1. Cinquecento Italian Art
High Renaissance

2. 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 oil on wood 6 ft. 3 in. x 3 ft. 7 in.

3. 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 charcoal heightened with white on brown paper 4 ft. 6 in. x 3 ft. 3 in.

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

6. 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.

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

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

9. 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.

10. 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

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

14. 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

15. 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
marble 14 ft. 3 in. high

18. 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 marble approximately 8 ft. 4 in. high

19. 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
marble 6 ft. 10 1/2 in. high

21. Fond of serving in battle, Pope Julius II reigned from 1503-1513
Fond of serving in battle, Pope Julius II reigned from 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

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

23. 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
fresco approximately 128 x 45 ft.

24. 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
fresco approximately 18 ft. 8 in. x 9 ft. 2 in.

25. Cleaning of, Sistine Chapel Ceiling Vatican City, Rome, Italy

26. 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

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

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

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

30. Michelangelo Buonarroti Last Judgment Vatican City, Rome, Italy
fresco

31. Michelangelo Buonarroti Last Judgment Vatican City, Rome, Italy
fresco

32. Michelangelo Buonarroti Last Judgment Vatican City, Rome, Italy
fresco

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

36. 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.

38. 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.

39. 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.

41. 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.

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

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

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

47. Antonio da Sangallo the Younger Palazzo Farnese Rome, Italyca

49. Michelangelo Buonarroti Capitoline Hill Rome, Italy
designed ca. 1537

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

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

53. Michelangelo Buonarroti elevation for Saint Peter’s
Vatican City, Rome, Italy

54. Michelangelo Buonarroti elevation for Saint Peter’s
Vatican City, Rome, Italy

56. 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.

57. 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

58. 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.

59. 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 oil on canvas 3 ft. 7 in. x 4 ft. 6 in.

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

61. 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 oil on wood 22 ft. 6 in. x 11 ft. 10 in.

62. 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
oil on canvas approximately 16 x 9 ft.

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

65. 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.

67. 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
oil on canvas 3 ft. 4 1/8 in. x 2 ft. 1 3/16 in.

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

70. Antonio Allegri da Correggio Assumption of the Virgin
Dome fresco of Parma Cathedral Parma, Italy
fresco

71. “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
fresco

73. 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

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

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

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

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

78. 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.

79. 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

81. Giacomo della Porta
façade of Il Gesù
Rome, Italy ca

82. Giacomo da Vignola
plan of Il Gesù
Rome, Italy
1568

83. 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.

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

86. 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.

88. 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

89. 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.

90. 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.

92. 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 oil on canvas approximately 29 ft. 8 in. x 19 ft.

93. 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

95. 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

96. 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

97. 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.

98. 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

99. 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

100. 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.