1. CHAPTER 20 16TH CENTURY ART IN ITALY

2. TITIAN Titian had a creative career during which he produced splendid religious, mythological, and portrait paintings, original in conception and vivid with color and movement Titian, Penitent Mary Magdalen 1560s, Oil on canvas.

3. Titian, The Pesaro Altarpiece, 1522- 26, canvas, San Maria Gloriosa dei Frari, Venice

4. Titian. Venus of Urbino. 1538. Oil on canvas. Galleria degli Uffizi, Florence, Italy. HIGH ITALIAN RENAISSANCE

5. Although she is shown as a young woman, Isabella was 62 by the time the work was painted. Titian had originally painted a more aged Isabella, but she was so displeased with the picture that she made him repaint it in an idealized form, so that she looked forty years younger. Her face and hands were given the most attention, while her garment fades into the background. Titian, Portrait of Isabella d'Este, 1534-1536 Portrait of Isabella d'Este

6. Titian. Bacchus and Ariadne. 1520-1522. Oil on canvas. The National Gallery. HIGH ITALIAN RENAISSANCE

7. Giorgione, The Pastoral Concert, 1509. HIGH ITALIAN RENAISSANCE Also attributed to Titian Combines the Greek idealism with a pastoral (or “shepherd”) setting Not intended to convey a plot, but rather an idyllic, romantic setting

8. The Tempest Giorgione 1506 Oil on Canvas 32”x28”

9. Pope Julius II  Laid the foundation for the new St. Peter’s in Rome (designed originally by Bramante)  Commissioned Michelangelo to create a painted ceiling for the Sistine Chapel  Commisioned Raphael to paint the four hemicycles in the Stanza della Signatura (the Pope’s apartment)

10. HIGH ITALIAN RENAISSANCE Tomb of Pope Julius II

11. HIGH ITALIAN RENAISSANCE Michelangelo, Moses 1513-1515 Commissioned by Pope Julius II as part of his immense tomb, (which was never completed as planned… Julius used more funds to the building of St. Peter’s) Horns on head were traditionally meant to be divine, but scripture may have meant that Moses was “radiant”, not “horned”. Inspired by Greek Hellenistic sculpture Laocoon & Sons

12. Parmigianino, Madonna with the Long Neck, 1534-40. MANNERISM Period from High Renaissance (1520) to Baroque (1590) Comes from the Italian maniera, or "style," in the sense of an artist's characteristic "touch" or recognizable "manner." Elongated proportions Intense contrast & lighting Twisted poses Curless’s Keywords: Busy, Dark, Twisted, Shadows, Dramatic, Clouds, Assymetrical MANNERISM

13. Examples of Mannerism

14. Tintoretto, The Last Supper, 1592-94, Oil on Canvas. MANNERISM

15. Rosso Fiorentino (meaning "the Red Florentine" in Italian) Rosso Fiorentino. Deposition. 1521, Oil on wood.. MANNERISM

16. Compare Fiorentino’s Deposition to Van der Weyden’s Depostion…

17. Rosso Fiorentino, Moses Defending the Daughters of Jethro, c1523 at the Uffizi Gallery, Florence MANNERISM

18. JACOPO DA PONTORMO Born Jacopo Carucci in Pontormo Jacopo Pontormo, Deposition from the Cross, 1525-1528. MANNERISM

19. Bronzino Oil on Panel 1540s 58”x46” ALLEGORY WITH VENUS AND CHILD

20. MANNERIST ARCHITECTURE Went against the grain of Renaissance Architecture by using Classical forms in illogical ways This is mostly due to the style being used only for secular purposes Symmetrical but highly ornamental Colossal order “Blind Windows” Il Gesu, 1550s. MANNERISM MANNERISM Il Gesu, 1550s. MANNERISM

21. MANNERISM Il Gesu, 1550s. MANNERISM

22. MANNERISM Il Gesu, 1550s. MANNERISM

23. MANNERISM

24. San Giovani in Laterano (Mannerism) MANNERISM

25. MANNERIST SCULPTURE This version of the Rape of the Sabine Women has a vertical, spiraling composition that displays figura serpentinata (a twisting of the figures much like a serpent or snake). This statue depicts the story of how the Roman men made peace with the neighboring Sabines by abducting their women to take back as wives and populate Rome. Giovanni Bologna, Rape of the Sabine Women, 1574-82. MANNERISM

26. Cellini 1540 Gold and enamel SALTCELLAR OF KING FRANCIS I OF FRANCE

27. Mannerism in Review MANNERISM Let’s recap MANNERISM: 1.Figures are elongated and disproportionate 2.Asymmetrical (or even unbalanced) compositions 3.Unusual light sources (often unnatural or artificial) 4.Figura Serpentinata (Twisting of the body poses) Parmigianino, Madonna with the Long Neck, 1534-40.

28. Lavinia Fontana 1581 Oil on Canvas 48”x36” NOLI ME TANGERE

29. Sofonisba Anguissola Oil on parchment 205”x3.25” 1552 SELF-PORTRAIT