Chapter Thirteen: The High Renaissance and Mannerism in Italy Popes and Patronage Vatican as center of wealth, stability Pope Sixtus IV Pope Julius II Beginnings of High Renaissance (1503) “il papa terribile” Raphael, Michelangelo The de’ Medici Family The Visual Arts Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of the Rocks Orthogonals, chiaroscuro Notebooks Mathematics, natural world and humanity, love for beauty 1 13.3 Leonardo da Vinci, The Last Supper, 1495-1498, Refectory, Santa Maria delle Grazi, Milan, Italy 13.4A Leonardo da Vinci, Madonna of the Rocks, begun 1483. Musee du Louvre, Paris, France 13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France 2 The Visual Arts Raphael Sanzio (1483-1520) From Urbino to Perugia Apprentice to Perugino From Perugia to Florence (1505) Madonna of the Meadow (1508) Pyramidal configuration Rationally ordered Modeling of human forms Human quality of the divine figure 13.7 Raphael, Madonna of the Meadow, 1508, Kunsthistorisches Museum, Vienna, Austria The Visual Arts Raphael Sanzio (1483-1520) From Florence to Vatican (1508) School of Athens (1509-1511) Symbolic homage to philosophy Renaissance ideal Balance of philosophy and theology 3 13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy The Visual Arts Lorenzo de’ Medici Michelangelo Buonarroti (1476-1564) Pietá Michelangelo’s David Statement of idealized beauty Palazzo Vecchio: symbol of civic power 13.10 Michelangelo, David, 1501-1504, Accademia di Belle Arti, Florence, Italy 4 The Visual Arts Michelangelo Buonarroti (1475-1564) Tomb for Pope Julius II Moses (1513-1515) Divine fury, divine light Terribilità 13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy The Visual Arts Michelangelo Buonarroti (1475-1564) The Sistine Chapel “Michelangelo, Sculptor” Architectural and thematic motifs Interpretation Neo-Platonism Old Testament and pagan prophets Complex tree symbolism Human wisdom + God’s revelation 5 13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy The Visual Arts Michelangelo Buonarroti (1475-1564) Michelangelesque Masculine anatomy, musculature Physical bulk, linear grace, emotionality Creation of Adam (1508-1511) The Last Judgment (1534-1541) Medici Chapel Architectural and sculptural design Life, death, resurrection 13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy 6 13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy The Visual Arts Michelangelo Buonarroti (1475-1564) The New Saint Peter’s Donato Bramante (1444-1514) Tempietto Michelangelo as architect (1546) Bramante’s plan Ribbed, arched dome Drum to support dome The High Renaissance in Venice Andrea Palladio Classical Architecture of Greece reflected through Roman structures Four Books of Architecture (1570) Palazzo Chiericati Harmony and balance 7 The High Renaissance in Venice Painting Tradition of easel painting Use of oil paints Brilliance of color Subtlety of light Eye for close detail Love of landscape The High Renaissance in Venice Painting Titian (c. 1488-1576) Assumption of the Virgin (1516-1518) Venus of Urbino (1538) Tintoretto (1518-1594) “The drawing of Michelangelo and the color of Titian.” The Last Supper 13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy 8 Mannerism Characteristics of Mannerism Distortion and elongation Flattened, two-dimensional space Lack of a defined focal point Discordant pastel hues Jacopo Carucci da Pontormo (1494-1557) Deposition (c. 1528) Il Bronzino Venus, Cupid, Folly, and Time (The Exposure of Luxury) 13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England Mannerism Lavinia Fontana (1552-1614) Daughter of Bolognese painter Portrait painter (Rome, Bologna) Exaggerated angles, use of color Sofonisba Anguissola (1532?-1624) Renaissance and Baroque masters Pictorial representations Contrasts of dark and light 9 13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy 13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland Mannerism Giovanni da Bologna (1529-1608) Sculptor Abduction of the Sabine Women El Greco (1541-1614) Distortion of figures and ambiguous space The Burial of the Count of Orgaz 10 13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain Music in the Sixteenth Century Music at the Papal Court Sistine Choir and Julian Choir Male voices, a capella Josquin des Prez (c. 1450-1521) Sistine Choir, composer and director Motet for four voices Structure, balance, lyrical quality Music in the Sixteenth Century Music at the Papal Court Giovanni Pierluigi da Palestrina (1525-1594) Choirmaster of capella Guilia (Julian choir) 1571-1594 Vatican’s music director Conservative masses in response to Catholic reform movement 11 Music in the Sixteenth Century Venetian Music Adrian Willaert Andrea and Giovanni Gabrieli Church of St. Mark Split choirs Instrumental music in liturgy Intonazione, toccata Intellectual influence of Italian humanism Literature Leonardo da Vinci 13,000 pages of notes Michaelangelo Buonarroti Poetry Vittoria Colonna Baldassare Castiglione The Book of the Courtier Veronica Franco Benvenuto Cellini 13.28 Raphael, Baldassare Castiglione, 1514, Musee du Louvre, Paris, France 12 Chapter 13: Discussion Questions Compare the artistic developments that took place in Rome and those that took place in Venice. To what can we attribute the differences? Explain. To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and works. How did environmental factors and geography contribute to Venetian art during the Renaissance? Consider both visual and aural arts in your discussion. 13 .