Venetian Renaissance:<br />Believed they were superior to Florence and Rome<br />Greatest commercial sea power in the Mediterranean<br />Protected by water <br />Controlled the sea routes on the Adriatic Sea<br />Wealthy and secure patrons of the arts<br />Byzantine heritage promoted glorious patterns that underscored light and color<br />Contributed textiles, gold, enamel glass, mosaic, fine printing and bookbinding in encouraging the arts.<br />First to use oil on wood and canvas<br />First to cover walls with paintings instead of frescos<br />
Giovanni Bellini, Portrait of Doge Leonardo Loredan, 1501-1502, Venice<br />
Titian, The Pastoral Concert or Allegory on the Invention of Pastoral Poetry, 1510, Venice<br />
Lavina Fontana,<br />Noli me Tangere,<br />1581,Bologna, Italy<br />
Art and the Counter Reformation:<br />Under Pope Clement VII Charles V attacked Rome .<br />Vatican had underestimated the powerful Reformation<br />Finally Pope Paul III recognized the Protestant movement in order to protect the Vatican.<br />He convened the Council of Trent (1545-1549) to:<br /> investigate corruption<br /> define the Catholic canon<br /> initiate disciplinary reforms <br /> regulate the training of clerics<br /> limited Christian art<br /> destroyed many works. <br />Pope Paul III instituted the Inquisition<br />Hence, art became a powerful weapon of propaganda.<br />
Michelangelo, Last Judgment, Sistine Chapel, 1536-1541<br />
dizzying, diagonal plunges into the depth of the painting</li></li></ul><li><ul><li>Works revealed quoted references to works of illustrious predecessors.
Patrons’ preferred esoteric subjects; accomplished technical virtuosity; and the pursuit of aestheticism.
Architecture disregarded uniformity and balance but used Classical orders in alternative ways. </li></li></ul><li>Pantormo, Entombment, <br />1525-1528, CapponiFamily Chapel, Florence<br />
Parmigianino, Madonna with the Long Neck, 1534-1540, Parma, Italy<br />
Tintoretto, Last Supper, 1592-1594, Church of An Giorgio, Maggiore, Venice<br />
Bronzino, Allegory with Venus and Cupid, 1540-1545, Florence<br />
Bronzino, Portrait of a Young Man, <br />1540-1545, Florence<br />
SofonisbaAnguissola, <br />Self-Portrait, <br />c. 1552, Bologna, <br />2 ½” X 3 ¼” <br /><ul><li>“…an excellent painter of portraits above all the painters of this time”
Anthony Van Dyck sketched her in Palermo and explained, she advised him on not positioning the light too high because the strong shadows would reveal her wrinkles.” </li></li></ul><li>Correggio, Assumption of the Virgin, 1526-1530, Parma, Italy<br />