pptthemetheme1.xmlpptthemetheme2.xmlpptnotesMas.docx

ppt/theme/theme1.xml
ppt/theme/theme2.xml
ppt/notesMasters/notesMaster1.xml
ppt/notesMasters/_rels/notesMaster1.xml.rels
ppt/notesSlides/notesSlide1.xml
The High
Renaissance, in the history of art, denotes the culmination of
the art of the Italian Renaissance between 1480 and 1527.
Because Pope Julius II patronized many artists during this time,
the movement was centered in Rome. The
High Renaissance is widely viewed as the greatest explosion of
creative genius in history. Even relatively minor painters active
during the period produced works remarkable for their perfect
harmony and control of the painterly mediums. The elongated
proportions and exaggerated poses in the late works of
Michelangelo, Andrea del Sarto and Correggio prefigure the
nascent Mannerism, as the Late Renaissance is referred to in the
history of art. Raphael's death in 1520 and the sack of Rome in
1527 spelled the end of the High Renaissance.
A series of foreign invasions of Italy known as the Italian Wars
would continue for several decades. These began with the 1494
invasion by France that wreaked widespread devastation on
Northern Italy and ended the independence of many of the city-
states. Most damaging was the May 6, 1527 Sack of Rome by
Spanish and German troops that all but ended the role of the

Papacy as the largest patron of Renaissance art and architecture.
ppt/notesSlides/_rels/notesSlide1.xml.rels
The High
Renaissance starts with Leonardo (1452-1519). An extremely
pivotal figure in Western art, he is a true Renaissance man: an
artist, a scientist, an inventor, a true visionary of things to
come. He left over 2,000 pages of notebook drawings and
scribbled ideas – they have been translated and published many
times over. His work emphasizes the objectiveness of human
nature as he concentrated on things and forces, not people and
events. I find self-portraits very interesting since
the artist is studying him/herself. What is Leonardo saying
about himself?
This piece was
part of a sculpted altar, which was commissioned by the
Milanese Confraternity of the Immaculate Conception for their
oratory in San Francesco in 1480. The Virgin of the Rocks does
not refer to the mystery of Immaculate Conception, but depicts
the type of subject that Leonardo might have painted in his
native Florence where legends concerning the young Saint John
the Baptist were popular. There are two versions of the painting
due to the fact that Leonardo sold the first one (in the Louvre)
to a private patron because of financial issues with the
Confraternity. The second was painted after the Confraternity
got their money issues solved and it was installed in their
chapel in 1508 (now in the National Gallery in London).
Leonardo uses a common compositional organization here of the

pyramid to organize space. Also, notice how the hands of the
figures and the glances of the eyes lead you around to all the
important parts of the painting. Because Leonardo
was a scientist, he tends to paint human figures and their
surroundings in a clinical, observational way, not full of
emotion or feeling.
A cartoon
is a large scale preparatory drawing for painting. Leonardo was
so busy and often involved with many projects, including
engineering projects for the Duke of Milan, he didn’t finish
everything he started, including preparatory drawings like this.
This drawing is similar to the Madonna of the Rocks
except instead of an angel we have Mary’s mother, St. Anne in
the image with the infants John and Jesus.
Because
Leonardo was someone who liked to experiment and invent, he
decided to paint this “fresco” dry with oil and tempera paint -
two paints that are not suited well for plaster. He took a long
time in painting, often disappearing for weeks on end to the
monks discontent. A lot of the paint started flaking off while he
was painting the work, leaving the painting badly preserved and
damaged when it was all said and done. Conservationists
(people who are trained to preserve and restore art) went in and
filled in gaps and restored the painting to how Leonard probably
wanted it to look - see next slide.

This painting
is indeed about the betrayal of Christ, but it is perfectly
rendered in linear perspective with Christ’s head as the
vanishing point: he is the controlling center of the work,
literally and psychologically. It is life sized and was painted on
the wall of the dining room (refectory) in the monastery or the
Santa Maria delle Grazie in Milan.
The most
famous work by Leonardo da Vinci, it is of the wife of a
wealthy Italian merchant. You may have heard a lot of stories
about it, but it really is a portrait of a real person and Leonardo
didn’t give the painting to his patron, but kept it. Leonardo
eventually gave the work to the King Frances I of France,
Leonardo’s friend and patron, thus why it resides in the Louvre
Museum today. The reason why it’s so famous is
because it was stolen twice in the early 20th century. It actually
had little appeal with the public before that. Now no one can
really remember the first time we saw a copy of this painting
somewhere.
This is one of
the 2,000 notebook pages. It’s a little hard to see here, but
Leonardo kept his notes in a mirrored script which mean he

wrote backwards from right to left. Some people think he did
this because he was left handed, but most agree that he did it to
keep his notes from being read. There were industrial spies
around at this time and a lot of his notebook pages contained
notes for weaponry that he was designing of the Duke of Milan.
Leonardo’s anatomical studies were mostly done between 1510-
13; this is one of his most famous anatomical studies. Although
the drawing is a bit faulty (the womb is not spherical in shape),
it is still so expertly drawn that it is used as an example and
reference in medical textbooks today.
Autopsies were
banned by the Church, but Leonardo disregarded these rules and
produced some of the most striking (albeit, not always correct)
anatomical studies. From left to right: the circulatory system,
the nervous system, and the endocrine system. Leonardo often
looked at the human body like the machines he built.
What kind of
modern vehicle does this remind you of? Leonardo was a man
way ahead of his time. Also, here you can see the mirrored
script in which he wrote a lot better.
Raphael is the

second monumental figure in the High Renaissance who was
only a painter, but what a painter! His techniques in this
painting closely resemble that of Leonardo da Vinci: open
landscape, pyramidal construction, attention to botanical detail.
However, what separates his painting from that of Leonardo’s is
the emotion (compare and contrast in the next slide). Raphael
painted this theme of the Madonna and child many times and it
is usually a sweet kind of scene. Here we have Saint John (the
apostle) bearing a cross. Jesus grabs the cross in order to
foreshadow the importance John has when he is crucified and
supports Mary during his death. Raphael was an
affable person who always had patrons. He was quite sociable
and a ladies’ man. Unfortunately he died young, probably due to
a fever from a STD he contracted.
Notice how
these two paintings are the same subject, but very different in
tone.
The perfect
embodiment of the classical spirit of the High Renaissance. The
subject is the Athenian school of thought where Plato and
Aristotle are featured. It was commissioned by Pope Julius II
for his library; each wall refers to the four domains of learning:
theology, philosophy, law, and the arts. Influenced by the
Sistine Chapel frescoes by Michelangelo (who was working on
those frescoes at the same time as Raphael was working on
these works), but renders it in his own style: body and spirit,

action and emotion are balanced harmoniously. The architecture
is essential to the picture plane as the two philosophers, Plato
(left) and Aristotle (right) are in the exact center of perspective
and the architecture draws our attention to the vanishing point.
They are arguing for their approaches to philosophy. Plato
believed in the cosmic order having an effect on human
behavior and decision making (predestination) while Aristotle
believed in concrete experience (free will). They are gesturing
with their hands, Plato pointing toward the heavens while
Aristotle’s palm is parallel to the ground. This symbolizes their
philosophic approaches. Here’s a guide to who is in
the painting:
https://en.wikipedia.org/wiki/The_School_of_Athens
Photos from
the Stanza in Rome
Photos from
the Stanza in Rome: Here you can see the gestures more closely.
Photos from
the Stanza in Rome: That is a depiction of a brooding
Michelangelo (crooked nose and infamous boots help us to
identify him) on the left and the figure looking out at us on the

right is Raphael. One of the most fun things to do when looking
at Raphael’s work is to look for the one figure looking at us. It
helps us to engage with the painting much more.
The sitter was
an important humanist and writer during the early 16th century.
He wrote a book about etiquette that he felt all ladies and
gentlemen of a certain class should follow (it basically
describes male and female roles along the gender lines of its
time). The painting is beautifully rendered and serves as a
document of the tastes and clothing of a gentleman from a
certain class; it was important for Castiglione to exemplify that
what he wrote in his books. This painting was later copied by
the 17th century Flemish artist, Peter Paul Rubens.
Raphael’s
patron became Pope Leo X, who was the son of Lorenzo de’
Medici – he was someone who spent huge sums of money on the
arts. Raphael was someone who was known and to know him
was an honor. Galatea is fleeing the giant Cyclops Polyphemus
who tries to serenade her; her head is at the exact center of the
composition and she and the other figures are in dynamic
motion, again, much like Hellenistic (late Greek) sculpture.
Many scholars say that Michelangelo’s muscular figures in the
Sistine Chapel had an enduring effect on Raphael’s painting
after 1512 when the ceiling was finished. You can see how
much more the bodies are muscular in this work.

The third
pivotal figure of the High Renaissance, Michelangelo embodies
the effects of subjectivity and individualism on creativity and
the social role of the artist. Nicknamed “il Divino” - the divine
one - Michelangelo ushered in the concept that artists could
approach divine creativity by changing the basic rules of art
itself (or breaking rules); art comes from the artist’s personal
uniqueness. Michelangelo was apprenticed to
the painter, Ghirlandaio, as a teenager, but found that sculpting
suited him better. He created this work at the age of 23. It is an
enduring theme of a mother’s love and grief. The Virgin Mary
holds the dead body of her son who suffered on the cross. It was
commissioned by a French cardinal for St. Peter’s Church. The
theme of the pietà wasn’t very popular in Italy, but it was very
popular in other parts of Europe including France, Germany,
and England (see next two slides for examples from these
areas). The theme was introduced during the Black Death during
the mid-1300s. The message is this: What is your suffering
compared to that of the Virgin Mary who has lost her only son?
It was a devotional theme to help people dealing with the loss
of loved ones due to the bubonic plague. There is no Biblical
reference for this theme, it is one solely made up by the
Catholic Church. It is a Madonna and Child image but one full
of sadness and sacrifice. Mary offers up Jesus to us.
The message is that his death is the path to our salvation.
Michelangelo sculpted her a little larger to accommodate the
large grown body of Christ. She is eternally youthful, a nod to
the classical past where gods/goddesses don’t age.
My favorite story of this sculpture that truly reflects
Michelangelo’s self-awareness is that after he finished the work
and it was placed in the church, he sneaked into the building at
night and chiseled his name across Mary’s sash so that everyone

would know that he created the artwork. He felt bad afterwards
and wrote in his diary that he needed to atone for the sin of
pride.
A 14th century
German example.
A 15th century
French example.
Michelangelo
focuses purely on the human figure. This represents the
individual who is capable of heroic action in the present world
and it is representative of the power of Florence and its leaders.
David, the boy from the Bible, is preparing to defeat Goliath.
After no one stepped up to challenge the threat of the
Philistines, David, an Israelite boy, told King Saul that he
would try. People couldn’t believe it, but Saul gave him a
chance. With a slingshot and a rock, David took the mighty
soldier down between the eyes, then beheaded him.
Michelangelo’s sculpture is not of a young boy. Instead, he
depicts David as a young, idealized man. Michelangelo was
more interested in depicting and reflecting on the tradition of
the Greeks who immortalized human figures in the prime of

their lives, always athletic. The sculpture originally stood
outside the Palazzo Vecchio, the city hall of Florence (a copy is
there today). It was a reminder to outsiders (non-Florentines) to
not underestimate the small republic, for they were capable of
great deeds, just like David.
Details of
Michelangelo’s David at the Galleria dell’Accademia.
Details of
Michelangelo’s David at the Galleria dell’Accademia.
A comparison
between Donatello’s David from the 15th century and
Michelangelo’s David . What kids of things do you notice
that are different between the two?
A little comedy
for you: David after visiting the U.S.

A former
student visited Florence and sent me this photo. Indeed, you
could find overweight David figurines in shops in Florence. To
each his/her own!
A work purely
derived from Michelangelo’s creative mind, it embodies a sense
of awesome power that goes beyond the visible and the
ordinary. Moses was part of 40 sculptures that
Michelangelo was commissioned to sculpt for Pope Julius’s
tomb. He received this commission as a way for the Pope to get
Michelangelo to paint the Sistine Ceiling, a task Michelangelo
did NOT want to do. However, he couldn’t turn down the
opportunity to create sculptures, so he reluctantly told Julius he
would paint the ceiling so that he could sculpt.
Moses is the Biblical character who frees the Jews from
bondage in Egypt and then leads them through the desert for 40
years to the Promised Land. Michelangelo based his work on a
fountain sculpture of Neptune (Roman god of the sea) in Rome.
Like all of his figures, Moses seems to have a life of his own.
He has been given the tablets with the Ten Commandments and
is in the process of returning to the Israelites.
A curious

detail of Moses’s head. He appears to have horns. It was
common for sculptures of Moses to have “horns” because of a
mistranslation in the Bible. When St. Jerome, who translated the
Bible from Hebrew and Aramaic into Latin, translated this
passage, “rays of light” (like a halo) in Hebrew ended up
translated to “horns” in Latin.
Commissioned
by Pope Julius II, Michelangelo begrudgingly painted over 5000
square feet of frescoes. Michelangelo considered himself a
sculptor, though at a young age he was apprenticed to
Ghirlandaio’s shop; however, the Pope dangled a lucrative prize
to get Michelangelo to paint the ceiling, an unprecedented 40
marble figures for the Pope’s tomb after the painting was done.
It took four years, primarily due to damp weather and to the fact
that painting in true fresco is difficult and this was a learning
process for the artist who had never painted in fresco before!
Michelangelo painted the ceiling himself, his assistants only
mixed plaster and paint. Please visit the Vatican
website for a 360 degree look at the Sistine Chapel - you will
love it:
http://www.vatican.va/various/cappelle/sistina_vr/index.html
When the Pope
approached Michelangelo to paint the ceiling, Michelangelo
refused. After several conversations (more like arguments, both
the Pope and the artist were very hot-headed), Michelangelo
agreed to paint the ceiling. Delighted, Julius told him what he

wanted. The ceiling originally was painted blue with gold stars
to resemble the heavens, but due to the fact that the foundation
of the chapel (built in 1473) was settling into the marshy ground
of Rome, many cracks had appeared and the ceiling needed to
be repainted. Julius had come up with a decorative tile-like
scheme for the ceiling. Michelangelo was outraged. Not only
was he not a painter, he most certainly was not a decorative
painter. After more arguing, Julius gave up and told
Michelangelo more or less to “paint what you want!” This is
unprecedented. Very few artists get to paint “what they want”
during this time. Usually the patron tells the artist what they
want. With this freedom, Michelangelo painted the stories of the
first book of the Bible, Genesis. The story begins with God
separating night from day (at the bottom of this image) and it
concludes with the drunkenness of Noah. The other figures in
the painting are prophets and sybils (female prophets) from the
Old Testament. A reminder, go here and take a
look around!
http://www.vatican.va/various/cappelle/sistina_vr/index.html
The most
famous image from the Sistine Ceiling, God floats in
accompanied by angels and Eve, giving Adam the spark of life.
Even Michelangelo’s painted figures have a sculptural quality
to them.
If you couldn’t
tell, I like parodies! Here’s the Flying Spaghetti Monster giving

Adam life. For more fun, check this link out:
http://www.venganza.org/ - remember, it’s all in good fun,
not to really offend.
Read the
article about the controversy surrounding the cleaning of the
ceiling: http://www.nytimes.com/1990/05/14/arts/review-
art-after-a-much-debated-cleaning-a-richly-hued-sistine-
emerges.html?pagewanted=all
No one argued
that the ceiling wasn’t dirty, but the way in which it was
cleaned was debated by many Michelangelo experts. This slide
gives you an idea of just how dirty the chapel had become.
Michelangelo
painted this wall of the chapel 22 years after the ceiling,
commissioned by a later Pope. Please watch the SmartHistory
video:
https://www.khanacademy.org/humanities/renaissance-
reformation/high-ren-florence-
rome/michelangelo/v/michelangelo-last-judgment-sistine-
chapel-ceiling-1628-1629 Council of Trent:
led by the efforts of Pope Paul III in response to the Lutheran

Reformation, the Council met from 1545 through 1563; it was
composed of cardinals, archbishops, bishops, abbots, and
theologians and they dealt with issues of Church doctrine,
including many the Protestants contested (including the
importance of imagery to construct and reinforce ideological
claims). We will be discussing the Reformation more in Chapter
18.
Pope Julius II
wanted to replace the old St. Peter’s Church with a newer, more
extravagant structure. To be fair, the original church dated back
to the 4th century and was becoming dilapidated. Julius
commissioned Bramante, a well-known architect in Rome, to
create plans for the new design. Bramante designed a central-
plan structure that was balanced and orderly. Unfortunately,
Julius died in 1513 and Bramante died in 1514, and the plans
didn’t come to fruition. It would be several more decades until a
new St. Peter’s Church would be realized, but by Michelangelo
and under a different Pope.
Michelangelo
transformed the complexity of Bramante’s plan into a more
simplified and uniform one. His plan adds a porch and columns
in the front.

In order to see
Michelangelo’s design for St. Peter’s we need to look at it from
the back. Later Popes had different ideas of what the church
should look like, so if we were to look at the church from the
front, we’d only see the expansive facade and very little of
Michelangelo’s design. Michelangelo was indeed influenced and
inspired by Alberti. The flat pilasters in the colossal order and
use of classical architecture are very similar to figure 16-45.
Michelangelo designed the dome, but it was completed by a
later architect as Michelangelo died in 1564 at the age of 88.
Architecture was Michelangelo’s last act as a talented artist.
This image is
for SmartHistory HW #4.
The subject
matter of this painting is one that is still being debated as
Giorgione did not have a particular subject matter in mind. The
most widely accepted interpretation is that the woman is a guilt
ridden Eve and her child, Cane, and that the lightning bolt
symbolizes God’s fury. It is accepted that Giorgione was more
interested in the landscape and describing the calm before the
storm than he was in the figures presented – they seem to be an
afterthought. Recent x-rays indicate that the low-ranking Italian
guard used to be a nude female.

Traditionally
attributed to Giorgione, Pastoral Symphony is now
considered a work from Titian's youth. This mysterious painting
is meant to be an allegory of Poetry, whose symbols - the flute
and the pouring water - are shared between two nude women of
ideal beauty. These unreal figures exist only in the imaginations
of the two men they inspire, according to a taste widespread in
Venice for simultaneous depictions of the visible and invisible.
The conception and execution of this painting illustrates the
youthful style of Titian. However, the work was for many years
attributed to Giorgione. Around 1509 the two artists began to
work in close collaboration, making it difficult to distinguish
their respective styles. When Giorgione died from plague in
1510, Titian seemed his only possible successor in Venice.
Taking over the commissions from his master's private clientele,
the young painter became his designated heir. The correct
attribution of this work has been discussed at different periods.
In the collections of Louis XIV, it was considered a Giorgione;
thereafter the authorship fell to Bellini, then to Palma Vecchio
or Sebastiano del Piombo; then it was deemed a Giorgione-
Titian collaboration until finally, despite some controversy, the
work was assigned to Titian. The history of the painting prior to
its entry into French collections is unknown. The
theme of music in a serene landscape might evoke an allegory
of Poetry - a poem or a legend. Titian gives great weight to the
landscape; it is not used as simple décor, but as a reflection of a
certain state of mind. The search for balance is shown through
the integration of these figures in a setting where man and
nature must coexist in perfect harmony. This thought evokes the
myth of Arcadia recounted in Virgil's Bucolics and reinterpreted
by the Neapolitan poet Jacopo Sannazzaro. The myth tells of the
happy life of the shepherds of Arcadia, whose existence is
centered around music and song.

Titian was
neither such a universal scholar as Leonardo, nor such an
outstanding personality as Michelangelo, nor such a versatile
and attractive man as Raphael. He was principally a painter, but
a painter whose handling of paint equaled Michelangelo's
mastery of draughtsmanship. This supreme skill enabled him to
disregard all the time-honored rules of composition, and to rely
on color to restore the unity which he apparently broke up. It
was almost unheard of to move the Holy Virgin out of the center
of the picture, and to place the two administering saints - St
Francis, who is recognizable by the Stigmata (the wounds of the
Cross), and St Peter, who has deposited the key (emblem of his
dignity) on the steps of the Virgin's throne - not symmetrically
on each side, but as active participants of a scene.
In this altar-painting, Titian had to revive the tradition of
donors' portraits, but did it in an entirely novel way. The picture
was intended as a token of thanksgiving for a victory over the
Turks by the Venetian nobleman Jacopo Pesaro, and Titian
portrayed him kneeling before the Virgin while an armored
standard-bearer drags a Turkish prisoner behind him. St Peter
and the Virgin look down on him benignly while St Francis, on
the other side, draws the attention of the Christ Child to the
other members of the Pesaro family, who are kneeling in the
corner of the picture. The whole scene seems
to take place in an open courtyard, with two giant columns
which rise into the clouds where two little angels are playfully
engaged in raising the Cross. Titian's contemporaries may well
have been amazed at the audacity with which he had dared to
upset the old-established rules of composition. They must have
expected, at first, to find such a picture lopsided and
unbalanced. Actually it is the opposite. The unexpected

composition only serves to make it gay and lively without
upsetting the harmony of it all. The main reason is the way in
which Titian contrived to let light, air and colors unify the
scene. The idea of making a mere flag counterbalance the figure
of the Holy Virgin would probably have shocked an earlier
generation, but this flag, in its rich, warm color, is such a
stupendous piece of painting that the venture was a complete
success." The painting is very animated as every figure in the
painting is doing something. It is also realistically rendered; the
sunlight actually bounces off of St. Peter’s head and the Christ
child is grabbing the Virgin Mary’s shawl on her head.
Nude portraits
such as this were popular in courtly circles. This kind of nudity
was acceptable because of its ties to mythology. Venus is set in
contemporary time, with maids in the background getting her
clothing together. According to the Uffizi
Gallery in Florence: “This work, completed in 1538 for the
Duke of Urbino Guidobaldo II Della Rovere, is very interesting
for its many hidden meanings. It was a gift from the Duke to his
young wife. The painting represents the allegory of marriage
and was a “teaching” model to Giulia Varano, the young wife of
eroticism, fidelity and motherhood. “The
evident eroticism of the painting, in fact, reminded the woman
of the marital obligations she would have to fulfill to her
husband. The erotic allegory is evident in the representation of
Venus, the goddess of love, as a sensual and delectable woman
staring at the viewer who could not ignore her beauty. The light
and warm color of her body is in contrast to the dark
background, bringing out her eroticism. “The
dog at the feet of the woman is the symbol of marital fidelity
while, in the background, the house maid looking down at the

young girl as she rummages in a chest symbolizes motherhood.
The strong sensuality of this painting was therefore consistent
with its private, domestic purpose, as a gift from husband to
wife. The pose of the nude is certainly a tribute to his friend-
master Giorgione, who in 1510 had painted a very similar
subject, the Sleeping Venus. Thanks to the wise use of color and
its contrasts, as well as the subtle meanings and allusions,
Titian achieves the goal of representing the perfect Renaissance
woman who, just like Venus, becomes the symbol of love,
beauty and fertility.”
Marquesa of
Mantua, ruler, art collector and patron, she was actively
involved in political intrigues among the interlocked nobles of
Europe. She was a successful collector of antiquities and also
supported convents and monasteries, including founding a girls'
school in Mantua. She fulfilled a role as patron of Renaissance
learning, arts and literature. Isabella d'Este's life is
known in some detail because of voluminous correspondence by
her and others in her circle. The correspondence provides
insight not only into the art world of the Renaissance, but into
the unique role this woman played. More than two thousand of
her letters survive. Isabella d'Este was described
as a beauty, with dark eyes and golden hair. She was famous for
her fashion sense -- her style was copied by noble women
throughout Europe. Her portrait was painted twice by Titian --
when she was 60 he risked his reputation by painting from an
image of her when she was 25 -- and also by Leonardo da Vinci,
Mantegna, Rubens and others. Isabella, and less actively her
husband, supported many of the Renaissance's painters, writers,
poets, and musicians. Artists with whom Isabella d'Este is
associated include Perugino, Battista Spagnoli, Raphael, Andrea

Mantegna, Castiglione and Bandello. Also part of the court
circle were writers including Ariosto and Baldassare
Castiglione, architect Giulio Romano, and musicians
Bartolomeo Tromboncino and Marchetto Cara. She collected
many art works and antiquities over her lifetime, some for an
art-filled private studio, essentially creating an art museum. She
specified the content of some of these, in commissioning works.
In 1509, Isabella's husband, Francesco, was captured by the
forces of King Charles VIII of France, and held in Venice as a
prisoner. In his absence, Isabella served as regent, defending
the city as commander of the city's forces. She negotiated a
peace treaty that provided for her husband's safe return in 1512.
Truly a great woman of the Renaissance!
Palladio was
the chief architect for the Venetian Republic. He started as a
stonemason and decorative sculptor, but became a specialist in
ancient styles of architecture and wrote his own treatise called
The Four Books of Architecture. Villas were
popular places to get away from the congestion of urban living
in Venice that became aristocratic farms (much like later
American plantations where Palladio’s design became realized
in homes like Jefferson’s Monticello). This particular villa was
not used for farming but for a monsignor who wanted a villa for
social events. Palladio designed it to sit on top of a hill to enjoy
four different views. Each façade is the same; it has the same
formal completeness of earlier Renaissance structures and each
façade resembles a Roman temple (the dome suggests the
Pantheon).

Central plan
structure – no wings that you might see on other structures.
Late
Renaissance or Mannerism lasted from 1525-1600: it is a period
of time where artists really experimented with many different
styles. The artist creates his self-portrait with the use of a
convex mirror, however, while other artists would paint their
self-portraits using this device, they would paint out the
distortions, but not Parmigianino: he is perhaps commenting
that distortion is as natural as the normal appearances of things.
Perhaps his
most famous work, the scale is distorted completely from the
proportions of the figures themselves to the space they occupy;
perhaps it is a vision of unearthly perfection. The painting
depicts the Virgin Mary seated on a high pedestal in luxurious
robes, holding a rather large baby Jesus on her lap. Six angels
crowded together on the Madonna's right, adore the Christ-
child. In the lower right-hand corner of the painting is an
enigmatic scene, with a row of marble columns and the
emaciated figure of St. Jerome. A depiction of St. Jerome was
required by the commissioner because of the saint's connection
with the adoration of the Virgin Mary. Parmigianino has
distorted nature for his own artistic purposes, creating a
typical Mannerist serpentine figure. Jesus is also extremely

large for a baby and he lies precariously on Mary's lap as if
about to fall at any moment. The Madonna herself is of hardly
human proportions—she is almost twice the size of the angels to
her right. Her right foot rests on cushions that appear to be only
a few inches away from the picture plane, but the foot itself
seems to project beyond it, and is thus on "our" side of the
canvas, breaking the conventions of a framed picture. Her
slender hands and long fingers have also led the Italian medical
scientist Vito Franco of the University of Palermo to diagnose
that Parmigianino's model had the genetic disorder Marfan
syndrome affecting her connective tissue.
Mannerist
artists enjoyed allegorical subject like this one, which is
depicting an Allegory of Lust. Cupid is fondling his mother,
Venus, while Folly prepares to shower them with rose petals.
Father Time, who appears in the upper right hand corner, pulls
back the curtain to show the incest that is taking place. The
other figures represent Envy and Inconstancy. The discarded
masks symbolize deceit. The painting seems to illustrate the
idea that love, which comes with envy and is overpowered by
inconstancy, is foolish and that lovers will discover its
complicated madness over time. The picture is
likely to be that mentioned in Vasari's 'Life of Bronzino' of
1568: He made a picture of singular beauty, which was sent to
King Francis in France; in which was a
nude Venus with Cupid kissing her, and on one side Pleasure
and Play with other Loves; and on the other, Fraud, Jealousy,
and other passions of love. Venus and Cupid are identifiable by
their attributes, as is the old man with wings and an hourglass
who must be Time (not mentioned by Vasari). The identity of
the other figures, and the meaning of the picture remain

uncertain. The howling figure on the left has been variously
interpreted as Jealousy, Despair and the effects of syphilis; the
boy scattering roses and stepping on a thorn as Jest, Folly and
Pleasure; the hybrid creature with the face of a girl, as Pleasure
and Fraud; and the figure in the top left corner as Fraud and
Oblivion. The erotic yet erudite subject matter of the painting
was well suited to the tastes of King Francis I of France. It was
probably sent to him as a gift from Cosimo I de' Medici, ruler of
Florence, by whom Bronzino was employed as court painter.
Bronzino was also an accomplished poet. The picture reflects
his interest in conventional Petrarchan love lyrics as well as
more bawdy poetic genres. For more information on
this perplexing image, watch this:
reformation/mannerism1/v/bronzino-an-allegory-with-venus-
and-cupid
Yes, there were
women artists back in the Renaissance and before! Women
began to emerge as distinct artistic personalities about 1550
since before that date it was highly unlikely that women would
be educated in Italy. Anguissola was from a prominent family in
Cremona, she showed talent at an early age and exchanged
drawings with Michelangelo who encouraged her development
as an artist. She was primarily a portraitist and while a young
woman, she was called to Madrid where she spent twenty years
as a court painter until marriage brought her back to Italy. She
was highly regarded during her lifetime and her success was
inspiration for other women artists. Anguissola
often used her family members as models as they were readily
available subject matter. Women could not study from the live
model like male artists could.

This version
can be described as the fest of the poors, in which the figure of
Christ mingles with the crowds of apostles. However, a
supernatural scene with winged figures comes into sight by the
light around his head. This endows the painting with a visional
character clearly differentiating it from paintings of the same
subject made by earlier painters like Leonardo. It is also a
foreshadowing of the dramatic lighting we will see in the 17th
century Baroque period.
As a religious
feast scene, this painting was harshly criticized for being too
secular. Veronese was commissioned to paint the Last Supper,
and he included lavish accessories, banquet delicacies,
magnificent buildings, highly fashionable nobles, drunkards,
soldiers, musicians, horses, dogs, cats, little people, gypsies and
apes. He was called before the Holy Tribunal of the Inquisition
because certain details in the work were considered
inappropriate for a religious theme. Veronese defended himself
completely and thus changed the title of the work from The
Last Supper to Christ in the House of Levi.
Correggio is an

artist described as “proto-Baroque" for his use of dark and light
as well as his subject matter being sensual and emotional.
Baroque artists would consider him an equal to Michelangelo
and Raphael. This is a dome fresco for the Parma Cathedral; the
figures float up to the ceiling and Correggio does a wonderful
job in melding architectural space with illusionistic perspective
and space. We are on the ground looking up into the dome as
the Virgin Mary ascends into heaven after she dies.
Giambologna
is a French artist who moved to Italy in 1555 for further
training. In this sculpture, he uses the legend of ancient Rome
of the city’s founders trying to find wives among their
neighbors, the Sabines to no avail. The Romans eventually
invited the entire tribe of Sabines to Rome for a festival, but
took them away by force and thus ensured the future of their
race. The figures spiral upward and is a composition to be seen
from all sides, which is another way Late Renaissance artists
break from the severe classicism of the High Renaissance.
You will recall
that Giacomo della Porta worked with Michelangelo and also
completed the dome on St. Peter’s basilica after Michelangelo’s
death. This commission came from the Jesuits who were a
monastic order founded during the Catholic Counter-
Reformation, basically, an evangelical branch of the Catholic
Church. This building takes into account many of the lessons
learned from Early and High Renaissance design, but it also

serves as a departure point from the Renaissance and a starting
point for the Baroque period. It would have a tremendous
impact on Baroque architecture of the 17th century.
ppt/slideLayouts/slideLayout1.xml
‹#›
ppt/slideLayouts/_rels/slideLayout1.xml.rels
‹#›
‹#›
‹#›

‹#›
‹#›
‹#›
‹#›
‹#›

‹#›
‹#›
‹#›
‹#›
‹#›
ppt/slideMasters/slideMaster1.xml
‹#›

ppt/slideMasters/_rels/slideMaster1.xml.rels
ppt/slides/slide1.xml
Rome with
Renaissance and Baroque Monuments
ppt/slides/_rels/slide1.xml.rels
‹#›
LEONARDO DA VINCI, Self-Portrait, 1512-15
Figure 17-2 LEONARDO
DA VINCI, Madonna of the Rocks, ca. 1485. Oil on wood
(transferred to canvas), approx. 6’ 3” x 3’ 7”. Louvre, Paris.
‹#›
Figure 17-3 LEONARDO DA VINCI, cartoon for Virgin and
Child with Saint Anne and the Infant Saint John, ca. 1505–1507.
Charcoal heightened with white on brown paper, approx. 4’ 6” x
3’ 3”. National Gallery, London.

LEONARDO
DA VINCI, Last Supper (uncleaned), ca. 1495–1498. Fresco (oil
and tempera on plaster), 29’ 10” x 13’ 9”. Refectory, Santa
Maria delle Grazie, Milan.
Figure 17-4
LEONARDO DA VINCI, Last Supper (cleaned), ca. 1495–1498.
Fresco (oil and tempera on plaster), 29’ 10” x 13’ 9”. Refectory,
Santa Maria delle Grazie, Milan.
Figure 17-5
LEONARDO DA VINCI, Mona Lisa, ca. 1503-1505. Oil on
wood, 2 61/4” x 1’ 9”. Musée du Louvre.
‹#›
Figure 17-6 LEONARDO DA VINCI, Embryo in the Womb, ca.
1510. Pen and ink on paper. Royal Library, Windsor Castle.

LEONARDO DA VINCI, Anatomical studies, 15th century
LEONARDO
DA VINCI, Study for flying devices, 15th century
‹#›
Figure 17-8 RAPHAEL, Madonna in the Meadow, 1505. Oil on
panel, 3’ 8 1/2” x 2’ 10 1/4”. Kunsthistorisches Museum,
Vienna.
Figure 17-9
RAPHAEL, Philosophy (School of Athens), Stanza della
Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco,
approx. 19’ x 27’.

‹#›
Figure 17-10A RAPHAEL, Baldassare Castiglione,
ca. 1514. Oil on wood transferred to canvas, approx. 2’ 6 1/4” x
2’ 2 1/2”. Louvre, Paris.
‹#›
Figure 17-11 RAPHAEL, Galatea, Sala di Galatea, Villa
Farnesina, Rome, Italy, 1513. Fresco, 9’ 8” x 7’ 5”.

Figure 17-12
MICHELANGELO BUONARROTI, Pietà, ca. 1498-1500.
Marble, 5’ 8 1/2” high. Saint Peter’s, Vatican City, Rome.
‹#›
Virgin with the Dead Christ (Röttgen Pietà), from the
Rhineland, Germany, ca. 1300–1325. Painted wood, 2’ 10 1/2”
high. Rheinisches Landemuseum, Bonn.
ENGUERRAND QUARTON, Avignon Pietà, c. 1470
Figure 17-13
MICHELANGELO, David, 1501–1504. Marble, 13’ 5” high.
Galleria dell’Accademia, Florence.

‹#›
Figure 17-14 MICHELANGELO, Moses, San Pietro in Vincoli,
Rome, Italy, ca. 1513–1515. Marble, approx. 8’ 4” high.
‹#›
MICHELANGELO, Moses, detail

‹#›
Figure 17-1 Interior of the Sistine Chapel (view facing east),
Vatican City, Rome, Italy, built 1473.
‹#›
Figure 17-17 MICHELANGELO, ceiling of the Sistine Chapel,
Vatican City, Rome, Italy, 1508–1512. Fresco, approx. 128’ x
45’.
Figure 17-18
MICHELANGELO BUONARROTI, Creation of Adam (detail),
ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1511–
1512. Fresco, approx. 9’ 2” x 18’ 8”.

‹#›
Cleaning of ceiling of Sistine Chapel, Vatican City, Rome,
Italy, 1977–1989.
‹#›
Detail of the Azor-Sadoch lunette’s left side over one of the
Sistine Chapel windows at various stages of the restoration
process, Vatican City, Rome, Italy, 1977–1989.
‹#›
Figure 17-19 MICHELANGELO BUONARROTI, Last
Judgment, fresco on the altar wall of the Sistine Chapel,
Vatican City, Rome, Italy, 1534–1541.
Figure 17-22
DONATO D’ANGELO BRAMANTE, plan for the new Saint
Peter’s, the Vatican, Rome, Italy, 1505.
‹#›

Figure 17-24 MICHELANGELO BUONARROTI, plan for Saint
Peter’s, Vatican City, Rome, Italy, 1546.
‹#›
Figure 17-25 MICHELANGELO BUONARROTI, Saint Peter’s
(view from the northwest), Vatican City, Rome, Italy, 1546–
1564. Dome completed by GIACOMO DELLA PORTA, 1590.
Figure 17-33
GIOVANNI BELLINI and TITIAN, The Feast of the Gods,
1529. Oil on canvas, approx. 5’ 7” x 6’ 2”. National Gallery of
Art, Washington (Widener Collection).
‹#›
Figure 17-34 GIORGIONE DA CASTELFRANCO, The
Tempest, ca. 1510. Oil on canvas, 2’ 7” x 2’ 4 3/4”. Galleria
dell’Accademia, Venice.
Figure 17-35
TITIAN. Pastoral Symphony, ca. 1508. Oil on

canvas, approx. 3’ 7” x 4’ 6”. Louvre, Paris.
‹#›
Figure 17-37 TITIAN, Madonna of the Pesaro Family, Santa
Maria dei Frari, Venice, Italy, 1519–1526. Oil on canvas,
approx. 16’ x 9’.
Figure 17-39
TITIAN, Venus of Urbino, 1538. Oil on canvas, approx. 4’ x 5’
6”. Galleria degli Uffizi, Florence.
Figure 17-40
TITIAN, Isabella d’Este, 1534–1536. Oil on canvas, 3’ 4 1/8” x
2’ 1 3/16”. Kunsthistorisches Museum, Vienna.
Figure 17-28 ANDREA
PALLADIO, Villa Rotonda (formerly Villa Capra), near
Vicenza, Italy, ca. 1566–1570.

‹#›
Figure 17-29 ANDREA PALLADIO, plan of the Villa Rotonda
(formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.
Figure 17-43
PARMIGIANINO . Self-Portrait in a Convex Mirror,
1524. Oil on wood, 9 5/8” diameter. Kunsthistorisches Museum,
Vienna.
Figure 17-44
PARMIGIANINO, Madonna with the Long Neck, ca. 1535. Oil
on wood, approx. 7’ 1” x 4’ 4”. Galleria degli Uffizi, Florence.
‹#›
Figure 17-45 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.

Figure 17-47
SOFONISBA ANGUISSOLA, Portrait of the Artist’s Sisters and
Brother, ca. 1555. Methuen Collection, Corsham Court,
Wiltshire.
Europe in the 16th Century
Beginning of the Lutheran Reformation 1517: 95 Treatises
nailed to the door of the Wittenberg Cathedral; Martin Luther
called the Pope the Antichrist and the Catholic Church the
whore of Babylon; the basic ideas of Protestantism are: 1)
Salvation by faith alone (good deeds got one into heaven in the
Catholic tradition); 2) the Bible is ultimately the only guiding
truth in believers’ lives – do not need a church official to tell
them what to believe or how to believe; 3) rejection of all
sacraments except for baptism and Communion and that Holy
Communion is only commemorative, not a reenactment (no
transubstantiation where the taking of the bread and wine are
the actual taking of Christ’s body and blood in Catholicism);
this affects art in that most Protestant churches were not
decorated with religious imagery – most felt that it was a form
of idolatry
Cortéz conquers Aztec empire for Spain in 1519; Pizarro
conquers Peru in 1521
Henry the VIII founds Anglican Church in 1534
Jesuit order founded 1534

John Calvin (a protestant leader) writes influential book
Institutes of the Christian Religion, 1536
Wars of Lutheran vs. Catholic princes in Germany; Peace of
Augsburg of 1555 lets each ruler decide religion of his subjects
Figure 18-3 ALBRECHT DÜRER, Self-Portrait, 1500. Oil on
wood,
2’ 2 1/4” x 1’ 7 1/4”. Alte Pinakothek, Munich.
Dürer was one of the first Northern artists to achieve
international celebrity as an artist. He was a talented painter,
engraver, and printmaker. Like Leonardo, Dürer wrote theories
on perspective, ideal human proportions, and fortification,
however, he published his writings, unlike Leonardo. He also
left a detailed account of his life through many self-portraits,
correspondence and diary.
Painted when the artist was 28, this image recalls the rigid
frontality of Byzantine icons. The focus on the hand as a
creative instrument is also apparent. He paints himself like a
Christ-like figure, recalling that we are all children of God
made in God’s image.
‹#›
Figure 18-3A ALBRECHT DÜRER, The Great Piece of Turf,
1503. Watercolor, approx. 1’ 4” x 1’ 1/2”. Graphische
Sammlung Albertina, Vienna.
Like Leonardo, Dürer was interested in observable facts in
nature. He painted this watercolor as a study for a piece of turf.
Dürer believed that sight was the noblest sense of man. This

work is scientifically accurate and poetic.
‹#›
Figure 18-4 ALBRECHT DÜRER, The Fall of Man (Adam and
Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine
Arts, Boston (centennial gift of Landon T. Clay).
This engraving shows the breadth and talent of Dürer. Here he
is distilling the ideas of Vitruvian theory on human proportion.
These two figures are classical in proportion as they stand in
front of a very heavily wooded Northern landscape. Although
the figures are idealized, he was committed to naturalism as
seen by the representation of the background itself. The choleric
cat, the melancholic elk, phlegmatic ox, and sanguine rabbit are
symbols of the four humors, bodily fluids that were the basis of
theories of the body’s function during the Medieval era. Notice
the cat and mouse in the foreground – they symbolize the
relationship between Adam and Eve at this moment in time.
‹#›
Figure 18-5 ALBRECHT DÜRER, Four Apostles, 1526. Oil on
panel, each panel 7’ 1” x 2’ 6”. Alte Pinakothek, Munich.
This image is for SmartHistory HW #5.
‹#›
Figure 18-6 LUCAS CRANACH THE ELDER, Allegory of Law
and Grace, ca. 1530. Woodcut, 10 5/8” x 1’ 3/4”. British
Museum, London.

Cranach continued with his religious work, but his woodcut
designs (notably those for the first German edition of the New
Testament in 1522) are generally more interesting that his
paintings in this sphere. He also painted several portraits of
Martin Luther. Despite his allegiance to the Protestant cause, he
continued to work for Catholic patrons and was a very astute
businessman. During the last years of his life Cranach was
assisted by his son, Lucas the Younger (1515-86), who carried
on the tradition of the workshop and imitated his father's style
so successfully that it is often difficult to distinguish between
their hands.
The most effective and successful of the doctrinal
representations came from the school of Lucas Cranach, the
contrast between the Law and the Gospel, or the Old and New
Testaments. The earliest example from Lucas Cranach the Elder
comes from the later 1520s. It is based on the antithesis, a form
used so often throughout Reformation propaganda. The visual
space is divided down the centre by a tree, to the left of which
is depicted the Law as expounded in the Old Testament. In the
left background, Adam and Eve east the fruit of the tree of life
after being tempted by the serpent. As a result of this original
sin, man is the prey of death and the Devil, through he can only
be damned, indicated by the two figures hounding Man into the
jaws of hell. This is Man under the Law, signified by Moses
holding the tables of the Ten Commandments, with other Old
Testament prophets behind him. In the clouds above, Christ as
Lord of the world sits judging man, with the sword and the lily
in his ears. Two figures, Mary and John the Baptist, seek to
intercede for sinful man, although in vain. The gloomy message
of the Old Testament and the Law, which only condemn man, is
also signified in the barren branches on the Old Testament side
of the antithesis formed by the central tree.
In opposition to the hardness of the Law, the Gospel brings
hope, signified by the blooming branches on the New Testament

side of the tree. In the background is depicted, however, an Old
Testament scene, the brazen serpent, the figure of Christ's
saving death on the cross. On the hill in the right background
Mary receives the rays of heavenly grace, signifying the
incarnation, further indicated by the angel bearing the cross
down to her. To the left, further indicated by the angel brings
the news of the birth of the Savior to the shepherds on the hills
of Bethlehem. The main figures on this side depict the events
through which the Gospel message is realized. The crucified
Christ sheds his saving blood in a stream onto man. Through the
agency of the Holy Spirit, the dove through which the stream
passes, this becomes the saving water of baptism. Man has his
attention called to the sacrificial death of Christ by the figure of
John the Baptist. Beneath the crucifix is the paschal lamb, the
symbol of Christ's victorious death, which is completed by his
resurrection. This is depicted in the bottom right-hand corner,
where Christ overcomes death and the apocalyptic beast,
representing the Devil. This completes man's release from sin
and death, neatly balancing the corresponding depiction on the
far left.
‹#›
Figure 18-10 ALBRECHT ALTDORFER, The Battle of Issus,
1529. Oil on panel, 4’ 4 1/4” x 3’ 11 1/4”. Alte Pinakothek,
Munich.
Albrecht Altdorfer was German artist known for working in fine
detail. This work is based on Alexander the Great’s victory over
Darius during the Battle of Issus from 333 BCE. It is updated to
the 16th century showcasing a battle between Bavaria
(Christendom) and Turkey (Islam): armament and towns are
unmistakably of that time. There is a love of landscape – figures
are ant-like.

‹#›
Figure 18-11A HANS HOLBEIN THE YOUNGER, Henry VIII,
1540
Holbein was from Augsburg, Germany, moved to Basel,
Switzerland, but traveled to France and England where he did
this portrait of Henry VIII. He became the court painter. In this
portrait he precisely rendered the clothes and jewels, giving the
king and air of unapproachability. The portrait definitely gives
us a sense of the king’s ruthless, commanding presence.
Figure 18-11 HANS HOLBEIN THE YOUNGER, The French
Ambassadors, 1533. Oil and tempera on panel, approx. 6’ 8” x
6’ 9 1/2”. National Gallery, London.
Holbein was recognized for his portraits, detail, perfect
perspective, a balance of light and dark, and symbolism. He
reflected the realist tradition that was seen in Flemish art in the
15th century. This is one of the earliest portraits combining two
full length figures, French ambassadors to England: Jean de
Dinteville and George de Selve. They were devout humanists
educated in worldliness and in the arts with great political
power. There is an anamorphic image (skull) and may have hung
over a staircase so that viewers could see it. Reality must be
viewed correctly to reveal its full meaning, the skull
symbolizing mortality. There is a half-hidden crucifix behind
the curtain in the upper left corner symbolizing salvation. The
globe on the bottom shelf shows Polisy, Dinteville’s home. The
dagger gives his age as 29. The book is inscribed with de
Selve’s age, 25. This painting ultimately shows the tensions
between secular and religious authorities.

Please watch:
reformation/northern/holbein/v/hans-holbein-the-younger-the-
ambassadors-1533
Figure 18-12 HIERONYMUS BOSCH, Garden of Earthly
Delights. Creation of Eve (left wing), Garden of Earthly
Delights (central panel), Hell (right wing), 1505–1510. Oil on
wood, center panel 7’ 2 5/8" x 6’ 4 3/4". Museo del Prado,
Madrid.
There are many interpretations of the reasons for why Bosch
painted this artwork. It was not made for public religious use,
but for private use, possibly a painting for a married couple.
Fantastical and strange, this painting has captivated audiences
for generations. It was very influential upon the Surrealists in
the 20th century.
Please take the tour of the painting here (you won’t be
disappointed - click on the tour on the right):
https://tuinderlusten-jheronimusbosch.ntr.nl/en
To hear “Butt Music,” go here:
https://www.youtube.com/watch?v=OnrICy3Bc2U
Figure 18-15 PIETER AERTSEN, Butcher’s Stall, 1551. Oil on
panel, 4’ 3/8” x 6’ 5 3/4”. Uppsala University Art Collection,
Uppsala.
This first seems to be a descriptive genre (everyday life) scene,
but in the background you can see Joseph leading a donkey
carrying Mary. The crossed fishes and the pretzels and wine

refer to spiritual food; pretzels were served during lent. The
shells on the right side refer to gluttonous food (aphrodisiacs
such as mussels and oysters) and the people carousing under the
roof nearby.
Please read more here:
reformation/northern/antwerp-bruges/a/pieter-aertsen-meat-stall
‹#›
Figure 18-16 CATERINA VAN HEMESSEN, Self-Portrait,
1548. Panel, 1’ 3/4” x 9 7/8”. Kunstmuseum, Öffentliche
Kunstsammlung Basel.
This is the first known Northern European self-portrait of a
female artist. Her father, Jan Sanders van Hemessen was a well-
known painter in Antwerp and presumably her teacher. She was
a highly successful painter. Her main patron was Queen Mary of
Hungary. Van Hemessen married Christian de Morien in 1554
and thus her career ended. Most historians think this is true
because there are no paintings by her after this date and because
it was customary for a woman to give up painting after she was
married. Queen Mary respected her talent so much that when
she died in 1558, she left an endowment for the couple to live
out their lives in comfort.
Van Hemessen's paintings have a quiet dignity to them, the
sitters eyes never meet the viewer's. Her pictures also tend to be
small with plain dark backgrounds that give no sense of location
or extended space. She also inscribes that she is the artist and
her age, 20.
‹#›

Figure 18-17 Attibuted to LEVINA TEERLINC. Elizabeth I as
a Princess, ca. 1559. Oil on oak panel, 3’ 6 3/4” x 2’ 8 1/4”.
The Royal Collection, Windsor Castle, Windsor, England.
A Flemish miniaturist who served as a painter to the English
court of Edward VI, Mary I and Elizabeth I. Teerlinc was the
oldest daughter of the Simon Bening (sometimes written as
Benninc or Benninck), the renowned illuminator of the Ghent-
Bruges school. Bening probably trained his daughter as a
manuscript painter. Teerlinc may have worked in her father’s
workshop before getting married.
In 1545, she moved with her husband, George Teerlinc, to
England. She then served as the royal painter to Henry VIII,
whose royal painter, Hans Holbein the Younger, had recently
died. Her annuity for this position was £40 greater than that
paid to Hans Holbein. Later she served as a gentlewoman in the
royal households of both Mary I and Elizabeth I.
Teerlinc is best known for her pivotal position in the rise of the
portrait miniature. There is documentation that she created
numerous portraits of Elizabeth I, both individual portraits and
portraits of the sovereign with important court figures.
Figure 18-18 JOACHIM PATINIR, Landscape with Saint
Jerome, ca. 1520–1524. Oil on panel, 2’ 5 1/8” x 2’ 11 7/8”.
Prado, Madrid.
The subject of landscape painting was attributed to Patinir by
Dürer as Patinir was scene as a highly gifted landscape painter.
What’s more important here? Landscape or St. Jerome? St.
Jerome is seen here removing the thorn from the lion’s paw.
Patinir uses atmospheric perspective to visually achieve

distance.
Figure 18-20 PIETER BRUEGEL THE ELDER, Hunters in the
Snow, 1565. Oil on panel, approx. 3’ 10” x 5’ 4”.
Kunsthistorisches Museum, Vienna.
Bruegel was from the Netherlands and interested in the humble
lives of regular people and in landscape (we will see this
tradition continue into the Baroque period in Holland and
Belgium). He never worked for the church and remained a
humanist (someone who looks to the great Greek philosophers
for moral grounding). Landscape is not just the setting, but the
actual subject of the work.
Figure 18-22 Château de Chambord, Chambord, France, begun
1519.
A mere hunting lodge for royalty, King Francis I. The king
never saw the completion of this home. It is one of the most
recognizable châteaux in the world because of its very distinct
French Renaissance architecture that blends traditional French
medieval forms with classical Italian structures. It is the largest
castle in the Loire Valley, but was built to serve only as a
hunting lodge for King Francis I, who maintained his royal
residences at Château de Blois and at Château d'Amboise.
The original design of the Château de Chambord was by
Domenico da Cortona, but was altered considerably during the
twenty years of its construction (1519-1547). Leonardo da
Vinci, a guest of King Francis at Clos Lucé near Amboise, is
believed to have been involved in the original design.
Nearing completion, King Francis showed off his enormous

symbol of wealth and power by hosting his old enemy, Holy
Roman Emperor Charles V.
The massive castle is composed of a central keep with 4
immense towers. The keep also forms part of the front wall of a
larger compound with two more large towers. Bases for a
possible further two towers are found at the rear, but these were
never developed, and remain the same height as the wall.
The castle features 440 rooms, 365 fireplaces, and 74 staircases.
Four rectangular vault hallways on each floor form a cross-
shape. One of the architectural highlights is the spectacular
double-helix open staircase that is the centerpiece of the castle.
The two helices ascend the three floors without ever meeting,
illuminated from above by a sort of lighthouse at the highest
point of the castle.
There are suggestions that Leonardo da Vinci may have
designed the staircase, but this has not been confirmed. The
castle also features more than 800 sculpted columns and an
elaborately decorated roof. When Francis I commissioned the
construction of Chambord, he wanted it to look like the skyline
of Constantinople.
The castle is surrounded by a 13,000 acre wooded park and
game reserve maintained with red deer, enclosed by a 20 mile
wall. The château was never intended to provide any form of
defense from enemies. As such, the walls, towers and partial
moat are purely decorative, and even at the time were an
anachronism. Elements of the architecture - open windows,
loggia, and a vast outdoor area at the top - were also borrowed
from the Italian renaissance style, which made them out of place
in colder central France.
‹#›

Figure 18-27 EL GRECO, The Burial of Count Orgaz, Santo
Tomé, Toledo, Spain, 1586. Oil on canvas, approx. 16’ x 12’.
Greek born Domenikos Theotocopoulos was nicknamed El
Greco when he moved to Spain as the Spanish had a hard time
pronouncing his name. El Greco trained in the Venetian School,
spent time in Rome, then settled in Toledo, Spain for the rest of
his life.
This work portrays the burial of a medieval benefactor who died
in 1323, yet the artist represents it as a contemporary event. It
fills and entire wall of a chapel. However the bottom is six feet
above the floor so El Greco uses foreshortening in order to
achieve an illusion of boundless space above, while below the
figures look like they are on a stage.It is rendered very
realistically, yet the figures in heaven are more supernatural
looking in their elongation and color, a Mannerist trait.
GUERRA DE LA PAZ, Pietà, 2006
Contemporary Chat Image.
Please compare to:
Figure 17-12 MICHELANGELO
BUONARROTI, Pietà, ca.
1498-1500. Marble, 5’ 8 1/2” high.
Saint Peter’s, Vatican City, Rome.
KEHINDE WILEY, Portrait of
Anne Cynthia Petit Vil, 2014

Contemporary
Counterpoint
Please compare to:
Figure 18-11A HANS
HOLBEIN THE YOUNGER,
Henry VIII, 1540

pptthemetheme1.xmlpptthemetheme2.xmlpptnotesMas.docx

Recommended

Recommended

More Related Content

Similar to pptthemetheme1.xmlpptthemetheme2.xmlpptnotesMas.docx

Similar to pptthemetheme1.xmlpptthemetheme2.xmlpptnotesMas.docx (14)

More from ChantellPantoja184

More from ChantellPantoja184 (20)

Recently uploaded

Recently uploaded (20)

pptthemetheme1.xmlpptthemetheme2.xmlpptnotesMas.docx