Renaissance Part2

Raphael Portrait of Julius II 1511-12 Oil on wood, 108 x 80,7 cm National Gallery, London … a portrait "so animated and true to life that it was frightening to behold, as though it were actually alive" (Vasari).

RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, approx. 19’ x 27’.

RAPHAEL, Madonna in the Meadow, 1505. Oil on panel, 3’ 8 1/2” x 2’ 10 1/4”. Kunsthistorisches Museum, Vienna.

Greatest of the Venetian School

Most versatile: portrait, landscape, mythological, & religious paintings

Manner & styles changed drastically throughout long life, but consistent interest in use of color

Titian 1485 - 1576

Titian, Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3’ 7” x 4’ 6”. Louvre, Paris.

Assumption of the Virgin 1516-18 Oil on wood, 690 x 360 cm Santa Maria Gloriosa dei Frari, Venice This is the moment when an angel appears to Mary to tell her she has been chosen to bear the Son of God.

GIORGIONE DA CASTELFRANCO, The Tempest, ca. 1510. Oil on canvas, 2’ 7” x 2’ 4 3/4”. Galleria dell’Accademia, Venice.

Giorgione's Sleeping Venus, 1510

TITIAN, Venus of Urbino, 1538. Oil on canvas, approx. 4’ x 5’ 6”. Galleria degli Uffizi, Florence.

Mannerism

Death of Michelangelo marks end of High Renaissance (1550)

Transition between Renaissance and Baroque (1600) is a fifty year span of Mannerist painting

Baroque dominates the 17 th century

Extreme drama, and exaggerated compositions

Elongated figures, irrational compositions, sometimes producing surreal or absurd effects

They were reacting against the logic, order, and balance of the High Renaissance and artists like Michelangelo.

Mannerism is characterized by: Dramatic use of space and light Deliberate rejection of early methods and logic Movement and diagonals Theatricality Complex composition Hellenistic influences

Raphael, The Transfiguration of Christ

BRONZINO, Venus, Cupid, Folly, and Time (The Exposure of Luxury), ca. 1546. Oil on wood, approx. 5’ 1” x 4’ 8 3/4”. National Gallery, London.

PARMIGIANINO, Madonna with the Long Neck, ca. 1535. Oil on wood, approx. 7’ 1” x 4’ 4”. Galleria degli Uffizi, Florence.

JACOPO DA PONTORMO, Descent from the Cross, Capponi Chapel, Santa Felicità, Florence, Italy, 1525–1528. Oil on wood, approx. 10’ 3” x 6’ 6”.

SOFONISBA ANGUISSOLA, Portrait of the Artist’s Sisters and Brother, ca. 1555. Methuen Collection, Corsham Court, Wiltshire. As opposed to Renaissance logic and order, we see affection and family interaction, including the family pet

EL GRECO, The Burial of Count Orgaz, Santo Tomé, Toledo, Spain, 1586. Oil on canvas, approx. 16’ x 12’.

Renaissance in the North

Limbourg brothers (Pol, Hennequin, Herman), January, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2" x 5 1/2". Musée Condé, Chantilly.

LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), October, from Les Très Riches Heures du Duc de Berry, 1413–1416. Ink on vellum, approx. 8 1/2” x 5 1/2”. Musée Condé, Chantilly.

ROBERT CAMPIN (Master of Flémalle), Mérode Altarpiece (open), The Annunciation (center panel), ca. 1425–1428. Oil on wood, center panel approx. 2’ 1” x 2’ 1”. Metropolitan Museum of Art, New York (The Cloisters Collection, 1956).

JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent, Belgium, completed 1432. Oil on wood, approx. 11’ 6" x 15’.

JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood, approx. 2’ 8" x 1’ 11 1/2". National Gallery, London.

Green represents fertility

Dog symbolizes fidelity/loyalty

Shoes off to signify holy ground

Single candle – presence of Christ

JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, approx. 10 1/4" x 7 1/2". National Gallery, London.

MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed), Crucifixion (center panel), from the chapel of the Hospital of Saint Anthony, Isenheim, Germany, ca. 1510–1515. Oil on panel

Otto Dix, The War, 1932

Albrecht Durer

Albrecht Dürer Melencolia I ,1514

HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil and tempera on panel, approx. 6’ 8” x 6’ 9 1/2”. National Gallery, London.