Chapter 22 Beauty, Science, and Spirit In Italian Art

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Chapter 22Beauty, Science, and Spirit In Italian
Art

• The High Renaissance and Mannerism

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UPHEAVAL IN THE CHURCH

• Dissatisfaction with the leadership and policies
  of the Roman Catholic Church led to the
  Protestant Reformation. In response, the Catholic
  Church initiated the Counter-Reformation. A facet
  of the Counter-Reformation was the activity of
  the Society of Jesus, a religious order known as
  the Jesuits, which promoted education and
  missionary work. To deal with heretics, the
  Catholic Church also established a Church court
  called the Holy Office of the Inquisition. The
  Catholic Counter-Reformation exploited the use of
  art to promote and reinforce religious and
  ideological claims.

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Painters / Sculptors

• Leonardo DaVinci
• Michelangelo Buonarroti
• Raphael
• Giovanni Bellini
• Giorgione
• Titian

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Leonardo Da Vinci

• Synthesizing the temporal and spiritual worlds of
  the 15th Century
• Scientist and Artist
• True Renaissance Man
• Ideas and reality merge into a grand concept.

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Painting can give a more complete description of
nature- Leonardo Da Vinci
22-3 LEONARDO DA VINCI, Last Supper (top,
uncleaned bottom, cleaned), ca. 14951498.
Fresco (oil and tempera on plaster), 29' 10" x
13' 9". Refectory, Santa Maria delle Grazie,
Milan.
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21-39 ANDREA DEL CASTAGNO, Last Supper, the
Refectory, Monastery of Sant'Apollonia,
Florence, Italy, 1447. Fresco, approx. 15' x
32'.
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22-1 LEONARDO DA VINCI, Virgin of the Rocks, ca.
1485. Oil on wood (transferred to canvas),
approx. 6' 3" x 3' 7". Louvre, Paris.
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Andrea Mateggnas Madonna of the Victory
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Filippo Lippis Madonna and Child with angels
and Saints
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The Birth of Scientific Illustration In one of
Leonardo's notebooks containing his anatomical
studies is a drawing of an Embryo in the Womb. It
is an early example of scientific illustration.
Leonardo also worked as both architect and
sculptor.
22-5 LEONARDO DA VINCI, Embryo in the Womb, ca.
1510. Pen and ink on paper. Royal Library,
Windsor Castle.
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Michelangelo Buonarroti

• Master of the Male form
• Art Center shifts from Florence to Rome
• Medicis and Pope Julius II his Sugar Daddys

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Subduing a Giant The monumental nude statue of
David reveals Michelangelo's early fascination
with the male body. The detailed play of muscles
over the figure's torso and limbs serves to
enhance the mood and posture of tense expectation
as David watches for the approach of Goliath. The
pent-up energy of David's psychic and muscular
tension is contrasted with his apparently casual
pose. David is also represented as the defiant
hero of the Florentine republic.
22-9 MICHELANGELO BUONARROTI, David, 15011504.
Marble, 14' 3" high. Galleria dell'Accademia,
Florence.
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Verrochio
Donatello
Michelangelo
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So you think you can paint?
Ladies and Gentleman May I present the Sistine
Chapel
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22-14 MICHELANGELO BUONARROTI, Creation of Adam
(detail), ceiling of the Sistine Chapel, Vatican
City, Rome, 15111512. Fresco, approx. 18' 8" x
9' 2".
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Raphael

• Patron Julius II
• Achieved the Popes hope for the church
  reconciliation.(Between the protestants and the
  Papacy) Through a coherent and rational image.

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22-17 RAPHAEL, Philosophy (School of Athens)
A Congregation of Classical Thinkers In the
suite of rooms forming Pope Julius II's papal
apartments, Raphael painted a series of frescoes.
On one of the four walls of the Stanza della
Segnatura, he painted the so-called School of
Athens, which shows a congregation of
philosophers and scientists of the ancient world
conversing and arguing in a vast vaulted hall
decorated with colossal statues of Apollo and
Athena. In the center, silhouetted against the
sky, are Plato and Aristotle. Other recognizable
figures gathered around them include Pythagoras,
Socrates, Heraclitus, Diogenes, Euclid,
Zoroaster, and Ptolemy their dignified poses and
eloquent gestures communicate moods that reflect
their various beliefs. In the Stanza della
Segnatura, Raphael reconciled and harmonized
paganism and Christianity.
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22-17 RAPHAEL, Philosophy (School of Athens)
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Giovanni Bellini

• From Venice
• Continues to synthesize the elements of 15th and
  16th century

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22-32 GIOVANNI BELLINI, Feast of the Gods, 1514.
Oil on canvas, approx. 5' 7" x 6' 2". National
Gallery of Art, Washington, D.C. (Widener
Collection).
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Giorgione

• Venitian Tradition Continues
• Use of Soft Light

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22-33 GIORGIONE DA CASTELFRANCO (and/or TITIAN
?), Pastoral Symphony, ca. 1508. Oil on canvas,
approx. 3'7" x 4'6". Louvre, Paris.
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Titian

• Undisputed leader of Venetian painting

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22-35 TITIAN, Assumption of the Virgin, Santa
Maria Gloriosa dei Frari, Venice, ca. 151671518.
Oil on wood, 22' 6" x 11' 10".
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22-36 TITIAN, Madonna of the Pesaro Family, Santa
Maria dei Frari, Venice, 15191526. Oil on
canvas, approx. 16' X 9'.
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Mannerism

• Mannerism took the devices developed by
  Michelangelo and Titian and made them even more
  staged and contrived. Two works by Parmigianino
  and Bronzino illustrate this contrivance and
  sleek designs that were favored by the
  Mannerists.

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Mannerist Cont.

• Mannerist art and architecture generally places
  an emphasis on staged and contrived imagery, on
  elegance and beauty, on imbalanced compositions,
  and on unusual visual and conceptual
  complexities. Space in Mannerist paintings may
  appear ambiguous, and traditional themes may be
  presented in unconventional or unexpected ways.
  Mannerist art may be restless, with figures shown
  distorted, exaggerated, and with affected but
  often sinuously graceful postures. Mannerism's
  requirement of "invention" led artists to produce
  self-conscious stylizations involving complexity,
  caprice, fantasy, elegance, perfectionism, and
  polish.

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22-42 PARMIGIANINO, Madonna with the Long Neck,
ca. 1535. Oil on wood, approx. 7' 1" x 4' 4".
Galleria degli Uffizi, Florence.
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22-43 BRONZINO, Venus, Cupid, Folly, and Time
(Exposure of Luxury), ca. 1546. Oil on wood,
approx. 5'1" x 4'83/4". National Gallery, London.
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22-45 SOFONISBA ANGUISSOLA, Portrait of the
Artist's Sisters and Brother, ca. 1555. Methuen
Collection, Corsham Court, Wilshire.
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22-44 BRONZINO, Portrait of a Young Man, ca.
1530s. Oil on wood, approx. 3'11/2" x 2' 51/2".
Metropolitan Museum of Art, New York (H. O.
Havemeyer Collection, bequest of Mrs. H. O.
Havemeyer, 1929). Image courtesy of
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Bramante
Reviving "Beautiful Architecture" Bramante's
design for the Tempietto in the cloister of the
church of San Pietro in Montorio, Rome, was
inspired by ancient Roman round temples Bramante
would have known in Rome and in its environs. The
rational design is balanced and harmonious in the
relationship of the parts (dome, drum, and base)
to one another and to the whole. The Tempietto
was originally planned to stand inside a circular
colonnade.
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22-8 DONATO D'ANGELO BRAMANTE, Tempietto, San
Pietro in Montorio, Rome, 1502 (?).
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Michelangelo The Architect
Sculptor's Finishing Touch During his
supervision of the building of the new Saint
Peter's, Michelangelo preserved Bramante's
original centralized plan but reduced and unified
the central component to a compact, domed Greek
cross inscribed in a square and fronted with a
double-columned portico. On the exterior, he
employed the colossal order, the vertical
extension of which extends up through the attic
stories into the drum and the dome to unify the
whole building. Michelangelo's final plan for a
hemispheric dome was not adopted by Giacomo della
Porta, who, long after Michelangelo's death,
built a dome with an ogival section.
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22-28 MICHELANGELO BUONARROTI, plan for Saint
Peter's, Vatican City, Rome, 1546
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22-29 MICHELANGELO BUONARROTI, Saint Peter's
(view from the northwest), Vatican City, Rome,
15461564. Dome completed by GIACOMO DELLA PORTA
, 1590.