Chapter Nine

1
Chapter Nine
Gardner's Art through the Ages, Concise Edition
by Fred Kleiner

• Europe, 1500-1600

Prepared by Kelly Donahue-Wallace Randal
Wallace University of North Texas
2
Italy

• Dates and Places
• 1500 to 1600
• Rome, Florence, Milan, and Venice
• People
• Humanism
• Reformation/Counter-Reformation
• Powerful courts
• Artist-genius

Interior, Sistine Chapel, 1473. Fig. 9-1.
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Italy

• Themes
• Life of Christ and the Virgin Mary, saints
• Portraiture
• Mythology, antiquity
• Allegory, poesia
• Forms
• Balance, harmony, ideal beauty
• Venetian color, Mannerist distortion

RAPHAEL, Madonna in the Meadow, 15051506. Fig.
9-6.
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Italy

• Example
• Mathematical linear perspective
• Compositional emphasis on Christ
• Unity through pose and movement
• Studied emotion
• Capturing the observable world

LEONARDO DA VINCI, Last Supper, ca. 14951498.
Fig. 9-3.
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Italy

• Example
• Wife of wealthy merchant
• Convincing likeness
• Personality, boldness
• Sfumato, chiaroscuro, atmospheric perspective
• Window onto landscape

LEONARDO DA VINCI, Mona Lisa, ca. 15031505.
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Italy

• Example
• Papal library with Allegories of philosophy,
  theology, poetry, and law
• Philosophers of antiquity
• Semi-circular composition, illusionistic space

RAPHAEL, Philosophy (School of Athens),
15091511. Fig.9-7.
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Italy

• Example
• Visually pleasing proportion, not mathematical
  rules
• Classical figure with emotion
• Anticipation of battle with Goliath, not victory
• Symbol of Florentine liberty

MICHELANGELO BUONARROTI, David, 15011504. Fig.
9-9.
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Italy

• Example
• Fresco in popes chapel
• Old Testament scenes on ceiling, Judgment on wall
• Creation, Fall, Redemption narratives
• Ignudi, ancestors, prophets, sibyls
• Architectural framework
• Expressive human body

MICHELANGELO BUONARROTI, ceiling, Sistine Chapel,
15081512. Fig. 9-10.
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Italy

• Example
• Central plan chapel
• Classical order
• Added dome
• Sculptural architecture of volume and masses,
  solids and voids
• Site of St. Peters martyrdom

DONATO DANGELO BRAMANTE, Tempietto, 1502(?).
Fig. 9-13.
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Italy

• Example
• Adjusts Bramantes central plan
• Greek cross inscribed in square
• Dome over crossing
• Colossal order

MICHELANGELO, Saint Peters,1546. Fig. 9-14.
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Italy

• Example
• Private villa
• Near Venice
• Central plan
• Dome over crossing
• Four facades like temple portals
• Pantheon likely model
• Wrote architectural treatise

ANDREA PALLADIO, Villa Rotonda, ca. 15501570.
Fig.9-16.
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Italy

• Example
• Venetian painters love color (colorito),
  atmosphere, texture
• Oil on canvas glows
• Voluptuous body with smoky shadow
• Portrait or mythology?
• Color organizes composition

TITIAN, Venus of Urbino, 1538. Fig.9-20.
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Italy

• Example
• Mannerist painting after 1520
• Self-conscious stylishness, not window onto world
  
• Complex, exaggerated, difficult
• Unstable composition, unnatural color

PONTORMO, Entombment of Christ, 15251528. Fig.
9-21.
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Italy

• Example
• Mannerist complicated allegory
• Folly of love revealed by time
• Lascivious, sensuous
• Strong contours, undulating and exaggerated
  limbs, complex pose shows artists skill

BRONZINO, Venus, Cupid, Folly, and Time, ca.
1546. Fig. 9-23.
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Italy

• Example
• Late Venetian painting
• Pageantry of event
• Classical setting
• Invented characters
• Renaissance balanced composition
• Inquisition challenges subject so changes title

PAOLO VERONESE, Christ in the House of Levi,
Italy, 1573. Fig.9-26.
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Holy Roman Empire

• Dates and Places
• 1500-1600
• Germany
• People
• Martin Luther
• Protestant Reformation
• Political change

ALBRECHT DÜRER, Four Apostles, 1526. Fig. 9-30.
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Holy Roman Empire

• Themes
• Life of Christ, Virgin Mary, Saints
• Portraits
• Forms
• Renaissance illusionism
• Surface description
• Naturalism

HANS HOLBEIN THE YOUNGER, The French Ambassadors,
1533. Fig. 9-31.
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Holy Roman Empire

• Example
• Altarpiece for monastery church with hospital
• Gruesome description of wounds
• Emphasize suffering
• Catholic inclusion of Lamb, Christs blood,
  plague saints

MATTHIAS GRÜNEWALD, Isenheim Altarpiece, ca.
1510-1515. Fig. 9-28.
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Holy Roman Empire

• Example
• Engraving
• Interest in Renaissance proportion of human body
• Combine with northern European surface
  description and disguised symbolism

ALBRECHT DÜRER, Fall of Man (Adam and Eve), 1504.
Fig. 9-29.