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    Italian & Northern Renaissance Pt. 2

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    1495-1520
    – Medici are expelled in 1494
    – da big 3: Leonardo Da Vinci, Raphael, Michelangelo
    – calmness, beauty, perfection, humanism, grandness, grace, elegance
    – Humanism
    HIGH ITALIAN RENAISSANCE
    – ALBRECHT DURER, German Renaissance man
    – Grunewald
    – Pieter Bruegel
    – detail, large landscapes
    NORTHERN RENAISSANCE 16th century
    – 1. Giorgione 2. Titian
    – oil paints
    VENETIAN RENAISSANCE
    – Parmagianiano, Pontormo, Bronzino
    – elongated figures, unbalanced, complicated
    – reaction against High Renaissance
    MANNERISM

    1623-1650

    Bernini
    – master at a very young age
    vs.
    Borromini

    – OVALS, convex/concave, majestic, overwhelming, shadows

    ITALIAN BAROQUE ARCHITECTURE/SCULPTURE
    “Tribute Money”
    Massacio
    c. 1425
    Brancacci Chapel, Florence
    fresco
    – 3 scenes in 1; tax collector demanding tax/Peter being told by Jesus to get fish (in center), Peter getting the money from fish’s mouth (left), Peter talking to tax collector (right)
    – orthogonals meet at Jesus’ head
    – the tax collector is dressed in different clothes
    “Annunciation”
    Fra Angelico
    1438-45
    San Marco Convent, Florence
    fresco
    – Dominican monastic cloister; simple painting, simple life
    – architecture of painting echos architecture of cloister
    – angel Gabriel’s wing actually gleam when caught by light
    divine beauty, neoplatonic ideas” alt=””Birth of Venus”
    Botticelli
    c. 1486
    Uffizi Gallery, Florence
    tempera on canvas
    – Venus emerged a fully grown goddess from a seashell from the ocean
    – nudity, sensuality
    – not super realistic, no shadows, idealized bodies, figures feel like their floating
    – commissioned by Medici family
    – Venus is the goddess of love
    – classical sculpture, contrapossto
    – physical beauty -> divine beauty, neoplatonic ideas”>
    “Birth of Venus”
    Botticelli
    c. 1486
    Uffizi Gallery, Florence
    tempera on canvas
    – Venus emerged a fully grown goddess from a seashell from the ocean
    – nudity, sensuality
    – not super realistic, no shadows, idealized bodies, figures feel like their floating
    – commissioned by Medici family
    – Venus is the goddess of love
    – classical sculpture, contrapossto
    – physical beauty -> divine beauty, neoplatonic ideas
    “Primavera”
    Botticelli
    1482
    Uffizi Gallery, Florence
    tempera on panel
    – Venus in the center, framed by the trees, looking at us
    – allegorical representation of the season of Spring; Mercury pushing away the clouds (winter)
    – over 100 different botanical species of flowers
    – from left; Mercury, the Three Graces, Venus, Flora, Chloris, Zephyrus
    – idealized figures, seem weightless
    “Duke and Duchess of Urbino”
    Piero della Francesca
    1465-72
    – Federico something, had battles scars on the right side of his face so had his left side painted
    “Camera degli Sposi”
    aka “Room of the Newlyweds”
    Andrea Mantegna
    1465-74
    – oculus PAINTED ceiling
    – example of how much Italians loved perspective
    “David”
    Michelangelo
    1501-04
    – High Italian Renaissance sculpture
    – originally placed outside the town hall, but later moved inside
    – heroism, confidence, élégance
    – artistic perfection
    – the moment right before victory ?
    “The Virgin on the Rocks”
    Leonardo da Vinci
    1491-1508
    National Gallery, London
    oil on wood
    – sfumato, softness
    – pyramidal composition, calmness, grace, elegance
    – holy characters painted on earth, “Madonna of Humility”
    – Baby John the Baptist is already praying towards Baby Jesus
    “Last Supper”
    Leonardo da Vinci
    1495-98
    Santa Maria delle Grazie, Milan
    fresco
    – “one of you will betray me”
    – orthogonals meet at Jesus’ head
    – 12 apostles divided into 4 groups of 3, 6 on each side of the table, perfectly balanced
    – Christ reaching to glass of wine and bread
    – each reacting towards what Jesus said differently, but Jesus is calm and solemn
    – windows in the back frame Jesus
    – Renaissance idea of creating something eternal and beautiful out of the chaos of humanity
    “Mona Lisa”
    Leonardo da Vinci
    1503-17
    Louvre Museum, Paris
    oil on wood
    – Leonardo’s favorite painting, always carried it with him; died in Paris, so it ended up in the Lourve
    – sfumato background
    – where the eyebrows at?
    – was stolen from the museum
    – one of the first Italian portraits not done from the side
    “Madonna of the Goldfinch”
    aka “Madonna del cardellino”
    Raphael
    1506
    Galleria degli Uffizi, Florence
    oil on wood
    – calm scene, pyramidal composition, balanced
    – Mary’s “throne” is a rock on the ground
    – Baby Jesus standing contrapossto
    – goldfinch is a symbol of the crucifixion b/c the red spot on it is said to come from a goldfinch that tried to take of a thorn off Jesus crown and a drop of blood landed on it
    “School of Athens”
    Raphael
    1509-11
    Stanza della Segnatura, Papal Palace, Vatican City
    fresco
    – Humanist dream team, all the great scientists, mathematicians, philosophers of Ancient Greece
    – but Roman architecture, oops
    – Plato on the left, pointing to heaven, spiritualism
    – Aristotle on the right, hand over ground, empirical thinking
    – Apollo on left, poetry; Athena on the right; war and wisdom
    – celebration of human achievement
    – big seating figure is Heraclitus, modeled after Michelangelo
    “Pieta”
    Michelangelo
    1498-1500
    Saint Peter’s Basilica, Rome
    marble
    – Mary is a giant
    – Renaissance calmness
    – intimate depiction
    – grief, but not overly dramatic
    Sistine Chapel ceiling Michelangelo 1508-12 Vatican City, Rome - old testament stories, from book of Genesis - Michelangelo-esque massiveness to figures, muscularity - awesome
    Sistine Chapel ceiling
    Michelangelo
    1508-12
    Vatican City, Rome
    – old testament stories, from book of Genesis
    – Michelangelo-esque massiveness to figures, muscularity
    – awesome
    “Last Judgment”
    Michelangelo
    1534-41
    Vatican City, Rome
    fresco
    – about 25 years after the ceiling
    – anger, fear, no longer High Renaissance optimism or gracefulness or calmness
    – Christ is about to SMITE the damned
    – St. Bartholomew, holding flayed skin (symbol of martyrdom), portrait of Michelangelo
    – all the figures are super-muscular, Michelangelo style
    “Tempietto”
    Donato Bramante
    c. 1502
    San Pietro in Montorio, Rome
    – epitome of Renaissance architecture, balance, rationality, HARMONY, perfect geometry
    – “little temple”
    – marks site of crucifixion of St. Peter, “martyria”
    – radial, circular, focus on center
    – throwback to Ancient architecture
    – Renaissance idea that man can create heavenly perfection on Earth, humanism
    “Assumption of the Virgin”
    Correggio
    1526-30- dizzying, so much movement
    “Tempest”
    Giorgione
    1506-1508
    Accademia, Venice
    – not a religious painting
    – kind of mysterious about meaning; allegory, adamn and eve?
    – storm is a’brewin, but the figures seem indifferent
    “Pesaro Madonna”
    Titian
    1519-26
    Santa Maria Gloriosa dei Frari, Venice
    oil on canvas
    – Mary and Jesus placed off-center
    – flag is the coat of arms of the Pesaro family, patrons of the painting, on the bottom right kneeling
    – triangle hierarchies
    “Pastoral Symphony”
    Titian
    1509
    oil on wood
    – naked, but they’re muses so it’s ok
    – big influence on Manet’s Luncheon on the Grass
    “Venus of Urbino”
    Titian
    1538
    Galleria degli Uffizi, Florence
    oil on canvas
    – NAKED, frontal, nudity was appropriate when disguised as something mythological/historical
    – looking at us, confidence, eroticism, alluring
    – sets the theme of the “reclining nude”
    “Entombment”
    Pontormo
    1525-28
    oil on panel
    – Mannerism, strangely shaped, over-the-top grief reaction, twisting bodies, elongated limbs, unnatural postures
    – right next to fresco of the Annunciation
    – entombment or deposition, stripped of symbolism
    – no earthly setting, unlike contemporaries
    “Madonna with the Long Neck”
    Parmigianino
    1530-33
    Galleria degli Uffizi, Florence
    – Mannerist, elongated body parts, tiny head, tiny toes, idealized
    – Mary’s body frames Baby Jesus body
    – Baby Jesus looks terminally ill
    – throwback to Michelangelo’s Pieta, posture of baby Jesus and dead Jesus
    “Allegory with Venus and Cupid”
    aka “Venus Cupid, Folly, and Time”
    Bronzino
    c. 1545
    National Gallery, London
    – uncomfortable to look at, disharmony, all over the place
    – Venus, holding a golden apple and Cupid’s arrow, doves at Cupid’s feet another symbol of Venus
    – Venus and Cupid kissing, erotic, incestousness
    – pale, whiteness
    – Cupid’s body “zig-zag”, really unnatural posture, uncomfortable to look at
    – masks = “deception”
    – little kid = “pleasure” “folly”
    – little girl with body of serpent, legs of a lion, tail of a scorpion, holding honeycomb = “temptation”, other hand is twisting back really unnaturally, holding scorpion stinger
    – Father Time, hourglass on his back, arm is bent really weird
    – weird figrure on the top left, mask, oblivion?
    – screaming figure = “syphillis”? the cost of pleasure?
    “Last Supper”
    Tintoretto
    1594
    oil on canvas
    – CHIAROSCURO, lots of shadows, contrasts
    – Jesus emanates light, apostles also emanate light but not as much as Christ
    – Mannerism b/c unbalanced, not frontal perspective, ASKEW, diagonal, busy scene
    – Judas on the other side of the left
    – wispy angel ghost things, translucent
    – other people in the bottom right help humanize this very serious moment
    “Self Portrait”
    Albrecht Dürer
    1500
    Alte Pinakothek, Munich
    – Jesus doppelgänger, frontal pose, passive expression, long hair
    – very serious portrait
    – inscription about how he’s only 28 when he painted this, kinda braggy
    “Four Horsemen of the Apocalypse”
    Albrecht Dürer
    1498
    woodcut
    – mass-produced
    – guy holding bow = Pestilence; guy holding sword = War; guy holding scales = Famine; 4th guy is Death
    “Adam & Eve”
    aka “The Fall of Man”
    Albrecht Dürer
    1504
    engraving
    – each animal is a symbol of a humor
    – elk = “melancholy”
    “Four Apostles”
    Albrecht Dürer
    1526
    Alte Pinakothek, Munich
    oil on wood
    – from left to right; John (open book), Peter (key), Mark (scroll), John (sword)
    – diptych
    – painted during Protestant Reformation and Dürer converted to Lutheranism; John, associated with Martin Luther, holding the bible; Peter, associated with the papacy, reading what John is pointing out
    – larger-than-life figures, very powerful
    – wasn’t commissioned, painted by Dürer for fun
    “Altarpiece of the Holy Blood”
    Tilman Riemenschneider
    1499-1505
    – Judas in the middle
    – brown, muted, wood, humble, earthly
    – disproportionate bodies, bobble-heads
    “Isenheim Altarpiece” (closed)
    Mattias Grunewald
    1510-1515
    – originally in St. Anthony’s hopsital, specialised in St. Anthony’s Fire
    – Jesus feet look putrid
    – diptych opens on Jesus legs, reference to amputation?
    “Isenheim Altarpiece” (opened)
    Mattias Grunewald
    1510-1515
    – roses, no thorns = “Virgin Mary”
    “Nymph of the Spring”
    Cranach the Elder
    c. 1537
    National Gallery of Art in Washington, DC
    – she naked; not a religious painting, maybe meant as a private painting for alluring purposes
    – Northern Renaissance painting of Italian Renaissance themes
    “Death and the Matron”
    Baldung Grien
    Offentliche Kunstsammlungen Basel
    c. 1500
    – student of Albrecht Durer
    – negative view of female seduction
    – look of pure disgust
    “Battles of Issus”
    Albrecht Altdorfer
    1529
    Alte Pinakothek, Munich
    oil on panel
    – a real battle that took place against the Ancient Greeks (Alexander the Great) and Persians (Darius III); Greece won, allowing them to expand their empire vastly
    -West vs. East, Europe vs. Asia, Christianity vs. Islam, Night vs. Dark, Moon vs. Sun
    – commissioned by the Duke of Bavaria, battling the Ottomans
    – “world landscape” (i.e. banks of the Nile river aka Egypt), as if to imply that the winner takes all
    – semi-bird’s eye view, very detailed, each soldier is individually painted
    Château of Chenonceau 1513-1521 River Cher, France -
    Château of Chenonceau
    1513-1521
    River Cher, France
    – “Walt Disney” castle
    – second most visited château in France after Versailles
    – was handled by women for most of history; Katherine Briçonnet, Diane de Poitiers, Catherine de’ Medici, Madame Louise Dupin
    – Catherine de’ Medici’s favorite hang out spot; super fancy parties, people dressed up as unicorns
    – hosted France’s first fireworks show
    – Italian Renaissance influence in orderliness and repetition
    “Burial of Count Orgaz”
    El Greco
    1586
    Santo Tomé, Toledo, Spain
    oil on canvas
    – Spanish Renaissance
    – Byzantine style influence
    – division between earthly (below) and heavenly (above) realm, supernatural space
    – figures in heavenly sphere are elongated and seem to be made out of ectoplasm or some unnatural material
    – legends says St. Stephen (left) and St. Augustine (right) descended from heaven to bury count Orgaz; grey wisp is his spirit being carried up to heaven
    – modern-time Spanish noblemen, based on real portraits
    “Garden of Earthly Delights”
    Hieronymus Bosch
    c. 1505-1515
    Museo del Prado, Madrid
    oil on oak
    – triptych
    – weird, imaginative, unusual, crazy
    – alchemy?
    – perverted, strawberries, “handstand sex”
    – ephemeral earthly delights
    – right panel is hell
    “St. Luke Drawing the Virgin”
    aka “St. Luke Painting the Madonna”
    Jan Gossaert (aka Grossart)
    c. 1515-25
    Kunsthistorisches Museum, Vienna
    – St. Luke’s eyes are half-closed, as if he is is being possessed by the angel
    – over the top style, ostentatious
    – baby Jesus got swole
    – N. Renaissance, very detailed, lots of fabric folds, linear perspective isn’t perfect
    – Moses grisaille, holding Ten Commandments tablet; division of painting into left and right, the heavenly and the earthly
    – Gossaert, self-portrait?
    “Hunters in the Snow”
    Pieter Bruegel the Elder
    1565
    Kunsthistorisches Museum in Vienna, Austria
    oil on wood
    – genre scene
    – hunters and dogs retuning empty-handed
    – Alps in background aren’t real
    – dead trees in foreground
    – peasants in background different winter activities
    – series of paintings showing different months of the year (December/January)
    “The Harvesters”
    Pieter Bruegel the Elder
    1565
    Metropolitan Museum of Art, New York City
    oil on wood
    – peasants eating/harvesting food
    – series of paintings showing different months of the year (August)
    – calm genre scene
    – Bruegel’s trademark deep foreground
    “French Ambassadors”
    Hans Holbein the Younger
    1533
    National Gallery, London
    oil on oak
    – Memento Mori skull, reminder of death, ANAMORPHOSIS, can be seen at an angle
    – they are in England, watching over King Henry the VIII, who is about to break away from the Roman Catholic church; lute has a snapped string, trouble in paradise, hymn book is opened to a hymn by Martin Luther (Reformation)
    – guy on the left is the commissioner, big guy, dressed very grandly, holding a dagger, represents active personality, inscribed with his age (29)
    – guy in the right is a bishop, dressed modestly, muted colors, elbow over a book, contemplative nature, age is 23
    – top shelf of objects represents celestial sphere
    – bottom shelf represents terrestrial sphere
    – incredibly realistic
    – contrast between earthly achievements and the “inevitability of death”
    – relation between the angle of the lute and the skull
    “David”
    Bernini
    1623
    Galleria Borghese, Rome
    marble
    – Baroque, not High Renaissance anymore
    – shows the moment before victory
    – throwback to ancient antiquity Hellenistic sculpture in that it interacts with it’s space around it; not meant to be viewed only from the front
    – unstable posture, not balanced; without any context it would appear as if he is about to fall over, implied sense of movement
    – aggressiveness, furrowed brow, turmoil, tension, twisting
    “St. Teresa of Avila in Ecstasy”
    Bernini
    1647-52
    Cornaro Chapel, Santa Maria della Vittoria, Rome
    – St. Theresa would have visions of an angel visiting her, angel penetrating St. with gold-tipped arrow
    – eroticism, “pure bliss”, facial expression looks like an orgasm; strong emotional reaction
    – lightness of sculpture, shapes marble to look and feel like floating clouds
    – natural light entering from above
    – brings the viewer into it by surrounding architecture; busts of patrons on the sides as if inside theater boxes
    “Baldachino”
    Bernini
    1623-34
    St. Peter’s Basilica, Vatican City
    bronze
    – commissioned by Pope Urban VII
    – rumored to mark the spot of St. Peters tomb
    – shapes bronze to look like fabric
    – trademark Bernini’s spiral movement
    – architecture + sculpture
    – very tall, 66 feet, grandness, overwhelming
    San Carlo alle Quattro Fontane Borromini 1646 Rome, Italy - commissioned by Pope Barberini - BAROQUE, oval fetish - natural light entering, adds to effect of weightlessness to the ceiling, also because it's white - it looks very complex but it's all rationally thought and planned
    San Carlo alle Quattro Fontane
    Borromini
    1646
    Rome, Italy
    – commissioned by Pope Barberini
    – BAROQUE, oval fetish
    – natural light entering, adds to effect of weightlessness to the ceiling, also because it’s white
    – it looks very complex but it’s all rationally thought and planned
    San Carlo alle Quattro Fontane Borromini 1646 Rome, Italy - commissioned by Pope Barberini - undulating façade, curves, waves - balance of convex and concave
    San Carlo alle Quattro Fontane
    Borromini
    1646
    Rome, Italy
    – commissioned by Pope Barberini
    – undulating façade, curves, waves
    – balance of convex and concave
    “Baptism of Christ”
    Piero della Francesca
    1448-50
    – Dove= holy spirit
    – Stillness of bodies
    – Christ is in the center of the picture, contrapposto
    – Verticals- trees& bodies
    sdfsdf

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    Italian & Northern Renaissance Pt. 2. (2017, Sep 05). Retrieved from https://artscolumbia.org/italian-northern-renaissance-pt-2-13863/

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