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1 Chapter 22 Italy, 1500 to 1600 Gardners Art Through the Ages, 13e.

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Presentation on theme: "1 Chapter 22 Italy, 1500 to 1600 Gardners Art Through the Ages, 13e."— Presentation transcript:

1 1 Chapter 22 Italy, 1500 to 1600 Gardners Art Through the Ages, 13e

2 2 Rome with Renaissance and Baroque Monuments

3 3 The High Renaissance Line is emphasized over color

4 4 LEONARDO superb master of line, pioneer of sfumato, inventor, naturalist, and painter of the souls intent.

5 5 Figure 22-2 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 22-4 LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13 9 x Refectory, Santa Maria delle Grazie, Milan.

7 7

8 8 Figure 22-5 LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, 2 6 1/4 x 1 9. Louvre, Paris.

9 9 Figure 22-6 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.

10 RAPHAEL (Raffaelo Sanzio) Trained in Umbria by Perugino (Christ Delivering the Keys the Kingdom to Saint Peter) Famous for paintings of the Madonna and Child Young master moved to Rome; influenced by Bramante Absorbed elements of the work of Leonardo and Michelangelo to create his own unique style Talented, popular, and beloved artist who died young (entombed in the Pantheon) 10

11 11 Figure 22-8 RAPHAEL, Madonna in the Meadow, –1506. Oil on wood, 3 8 1/2 x /4. Kunsthistorisches Museum, Vienna.

12 12 Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19 x 27.

13 13 Figure RAPHAEL, Baldassare Castiglione, ca Oil on canvas, 2 6 1/4 x 2 2 1/2. Louvre, Paris.

14 14 MICHELANGELO (Buonarotti) Master of sculpture, also excellent painter and architect in demand artist Humanistic interpretation of the Sistine Chapel ceiling paintings, especially in the Creation of Adam. The popularity and longevity of Michelangelo resulted in his involvement in many other projects often simultaneously Different style in the mature work of Michelangelo

15 Figure MICHELANGELO BUONARROTI, Pieta, ca Marble, 5 8 ½ high. Saint Peters, Vatican City, Rome. 15

16 16 Figure MICHELANGELO BUONARROTI, David, from Piazza della Signoria, Florence, Italy, 1501–1504. Marble, 17 high. Galleria dellAccademia, Florence.

17 17 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.

18 18 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.

19 Fig 22-1 MICHLANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, Fresco, 128 x 45.

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

21 21 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.

22 22 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.

23 23 Figure MICHELANGELO BUONARROTI, Last Judgment, altar wall of the Sistine Chapel (FIG ), Vatican City, Rome, Italy, 1536–1541. Fresco, 48 x 44.

24 24 Architecture

25 25 BRAMANTE Achievements of Donato Bramante: innovative central-plan designs based on classical sources (influence of tholoi and Roman circular temples), and the beginning of new St. Peters in Rome.

26 26 Figure DONATO DANGELO BRAMANTE, Tempietto, San Pietro in Montorio, Rome, Italy, 1502(?).

27 27 Figure DONATO DANGELO BRAMANTE, plan for the new Saint Peters, the Vatican, Rome, Italy, (1) dome, (2) apse.

28 28 Figure CHRISTOFORO FOPPA CARADOSSO, medal showing Bramantes design for the new Saint Peters, Bronze, 2 1/4 diameter. British Museum, London.

29 29 Michelangelo, the Architect

30 30 Figure MICHELANGELO BUONARROTI, plan for Saint Peters, Vatican City, Rome, Italy, (1) dome, (2) apse, (3) portico.

31 31 Figure MICHELANGELO BUONARROTI, Saint Peters (looking northeast), Vatican City, Rome, Italy, 1546–1564. Dome completed by GIACOMO DELLA PORTA, 1590.

32 32 PALLADIO Inspired by the writings of the ancient Roman architect VITRUVIUS.

33 33 Figure ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.

34 34 Figure ANDREA PALLADIO, plan of the Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1550–1570. (1) dome, (2) porch.

35 16 th Century Venetian Painting Color is emphasized over line. 35

36 36 Figure GIOVANNI BELLINI, San Zaccaria Altarpiece, Oil on wood transferred to canvas, 16 5 x 7 9. San Zaccaria, Venice.

37 37 Figure GIOVANNI BELLINI and TITIAN, Feast of the Gods, from the Camerino dAlabastro, Palazzo Ducale, Ferrara, Italy, Oil on canvas, 5 7 x 6 2. National Gallery of Art, Washington, D.C. (Widener Collection).

38 38 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.

39 39 Figure GIORGIONE DA CASTELFRANCO, The Tempest, ca Oil on canvas, 2 8 1/4 x 2 4 3/4. Galleria dellAccademia, Venice.

40 40 Figure TITIAN, Assumption of the Virgin, 1516–1518. Oil on wood, /2 x Santa Maria Gloriosa dei Frari, Venice.

41 41 Figure TITIAN, Madonna of the Pesaro Family, 1519–1526. Oil on canvas, x Pesaro Chapel, Santa Maria dei Frari,Venice.

42 42 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.

43 43 Figure TITIAN, Venus of Urbino, Oil on canvas, 3 11 x 5 5. Galleria degli Uffizi, Florence.

44 44 Mannerism All art is artifice – meaning all art is artificial or not reality

45 45 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

46 46 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.

47 47 Figure BRONZINO, Venus, Cupid, Folly, and Time, ca Oil on wood, 5 1 x 4 8 1/4. National Gallery, London.

48 48 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).

49 49 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.

50 50 Figure TINTORETTO, Last Supper, Oil on canvas, 12 x San Giorgio Maggiore, Venice.

51 51 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.

52 52 Figure GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, 1579–1583. Marble, /2 high.

53 Figure MICHAELANGELO BUONARROTI, vestibule of the Laurentian Library, Florence, Italy, ; staircase, Examine Mannerist elements in Michelangelos design for the vestibule of the Laurentian Library in Florence.


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