Cinquecento Italian Art High Renaissance 1500-1600

Compositional devices Leonardo used in The Virgin of the Rocks to knit the figures together; Pyramidal grouping of the figures. Light simultaneously reveals and veils the forms, immersing them in a layer of atmosphere that exists between them and the viewer’s eye. Four artists who were most closely associated with the High Renaissance: Leonardo da Vinci Raphael Michelangelo Titian Leonardo da Vinci Virgin of the Rocks ca. 1485 oil on wood 6 ft. 3 in. x 3 ft. 7 in.

According to Leonardo, the major purpose of his scientific investigations was to discover the laws underlying the processes and flux of nature. Leonardo da Vinci Virgin and Child with St. Anne and the Infant St. John ca. 1505-07 charcoal heightened with white on brown paper 4 ft. 6 in. x 3 ft. 3 in.

Refectory, Santa Maria delle Grazie, Milan, Italy Leonardo da Vinci The Last Supper Refectory, Santa Maria delle Grazie, Milan, Italy ca. 1495-98 fresco (oil and tempera on plaster) 29 ft. 10 in. x 13 ft. 9 in.

Two fifteenth‑century trends Leonardo used to synthesize in The Last Supper : Classical influence in terms of motifs and naturalistic representation. The use of perspective to create a convincing pictorial illusion.

Leonardo considered modeling with light and shadow, and expressing emotional states the heart of painting Leonardo da Vinci Mona Lisa (La Giaconda) ca. 1503-1505 oil on wood 2 ft. 6 in. x 1 ft. 9 in.

Leonardo da Vinci Embryo in the Womb ca. 1510 pen and ink on paper

cartoon A full-size preliminary drawing. desegno “Drawing” in Italian, closer to “design” in meaning, representing an artist’s conceptualization and intention. sfumato A smokelike haziness that subtly softens outlines in painting.

The building of the crossing piers and the lower choir walls was completed during Bramante's lifetime Donato d’Angelo Bramante Plan for the new Saint Peter’s 1505

Christoforo Foppa Caradosso Medal showing Bramante’s design for the new Saint Peter’s 1506

Four aspects of the sculptural appearance of Bramante's Tempietto. Lower level directly inspired by Roman round temples. Resembles a sculptured reliquary. The dome, drum, and base bear a logical and harmonious relationship to each other and to the whole. Rhythmical play of light and shadow in the columns and balustrade. Donato d’Angelo Bramante Tempietto San Pietro in Montorio, Rome, Italy 1502

Michelangelo believed measure and proportion should be kept “in the eyes,” that the artist could judge pleasing proportions, and that the artist’s authority was bound only to his idea. He used a style of vast, expressive strength conveyed through complex and erratic forms. Michelangelo Buonarroti David 1501-1504 marble 14 ft. 3 in. high

Three figures that Michelangelo is believed to have created for the tomb of Julius II. Moses Bound Slave “Unfinished Captive” Michelangelo Buonarroti Moses San Pietro in Vincoli, Rome, Italy ca. 1513-1515 marble approximately 8 ft. 4 in. high

The two slaves were thought to represent not as such an abstract concept, but they embody powerful emotional states associated with oppression. Michelangelo Buonarroti Bound Slave 1513-1516 marble 6 ft. 10 1/2 in. high

Fond of serving in battle, Pope Julius II reigned from 1503-1513 Fond of serving in battle, Pope Julius II reigned from 1503-1513. He was a major art patron and commissioned a new design for St. Peter’s basilica, the construction of his tomb, the painting of the Sistine Chapel ceiling, and the decoration of his papal apartments. Sistine Chapel (view facing west) Vatican City, Rome, Italy built 1473

Sistine Chapel (view facing east) Vatican City, Rome, Italy built 1473

Michelangelo Buonarroti Sistine Chapel Ceiling The Creation, Fall, and Redemption of humanity. As visitors enter the chapel and walk toward the chapel, they review, in reverse order, the history of the fall of humankind. Old Testament prophets and pagan sibyls who foretell the coming of Christ are shown with depictions of conflicts between good and evil and between the energy of youth and wisdom of age. The style can be seen in the Creation of Adam, which is shown not in the traditional representation but in a humanistic interpretation that uses classical imagery and techniques, but which does not obscure the Christian message. Michelangelo Buonarroti Sistine Chapel Ceiling Vatican City, Rome, Italy 1508-12 fresco approximately 128 x 45 ft.

Reclining and twisting positions of the figures. Heavy musculature. Characterize Michelangelo's style in painting and sculpture with four adjectives or phrases. Figures are sharply outlined against the neutral architectural setting, rather than forming atmospheric “picture windows”. Reclining and twisting positions of the figures. Heavy musculature. Straight architectural axes (such as in Leonardo’s compositions) are replaced by diagonals and curves. Michelangelo Buonarroti Creation of Adam, Sistine Chapel Ceiling Vatican City, Rome, Italy 1511-12 fresco approximately 18 ft. 8 in. x 9 ft. 2 in.

Cleaning of, Sistine Chapel Ceiling Vatican City, Rome, Italy 1977-1989

The effect of the color revealed during the restoration of the Sistine ceiling is that the coloring is vivid and bright, in marked contrast to the dark and smoky appearance of the formerly soot-and-grime-covered ceiling. Cleaning of, Sistine Chapel Ceiling Vatican City, Rome, Italy 1977-1989

Michelangelo Buonarroti Drunkenness of Noah, Sistine Chapel Ceiling (pre-restoration) Vatican City, Rome, Italy 1511-12 fresco

Michelangelo Buonarroti Drunkenness of Noah, Sistine Chapel Ceiling (post-restoration) Vatican City, Rome, Italy 1511-12 fresco

Sistine Chapel (view facing east) Vatican City, Rome, Italy built 1473

Michelangelo Buonarroti Last Judgment Vatican City, Rome, Italy 1537-41 fresco

Michelangelo Buonarroti Last Judgment Vatican City, Rome, Italy 1537-41 fresco

Michelangelo Buonarroti Last Judgment Vatican City, Rome, Italy 1537-41 fresco

Philosophy (School of Athens) Raphael Philosophy (School of Athens) Stanza della Segnatura, Vatican Palace, Rome, Italy 1509-11 fresco approximately 19 x 27 ft.

The two central figures represented in Raphael's School of Athens, and what aspects of philosophy does each represent? Plato and Aristotle. Plato points to heaven, the source of his inspiration, while Aristotle points towards earth, from which his observations of reality sprang. Plato represents the mysteries that transcend this world, and Aristotle represents nature and human affairs.

Chapel of Saint Joseph in Città di Castello near Florence, Italy Raphael Marriage of the Virgin Chapel of Saint Joseph in Città di Castello near Florence, Italy 1504 oil on wood 5 ft. 7 in. x 3 ft. 10 1/2 in.

Three characteristics of Raphael's style as seen in the Madonna of the Meadows Subtle chiaroscuro. Prefers clarity to obscurity, using lighter tonalities even with the dusky modeling of Leonardo. Substantial figures in a pyramidal arrangement, like Leonardo’s Madonna of the Rocks. Raphael Madonna of the Meadows 1505 oil on panel 3 ft. 8 1/2 in. x 2 ft. 10 1/4 in.

Sala di Galatea, Villa Farnesina Rome, Italy Raphael Galatea Sala di Galatea, Villa Farnesina Rome, Italy 1513 fresco 9 ft. 8 in. x 7 ft. 5 in.

Baldassare Castiglione Raphael Baldassare Castiglione ca. 1514 oil on wood transferred to canvas 2 ft. 6 1/4 in. x 2 ft. 2 1/2 in.

Michelangelo Buonarroti Tomb of Giuliano de’Medici Medici Chapel, San Lorenzo, Florence, Italy 1519-1534 marble central figure approximately 5 ft. 11 in. high

Michelangelo Buonarroti Tomb of Giuliano de’Medici Medici Chapel, San Lorenzo, Florence, Italy 1519-1534 marble central figure approximately 5 ft. 11 in. high

Antonio da Sangallo the Younger Palazzo Farnese Rome, Italy ca. 1530-1546

Michelangelo Buonarroti Capitoline Hill Rome, Italy designed ca. 1537

Michelangelo Buonarroti Capitoline Hill and Museo Capitolino Rome, Italy designed ca. 1537

Michelangelo Buonarroti plan for Saint Peter’s Vatican City, Rome, Italy 1546

Michelangelo Buonarroti elevation for Saint Peter’s Vatican City, Rome, Italy 1546-1564

Michelangelo Buonarroti elevation for Saint Peter’s Vatican City, Rome, Italy 1546-1564

Color and light are harmoniously balanced, softer and more luminous than Francesca; outlines dissolve in light and shadow. The effect is more glowing than the clarity of Francesca. Giovanni Bellini San Zaccaria Altarpiece Santa Zaccaria, Venice, Italy 1505 oil on wood transferred to canvas 16 ft. 5 in. x 7 ft. 9 in.

Concerns that distinguished the art of Venice from that of Florence and Rome Main instrument was color Main instrument was sculpturesque form Colorito Disegno (drawing and design) The poetry of the senses, delighting in nature’s beauty and the pleasures of humanity More esoteric, intellectual themes

Three aspects of Giorgione's style. Soft forms in dense shadows. Enigmatic theme in a rich, abundant landscape. Soft, smoky, full female figures are poetic personifications of nature’s abundance. Giovanni Bellini and Titian The Feast of the Gods 1529 oil on canvas 5 ft. 7 in. x 6 ft. 2 in.

Painting meant to operate in a manner similar to poetry. “poesia” Painting meant to operate in a manner similar to poetry. Giorgionne da Castelfranco Pastoral Symphony ca. 1508 oil on canvas 3 ft. 7 in. x 4 ft. 6 in.

Giorgionne da Castelfranco The Tempest ca. 1510 oil on canvas 2 ft. 7 in. x 2 ft. 4 3/4 in.

The most outstanding feature of Titian’s Assumption of the Virgin is his ability to convey light through dazzling color. Titian Assumption of the Virgin Santa Maria Gloriosa del Frari, Venice, Italy ca. 1516-1518 oil on wood 22 ft. 6 in. x 11 ft. 10 in.

Characteristics of Titian's Madonna of the Pesaro Family are typical of High Renaissance painting; The massing of monumental figures, singly and in groups within a weighty and majestic architecture. He uses perspective lines, inclination of figures, and directional lines of gaze and gesture to focus the composition Titian Madonna of the Pesaro Family Santa Maria dei Frari, Venice, Italy 1519-1526 oil on canvas approximately 16 x 9 ft.

Meeting of Bacchus and Ariadne Titian Meeting of Bacchus and Ariadne 1522-1523 oil on canvas 5 ft. 9 in. x 6 ft. 3 in.

Titian's painting Venus of Orbino established the compositional essentials for the representation of the female nude in much of later Western art. Titian Venus of Urbino 1538 oil on canvas 4 ft. x 5 ft. 6 in.

One of the most powerful women during the Renaissance, daughter of the duke of Ferrara, she married the marquis of Mantua and was instrumental in developing the Mantuan court into an important center of art and learning. She was a patron of Titian, Leonardo, and Mantegna, and was an avid art collector. Titian Isabella d’Este 1534-36 oil on canvas 3 ft. 4 1/8 in. x 2 ft. 1 3/16 in.

Andrea del Sarto Madonna of the Harpies 1517 oil on wood 6 ft. 9 in. x 5 ft. 10 in.

Antonio Allegri da Correggio Assumption of the Virgin Dome fresco of Parma Cathedral Parma, Italy 1526-1530 fresco

“Proto-baroque” as it applies to the work of Correggio at Parma; His illusionistic ceiling perspectives became the permanent tenants of Baroque churches in later centuries. He also anticipated later Baroque compositional devices in his religious panels. Antonio Allegri da Correggio Assumption of the Virgin Dome fresco of Parma Cathedral Parma, Italy 1526-1530 fresco

Five of the characteristics of Mannerist painting that can be called "anti‑Classical" and that distinguish the Mannerist from the High Renaissance style. Mannerists consciously reveal the artifice of their art. Imbalanced compositions. Unusual complexities, both visual and conceptual. Ambiguous space. A focus on themes of courtly grace and cultured sophistication. Three Mannerist painters. Jacopo da Pontormo Parmigianno Bronzino

The Mannerist style emerged during the 16th century in Italy. Jacopo da Pontormo Descent from the Cross Capponi Chapel, Santa Felicità, Florence, Italy 1525-1528 oil on wood 10 ft. 3 in. x 6 ft. 6 in.

Madonna with the Long Neck Parmigianino Madonna with the Long Neck ca. 1535 oil on wood 7 ft. 1 in. x 4 ft. 4 in.

Madonna with the Long Neck Parmigianino Madonna with the Long Neck ca. 1535 oil on wood 7 ft. 1 in. x 4 ft. 4 in.

Venus, Cupid, Folly and Time (The Exposure of Luxury) Bronzino Venus, Cupid, Folly and Time (The Exposure of Luxury) ca. 1546 oil on wood 5 ft. 1 in. x 4 ft. 8 3/4 in.

Bronzino Portrait of a Young Man ca. 1530s oil on wood approximately 3 ft. 1 1/2 in. x 2 ft. 5 1/2 in.

Three characteristics that Sofonisba Anguissola’s Portrait of the Artist’s Sisters and Brother shares with other Mannerists portraits like those by Bronzino: Figures placed against the front plane, blocking the space. Contours are strong and sculptural. A focus on heads and hands, considered to be the carriers of grace. One feature that is uniquely hers: Informality with relaxed poses and expressions. Sofonisba Anguissola Portrait of the Artist’s Sisters and Brother ca. 1555

Giacomo della Porta façade of Il Gesù Rome, Italy ca. 1575-1584

Giacomo da Vignola plan of Il Gesù Rome, Italy 1568

Tintoretto aspired to combine the color of Titian with the drawing of Michelangelo. Miracle of the Slave 1548 oil on canvas 14 x 18 ft.

Two characteristics of Tintoretto’s painting style that point toward the Baroque style: Dynamic perspectives. Dramatic chiaroscuro.

Devices Tintoretto used to identify Christ in his version of The Last Supper; The light flaring out of the darkness; He sits above and beyond the converging perspective lines. Tintoretto Last Supper Chancel. San Giorgio Maggiore, Venice, Italy 1594 oil on canvas 12 ft. x 18 ft. 8 in.

Interior courtyard façade of the Palazzo del Tè Mantua, Italy Four features of the Palazzo del Te that are "irregular" from the point of view of Renaissance architectural practice. a. The facades, where the divergences from architectural convention are so pronounced they constitute a parody of classical style. b. The keystones seem to have not fully settled or seem to be slipping from the arches. c. Keystones placed over pediments over the rectangular niches, where no arches exist. d. The Tuscan columns carry incongruously narrow architraves. Giulio Romano Interior courtyard façade of the Palazzo del Tè Mantua, Italy 1525-1535

Christ in the House of Levi Paolo Veronese Christ in the House of Levi 1573 oil on canvas 18 ft. 6 in. x 42 ft. 6 in.

Veronese's favorite subjects were; Splendid pageantry Majestic classical architecture. Paolo Veronese Christ in the House of Levi 1573 oil on canvas 18 ft. 6 in. x 42 ft. 6 in.

Aspects of Veronese paintings did the Holy Office of the Inquisition object; The Holy Office accused Veronese of impiety for painting creatures such as dogs and clowns so close to the Lord. Paolo Veronese Triumph of Venice ca. 1585 oil on canvas approximately 29 ft. 8 in. x 19 ft.

Antonio Allegri da Correggio Assumption of the Virgin Paolo Veronese Differences in the type of illusion created by Veronese in The Triumph of Venice and that created by Correggio in The Assumption of the Virgin for the dome of Parma Cathedral; Veronese’s perspective is not projected directly up from below. Rather, it is a projection of the scene at a 45-degree angle to the spectator. Antonio Allegri da Correggio Assumption of the Virgin Paolo Veronese Triumph of Venice

Palladio’s books had wide-ranging influence on generations of architects throughout Europe, and his influence outside Italy, most significantly in England the colonial America, was stronger and more lasting than any other architect. A circle (the central dome-covered rotunda) inscribed in a square (the building does not have the usual wings of secondary buildings). Andrea Palladio Villa Rotunda near Vicenza, Italy ca. 1566-1570

Andrea Palladio Villa Rotunda near Vicenza, Italy ca. 1566-1570 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Andrea Palladio Villa Rotunda near Vicenza, Italy ca. 1566-1570

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Palladio superimposed a tall, narrow classical porch on a low broad one for the facade of San Giorgio Maggiore to integrate the high central nave and low aisles. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Andrea Palladio west façade of San Giorgio Maggiore Venice, Italy begun 1565

interior of San Giorgio Maggiore Venice, Italy Palladio’s architectural style differs from Mannerist architecture in that the play of shadow across the building’s surfaces, its reflection in the water, and its gleaming white against sea and sky create a colorful effect, prefiguring the Baroque. The interior lacks the ambiguity of the façade and evokes the High Renaissance. Wall decorations are “correctly” profiled in the classical style. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Andrea Palladio interior of San Giorgio Maggiore Venice, Italy begun 1565

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.