RENAISSANCE

8/22/12 Giotto, Arena Chapel murals, 1305-10 (ex. Raising of Lazarus) -dramatic, narrative, humanistic, worldly -took away old stylized notions with gold background, placing work in nature -easier to identify with scene -stories from bible -Giotto first to make natural figures, landscapes, narrative scenes -Dies in 1330s; 1348 bubonic plague; art goes out the window- repentant images; didn’t recover until 1400 -Black Death (Bubonic Plague) happened after his death -ship landed just north of Florence, infected rats -spread to Tuscany, Florence, Siena (2/3 population died in two summers) -Florence lost ½ population -most devastating natural disaster in European history; when Renaissance humanism took root -religion occupied primary position in Italian life, scholars and artists more concerned with natural world -considered 1st Renaissance painter, pioneer in pursuing naturalistic approach to representation based on observation, core of classical tradition in art; rebirth of classical values in art and society -calm style revolutionized new repertoire of representational style that other Renaissance painters studied, developed

Traini, Triumph of Death (after Black Death-1348/49), c. 1355 -shocking effect; followers of Giotto died, leaders died; 3 major artists of time died, donors died -art took one step back -Black Death art -no interesting color, beauty -about death, seeing bodies in caskets; horrors of death, confront mortality -young aristocrats mounted in stylish cavalcade, 3 coffin encased corpses in differing stages of decomposition; ladies disgusted, animals sniff, men hold noses -San Macarius unrolls scroll with inscription commenting on folly of pleasure, inevitability of death -far right, ladies and gentlemen ignore death and reality, in orange grove with music and amusement, surrounded by angels and demons struggle for the souls of the corpses in the foreground -also shows those unprepared for death, unlikely to achieve ; wealthy, reveling in luxury -warning against greed and lust -disparate scenes, but rendered with naturalism and emotive power -irony of history: Western humanity drew itself and world into sharper visual focus, perceived more clearly -Pisa, Italy; creator contest, not really sure if it’s Traini

Michelangelo, David 1504 -not originally meant to be indoors, but is today -now at Academy in Florence; climate and lighting controlled

Reading: “The Location of Michelangelo’s David: The Meeting on January 25, 1504” -1501 commission, 1504 finished; where should the statue go?

Reading: “David, by the Hand of Michelangelo” in 1987 (F. Hartt)

-sculpture, commemorative memorial

8/24/12 -1400 meeting in Florence following Black Death, wanted art on set of doors in Baptistry (across from cathedral) in Florence; needed open competition for artists (1401); wool merchants guild sponsored competition -artists submitted sample of work that would fit in panel of door -scene had to be of Abraham sacrificing Isaac on mount -needed donkey, 2 servants, Isaac and Abraham, Angel talking to Abraham, sheep, thorny bush

Ghiberti and Brunelleschi, Sacrifice of Isaac comp. panels, 1401 -scene of great human drama, spiritual and human importance -Ghiberti won panel on second vote, not because of aesthetic -originally a tie between G & B, Brunelleschi did not win in second vote (despite looking better today, more bronze) -Brunelleschi has more depth to relief, more bronze created depth; better spacing, compositional layering -Brunelleschi becomes great architect after roaming -both used French Gothic quatrefoil frames, depict moment of angel’s halting action of Isaac sacrificing son -Brunelleschi’s panel shows sturdy, vigorous interpretation, emotional agitation; demonstrates Brunelleschi’s ability to carefully observe and represent faithful elements of narrative -Ghiberti emphasized grace and smoothness; recalls classical statuary; Gothic pose with outthrust hip, shows contemplation -Ghiberti revealed appreciated for nude male form, interest in muscular system and skeletal structure -Ghiberti cast his panel in only 2 pieces (reduced amount of bronze needed; Brunelleschi’s was several pieces

View of Cathedral (Deuomo) & Brunellschi, Dome complex, 1420-1436 -freestanding dome, egg crushing story -elliptical dome can free stand, with double casing; beams with clamps between internal and external domes

-Florentine artists were problem solvers; city was interested in innovation, allowed new ideas -originality of concept, coherence of form and function—complementary approaches -Brunellschi shows innovation, problem-solving as standard for what artists should do -Middle Ages: manuscript of illustration, to be exactly like predecessor, continuity -Renaissance begins to break the mold in the West; idea of competition and innovation

8/27/12 -modeling: light-dark relationships help define forms; contrast -plastic/plasticity: shape-ability or malleability of something -chiaroscuro: clear versus shadow; different from modeling; merging of light and shadow

Brunelleschi, Church of San Lorenzo (interior view & plan), 1421- -―revelation‖ in architecture; show difference between Middle Ages traditional and new Renaissance ideals -gothic cathedrals (Middle Ages) stained glass windows, tall, dark, mystical -Christian spirituality and dominance of church in Middle Ages -humanism vying with spiritual tradition in Renaissance; Classical notion, revival in interest -columns, arches in Classical style -consecutive series of columns, side chapels with separate alters (for individuals, patrons, family visits) -perfect prototype church (same basic formula, repeated) meant emphasis of new direction in religiosity in architecture -geometric proportioned interior, modular, carefully repeated rectangles and squares; mathematical orderliness -entablature: upper area above columns (rounded windows, repeated patterns) -no stained glass, open windows, pure geometric circle (unlike oddly-shaped gothic windows) -sense of harmony, universality, higher order not measurable with eye (but you can still tell it’s symmetrical) -peaceful relationships with white, pure light, lucid, enlightening religiosity, intellectual and emotive response -microcosm of God’s perfection; reflects God’s order as described in bible—and still relatable -understand universals through particulars; man’s perception is more important than ethereal

-Brunelleschi’s great at codifying system of linear perspective derived from skill as architect; disappointed after loss of commission of Florence baptistery doors, continued to sculpt -had broad knowledge of Roman construction principles, analytical and inventive mind -space of 140 ft span, too wide from traditional wood centering, also had to deal with buttressed walls -Brunelleschi and Ghiberti joint commission, later given to just Brunelleschi -discarded traditional building methods, invented machinery for job; preferred hemispheric shape of Roman domes, but raised center of dome and designed ogival (pointed arch) section—more stable with of outward thrust around dome base -thin double shell, skeleton of 24 ribs, 8 visible on exterior, heavy lantern anchored structure -used Gothic building principles, doesn’t express Renaissance architecture style

Medici Family -successful merchant bankers; new role after Black Death: other merchants on decline, Medici family invested -double bookkeeping with different tabs of input/output -typical Renaissance patron at highest level; free economic investment capital, helped design -Brunelleschi and Medici family in good relations

Donatello, St. George, 1410-1415 (Orsanmichele) -Donatello in Rome during childhood while Brunelleschi in prime; D still developing style, art -apprenticeship: how to do drawings, models, given test at guild—problem to be worked out by apprentice -―master‖ at threshold of training and worthy of independent work, ability to be hired for work St. George (marble) -Donatello’s father had to sign for work, father also a master -work created in Florence at beginning of his career as designer -St. G important in religious life; Roman centurion (soldier) who converted to Christianity, faith tested by Constantine -many people converted to Christianity because of church militant (St. G), spreads faith through possibly false story -Pope John 23rd wants list of Saints and stories, St. George story on defeating monster for recruiting followers -portrayed standing with proud, heroic body stance; readiness to confront spiritual enemies (dragon as sin, St. G as good) -opening in hand and clip for sword to be placed, clips for helmet (like advertisement for armorer’s guild) -outside public chapel in Florence; patron of statue armorer’s guild (St. G wearing armor with shield) -tilted chin, readiness with shield; new values system: models of ideals, human psychology in sculpture -notion that people can rise to their highest potential

Donatello, David-bronze, 1440-1460 -original David commissioned by Medici family -more feminine, youthful and adolescent qualities -props in image; great literary and religious figure; saves country from being taken over by Philistines (hero) -needs different medium (polished bronze in this David statue); polished bronze reflects light, marble absorbs light -bronze important: water freezes in cracks of stone statues, expands, breaks statue -relaxed contrapposto and sensuous beauty of nude Greek gods; revival of statuary style for Medici patron -use of perspectival system in relief sculpture, revival of classical principles and values in arts -revival of freestanding nude statute; Donatello first Renaissance sculptor to portray male nude figure -David is symbol of independent Florence republic; youtuhful biblical slayr of Gloaith, ideal choice for subject of residence for Medici family (most powerful family in Rome); Medici family identified themselves with Florence -saw selves as responsible for Florence’s freedom and prosperity

8/29/12 Giorgio Vasari (1511 - c.1575) -moves to Florence as young man, writer, wrote The Lives of the Artists -book, vitae, first group biography done by insider -wrote second book, Lives with more correct information (1550)

-artists hit prime in teens, sometimes, emotional peak and maturation; sense of reverie

Donatello, Feast of Herod (bronze relief) – for baptistry front, c. 1425 -unrest in Herod’s empire; grant any wish to daughter, daughter does dance to 7 veils -daughter asks for head of -middle ground is musicians, background is executioners with John’s head; foreground is Herod recoiling after execution -normally main action is front and center; center of bronze is empty—increases tension -state of rough edges, rough movement; makes a point about perspective, inward, pulling apart -perspective: appearance of 3 dimensional scene in 2 dimensional scene (device) -created by Renaissance artists for effect it creates -rationalized perspective space, action and distance, linear perspective used to depict 2 arched courtyards

Ghiberti, E. doors of Baptistry – scene of Jacob/Esau story, 1425- -Ghiberti 1st doors of Baptistry, worked nearly 25 years (because of other commissions); set of 10 frames -recommissioned for more doors (these), but doesn’t like mandatory rounded frame and reduces to 10 lbs bronze -changes frame to squares, decorative border and frame (guilded) -early books of bible, one in middle is from book of Isaac (Jacob and Esau) -Rebecca likes younger son, clothes him in fur to trick Isaac into giving younger son birth rights -use of perspective, house -50 years later, Michelangelo calls them ―gates of paradise‖ out of admiration

8/31/12 On ―Vasari On Art‖ reading -Vasari builds up Michelangelo, encomium -on Donatello David: fountain, statues in back of house -descriptive account, indicative that Vasari saw work first-hand—Vasari had access to almost every major work -on Donatello bronze relief on baptistery front door -trope of ancient v. modern; ancient great, but peak in modern, growth -biographical, descriptive, critical, anecdote of reaction to work/reception (Vasari’s writing)

Self-Portraits of Ghiberti (E. doors) & Alberti (relief), c. 1435 -Ghiberti’s head and son’s head on baptistery doors; son helped with bronze reliefs -Latin inscription that says ―Lorenzo Ghiberti created this‖—took credit for doors, Latin is learned language -typical Renaissance man iconized in Leonardo Da Vinci -put self portrait on the door and also wrote that artists deserved to be famous for the work they were doing

Alberti’s treatise-summarizes what has been done so far and writes about things like perspective-originally written in Latin for scholars but then translated into Italian (meant to be a popular book) -he was your renaissance man artist/athlete/writer/law and doctoral degrees

-Alberti from respected, well off family in Florence; not part of Medici community or power circle -difficult once Medici family came to power -special because of degrees: medicine (Bologna), law (outside Venice), part of papal curiae (Rome), musician, athlete, writer (art, sculpture, architecture) -writes about civic duty, importance of family; intellectual, heroic, celebrity-figure -self-portrait profile relief on medallion with LBAP on side, initials and P for produced -thick neck, jutting chin, gazing with great determination, panther skin (known for Hercules), strength, heroic -―On Painting‖—Alberti dedicated book to Medici family; great book because it used popular language, easily read, succinct, clear, style

Masaccio, Trinity, 1425-28 (fresco) -Masaccio is artistic descendant of Giotto; also studied works of Ghiberti, Brunelleschi and Donatello (form and content) -simple space, logical, not fully perspective space -fresco: painting on a wall; Florence wall paintings, wet plaster base on wall, pigment in lime-water base -plaster has lime in it, absorbed into damp plaster, dries, stop painting; paint absorbed about 2 inches into wall -Mary on left, young Saint John on right; dignified, present Trinity with Christ in foreground -doters (Lenci, members of Medici circle), not holy, outside of arch space; perspective painting of chapel -doters worshipping, viewers invited to worship -clear image of life and death; death inevitable, what you are now I once was, what I am now you will be (we’re all going to die) -did progressive devotional work; showed architecture and perspective -progressive elements of composition, colors, light, perspective, architecture

Masaccio, Brancacci Ch. – “Tribute Money,” c. 1425 -Brancacci family and Medici connection -―Sistine chapel of the Renaissance‖; painting cycle and continuous narrative, famous and influential in period, -Subjective of chapel, life of (founder of papal throne, first of apostles to take on papal role) -only program in all of Florence to celebrate Peter; other programs celebrate other patron saints -―Tribute Money‖ most famous painting in chapel, upper right wall, figures of and Peter in 3-part narrative (Matthew 17:24-27) -left: Peter receiving coin from mouth of fish; right: Peter paying tax collector; center: talking to Jesus, direction -rarely depicted narrative from Gospel of Matthew; scholars suggest Brancacci is commenting on income tax that Florentine republic considering implementing at time; didn’t support -place in private family chapel meant limited public access; lacked general audience—ill suited for statement -secular and sacred show both be given legitimate claim on society; Roman trap, expecting Jesus to turn down tax -apostles form tight group around Jesus: acts as protectors; tax collector turned opposite way, hand outreached, back to viewer; tax collector wearing short tunic, everyone else wearing long robes -circular depth around Christ; spacious landscape and not confined space of earlier frescoes -atmosphere perspective, diminishing of light and blurring of outlines as distance increases -atmosphere perspective used in ancient times, abandoned in medieval times, revived by Masaccio in Renaissance -realist sensibility in actions, depictions of characters (hands, arm gestures, removal of tunic) -introduction of building to add perspective, moving upward along ground; atmospheric perspective with mountains -shadows show chaos; shadows from right to left; to right of painting with window, only source of light -Masaccio painted shadow in knowing light angle from window (site specific) -figures wearing outfits of past -Masaccio’s figures recall Giotto’s simple grandeur, convey greater psychological and physical credibility than Giotto’s -created bulk of figures by modeling from specific light source, specific angle—not flat, neutral light -produces illusion of deep sculptural relief; extremes of light and dark, active but fluctuating force highlight scene -figures are solemn and weighty but move freely and reveal body structure (like Donatello’s statues) -adept suggestion of bones, muscles, pressures and tension of joints; each figure has contained energy -Vasari said works made before Masaccio are painted, Masaccio’s are real, living natural -Deep drapery, grouped together, gestures, linear perspective that bring elements back to the center where Christ is standing, bringing in the setting of the chapel (the window casts shadows in the painting)

-catasto tax: real property tax (house, furniture, jewelry); early form of progressive tax based on ownership -Florentines unhappy with tax, put into place by merchant leaders, who are in power

Anonymous, Engraving – “Mercury presiding over Florentine Crafts,” c. 1465 -Florence now firmly under Medici influence; encourage arts -Lorenzo Medici, 3rd generation integrates, master of societal expectations -Mercury skillful, made products of value, made things for gods’ pleasure; clever, artificer; technical virtuosity and beautiful design -clock-making, sculpting, playing organ, globe; see Brunelleschi globe in background; shows mult-talented city, arts

Michelozzo (*Brunelleschi asst.), Medici Palace – Florence, 1445-59 -Medici never wanted to show off superior status; Brunelleschi’s recommendations of columns to look Roman, powerful -better not to water the plants of envy; don’t show off -Michelozzo pupil of Brunelleschi, shows something simple, Medici rise to power -functions inside; courtyard to greet people, the David supposed to be in middle, Apollo statue -distinctively Italian, congenial and elegant look of architecture on inside -rough (bottom), shambled (middle), smooth (top) stone -no ―fancy‖ classical details, but rather rudimentary rough to smooth, symbolism, didn’t need extensive, showy -courtyard has large pots with lemon and orange trees; strong scent; beautiful; privileged space, sensory experience

9/5/12 Diagram of Renaissance one-point perspective (geometric grid)

Uccello, Battle of San Romano (N. da Tolentino attacking), c. 1455 -Uccello Florentine painter taught in international style -wanted set of 3 panels showing great victory of Florentines (now separated, never seen together); for Medici bedchamber -controversy about date of painting -―mela medicia‖ were globes/gruit, symbol of Medici family, suggests Medici commission -soldier for hire, mercenary army hired by other city-states whenever needed; most republics (Florence, Venice) didn’t have standing army—used famous general when needed force (―conductors of war‖) -general began to lose his sight -battle between Florentine and Sienese forces in 1432; secular subject matter -Uccello brought daughter in to help him with painting, unusual, not official within guild—but allowed to help family -significant development in linear perspective in Italian Renaissance paintings; unusual major secular commission -egg tempera on wooden panels, over 3 meters long a piece -commissioned by member of Bartolini Salimbeni family in Florence between 1435-1460; coveted by Lorenzo Medici— purchased one, had remaining 2 forcibly removed by Palazzo Medici -grid system helps pyramid view of piece -converging orthogonals and perspectival systm creates base plane like checkerboard; spacing helps create receding landscape between Florence and Lucca -fruit trees in back (Medici symbol, round forms part of coat of arms)—polysymbolism with circular objects symbolic -broken spears, horses reared; not natural, more about drama and idea; decorative

Antonio Pollaiuolo, Battle of the 10 Nudes (engraving), c. 1465 -flourishing in 1440s-60s; Pollaiuolo is Florentine goldsmith and sculptor -engraving: basically etch/carve, then put ink over engravings, wipe off, press onto damp paper which kisses carving -pictorial illustration in anatomical study; intensity of movement, expression; strain -effective and largely original return-stroke engraving technique employed to model bodies, with delicate & subtle effect. -reveals artist’s interest in realistic presentation of human figures in action -Pollaiuolo took delight in violent action, wide range of motion—unlike works with previous restrained motion -conceived body as powerful machine, displaying mechanisms, knotted muscles, taut sinews; lean figures

A. Pollaiuolo, Hercules and Antaeus (bronze statuette), 1470-5 -hercules supposed to tame antaeus; every time Hercules through Antaeus to grown, earth mother gave him power -hercules finally learns; squeezes him with bear hug, kills him; prevents renewal of mother earth -portrayed in bronze, has glistening effect; small statuette, showed descriptive elements of anatomy, bulging muscles -difficult in small scale; shows skill of artist; arms flailing—most Renaissance art shows restricted movement -demonstrates Pollaiuolo's knowledge of anatomy (from dissecting corpses) and ability to represent phys, emo violence. -famous in the artist's own lifetime: Leonardo studied, Michelangelo included a sketch -emphasis on human anatomy to reflect Medici preference for humanist imagery

Piero della Francesca, Flagellation of Christ, 1455-65 -didn’t have big following until later 20th century -figures controlled -stumped art historians, focus of composition not on Christ but group of 3 large figures in foreground, identity debatable -meticulous floor pattern, reconstructed perfectly as central porphyry (purple marble) circle with surrounding squares -: study of image, icon, how it was designed, explains subject; identification, description, interpretation -Christ not really guilty of act against Romans, trying to force confession, meant to indicate about larger iconography and someone unjustly punished -Duke of Urbino older brother mean, negative, hereditary ruler, tyrant; assassinated, brother great ruler, lamented loss -asked Francesca to paint see of ill advised older brother, like Jesus -foreground right, contemporary world with Duke older brother; left is of Roman times with Jesus -Federico Duke, older brother Od Antonio -art that reinforced his family’s privilege, position of leadership

Piero, Portraits of Duke & Duchess of Urbino, c. 1475 -Duke Federico became ruler, but originally trained to be military ruler; only 1 never lost a battle (Federico) -military leader for 20 years, older brother Od Antonio assassinated -fair man, respected, princely virtues, caring for others; other Dukes in regions would send children to court of Urbino to learn to model self after Federico (in action, life, virtue) -her outline static, decorative elements; patterned sleeve (women changed sleeves in that time, like men’s ties today) -notch at top of Duke’s nose, everything else is secure, smooth outlines; supposedly lost flesh in nose from battle -myth, so that he could look to right with left eye

9/7/12 -religious statue v. pop culture state; concept of notoriety -Lorenzo de’Medici (il Magnifico), 1449-1492 -not magnificent in dress, unassuming rather;

Boticelli, Young Man with a Medal (Cosimo de’Medici), 1475 -Boticelli is favorite artist of L. Medici; Boticelli from ―boticello‖ meaning barrel-chested -recognized as master of line; firm, pure outlines with light shading within contours; brilliant colorist -slightly diagonal view on face; not silhouette; better character, naturalism -Cosimo made arts important to family; had Medici palazzo -medal over heart, deep personal value, honor of Medici family -sign of aesthetic connoisseurship -Medici is power center, honoring family, Medici adherent, showing support

Botticelli, Birth of Venus, 1484 -correspondence suggests Botticelli is Lorenzo’s artist in residence -Venus born from sea foam, offspring of Jupiter -coming together of four elements (water, earth, air, fire—hair is flamelike); passion, life infusion -joint role of science (elements) and art (beauty) -modest Venus known as Medici Venus -curvature of lines; equilibrium (cool and warm tonality with drapery in blue and red); balance -naturalism, curvilinear flow of composition -Zephyrus carrying Chloris, blows Venus, born of sea form and carried on a cockle shell to Cyprus, her sacred island -nude paintings rare in Middle Ages, artist’s use could have drawn charge of paganism; protection of Medicis -ability to comprehend humanity, natural world through rational, empirical order; ignored scientific knowledge -beautiful and elegant, but ignores perspective and anatomy

Botticelli, Primavera (Realm of Venus), 1482 -Lorenzo had Botticelli send to cousin, about 16 years at time; in villa outside Florence -reach about role of Venus and arts -indend to commemorate May 1482 wedding of Lorenzo Medici -celebrates love in spring (with Venus and Cupid at center of composition) -Botticelli draws attention to Venus by opening landscape behind her to reveal portion of sky that forms halo around her head -Venus humanitas; higher love of things aesthetically sophisticated -Mercury pushes limbs back; circles/spheres in painting (Medici coat of arms) -looking upwards, getting divine inspiration -spring, fertility, growth on earth; cupid firing erotic arrows -higher civilization and culture -3 girls on left, veil drapery, very well known, Graces -blue ice cold Zephyrus, west wind, about to carry off and marry nymph Chloris, whom he transforms into Flore, goddess of spring, wearing rich floral gown -Mercury turns away, reaches with his caducea, staph, to dispel storm clouds -sensual representation of Venus in spring, abduction and marriage of Chloris suggest commission for Lorenzo’s wedding -charming work; poetic beauty

Verrocchio, Lorenzo de’Medici, 1480-85 -Lorenzo statute in stucco-terra cotta (low-key, cheap material) with simple paint glaze; not colorful or polished -thoughtful facial expression, brow knit, broken nose; not glamorous, not princely—really a rendition of appearance -introversion of character; not handsome figure, charismatic, but very intelligent, talented in finding artists and humanists -tight lips, man of restraint and great decorum; promoted values through his selected artists (Botticelli) -small, bust length portrait—not monumental

-Guilds beginning to fade away by the end of the Renaissance; Guilds set standards on prices in middle ages

Verrocchio, Colleoni Monument, 1481 -Colleoni is field general of mercenary armies; funds his own statue in will -Brought in from outside to design monument -sitting on great war horse; meant to be heroic; power and size of horse to show power and energy of Colleoni -control of strong animal with hands on bridle -legs of horse in movement, shows animation; Colleoni turning, looking for enemy afar; carrying baton (symbol of leader) -charismatic, powerful; not in Florence but in Venice; statue in public space -Florence didn’t like images of great military leaders; didn’t want to show pro-military images, portraits -money provided by Colleoni, wanted statue of himself on horseback (like ancient emperors); wanted in St. Mark’s square -Venecians said no to church St. Mark’s, but placed in St. Mark’s square near St. M hospital—not Colleoni’s wish -vita active: act of life, make mark on life and society -vita contemplatae: contemplative life, focus on humanistic, academic

Verrocchio, Doubting of Thomas (Orsanmichele), completed 1483 -Thomas needed proof of divine spirit, legitimacy; scene is Thomas meeting Jesus, questioning legitimacy -Christ lifting right arm, Thomas feeling inigmata on side; proof -Guild of Lawyers wanted as symbol as power of guild -bronze -Thomas is on edge of stonework, not covered completely; Jesus completely covered in niche, bronze platform for Jesus—privilege, honorific position -face of Thomas claimed to be face of young Leonardo Da Vinci -Niche is for important figures and Thomas is slightly coming out of the space

Perugino, Giving of the Keys to St. Peter (Sistine Ch.), 1481-83 -Perugino is teacher of Rafael -located in Sistine Chapel (related to Michelangelo) -Christ giving keys to St. Peter; symbolic of establishing papal consistory chapel (elect popes), dogmatic presentations, blessing of new cardinals; most sacred space on side (not inside); most powerful symbolism of blessing Catholic church -keys to kingdom of heaven -building in background identified as symbol of church, new empire, Christian kingdom on earth; Roman triumphal arches on left and right (first great imperial concept of ancient roman pagan empire)—being replaced -perspective, people moving and going across in middle ground; scene of confusion -church as concept and institution; people either sinners or saints, find peace with church -foreground shows symmetry, peacefulness, order; contrast to sinners in middle ground -implied free will; logical program with perspective and order; there is a clear path in church -Linear perspective -Transition to rome as great art center -Keys to kingdom of heaven – peter represents continuation of apostolic mission when Christ is gone -One of first examples of Christian temple age in the center with symbolic following of the first pope with the roman triumphal arches on the sides as symbolism away from ancient paganism to Christianity

High Renaissance, c. 1500-1520 -Pope Julius II (1503-1513) -Pope Leo X (Medici) (1513-1521)

High Renaissance (Italy) Leonardo da Vinci -born near Florence, trained in studio of del Verrocchio, prodigious talent, imagination, many, many interests; inventive -scientific investigations made him better painter, study of anatomy, optics, mathematics, nature -worked for Ludovico Sforza in Milan for almost 20 years

Leonardo da Vinci, Vitruvian Man, 1480-5 -da Vinci had varied interests; didn’t dedicate self to art; wasn’t overly prolific painter, too busy perfecting -young work of Da Vinci -Lorenzo de Medici believed in platonic ideals, purity essences; da Vinci interested in scientific, perfection -perfection of man, body; circumscribe man within circle and square -compromise; circle is bigger than square; wrote his notes backwards from right-to-left—but not hiding anything -Man inscribed in a square and circle; Beautiful drawings with chalk and ink

Leonardo da Vinci, Self-Portrait, 1505-10 -late self-portrait, but exaggerated age—not really as old as depicted here -special intellectual access, deeper comprehension

9/12/11 -Leonard illegitimate, meaning he wouldn’t get his father’s estate -attended grammar school, unlike most other artists of time; learned Latin, used mathematics, geometry, rhetoric, logic

Leonardo, Madonna of the Rocks, 1483 -one of few finished works (rarely finished); quite a few projects with engineering, hydraulics, flight, mathematics -less than a dozen authentic works -John the Baptist introduced to Jesus as children; John as herald to coming of Christ -mystery of roles of infants -location, cavern-like space; shadowy, flowers and rock formations -Leonard knew nature well; identifiable parts of nature -Madonna looks accepting, as if she has foreknowledge; divine blessing as Virgin Mary, immaculate important point -immaculate conception refers to Mary, not Jesus; Jesus is virgin birth -Mary is born immaculate; most be pure vessel to give birth to Jesus -Mary assumed into heaven, Jesus ascended into heaven; angels lifted her to heaven, she becomes Queen of heaven -female principle, spiritual power coming into world, theological/idealistic role -She has ability to foresee-purity of thought and spirit -In cavernous world-created out of imagination -sfumato: modeling, shadow and light change perceptively -altarpiece for Confraternity of the Immaculate Conception in San Franceso Grande -pyramidal grouping, share same environment; unified representation of objects in atmospheric setting groundbreaking

Leonardo, Last Supper, 1495-98 -common interest group; cult of mary -final days of Jesus as told in Gospel of John 13:21; Jesus announces one of Twelve Disciples would betray him -end wall of dining hall (refectory) at monastery of Santa Maria delle Grazie in Milan, Italy -traditional theme for refectory, though room was no traditional -The Last Supper portrays reactions each apostle when Jesus said one would betray him (human interest narrative) -12 apostles have different reactions to news, various degrees of anger, shock; apostles identified by manuscript -Judas grasping bag of silver coins; clearly selfishly not paying attention -St. Peter lunging forward as if to protect; John the Evangelist unable to fathom act of betrayal—leaning away -John the Evangelist androgynous, people speculate Mary Magdalene -during WWII, refectory hit and destroyed during war; all walls of but this one wall; only paint loss—restored -Leonardo says work is ―muddle of blots‖—as good fresco does; Leonardo using experimental method, trying to mix oil and fresco (water-based) -difficultly with face of Jesus, trying to capture face of divine and human -all about action-reaction, Jesus’s hands refer to prediction, acceptance -bread and wine on table—Eucharist (symbols of flesh and blood) -three windows, symbolizing trinity; pyramidal composition; lateral composition has wave-like motion with reaction

Leonardo, Mona Lisa, 1503-05 (together with “Head of Christ”?) -is sketch of head of Christ real? -most scholars believe it’s a copy, more emphasis on edges; modeling not as soft, crude -strokes of paint not smoothed as Leonardo would have used; but still, not 100% certain -Mona Lisa Giaconda is generic ideal of female type, nothing special, not important person -prototypical, archetypal woman; Leonardo’s sexual orientation questionable, possibly bisexual -female young and mature, defined and generic details, universalized, not traditional portrait -head of Jesus from last supper in Milan (not hotbed of artistic culture) -caressing light, shadow, natural sitting -Mona Lisa not Florentine backdrop, but one of his own imagination -look straight at ML, but then drop off to 45 degree angle in landscape—distant, set-back view -cooler, grey-blue backdrop -early accounts of ML described her as roseate glow, flesh tones were rosy and warmer -modern day, very pale (not same as Duchess of Urbino, however), not meant to be pale white -fugitive colors, experimenting with pigment -very small work, tiny -satisfied look, music was playing in background while portrait being painted -ovoid face, arms crossed, body language gives face rounded shape, natural position with arms -color of garment earth toned, prevents her from being fashionable clothed -ML with Da Vinci at his time of death—never delivered to family -Strange mountain river landscape behind her- earth keeps changing but woman is center of nature-mystical and poetic -Speculation to restore her back to original—too dangerous to maybe do harm to something so iconic -Lisa Gerardini-know how she was? As person but nothing about her; She has famous Giocanda smile -Marriage portrait? No, more about timeless feminine beauty – hard to place her age

9/14/12

Raphael, the changing Image reading

Bramante, St. Peter’s (Rome) view/medal, 1506-14 (Mich., 1546-64) -Bramante came from Urbino; helped Rafael when he moved to Rome, supported him against Michelangelo -dome once flatter, able to make it rise higher than Brunelleschi’s dome -St. Peter’s supposed to show new Christianity, not old paganism; metaphor for church as institution -allegiance to ideal of Christian imperium, not Roman imperial power -Julius II; Dome based on Brunelleschi’s in Florence -Structure marks grandeur of church; But 17th C decorations

Raphael, Stanza d. Segnatura-Vatican, 1509-11 Disputa/School of Athens -beautiful breastfeeding mother, Madonna-like, wanted to paint her -actual young woman with infant on end of wine barrel, first rendering -Raphael dies at peak of artistic reputation; Younger than Leo and Michelangelo -Decorates papal apartments in vatican Greatest scope of the 3 Had to show humanistic aspects of Renaissance-the trinity the disputa and school of Athens-view of ancient world Represent theology and philosophy

-new doctrine -decorative floor pattern -jurisprudence, dualism in ideas, theology and school of Athens -world of inspiration (Parnassus) and world of law (Virtues) -Plato older figure (looks like Leonardo DV’s self portrait) -Michelangelo wearing smock and high leather boots for carving sculpture; places self in Sistine chapel -Raphael showing great respect for competitor -put Michelangelo in room with philosophers, not in Parnassus, world of inspiration -sacrament in middle, confusion and disagreements about changing of water to wine, Eucharist -john the Baptists on right, Mary on left of Jesus above sacrament; golden imperium, godhead surrounded by angels -complexity of catholic church put in one image, doctrine -suggests expansive cosmos, first stage of new building -philosophy is manmade construct

Raphael, Sistine Chapel tapestries -torn down by Leo X, catastrophic breaking of papal power to control Rome -10 year shelf life; final part of Sistine Chapel done later— (Michelangelo), returns 25 years later -alpha and omega symmetry; Michelangelo returning -old and new testament; aftermath of world in Last Judgment -captures whole judeo-christian scheme in one building, one large art piece

Raphael, Triumph of Galatea, 1513-15 -pagan quality, self indulgence, love and playfulness -nothing serious, spiritual -shows his capacity to fit assignment within context -movement, freedom, nude figures (through studying Michelangelo); kinetic dynamism -Figures represent group of cupids, Creating love fest at sea, Dancing dolphins Pagan type of imagery- show he could rival the great ancients

Raphael, Transfiguration, 1517-20 -last painting of Raphael, possibly completed by pupil Romano; working for multiple patrons at once -believed to express a connection between God and his people. -commissioned by Cardinal Giulio de Medici, made archbishop of Narbonne and became Pope Clement VII -composition divided in 2 distinct parts, relating to successive episodes of Gospel of Matthew -upper part of painting shows Transfiguration (on Mount Tabor, according to tradition), with transfigured Christ floating in front of softly illuminated clouds, between prophets Moses and Elijah -two figures kneeling on left are the martyrs Saint Felicissimus and Saint Agapitus -lower part, Raphael depicts Apostles attempting, unsuccessfully, to free possessed boy of demonic possession -unable to cure sick child until arrival of recently-transfigured Christ, who performs a miracle -Moses getting law -Christ gets sent on mission to be blessed by having divine experience where he dies for man and sin -below, disciples alone, have to heal, are in disorder without him-they have to take over when he leaves this earth

-balance on top, symmetry -Raphael likely viewed Transfiguration as his triumph -uses contrast of Jesus presiding over men to satiate his commissioners Roman Catholic Church -uses cave to symbolize Renaissance style, easily observed in extended index finger as ref. to Sistine Chapel -subtly incorporates landscape in background, but uses darker coloring to show his disdain for the style -focal point is Baroque styled child and his guarding father; -depicts dichotomy: redemptive power of Christ, symbolized by purity and symmetry of top half of the painting, contrasted with flaws of Man, symbolized by dark, chaotic scenes in bottom half of painting -Vasari wrote Raphael's "most beautiful and most divine" work -ready to step outside Renaissance ideals, more expansive, dramatic, different uses of light, motion, gesture, expression -very Baroque-like (except one century early)

-new papal power as patrons, buying and influencing art

Michelangelo, Pieta (Rome), 1498-1500 -Raphael sensitive to surroundings—more energetic, Michelangelo made changes for personal reasons -girdle holding shoulder, tunic, veil—small strip reads Michelangelo (only piece he ever signed) -Vasari says Michelangelo ashamed to sign it, never signed another piece again -in Rome, not Florence, in chapel of cardinal (commissioned by cardinal)—now in St. Peter’s Basilica -made for funeral monument of French cardinal Jean de billheres—now moved to current location in basilica -depicts body of Jesus on lap of Mary after crucifixion -unique, balances Renaissance ideals of classical beauty and naturalism -pyramidal structure, vertex coincides with Mary’s head; widens to drapery of Mary’s dress -figure out of proportion, difficulty to depict fully-grown man cradled in woman’s lap -Jesus’s face doesn’t reveal signs of The Passion; didn’t want statue to represent death but instead show ―religious vision of abandonment and serene face of the Son‖ -communion between man and God through sanctification of Christ

Michelangelo, David, 1501-04 -had established himself as a sculptor with regional reputation -returns to Florence -initial location changed, original 50 feet above ground—difficult to see -originally for roofline of Florence Cathedral -not within or around cathedral, but in civic center (city hall), there until 19th century until moved to academia museam to protect upper body -nose critiqued, out of proportion—Michelangelo pretended to carve, council reassessed and thought it was great, no change made -bow-like flection, twist to compensate; strong neck, tendon emphasis, turns to look for goliath -biblical hero David, favored subject in art of Florence; God has made him a vessel of his will, even though a young boy -foreknowledge that he will succeed; absolute trust -skin taught, Michelangelo sculptures have a sense of complete mastery, totality of body; anatomy and physiology -descriptive, functional -14 ft high, colossal, cut from huge marble rock carrara marble quarry -not a boy, naked, before the slaying of goliath-not after-anticipation -tactile 3 d elements with light and shadows contro posto: position of figure in painting or sculpture in which hips and legs are turned in a different direction from that of the shoulders and head

Michelangelo, Moses, 1515 -housed in church of San Peitro in Vincoli in Rome; commissioned by 1505 by Pope Julius II for his tomb -depicts Moses with horns on his head based on description in Vulgate, when he comes back from Sinai for second time after the 10 commandments were destroyed -not horns, but misreading of bible by Saint Jerome -supposed to be rays of light coming from his head after he had been with God; luminous vision -word in Latin mistranslated, Vulgate version read ―horns‖ -Old Testament characters have flaws; Moses angry that his people are breaking commandments, worshipping golden calf -all have flaws until coming of Jesus; -Moment of expectation and tension

Michelangelo, Sistine Chapel- ceiling ca. 1510 & Last Judgment ca. 1540 -way of fitting content to context -dispute of sacrament (disputa); moral theology and natural philosophy -world of inspiration (Parnassus) and world of law (Virtues) -typology of Old Testament is what profits did, New Testament is what Jesus did -out of sync in Last Judgment -quality of God as divine figure, giving man new role -temptation of Adam and , to expulsion from garden -had to draw diagram of ceiling, compartmentalize -relation between God and humanity -because of windows, great luminosity -not compartmentalizes; more appropriate for what world is like at time of Last Judgment -complete, sweeping turbulent scene, tempest -people judged to be good in heaven, stay on clouds; those who don’t past judgment, descend to hell -virtue should triumph over sin -figure of St. Andrew actually face of Michelangelo -considered propaganda work during time of Protestant Reformation -want people to remember that popes and catholic church decide your fate—not your own good deeds -symbols of life and death

-distinguishing characteristic of high from low renaissance: more monumental vision of divine plan, greater synthesis -Perugino wall paintings; Fictive architectural paintings; Scope of all of Christian doctrines -Creation of adam, temptation and expulsion (now suffering enters the world-motif of god’s finally bringing back chance for salvation); Figures look like sculptures -book of revelations, apocalypse, final judgment -figures rise from tombs and force of their virtues will allow them to rise to heaven or fall to hell -more chaotic than the scenes of genesis on the ceiling -st. Bartholomew holding flayed skin that is the self portrait of Michelangelo- no longer this ideal figure of humans –focus on pure spirit within and not the outer physical being focus at time of judgment -instruments of passion at the top left and top right; uncontrolled space with hundreds of figures -everything surrounds Jesus as the center of moral authority

Venetian Art/Mannerism (Italy) Views of Florence and Venice (reflecting 16th c. urban typography) -art of Renaissance Florence (Central Italy) -Venice on Adriatic sea, facing Greek peninsula; far from central Italy -doge symbolic head of state; carries out special events, art patronage (but not same as Medici in Florence) -Venice in lagoon, well protected from invaders, never threated in way Florence was; founded at end of Roman Empire -Florence landlocked, commerce is transshipping down river; could trade along eastern shore line; easy to defend on water -Venice became huge city state; elite artistic interests in a wealthy patrician society -Venice richest city in world (at time), max population is 250,000 (because of capabilities); wealthy but constricted -yearning for natural environment; don’t have it; love outdoor life, escape to country villas -canal is nicest area; prestigious living area -Earliest women artists mostly because of family members in guilds like fathers -Now mostly 2:1 female to male artists- but still didn’t have the percentage of shows

Giorgione, Pastoral Symphony, 1508-10 -Giorgione 1477-1510 -Painters often painted for younger audience -muses, drew from water for inspiration -suggests that Arcadia is similar to garden of Eden; everything in abundance -included elements such as music, the pastoral idleness and simultaneous representation of the visible and invisible -soft ambient lighting, yellow; escapists, beauty, harmony, best of aesthetic appreciation of world -two young men don’t see muses; allegory to presence that inspires them -allegory of poetry and music: two women are imaginary apparition representing the ideal beauty, stemming from the two men's fantasy and inspiration -woman with glass vase would be muse of tragic poetry, while other one would be pastoral poetry -two playing men, one with lute represents exalted lyric poetry, other being an ordinary lyricist -another interpretation suggests evocation of four elements of natural world (water, fire, earth, air), harmonic relationship -Loved land and painted many pastoral subjects -Teacher of Titian- came from Veneto region- moved into countryside -Subjects: Muse of poetic inspiration, flute player, lute player, and painter, shepard in background -Great sense of atmosphere and landscape with clouds and details, soft lighting -lyrical quality of his art

Giorgione, Map of Veneto Region

Titian, Man w/Blue Sleeve, 1515 -Titian, 1488-1576 -lover of arts, gregarious; died of plague; becomes greater than Giorgione -older son became manager of his studio; daughter became social head of household -capital T and V carved in bottom of frame, on table -looks down with look of self confidence; blue satin sleeve (demonstrating success); pride -good businessman, shrewd—required people to pay ahead of time (unlike Michelangelo, always hunting down money) -first international superstar artist in Renaissance, unlike Michelangelo—only Rome and Florence -ran well organized artistic studio -Most likely Self portrait; Looking very elegant; Very good at using colors -Very professional artists who established himself with the wealthy venetians -adapts himself to every patron

Titian, Pesaro Madonna, 1519-26 -cloud of angels going through cloud of columns; plays with reality and imagination -color, atmosphere -devotional art (such as Masaccio’s trinity); have central subject in center, two saints on other side, patrons balanced -composition always frontal -Titian doesn’t follow ―old rules‖; turns image at 45 degree angle -Mary turned at almost right angle; she is looking down, Christ child is looking up -patron Pesaro in lower left corner, see his coat of arms and emblem of papal tiara -led Italian naval fleet supported by pope; fearful of incursion by Turks into Italian peninsula -feared Turkish influence on Italian culture -Pesaro took holy orders, became bishop; shaved middle head -St. Peter with book of those who get entered heaven; Pesaro enters presence of holy family, Turkish prisoner with turban -honor to have defended faith; Pesaro assured he is going to heaven -St. Francis, identified with children and family, talking to Jesus -Pesaro family in lower right corner; gets whole family into Heaven; ―Madonna of the House of Pesaro‖ ironically -two columns, Mary sometimes called as port way/gateway to heaven; columns suggest reaching to heavens -Mary will help people ascend to heaven, make you suitable -two cherubs hold cross on soft cloud bank; means this is the locale of the Christian faith -enhanced color in shadows; vivid and important choice of colors; more meaningful in Venice than other cities

Titian, Venus of Urbino -Diagonal axis -St. peter; Monk (St. Francis) on right- pointing at Pesaro family -Cloud with putti holding cross above-story of the confirmation of the faith -Illusory columns with the actually columns within the Frari -Madonna at angle

9/23/12 -believe in sketching as first step of artistic concept; in Venice, color, atmosphere and light most important components -descriptive anatomy, facial features in Central v. Venician Italian, major difference -major texture, color in Venetian school -Venice around watery lagoon, light affect remarkable, color reflect, shimmer, atmosphere makes big difference -Venetians know world is transient; know things will get destroyed, flow of visual experience

Palladio, Villa Rotunda, begun 1550 -villa meant to be for family; shaped around central rotunda, shallow dome -4 entrances, based on Roman house plan/façade entry; Palladio put together book showing dependence on classical style -changing times of day, every entrance has different light; take advantage of outside in any particular moment -city planning and construction constricted; like axial entry way of city house, formal, showy -not meant for social, large urban use; for family estate

Palladio, S. Giorgio Maggiore, begun 1566 -seems like formal Roman style, typical façade, columns, tablatures, first layer is vertical, second layer horizontal -flatter, tighter columns in horizontal, second layer is hidden by top layer

Tintoretto, Last Supper (detail of center) in S. Giorgio Maggiore, 1594 -said he would use the design of Michelangelo and color of Titian -completely different angle; Jesus in left background—not center (like Leonardo da Vinci’s) -telescopic perspective; shoots backward, tilted -Jesus turning and twisted; witnesses in foreground, members of working class (dancers, providers of food and wine) -in midst of Protestant Reformation, what Jesus did is meant to be message to all at any time -we must bear witness in our own time, place, to miracles that Jesus performed; included non-privileged -angles aren’t fully formed; wispy, airy figures, pale florescent light -angular, not relaxed positions; multiple sources of light—flickering perception

9/26/12 -manners: social construct, artifice; agreed practices; method of how, approach, technique, holds certain values -style: characteristics or representative mode, especially of artist or period -style can also refer to absolute quality of fashion -mannerism is characterized by style, cultured, elegant -mannerism emerged in 1520s in reaction to High Renaissance style; prime feature is artifice -Rennaissance strove for natural, mannerist wants contrived, ambiguity, departure from expected conventions -opposite of classical proportions (elongation), clarity in meaning (ambiguous), rational perspective (skewed)

Pontormo, Entombment, 1525-28 -oddly no landscape, crucifix, or cross—only a small cloud in corner -absence of landscape and natural luminosity makes work intriguing -composes serpentine movement, knotted; very close to edges of composition; almost claustrophobic -no pictorial space for viewer to enter in, in way of most High Renaissance works; very confrontational -bold color changes, icy cold blues (no cold to warm tonality); reddish shadows, playing with and exaggerating color -haunting expressions; not natural in gestures -characterized by early Mannerism -Pontormo exploited popularity of subject (Christ’s descent); omitted cross and Christ’s tomb; scholar still debate whether he meant to represent descent from the cross or entombment -action not present across perpendicular plane (like Raphael and Van Der Weyden), but used vertical axis -Virgin Mary falls back away from viewer, releases Jesus’ hand -unlike High Renaissance artists who concentrated main action and mass in center, Pontormo left a void---emptiness accentuates grouping of hands that fill the hole, call attention to symbolic loss and grief -ambiguity and tension increased with anxious glances that are in different directions -twisted figures, elastic elongation of limbs, heads small and oval -blues and pinks, adds to dynamism and complexity of work -departure from balanced, harmoniously structured compositions of high renaissance

Cellini, Saltcellar-Francis I, 1540-43 -all about extreme experiences, exciting -part enameled gold table sculpture; completed for Francis I of France from models prepared years earlier -depicts male figure representing sea and female figure representing earth; small vessel meant to hold salt next to male -Saliera only work of gold attributed to Cellini; ―Mona List of Sculpture‖ -bodies elongated; leaning back, aestheticized; elegant but not anatomical force and strength of Michelangelo’s high renaissance idea; classical of power and perfect design -created in style of late Renaissance, allegorically portrays Terre e Mare; allegory of Neptune, god of sea, and Ceres, goddess of earth; symbolizing unity in producing salt mined from earth -mixed allegory -salt cellar consists of ivory, gold, vitreous enamel; 26 cm tall, 33.5 cm wide -shifts in scale between larger figures and small details on bottom; mix of scale; great effect with mixed materials -Neptune (sea) and Tellus (land) recline atop ebony base decorated with relief figures of Dawn, Day, Twlight, Night and 4 winds -boat next to Neptune’s right leg contained salt, triumphal arch next to right leg of earth goddess contained pepper -elongated proportions of figures, slim, small-breasted Tellus (usually matronly) reveal Cellini’s Mannerist approach

Cellini, Perseus rescuing Andromeda (bronze relief), ca. 1545 -Andromeda threatened by dragon; family squeezed together on right; allegory of Fury (screaming, mouth open) -Andromeda open stance, window around her; twisted, extreme posture, hair flowing opposite direction of arm -Cellini showing off with contortion of body -Perseus above coming to rescue Andromeda

Bronzino, The Exposure of Luxury (Venus/Cupid/Folly/Time), 1546 -Bronzino contemporary with Cellini; pupil of Pontormo -cupid fondling his mother; Venus concerned cupid shooting random people with love arrows, she is trying to steal them -ambivalence, eroticism, obscure imagery of Mannerist period -warning against physical, material love in which only sexuality is important; think of consequences -father time is exposing, saying these actions will be revealed; Venus virtuous -folly screaming, deception is beautiful female face—holding lump of coal, her body is a snake -theatrical masks in corner -may have been commissioned by Cosimo de Medicine, presented as gift to Francis I of France -texture and wealth consistent w/ Bronzino’s aristocratic patronage -Venus likened to precious object, luxurious setting, desirable because of her unavailability -cold composition, constructed on counterpoint of opposing movements; crowded, claustrophic foreground -themes include lust, deceit, jealousy; grace in color, flesh tones like ivory—not natural; fine, subtle judgment -title elusive: either Exposure of Luxury or Venus, Cupid, Folly and Time -Venus holds golden apple she won in Judgment of Paris; cupid has characteristic wings and quiver -nudity illuminated in radiant white light; cupid fondles mother’s bare breast and kisses her lips -combined styles; not nature more perfect, but subjects seem unique personal aesthetic language, form, design -bearded bald figure in upper right scene believed to be Time, hourglass behind him; arm forceful -―time is fleeting, never know when it may all be over‖ -figure opposite Time, grasping at drapery, usually called Oblivion because of lack of substance to his form—eyeless sockets and mask-like head -mask-like face of figure echoed by image of two actual masks in the lower right-hand corner -identity of remaining figures more ambiguous; old woman rending her hair (see detail at right) has been called Jealousy—though some believe her to represent the ravaging effects of syphilis (result of unwise intercourse) -creature at right-hand side behind Folly, with a girl's face and grotesque body, extending a honeycomb with her left hand attached to her right arm, may represent Pleasure and Fraud -demonstrated Mannerist fondness of allegories with lascivious undertones; shift from simple and monumental statements and forms of high Renaissance -masks symbolize deceit -suggests that love, envy, inconstancy are foolish, lovers will discover folly in time -meaning ambitious (typical of Mannerists) -compositionally, figures around front plane, almost entirely block the space -strong and sculptural contours, surfaces of enamel smoothness -special interest on heads, hands, feed—Mannerists considered extremities carriers of grace (clever depiction, showed artist’s skill)

Northern Renaissance (Netherlands) -Netherlands is prosperous region; favored because of riches; most commercially advanced, prosperous European country -doesn’t have interest in Classical, architecture is more Medieval, small windows, asymmetrical, urban, scale off -Time of an art market already existed in the North around Belgium, moved to Amsterdam in 17th C. -Netherlands very powerful because of Navy. -How does Protestantism change art during this time period? -increasing number of Netherlandish citizens convert to Protestantism—affected arts and decrease in large-scale altarpieces, religious works -see into lives of various strata of society, nobility to peasantry—activities, environment, value

View of Bruges (anonymous print) -Around the same time as the happenings in Italy -But interests are different -Very focused on micro realism

Jan van Eyck, Man in Red Turban, 1433 -no effort for more perfect treatment of looks; realistic, long nose, puckered mouth, individual features, peculiarities -red turban only thing that shows his aesthetic consideration -So detailed almost like a photograph; More detailed than the Florentines; Believed in precision -Can see 5 o clock shadow -Light brings out the most important – all emphasis on face

Jan Van Eyck (with Hubert), , S. Bavo-Bruges, 1426-32 -couldn’t break away from devotional art; subject beautifully painted but still very conservative -closed view has Saint John (Baptist) and John (evangelist); Jesus and Virgin Mary; suggests something inside -opened panels has father, john the Baptist as intercessor, angels, Holy spirit represented by dove -reminder that Adam and eve fell from grace; here is the way to come back toward God and salvation -lamb of god on altar (Jesus); many people coming to see this -Eucharistic symbol; conservative theology -landscape is low hills, flat plains of Netherlands region; details of accessories -tryptic: meaning three part work; side panels on sides close like shutters -heavenly -lingering form of Medieval presentation of subject matter—comes from biblical tradition of showing complete scene -present to viewer graphic version of text, biblical narrative -holds strong in Northern Renaissance, not so much in Italy -Italy wanted to get away from this idea in Renaissance -Hubert started it (died), brother, Jan finished it -Donors on the outside, john the Baptist, scene of -Inside: Adam and eve, angels singing, musical angels, god enthroned, Mary, john Baptist, dove holy spirit, land is symbol sacrifice, baptismal font, -Highly highly detailed -An act of faith -Catholic altar piece -Had to be hidden at one point because it was so catholic, had to keep it safe from protestants

Van Eyck, Giovanni Arnolfini and his Bride (Arnolfini Wedding), 1434 -Arnolfini is Italian working for Medici family as representative in Netherlands region -falls in love, marries local woman; purpose of painting is to demonstrate in Florence that Arnolfini married in proper setting, documentation of his marriage -use of materials: Netherlands/North first to experiment with oil paint -Italy does frescos in plaster and water based paint -linseed oil and ground pigments; Netherlands is origin of oil paints -great for creating precise details; more pigment mixed in, richer and deeper colors -more pigment in water-based paint, doesn’t change that much, stays in middle color range -wanted legitimate marriage, sacramental marriage; join hands, say vows -use of symbols (more important in North than in Italy; important in medieval art) -dog: symbol of fidelity; lined up on same axis as their joined hands -shoes set in lower left corner; set apart; biblical allusion to Moses hearing God through burning bush, Moses took of shoes as a sign of respect—shows holy event, accentuation -single candle lit: symbol of God’s presence -mirror: see backs of couple, see witnesses (Van Eyck and assistant)—incredible detail, small -dignified signature of Van Eyck as witness and as artist of work, but signs ―was here‖ instead of ―created by‖ -formalized authorization of marriage -perspective: small room, Northern version of recession (but doesn’t go back to single point, as Italian artists did) -not geometrical, orderly system -more theoretical than empirical (like Italians) -is wife pregnant? Gown has long trailing train, she pulled it up—not pregnant, would not have been acceptable in this very holy, sacramental marriage -Other function than just portraits -Set inside a bedroom -Hand raised in prayerful acknowledgement

9/28/12 -touchstone is nature; observant, no compositional design framework (like Italy does) because they don’t have a classical style/foundation -northern tradition: known for unbelievable microscopic realism, focus on detail, grand complex also beautifully orchestrated

Rogier Van der Weyden, Descent from the Cross, ca. 1435 -1400-1464 -very different from Van Eyck -Jesus’ descent from the cross, shows highly emotional and taut version of grief, especially Mary Magdalene (far right), Vrigin Mary (swooning at foot of cross, in blue), John the Evangelist (in red; representing apostles), Mary’s attendant -violet for Magdalene -virgin Mary wearing blue, showing purity, increases intensity of emotion; bright, deep blue -not about artistic creativity, but about showing effectiveness and emotion of biblical narrative -Expressionistic scene with grief and pity -vivid primary colours, mostly reds, whites and blues -work was self-conscious attempt by van der Weyden to create masterpiece that would establish international repute -emotional impact of the weeping mourners grieving over Christ's body, and the subtle depiction of space -swoon of Virgin Mary, collapses—shape echoes that of her son

Van der Weyden, Last Judgment (Beaune Altarpiece), 1444-51 -hospital in Beaune (south of artist’s home); hospitals and other social, public centers have religious works -may be in pain, may be suffering, but ultimately if you are a good person you will be judged favorably -meant to be sign of hope of hospital patients -scale, shows dichotomy of heaven and hell, those heavy with sin sent to hell -oil on oak panel, some panels have been transferred to canvas; in the collection of the Musée de l'Hôtel-Dieu (France) -lyrical and aesthetic qualities focused in Italy; in North/Netherlands, focus is rich color and power of subject matter -Presence of divine mission by looking down your hospital bed -Gabriel weighing souls for heaven and hell- if you do the right thing, and final sacraments, you can look forward to heaven -Lots of bright colors, glazed colors -Archangel , in center below Christ, weighs souls, shown through iconographic elements -At Michael's feet dead rise from graves; Some enter Paradise; others, Hell -Paradise depicted as gate to cathedral illuminated with shining light -Hell depicted as place of fiery gloom into which damned tumble screaming and crying

Bosch, Garden of Earthly Delights (center-sinful world/wings-Eden/Hell), 1505 -late Renaissance, but still Renaissance because it is before Reformation -Bosch most famous Netherlandish painter at turn of 16th century -dualistic work: looks depraved, but only in order to show how we get through life and suffering for beauties of heaven -heaven on left, hell on far right; fantasy world -portrait of artist in hell; looks like bagpiper (symbol of lust; looks sexual, like genitals) -lust is his vice; freely admitting -belong to cult called pre-Adamites -believed that Adam had vision for how human spirit could escape from limits and controls of God’s covenant by eating fruit from tree of knowledge -thought they had a direct spiritual connection that didn’t have to go through institutions like church -met in cult-like, heretical community; Bosch was participant -before Luthern and Protestant Reformation, lots of cult movements, church ignored, thought a fad -strong shapes that suggest alchemy, things you can do with 4 elements; magical and mystical qualities -no clear understanding of whether work showing his beliefs or his view of others beliefs -no patron, no indication that work had specific purpose -had surrealism (in modern sense); some sort of realism; meant to disorient you -religious frustration; extremes -Is it meant to be moral allegory to warn us about cycle of life and how we go through innocence and earthly existence and then the end in hell -Imaginary idea of how we submit to vice so easily? -Self portrait-kind of hiding- acts as warning -Go through many worldly temptations -enigmatic, no universal interpretation -triptych -themes of marriage, sex, procreation, wedding (fruits and birds act as fertility symbols)

Bosch, Drawing of Bosch and Bruegel (mid-16th c. admirer), ca. 1560 -Bruegel knew Bosch well, Bosch both put into natural environment -Bosch has wild hair; suggestion that he has wild view of world -Admiration of Bosch -Culminates interest in detail additive of human and nature interests

MIDTERM -slide/piece recognition: artist, work title, date (ex: 15th c.); have understanding of sequence -when talking about works, balance information about style and content -2 comparisons of pieces; what changed, growth, progression, key characteristics -short essay: discuss major characteristics, values, themes, art patron relation, general contextual ideas of period

Donatello Feast of Herod and David -very interested in human forms, anatomy, but not interested in heroic figure (figure is very feminine)

Tribute Money -landscape, organized composition of main narrative; continuous narrative of Peter -experimentation of design

Trinity Fresco -classical arch, columns, shape, arches -―classical‖ refers to ancient Greece and Rome

Birth of Venus and (Other one?) -humanistic, didactic; flow and drapery of robes -style and content focus

Verrochio giving of keys to St. Peter and doubting Thomas -painting revealed idealization of peter’s role

Raphael on left in image

Michaelangleo sisten ceiling: tightly organized

Pieta marble statue and dvaid

Last judgement -manerist looking, swirling forms -mannerist quality of salt shaker and venus/cupid/folly painting venetiation art: titian: high renaissance values, but still individuality of composition -pallatio in church design, mannerist overlays; country villa w/ 4 directions northern renaissance -up to reformation