supper Leonardo da Vinci Painting 1495-1498 602 22-5: Mona Lisa Leonardo da Vinci Painting 1503-1505 603 22-7: Marriage of the Virgin Raphael Painting 1504 605 22-9: School of Athens Raphael Painting 1509-1511 607 22-11: Galatea Raphael Painting 1513 608 22-12: Pieta Michelangelo Sculpture 1498-1500 610 22-13: David Michelangelo Sculpture 1501-1504 611 Pieta 22-14:Moses Michelangelo Sculpture 1513-1515 612 22-17 to 22-18: ceiling of Sistine Chapel, Creating of Adam Michelangelo Painting: 1508-1512 614-615 22-19: Sistine Chapel – Last Judgment fresco Michelangelo Painting: 1536-1541 616 T 22-21: Templetto Bramante Architecture: begun 1502 618 22-26 to 22-27: Palazzo Farnese Sangallo the Younger Architecture: 1530 621 22-28: Villa Rotonda Palladio Architecture: 1550-1570 622 22-34: Tempest Giorgione Painting 1510 626 22-37: Madonna of the Pesaro Family Titan Painting 1519-1526 628 22-39: Venus of Urbino Titan Painting 1538 629 22-42: Entombment of Christ Pontormo Painting 1525-1528 632 22-44: Madonna with the Long Neck Parmigianino Painting 1534-1540 633 22-45: Venus, Cupid, Folly, and Time Bronzino Painting 1546 634 22-48: Last Supper Tintoretto Painting 1594 636 22-49: Feast in the House of Levi Veronese Painting 1573 636 22-51: Assumption of the Virgin fresco Correggio Painting 1526-1530 638 Preview: Italian art in the 16 th century built upon the foundation of the Early Renaissance, particularly the interest in classical culture, perspective, and human anatomy, but it developed in dramatic, distinctive ways.
    [Show full text]
  • Capitolo 5 Arte Rinascimentale Paragrafo 1.5: Evoluzione Della Pala D'altare Da Piero Della Francesca a Giorgione
    CAPITOLO 5 ARTE RINASCIMENTALE PARAGRAFO 1.5: EVOLUZIONE DELLA PALA D’ALTARE DA PIERO DELLA FRANCESCA A GIORGIONE Una pala d'altare, o ancóna, è un'opera pittorica o anche scultorea, di genere religioso che, come dice il termine stesso, si trova sull'altare delle chiese o, qualora l'altare sia staccato dal muro, appesa alla parete di fondo del presbiterio. Le pale d'altare per la devozione privata erano dette altaroli ed erano di solito a due o tre valve e di modeste o piccole dimensioni. Le pale raffigurano soggetti sacri: spesso la Madonna con il bambino, più raramente la Trinità o la crocifissione di Cristo,talvolta il salto titolare dell’edificio di culto. Le pale vengono definite anche Biblia Pauperum dai cristiani. La pala medievale: nata intorno all’XI secolo. Una delle più famose è quella del pittore lucchese Bonaventura Berlinghieri che raffigura San Francesco e storie della sua vita. Il santo è ritratto in piedi e in posizione frontale, con mano destra benedicente secondo i canoni di un repertorio figurativo di origine bizantina. Ai lati della figura l’artista ha rappreentato alcuni fatti salienti della sua vita, in maniera semplice e didascalica. Questo modello di pala rimarrà per quasi tutto il duecento fino al suo rinnovamento. Il polittico gotico: Fra il trecento e il Quattrocento si affema in tutta l’Europa la pala d’altare a tavole separate, detta “polittico” (molte pieghe, in greco). Esempio notevole è la Pala Rinuccini, polittico sfolgorante d’oro e di colori realizzato dal pittore Fiorentino Giovanni del Biondo. L’opera è divisa in tre fasce orizzontali:in basso la predella,articolata in piccole tavole dal tono narrativo(dove si illustrano le storie dei 4 santi raffigurati);il registro centrale,con il soggetto sacro principale distribuito in più scomparti(in questo caso la Madonna e il bambino); in alto il coronamento,con tre coppie di santi a mezza figura sormontate da quadrilobi con i quattro evangelisti e,al centro,la cuspide con la Crocifissione.
    [Show full text]