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1 Chapter 22 Italy, 1500 to 1600 AP Art History. 2 Rome with Renaissance and Baroque Monuments.

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Presentation on theme: "1 Chapter 22 Italy, 1500 to 1600 AP Art History. 2 Rome with Renaissance and Baroque Monuments."— Presentation transcript:

1 1 Chapter 22 Italy, 1500 to 1600 AP Art History

2 2 Rome with Renaissance and Baroque Monuments

3 PM A

4 4 The Achievements of the Masters Leonardo da Vinci: superb master of line, pioneer of sfumato, inventor, naturalist, and painter of the souls intent. Raffaelo Sanzio(a.k.a Raphael): younger master painter who incorporated elements of Leonardo and Michelangelo into his own unique style. Trained by Perugino, influenced by Bramante; famous for Virgin and Child scenes; entombed in the Pantheon (died young) Michelangelo Buonarroti: master of sculpture, also excellent painter and architect, the man in demand. Humanism and classicism; style of maturity is different Bramante: major architect who favored classical buildings rejuvenated the central-plan design. New St. Peters Venetian masters –Bellini, Giorgione, Titian –Palladio (architecture) – inspired by Roman architect VITRUVIUS

5 5 Figure 22-1 LEONARDO DA VINCI, Leonardo da Vinci, Madonna of the Rocks, from San Francesco Grande, Milan, Italy, begun Oil on wood (transferred to canvas), 6 6 1/2 x 4. Louvre, Paris.

6 6 Figure 22-2 LEONARDO DA VINCI, cartoon for Madonna and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightened with white on brown paper, 4 6 x 3 3. National Gallery, London.

7 7 Figure 22-3 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13 9 x Refectory, Santa Maria delle Grazie, Milan.

8 8

9 9 Figure 22-4 LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, 2 6 1/4 x 1 9. Louvre, Paris.

10 10 Figure 22-5 LEONARDO DA VINCI, The Fetus and Lining of the Uterus, ca. 1511–1513. wash, over red chalk and traces of black chalk on paper, 1 8 5/8. Royal Library, Windsor Castle.

11 11 Figure RAPHAEL, Marriage of the Virgin, from the Chapel of Saint Joseph in San Francesco, Città di Castello, Italy, Oil on wood, 5 7 x /2. Pinacoteca di Brera, Milan. Observe similarities between this work and the work of Perugino.

12 12 Figure RAPHAEL, Madonna in the Meadow, –1506. Oil on wood, 3 8 1/2 x /4. Kunsthistorisches Museum, Vienna.

13 13 Figure RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19 x 27.

14 14 Figure RAPHAEL, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, Fresco, 9 8 x 7 5.

15 15 Figure RAPHAEL, Baldassare Castiglione, ca Oil on canvas, 2 6 1/4 x 2 2 1/2. Louvre, Paris.

16 Figure 22-A MICHELANGELO BUONARROTI, Pieta, ca Marble, 5 8 ½ high. Saint Peters, Vatican City, Rome. 16

17 17 Figure 22-9 MICHELANGELO BUONARROTI, David, from Piazza della Signoria, Florence, Italy, 1501–1504. Marble, 17 high. Galleria dellAccademia, Florence.

18 18 Figure MICHELANGELO BUONARROTI, Moses, from the tomb of Pope Julius II, Rome, Italy, ca. 1513–1515 Marble, 7 8 1/2 high. San Pietro in Vincoli, Rome.

19 19 Figure MICHELANGELO BUONARROTI, Bound Slave (Rebellious Captive), from the tomb of Pope Julius II, Rome, Italy, ca. 1513–1516. Marble, 7 5/8 high. Louvre, Paris.

20 20 Figure Interior of the Sistine Chapel (looking east), Vatican City, Rome, Italy, built 1473.

21 Fig MICHLANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, Fresco, 128 x 45.

22 22 Figure MICHELANGELO BUONARROTI, Creation of Adam detail of the ceiling (FIG. 22-1) of the Sistine Chapel, Vatican City, Rome, Italy, 1511–1512. Fresco, 9 2 x 18 8.

23 23 Figure Detail of the Azor-Sadoch lunette over one of the Sistine Chapel windows (FIG ) at the beginning (left) and nal stage (right) of the restoration process.

24 24 Figure MICHELANGELO BUONARROTI, Last Judgment, altar wall of the Sistine Chapel (FIG ), Vatican City, Rome, Italy, 1536–1541. Fresco, 48 x 44.

25 25 Figure 22-8 DONATO DANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, 1502(?).

26 26 Figure 22-6 DONATO DANGELO BRAMANTE, plan for the new Saint Peters, the Vatican, Rome, Italy, (1) dome, (2) apse.

27 27 Figure 22-7 CHRISTOFORO FOPPA CARADOSSO, medal showing Bramantes design for the new Saint Peters, Bronze, 2 1/4 diameter. British Museum, London.

28 28 Figure MICHELANGELO BUONARROTI, plan for Saint Peters, Vatican City, Rome, Italy, (1) dome, (2) apse, (3) portico.

29 29 Figure MICHELANGELO BUONARROTI, Saint Peters (looking northeast), Vatican City, Rome, Italy, 1546–1564. Dome completed by GIACOMO DELLA PORTA, 1590.

30 30 Figure ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.

31 31 Figure ANDREA PALLADIO, plan of the Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1550–1570. (1) dome, (2) porch.

32 32 Figure ANDREA PALLADIO, aerial view of San Giorgio Maggiore, Venice, Italy, begun 1566.

33 33 Figure ANDREA PALLADIO, interior of San Giorgio Maggiore,Venice, Italy, begun 1566.

34 Color vs. Line High Renaissance in Venice 34

35 35 Figure GIOVANNI BELLINI, San Zaccaria Altarpiece, Oil on wood transferred to canvas, 16 5 x 7 9. San Zaccaria, Venice.

36 36 Figure GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508–1510. Oil on canvas, 3 7 1/4 x 4 6 1/4. Louvre, Paris.

37 37 Figure GIORGIONE DA CASTELFRANCO, The Tempest, ca Oil on canvas, 2 8 1/4 x 2 4 3/4. Galleria dellAccademia, Venice.

38 38 Figure TITIAN, Madonna of the Pesaro Family, 1519–1526. Oil on canvas, x Pesaro Chapel, Santa Maria dei Frari,Venice.

39 39 Figure TITIAN, Meeting of Bacchus and Ariadne, from the Camerino dAlabastro, Palazzo Ducale, Ferrara, Italy, 1522–1523. Oil on canvas, 5 9 x 6 3. National Gallery, London.

40 40 Figure TITIAN, Venus of Urbino, Oil on canvas, 3 11 x 5 5. Galleria degli Uffizi, Florence.

41 All art is artifice Mannerism 41

42 42 Figure JACOPO DA PONTORMO, Entombment of Christ, Capponi Chapel, Santa Felicità, Florence, Italy, 1525–1528. Oil on wood, 10 3 x 6 4. Basic features of Mannerism Elongated figures Figura Serpentinata Less emphasis on balance, symmetry, and rational composition (values of High Renaissance) Unusual lighting effects

43 43 Figure PARMIGIANINO, Madonna with the Long Neck, from the Baiardi Chapel, Santa Maria dei Servi, Parma,Italy, 1534–1540. Oil on wood, 7 1 x 4 4. Galleria degli Uffizi, Florence.

44 44 Figure BRONZINO, Venus, Cupid, Folly, and Time, ca Oil on wood, 5 1 x 4 8 1/4. National Gallery, London.

45 45 Figure BRONZINO, Portrait of a Young Man, ca. 1530–1545. Oil on wood, 3 1 1/2 x 2 5 1/2. Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929).

46 46 Figure SOFONISBA ANGUISSOLA, Portrait of the Artists Sisters and Brother, ca Oil on panel, 2 5 1/4 x 3 1 1/2. Methuen Collection, Corsham Court, Wiltshire.

47 47 Figure TINTORETTO, Last Supper, Oil on canvas, 12 x San Giorgio Maggiore, Venice.

48 48 Figure PAOLO VERONESE, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, Oil on canvas, 18 3 x 42. Galleria dellAccademia, Venice.

49 49 Figure GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, 1579–1583. Marble, /2 high.


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