Chapter 20 16th century art in italy
Upcoming SlideShare
Loading in...5
×
 

Chapter 20 16th century art in italy

on

  • 8,259 views

 

Statistics

Views

Total Views
8,259
Views on SlideShare
8,258
Embed Views
1

Actions

Likes
3
Downloads
106
Comments
0

1 Embed 1

http://www.slideshare.net 1

Accessibility

Categories

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

Chapter 20 16th century art in italy Chapter 20 16th century art in italy Presentation Transcript

  • Chapter 20: 16th Century Art in Italy
    AP Art History
    Magister Ricard
  • The High Renaissance
  • The High Renaissance
    Venice and Florence remain important centers but Rome dominates the 16th Century
    One of the major building projects of the era was the construction of the new St. Peter’s Cathedral
    Most influential artists of the period are Leonardo da Vinci, Michelangelo, Raphael, Bramante, and Titian
    They elevated the prestige of artists from mere artisans to creative, unique, geniuses (Durer’s dream realized)
  • The High Renaissance
    Art in Italy in the Early 16th Century
  • Leonardo da Vinci
    Born in 1452 in Vinci, a small village near Florence
    Apprentice to Verocchio
    Left Florence in 1482 to work for Duke of Milan
    1495 painted Last Supper in refectory of Santa Maria delle Grazie
    Painting was meant to be extension of dining room
    Linear perspective converges on Jesus
    Three windows extend space, symbolize Holy Trinity
    Depicts moment Jesus reveals “One of you shall betray me”
    Judas is cloaked in the shadows
    Used an experimental medium of oil; preferred to work using a slower method than normal fresco painting; medium was a failure with much deteriation
  • Leonardo da Vinci
    When the French claim Milan, Leonardo returns to Florence (1500)
    Produces a large drawing (cartoon) which was never painted
    Features Mary sitting on knee of her mother, Anne, while Christ child reaches out toward cousin John the Baptist
    Uses strong contrast of light and dark (chiaroscuro)
  • Leonardo da Vinci
    The Mona Lisa’s identity is much debated
    May have been Lisa Gherardini, La Gioconda
    Pyramidal form does not stop at upper torso but extends to half figure
    No jewelry, plain, silhouetted against desolate, mysterious landscape
    Applied a smoky haze using a thin varnish creating sfumato (“smokiness”)
    Utilized the medium of oil to its full potential, build on chiaroscuro for voluminous modeling
    One of first works intended to be framed and hung
    Used entertainment to amuse subject and create the enigmatic smile and gaze captured in image
  • Leonardo da Vinci
    Inspired by the writings and theories of Roman architect Vitruvius
    Was an applied theory of man represented by way of geometry
    Vitruvius – man is proportional, harmonious, 8 heads high
    Adapted these ideas into a diagram for the ideal male figure
    Man is as wide as he is tall (square)
    The circumference measuring from his navel outward will be the extent of his arms and legs (circle)
  • Raphael
    Arrived in Florence from Urbino in 1505
    Studied in Perugia under Perugino
    Early work has tilt of heads in paintings, even-keeled mood found in his subjects
    Uses clear even light in his work to imitate outside light
    In background is a church from Urbino which may have been designed by Bramante
  • Raphael
    Commissioned by Pope Julius II to paint several rooms (stanze)
    In Stanza dellaSegnatura painted 4 branches of knowledge – Religion, Philosophy, Poetry, and Law
    Uses a trompel’oeil – a trick of the eye – to create the two dimensional illusion
    Linear perspective converges on Plato (Ideals) and Aristotle (Empiricism/Materialism)
    Included are other artists as the models for the subjects: Leonardo (Plato), Michelangelo (Heraclitus), Raphael stares out at the viewer
  • Michelangelo Buonarroti
    Favored sculpture as the best medium for expression of the natural world (Leonardo favored painting); considered himself always a sculptor first
    Art was an inner calling, not a profession
    Worked in the workshop of Ghirlandaio
    Studied Massacio’sBrancacci Chapel
    Studied the Medici’s private sculpture collection
    In 1497 was commissioned to sculpt a marble pieta which was hailed as the first great sculpture of the High Renaissance
    Selected the marble from the famous quarry in Carrara; form needed to be set free from the marble medium
    When returned to Florence in 1501, would receive the commission to sculpt “ilmostro” into David
  • Michelangelo Buonarroti
    “I’m not a painter”
    Although contracts in Florence remained, was brought to Rome by Pope Julius II to create his tomb
    Tomb was stopped in 1508 so that work on Sistine Chapel could begin
    Considered himself a sculptor, but was commanded by pope to paint the ceiling
    Used trompel’oeilfor ceiling, short pilasters supported by putti
    Within the frame are figures from the Old Testament - featuring heroes of nude men (ignudi) – and sibyls
  • Michelangelo Buonarroti
    As the building project for St. Peter’s went on, Pope Julius II diverted funds from not only the Sistine Chapel, but also the original commission for his tomb
    Planned by Michelangelo was a massive freestanding structure with more than 40 statues
    Reductions lead to a scaled down “tomb” which never saw the pope buried and plagued Michelangelo for over 40 years
    Moses is one of the original designs for the tomb and features many characteristics typical of Michelangelo’s sculpture
  • Michelangelo Buonarroti
    Leo X (Giovanni di Medici, son of Lorenzo the Magnificent) succeeded as pope in 1513
    Selected Michelangelo to design many projects including New Sacristry in San Lorenzo, Florence
    (Left) tomb of Giulianode’Medici seated on sarcophagus with personifications of Night and Day – Active Life
    (Right) tomb of Lorenzo with personifications of Dawn and Dusk – Contemplative Life
  • Bramante
    Like Brunelleschi and Alberti, carefully studied ancient Roman architecture
    Left Milan in 1499 (like Leonardo) and headed for Rome
    The Tempietto (little temple) constructed in concentric circles (compare to a tholos temple or central-plan)
    Math was used to create harmony, distance between columns is four times their diameter
    A drum supports a hemispheric dome, inspiring the New St. Peter’s construction (compare to Washington, DC Capitol Building)
  • Antonio da Sangallo and Michelangelo
    Started by da Sangallo, the Palazzo Farnese (Rome) was constructed using Renaissance architectural principals
    Heavy rustication of blocks on first floor around central entrance
    Piano nobile (2nd floor) featured a balcony where the public could be addressed; had cartouche above the balcony; contains alternates of arched and triangular pediments with Corinthian columns
    3rd floor completed by Michelangelo; features triangular pediments and a cornice was added
  • St. Peter’s Cathedral, Rome
    Old St. Peter’s constructed by Constantine to honor the apostle St. Peter – the first bishop of Rome (and first pope)
    Pope Julius II (1506) decided to renovate the cathedral due to disrepair
    Originally, Bramante was commissioned, who sought to use a central-plan to replace the basilica-plan with a dome
    Pope Julius II dies in 1513, Bramante in 1514
    Raphael, Antonio da Sangallo move towards a Latin cross design
    Michelangelo (1546) returns design to Greek cross, central plan, which was completed after his death in 1590 by GiocomodellaPorta (see soon)
  • Giulio Romano
    In Mantua, architecture was not quite as “serious”
    Used the classical architectural elements playfully, to create kind of a visual humor with dropping triglyphs
    Used trompel’oeilto create a “falling room” where the subject matter is the gods defeating the giants (compare to Camera Picta of Andrea Mantegna)
    Precursor to Mannerism
  • Titian
    The deaths of Giorgione (1510) and Raphael (1520 – only 37!) left a vacuum
    Worked mostly in and around Venice
    Painted religious altar pieces, voluptuous female nudes, and portraits of important leaders of the 16th century
    Defeat of Turks in 1502 lead to a commission for a votive piece dedicated to the victory
    Masterful use of light and shadow
    Asymmetrical setting with huge columns
    St. Peter is central figure (blue and yellow) while Virgin and Child are on a high throne with surrounding saints
    Composition is built on diagonals, not on vertical and horizontal grid
  • Art in the Counter Reformation
    16th Century Art in Italy
  • Counter Reformation
    Shaken by the reforms of Martin Luther (Lutheran) and John Calvin (Calvinism), the Protestant reforms challenged the authority of the pope
    Counter-Reformation was launched by Catholic Church
    Michelangelo was brought back to Rome to paint the Last Judgment by Pope Paul III in 1534
    Michelangelo created a pessimistic view of the Last Judgment; Christ was stern shown condemning souls
    Demons torture the damned; survivors narrowly escape
    Salvation must be earned – defiant of Martin Luther’s teaching that salvation can be given by faith alone
  • Mannerism
    16th Century Art in Italy
  • Art in Venice and the Veneto
    16th Century Art in Italy