Chapter 13 The High Renaissance in Italy Popes and Patronage

Cellini’s Perseus Holding the Head of Medusa ( )

Contrasting Renaissance Voices Castiglione’s Courtier Chivalry, classical virtues, Platonic love Chivalry, classical virtues, Platonic love Uomo universale Uomo universale Sprezzatura Sprezzatura Overly refined, idealized worldview Overly refined, idealized worldview Elite aristocracy Elite aristocracy Castiglione’s Courtier Chivalry, classical virtues, Platonic love Chivalry, classical virtues, Platonic love Uomo universale Uomo universale Sprezzatura Sprezzatura Overly refined, idealized worldview Overly refined, idealized worldview Elite aristocracy Elite aristocracy Cellini’s Autobiography Violence, intrigue, sex, egotism, politics Vignettes of all walks of life; realistic snapshots Insight into methods of the artist

Popes and Patronage Vatican as center of wealth, stability Vatican as center of wealth, stability Pope Sixtus IV Pope Sixtus IV Ghirlandaio, Botticelli, Perugino Ghirlandaio, Botticelli, Perugino Pope Julius II Pope Julius II Beginnings of High Renaissance (1503) Beginnings of High Renaissance (1503) “il papa terribile” “il papa terribile” Raphael, Michelangelo Raphael, Michelangelo Vatican as center of wealth, stability Vatican as center of wealth, stability Pope Sixtus IV Pope Sixtus IV Ghirlandaio, Botticelli, Perugino Ghirlandaio, Botticelli, Perugino Pope Julius II Pope Julius II Beginnings of High Renaissance (1503) Beginnings of High Renaissance (1503) “il papa terribile” “il papa terribile” Raphael, Michelangelo Raphael, Michelangelo

Popes and Patronage: Raphael Sanzio ( ) From Urbino to Perugia From Urbino to Perugia Apprentice to Perugino Apprentice to Perugino From Perugia to Florence (1505) From Perugia to Florence (1505) Madonna of the Meadow (1508) Madonna of the Meadow (1508) Pyramidal configuration Pyramidal configuration Rationally ordered Rationally ordered Modeling of human forms Modeling of human forms Human quality of the divine figure Human quality of the divine figure From Urbino to Perugia From Urbino to Perugia Apprentice to Perugino Apprentice to Perugino From Perugia to Florence (1505) From Perugia to Florence (1505) Madonna of the Meadow (1508) Madonna of the Meadow (1508) Pyramidal configuration Pyramidal configuration Rationally ordered Rationally ordered Modeling of human forms Modeling of human forms Human quality of the divine figure Human quality of the divine figure

Raphael, Pope Julius II’s favorite artist “Madonna of the Meadow” Pyramidal configuration Rationally ordered Modeling of human forms Human quality of the divine Quite a departure from medieval representations of Jesus

Late Medieval Virgin and Child in a more International Style

Popes and Patronage: Raphael Sanzio ( ) From Florence to Vatican (1508) From Florence to Vatican (1508) School of Athens ( ) School of Athens ( ) Symbolic homage to philosophy Symbolic homage to philosophy Renaissance ideal Renaissance ideal The Transfiguration (1527) The Transfiguration (1527) Balance of philosophy and theology Balance of philosophy and theology From Florence to Vatican (1508) From Florence to Vatican (1508) School of Athens ( ) School of Athens ( ) Symbolic homage to philosophy Symbolic homage to philosophy Renaissance ideal Renaissance ideal The Transfiguration (1527) The Transfiguration (1527) Balance of philosophy and theology Balance of philosophy and theology

Popes and Patronage: Michelangelo Buonarroti ( ) Tomb for Pope Julius II Moses ( ) Moses ( ) Divine fury, divine light Divine fury, divine light Terribilità Terribilità Boboli Captives ( ) Boboli Captives ( ) Neo-Platonic notion of form and matter Neo-Platonic notion of form and matter Insight into methods Insight into methods Tomb for Pope Julius II Moses ( ) Moses ( ) Divine fury, divine light Divine fury, divine light Terribilità Terribilità Boboli Captives ( ) Boboli Captives ( ) Neo-Platonic notion of form and matter Neo-Platonic notion of form and matter Insight into methods Insight into methods

Michelangelo Neo-Platonist sculptor

Popes and Patronage: Michelangelo Buonarroti ( ) The Sistine Chapel “Michelangelo, Sculptor” “Michelangelo, Sculptor” Architectural and thematic motifs Architectural and thematic motifs Interpretation Interpretation Neo-Platonism Neo-Platonism Old Testament and pagan prophets Old Testament and pagan prophets Complex tree symbolism Complex tree symbolism Human wisdom + God’s revelation Human wisdom + God’s revelation The Sistine Chapel “Michelangelo, Sculptor” “Michelangelo, Sculptor” Architectural and thematic motifs Architectural and thematic motifs Interpretation Interpretation Neo-Platonism Neo-Platonism Old Testament and pagan prophets Old Testament and pagan prophets Complex tree symbolism Complex tree symbolism Human wisdom + God’s revelation Human wisdom + God’s revelation

Popes and Patronage: Michelangelo Buonarroti ( ) Michelangelesque Michelangelesque Masculine anatomy, musculature Masculine anatomy, musculature Physical bulk, linear grace, emotionality Physical bulk, linear grace, emotionality Creation of Adam ( ) Creation of Adam ( ) The Last Judgment ( ) The Last Judgment ( ) Medici Chapel Medici Chapel Architectural and sculptural design Architectural and sculptural design Life, death, resurrection Life, death, resurrection Michelangelesque Michelangelesque Masculine anatomy, musculature Masculine anatomy, musculature Physical bulk, linear grace, emotionality Physical bulk, linear grace, emotionality Creation of Adam ( ) Creation of Adam ( ) The Last Judgment ( ) The Last Judgment ( ) Medici Chapel Medici Chapel Architectural and sculptural design Architectural and sculptural design Life, death, resurrection Life, death, resurrection

Popes and Patronage: Michelangelo Buonarroti ( ) The New Saint Peter’s Donato Bramante ( ) Donato Bramante ( ) Tempietto Tempietto Michelangelo as architect (1546) Michelangelo as architect (1546) Bramante’s plan Bramante’s plan Ribbed, arched dome Ribbed, arched dome Drum to support dome Drum to support dome The New Saint Peter’s Donato Bramante ( ) Donato Bramante ( ) Tempietto Tempietto Michelangelo as architect (1546) Michelangelo as architect (1546) Bramante’s plan Bramante’s plan Ribbed, arched dome Ribbed, arched dome Drum to support dome Drum to support dome

St. Peters

The High Renaissance in Venice Tradition of easel painting Tradition of easel painting Use of oil paints Use of oil paints Brilliance of color Brilliance of color Subtlety of light Subtlety of light Eye for close detail Eye for close detail Love of landscape Love of landscape Tradition of easel painting Tradition of easel painting Use of oil paints Use of oil paints Brilliance of color Brilliance of color Subtlety of light Subtlety of light Eye for close detail Eye for close detail Love of landscape Love of landscape

Venice, Italy

The High Renaissance in Venice Giorgione (c ) Giorgione (c ) Venetian Renaissance Style Venetian Renaissance Style Enthroned Madonna with Saints ( ) Enthroned Madonna with Saints ( ) Le Concert Champêtre (c. 1510) Le Concert Champêtre (c. 1510) Titian (c ) Titian (c ) Assumption of the Virgin ( ) Assumption of the Virgin ( ) Venus of Urbino (1538) Venus of Urbino (1538) Tintoretto ( ) Tintoretto ( ) “The drawing of Michelangelo and the color of Titian.” “The drawing of Michelangelo and the color of Titian.” Giorgione (c ) Giorgione (c ) Venetian Renaissance Style Venetian Renaissance Style Enthroned Madonna with Saints ( ) Enthroned Madonna with Saints ( ) Le Concert Champêtre (c. 1510) Le Concert Champêtre (c. 1510) Titian (c ) Titian (c ) Assumption of the Virgin ( ) Assumption of the Virgin ( ) Venus of Urbino (1538) Venus of Urbino (1538) Tintoretto ( ) Tintoretto ( ) “The drawing of Michelangelo and the color of Titian.” “The drawing of Michelangelo and the color of Titian.”

(on right) Titian’s “Assumption of the Virgin,” painted in Venice. Note the geometrical organization. What effect does the use of oil paint instead of fresco plaster have on the representation of this classic Christian theme?

Mannerism Artistic “mood” Artistic “mood” Frederick Hartt’s schema (page 313) Frederick Hartt’s schema (page 313) Michelangelo’s mannerist style Michelangelo’s mannerist style Night, Day, Dawn, and Dusk Night, Day, Dawn, and Dusk Laurentian Library Laurentian Library The Last Judgment The Last Judgment Artistic “mood” Artistic “mood” Frederick Hartt’s schema (page 313) Frederick Hartt’s schema (page 313) Michelangelo’s mannerist style Michelangelo’s mannerist style Night, Day, Dawn, and Dusk Night, Day, Dawn, and Dusk Laurentian Library Laurentian Library The Last Judgment The Last Judgment

Michelangelo’s Mannerist entrance to the Laurentian Library: its windows are not windows, its columns support nothing, its staircases have aggressively rounded steps, its dominant lines break up space in odd and unresolved ways.

Mannerism Jacopo Carucci da Pontormo ( ) Jacopo Carucci da Pontormo ( ) Deposition (c. 1528) Deposition (c. 1528) Parmigianino ( ) Parmigianino ( ) Madonna of the Long Neck (c. 1535) Madonna of the Long Neck (c. 1535) Implied eroticism Implied eroticism Inventiveness, restlessness Inventiveness, restlessness Jacopo Carucci da Pontormo ( ) Jacopo Carucci da Pontormo ( ) Deposition (c. 1528) Deposition (c. 1528) Parmigianino ( ) Parmigianino ( ) Madonna of the Long Neck (c. 1535) Madonna of the Long Neck (c. 1535) Implied eroticism Implied eroticism Inventiveness, restlessness Inventiveness, restlessness

Next class: The Renaissance in the North Montaigne’s “Of Cannibals” Martin Luther’s “Small Catechism” The Renaissance in the North Montaigne’s “Of Cannibals” Martin Luther’s “Small Catechism”