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Chapter Thirteen: The High Renaissance and Mannerism
in Italy
Popes and Patronage
Vatican as center of wealth, stability
Pope Sixtus IV
Pope Julius II
Beginnings of High Renaissance (1503)
“il papa terribile”
Raphael, Michelangelo
The de’ Medici Family
The Visual Arts
Leonardo da Vinci (1452-1519)
Mona Lisa, The Last Supper, Madonna of the Rocks
Orthogonals, chiaroscuro
Notebooks
Mathematics, natural world and humanity, love for beauty
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13.3 Leonardo da Vinci, The Last Supper, 1495-1498, Refectory, Santa Maria delle Grazi, Milan, Italy
13.4A Leonardo da Vinci, Madonna of the Rocks, begun 1483. Musee du Louvre, Paris, France
13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France
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The Visual Arts Raphael Sanzio (1483-1520)
From Urbino to Perugia
Apprentice to Perugino
From Perugia to Florence (1505)
Madonna of the Meadow (1508)
Pyramidal configuration
Rationally ordered
Modeling of human forms
Human quality of the divine figure
13.7 Raphael, Madonna of the Meadow, 1508,
Kunsthistorisches Museum, Vienna, Austria
The Visual Arts
Raphael Sanzio (1483-1520)
From Florence to Vatican (1508)
School of Athens (1509-1511)
Symbolic homage to philosophy
Renaissance ideal
Balance of philosophy and theology
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13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy
The Visual Arts
Lorenzo de’ Medici
Michelangelo Buonarroti (1476-1564)
Pietá
Michelangelo’s David
Statement of idealized beauty
Palazzo Vecchio: symbol of civic power
13.10 Michelangelo, David, 1501-1504, Accademia di Belle Arti, Florence, Italy
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The Visual Arts Michelangelo Buonarroti (1475-1564)
Tomb for Pope Julius II
Moses (1513-1515)
Divine fury, divine light
Terribilità
13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy
The Visual Arts Michelangelo Buonarroti (1475-1564)
The Sistine Chapel
“Michelangelo, Sculptor”
Architectural and thematic motifs
Interpretation
Neo-Platonism
Old Testament and pagan prophets
Complex tree symbolism
Human wisdom + God’s revelation
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13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy
The Visual Arts Michelangelo Buonarroti (1475-1564)
Michelangelesque
Masculine anatomy, musculature
Physical bulk, linear grace, emotionality
Creation of Adam (1508-1511)
The Last Judgment (1534-1541)
Medici Chapel
Architectural and sculptural design
Life, death, resurrection
13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy
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13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy
The Visual Arts Michelangelo Buonarroti (1475-1564)
The New Saint Peter’s
Donato Bramante (1444-1514)
Tempietto
Michelangelo as architect (1546)
Bramante’s plan
Ribbed, arched dome
Drum to support dome
The High Renaissance in Venice
Andrea Palladio
Classical Architecture of Greece reflected through Roman structures
Four Books of Architecture (1570)
Palazzo Chiericati
Harmony and balance
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The High Renaissance in Venice Painting
Tradition of easel painting
Use of oil paints
Brilliance of color
Subtlety of light
Eye for close detail
Love of landscape
The High Renaissance in Venice Painting
Titian (c. 1488-1576)
Assumption of the Virgin (1516-1518)
Venus of Urbino (1538)
Tintoretto (1518-1594)
“The drawing of Michelangelo and the color of Titian.”
The Last Supper
13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy
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Mannerism
Characteristics of Mannerism Distortion and elongation
Flattened, two-dimensional space
Lack of a defined focal point
Discordant pastel hues
Jacopo Carucci da Pontormo (1494-1557)
Deposition (c. 1528)
Il Bronzino Venus, Cupid, Folly, and Time (The
Exposure of Luxury)
13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England
Mannerism
Lavinia Fontana (1552-1614)
Daughter of Bolognese painter
Portrait painter (Rome, Bologna)
Exaggerated angles, use of color
Sofonisba Anguissola (1532?-1624)
Renaissance and Baroque masters
Pictorial representations
Contrasts of dark and light
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13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy
13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland
Mannerism
Giovanni da Bologna (1529-1608)
Sculptor
Abduction of the Sabine Women
El Greco (1541-1614)
Distortion of figures and ambiguous space
The Burial of the Count of Orgaz
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13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain
Music in the Sixteenth Century
Music at the Papal Court
Sistine Choir and Julian Choir
Male voices, a capella
Josquin des Prez (c. 1450-1521)
Sistine Choir, composer and director
Motet for four voices
Structure, balance, lyrical quality
Music in the Sixteenth Century
Music at the Papal Court
Giovanni Pierluigi da Palestrina (1525-1594)
Choirmaster of capella Guilia (Julian choir)
1571-1594 Vatican’s music director
Conservative masses in response to Catholic reform movement
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Music in the Sixteenth Century
Venetian Music
Adrian Willaert
Andrea and Giovanni Gabrieli
Church of St. Mark
Split choirs
Instrumental music in liturgy
Intonazione, toccata
Intellectual influence of Italian humanism
Literature
Leonardo da Vinci 13,000 pages of notes
Michaelangelo Buonarroti Poetry
Vittoria Colonna
Baldassare Castiglione The Book of the Courtier
Veronica Franco
Benvenuto Cellini
13.28 Raphael, Baldassare Castiglione, 1514, Musee du Louvre, Paris, France
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Chapter 13: Discussion Questions
Compare the artistic developments that took place in Rome and those that took place in Venice. To what can we attribute the differences? Explain.
To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and works.
How did environmental factors and geography contribute to Venetian art during the Renaissance? Consider both visual and aural arts in your discussion.