1. Mannerism and Late Renaissance Art c. 1520 - 1600 C.E.

2. ENDURING UNDERSTANDING Modern European art emerges from an interaction with cultures on a global scale. Prior studies highlighted a more narrow geographic or chronological approach.
Essential Knowledge - Western Europe and the American colonies are at the center of Renaissance and Baroque studies. - Europe and the Americas are brought into closer alignment with this new course of study. One is not considered more important than the other. - Europeans brought goods and culture to the Western hemisphere with their trade and conquest. - Europeans began to collect and organize knowledge from their various expansions around the globe. European influence is on the rise at home and abroad.

3. ENDURING UNDERSTANDING The Reformation and Counter-Reformation caused a rift in Christian of Western Europe.
Essential Knowledge - In Northern Europe there was an emphasis on non-religious subjects, like portraits, genre paintings, and still lifes. In Southern Europe there was an emphasis on religious subjects with much more active and dynamic compositions.

5. 80: Venus of Urbino
Titian
c C.E. Oil on canvas.

8. Artist - Titian
Known as the greatest Venetian artist of the 16th century.
Patron – Duke of Urbino Guidobaldo II Della Rover
Gift to his young wife.

9. Painting represents the symbol of marriage.
Evident eroticism of the painting reminded the woman of the marital obligations she would have to fulfill to her husband.
Intended as a teaching model for the young wife.

10. Strong sensuality of the painting was consistent with it’s private, domestic purpose, as a gift from husband to wife.
Exercise in female eroticism.
May not have been a Venus. At this time, we could look at a nude as beauty and not as sexuality.

11. Goddess of love appears so human.
Reclining female, looks at us directly.
Might be holding a morning-after gift in the form of a bouquet of flowers.
Left hand placed suggestively on her thighs.

12. Dog – symbol of marital fidelity.
Maids in background – open a marriage chest.
Light and warm color of her body contrasts the dark background.
Glazing – richness of color, thin layers.

13. Public proclamation of love.
Not carnal desire, but the permanent bond of marital affection.
Painting became a standard for future reclining nudes.
Edouard Manet, Olympia, 1883
Gustave Courbet, Woman with a Parrot, 1866

15. 78: Entombment of Christ Jacopo da Pontormo
c C.E. Oil on wood.

17. Brunelleschi, Capponi Chapel, 1419-23

18. Artist – Jacopo da Pontormo
Monumental drama on a narrow stage that brings them close to the foreground.
Rotates figures along a vertical axis.
Figures high in the pictorial field, no ground.
No focal point, figures in all directions.

19. Void – emptiness accentuates the grouping of hands that fill the hole
Void – emptiness accentuates the grouping of hands that fill the hole. Symbolic loss and grief.
Distortion, complexity, challenging composition.
Titles the Entombment but omits a tomb and a cross.
Audience would expect grief from the figures but they look lost and bewildered.

20. Highly stylized figures.
Elongation of bodies.
Twisting and bending.
Some androgynous figures.
Bodies twisting around one another.
Anxious glances from small heads.
Not real emotions but symbols of emotions.

21. Mannerism Comes from the term, maniera, meaning charm, grace, playfulness.
Stressed distortion and disproportion rather than the mathematically precise depictions.
Concerned with formal beauty rather than the idealized nature of the Renaissance conventions.
Agitated, emotional, and neurotic departure from balance and tranquility of High Renaissance.
Critics criticized this art style for being superficial, overly ornate, frivolous and a lack in serious intent.
New spirituality as opposed to the naturalism of the Renaissance.
Early mannerist style.