H ren through michelangelo
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Chapter 22 Italy, 1500 to 1600 Part One
Transcript of H ren through michelangelo
Chapter 22
Italy, 1500 to 1600Part One
Rome with Renaissance and Baroque Monuments
The Achievements of the MastersHigh Renaissance
• Donato Bramante: the Pope’s architect.• Michelangelo Buonarroti: sculptor with divine power.• Leonardo da Vinci: inventor, naturalist, and painter of
the soul.• Raphael Raffaelo Sanzio: the true painter.
The Achievements of the MastersHigh Renaissance
• Invenzione – invention• Ingegno – ingenuity• Fantasia – imagination• Capriccio - originality
Self-Portraitc. 1512Red chalk on paper, 333 x 213 mmBiblioteca Reale, Turin
Leonardo da Vinci
Leonardo da Vinci
Annunciation1472-75Tempera on wood, 98 x 217 cmGalleria degli Uffizi, Florence
Figure 22-2 LEONARDO DA VINCI, Virgin of the Rocks, ca. 1485. Oil on wood (transferred to canvas), approx. 6’ 3” x 3’ 7”
Louvre, Paris
“The unified representation of objects in an atmospheric setting.” p. 615
“Emotionally compelling, visually unified, and spatially convincing.” p. 615
Fra Filippo Lippi , 14551483
13101483
Figure 22-3 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.
Use of fine cotton papers (less expensive) used in printing:
•More drawings made
•Use of new drawing material
•Greater freedom in style
•Drawing as fundamental element of good design
Leonardo da Vinci, The Virgin and Child with Saint Anne, 1510, oil on wood panel, 5 1/2 x 4 1/2 feet (168 x 130 cm), Louvre, Paris.
Head of the Virgin in Three-Quarter View Facing Right, 1508–12Leonardo da Vinci (Italian, 1452–1519)ItalianCharcoal, black and red chalks; traces of framing line in pen and brown ink at upper right; 8 x 6 1/8 in. (20.3 x 15.6 cm)
Figure 22-4 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.
Bartholomew, James the less, Andrew, Judas, Peter, John, Jesus, Thomas, James, Phillip, Matthew, Thaddeus, Simon
Study for the Last Supper1494-95Pen and ink on paper, 266 x 214 mmRoyal Library, Windsor
Study for the Last Supper1494-95Red chalk on paper, 260 x 392 mmGallerie dell'Accademia, Venice
Study for the Last Supperc. 1495Red chalk on red prepared paper, 180 x 150 mmRoyal Library, Windsor
Study for the Last Supperc. 1495Black chalk on paper, 190 x 149 mmRoyal Library, Windsor
LEONARDO DA VINCI, Last Supper (cleaned), ca. 1495–1498. Fresco (oil and tempera on plaster), 29’ 10” 13’ 9”. Refectory, Santa Maria delle Grazie, Milan.
Bartholomew, James the less, Andrew, Judas, Peter, John, Jesus, Thomas, James, Phillip, Matthew, Thaddeus, Simon
Jesus
John
Phillip
Figure 22-5 LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505. Oil on wood, approx. 2’ 6” x 1’ 9”. Louvre,
Paris.
Leonardo da Vinci, Ginevra de' Benci, c. 1474, oil on wood panel, 15 1/8 x 14 1/2 inches (38.2 x 36.7 cm), National Gallery of Art, Washington, DC.
Leonardo da Vinci, Lady with an Ermine, Portrait of Cecilia Gallerani (1483-90, oil on wood panel, 21 x 15 1/2 inches (53.4 x 39.3 cm), Czartoryski Museum, Cracow.
Portrait of Cecilia Gallerani (detail)1483-90Oil on woodCzartoryski Museum, Cracow
Leonardo da Vinci
Adoration of the Magi, 1481-82, Monochrome on panel,8’ x 8’1”, Galleria degli Uffizi, Florence
Perspectival study of the Adoration of the Magic. 1481
Pen and ink, traces of silverpoint and white on paper, 163 x 290 mmGalleria degli Uffizi, Florence
Leonardo da Vinci, Study of proportions, from Vitruvius's De Architectura, red crayon with pen and ink on paper, 13 1/2 x 9 5/8 inches (34.3 x 24.5 cm), Accademia, Venice.
Leonardo da Vinci, Skull, 1489, red crayon with pen and ink on paper.
This is a lateral view of a human skull with the left half of the calvaria removed to expose the interior. This is one of a huge number of anatomical drawings Leonardo made, to most of which he added written notes. He said he had dissected over thirty human bodies-- men and women of varied ages.
Study of the effect of light on a profile head (1487-90Black chalk, pen and ink on paper, 203 x 143 mmGalleria degli Uffizi, Florence
Male head in profile with proportionsc. 1490Pen and ink on paper, 280 x 222 mmGallerie dell'Accademia, Venice
Comparison of scalp skin and onion1489Pen, ink and red chalk on paper, 203 x 152 mmRoyal Library, Windsor
Anatomical studies of a male shoulder1509-10Pen and ink on paper, 292 x 198 mmRoyal Library, Windsor
Leonardo da Vinci, Head of a Young Woman, Accademia, Venice.
Heads of an old man and a youth1495-1500Red chalk on paper, 208 x 150 mmGalleria degli Uffizi, Florence
Garment study for a seated figure1470-84Oil on canvas, 26,5 x 25,3 cmMusée du Louvre, Paris
Study of handsc. 1474Silverpoint and white highlights on pink prepared paper, 214 x 150 mmRoyal Library, Windsor
Figure 22-6 LEONARDO DA VINCI, Embryo in the Womb, ca. 1510. Pen and ink on paper. Royal
Library, Windsor Castle.
Drawing of a Woman's TorsoDrawingBiblioteca Ambrosiana, Milan
Landscape drawing for Santa Maria della Neve on 5th August 14731473Pen and ink, 190 x 285 mmGalleria degli Uffizi, Florence
Lily (detail)1480-85Pe and ink, black chalk on paper, 314 x 177 mmRoyal Library, Windsor
Giant Crossbow1480-82DrawingBiblioteca Ambrosiana, MilanMulti Barrel Gun
1480-82DrawingBiblioteca Ambrosiana, Milan
Flying machinec. 1487Metalpoint, pen and ink on paper, 235 x 176 mmInsritut de France, Paris
Drawing of a flying machinec. 1485Pen and ink on paper, 23 x 16 cmBibliothèque de l'Institut de France, Paris
Skis with which one can walk on water (detail)c. 1480Metalpoint, pen and ink on paperBiblioteca Ambrosiana, Milan
Automobile1478-80Metalpoint, pen and brush on paper, 27 x 20 cmBiblioteca Ambrosiana, Milan
Codex on the flight of birdsPen and ink on paper, 210 x 150 mmBiblioteca Reale, Turin
Bird's-eye-view of sea coastc. 1515Pen, ink, watercolour on paper, 272 x 400 mmRoyal Library, Windsor
Map of Tuscany and the Chiana Valleyc.1502Black chalk, pen, ink and colour on paper, 338 x 488 mmRoyal Library, Windsor
Study of a central churchc. 1488Pen, ink and black chalk on paper, 24 x 19 cmBibliothèque de l'Institut de France, Paris
http://www.bl.uk/onlinegallery/ttp/ttpbooks.html
Raphael1483 - 1520
Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, approx. 19’ x 27’.
Raphael 1483 - 1520
Plato and Aristotle
Heradeitus (Michelangelo)
Euclid (Bramante) Geometry
Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, approx. 19’ x 27’.
Raphael 1483 - 1520
Figure 19-9 GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305. Fresco, 6’ 6 3/4” x 6’ 3/4”.
1305
1427
1495-98
Figure 22-8 RAPHAEL, Madonna in the Meadow, 1505. Oil on panel, 3’ 8 1/2” x 2’ 10
1/4”. Kunsthistorisches Museum, Vienna.
Figure 21-8 FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, approx. 3’ x 2’ 1”. Galleria degli Uffizi, Florence.
Figure 22-10 RAPHAEL, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, 1513.
Fresco, 9’ 8” x 7’ 5”.
Figure 22-11 RAPHAEL, Baldassare Castiglione, ca. 1514. Oil on wood
transferred to canvas, approx. 2’ 6 1/4” x 2’ 2 1/2”. Louvre, Paris.
DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, approx. 2’ 6” x 1’ 8”. Thyssen-
Bornemisza Collection, Madrid, Spain.
Raphael, Pope Leo X with Two Cardinals, 1518 (150 Kb); Oil on wood, 154 x 119 cm (60 5/8 x 46 7/8 in); Uffizi, Florence
Michelangelo
Pieta, 1498 - 1500
Figure 18-51 Virgin with the Dead Christ (Röttgen Pietà), from the
Rhineland, Germany, ca. 1300–1325. Painted wood, 2’ 10 1/2” high.
Rheinisches Landemuseum, Bonn. GOTHIC
Figure 22-9 MICHELANGELO BUONARROTI, David, 1501–1504. Marble, 13’ 5” high. Galleria
dell’Accademia, Florence.
Figure 22-9 Alternate ViewFull figure, 3/4 length, seen from the right
© 2005 Saskia Cultural Documentation, Ltd.
EPIGONOS(?), Gallic chieftain killing himself and his wife. Roman marble copy after a bronze original from Pergamon, Turkey, ca. 230–220 BCE, approx. 6’ 11” high. Museo Nazionale Romano-
Palazzo Altemps, Rome.
POLYKLEITOS, Doryphoros (Spear Bearer). marble
LYSIPPOS, Apoxyomenos (Scraper). Rome.
Figure 22-10 MICHELANGELO BUONARROTI, Moses, San Pietro in Vincoli, Rome, Italy, ca. 1513–1515. Marble, approx. 8’ 4” high.
Figure 22-10 MICHELANGELO BUONARROTI, Moses, San Pietro in
Vincoli, Rome, Italy, ca. 1513–1515. Marble, approx. 8’ 4” high.
Seated boxer, from Rome, Italy, ca. 100–50 BCE. Bronze, approx. 4’ 2 1/2” high. Museo Nazionale
Romano, Rome.
Figure 22-10 Alternate ViewTotal view
© 2005 Saskia Cultural Documentation, Ltd.
Slave (awakening)1519-36Marble, height 267 cmGalleria dell'Accademia, Florence
Figure 22-11 MICHELANGELO BUONARROTI, Bound Slave, 1513–1516. Marble, approx. 6’ 10 1/2” high. Louvre, Paris.
Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230–200 BCE. Marble, approx. 7’ 1” high.
Glyptothek, Munich
Slave (dying)c. 1513Marble, height 229 cmMusée du Louvre, Paris
Reconstruction of the interior1480sCappella Sistina, Vatican
Figure 22-13 MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome,
Italy, 1508–1512. Fresco, approx. 128’ x 45’.
Figure 22-12 Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy,
built 1473. Copyright © Nippon Television Network Corporation, Tokyo.
Figure 22-14 MICHELANGELO BUONARROTI, Creation of Adam (detail), ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1511–1512. Fresco, approx. 9’ 2” x 18’ 8”.
• On the side walls of the chapel, five prophets alternate with the same number of sibyls, so that each prophet is paired with a sibyl on the opposite wall: the Delphic Sibyl and Joel, Isaiah, and the Erythraean Sibyl, the Cumaean Sibyl and Ezekiel, Daniel and the Persian Sibyl, the Libyan Sibyl, and Jeremiah. This studied parallelism alludes both to the theme of the universality of the message of Redemption and the idea of the perfect concordance of the Revelation in the Judaic world and in the pagan one.
• The other two prophets - Zechariah and Jonah - are represented on the major axis of the Sistine Chapel. This arrangement has a particular significance, too, since Zechariah, depicted above the chapel door that the pope solemnly passed through on Palm Sunday - recalling the regal entry of Christ into Jerusalem and beginning the ceremonies of Holy Week - was considered to be the main prophet of the Passion of Christ, while Jonah, placed above the altar, was usually thought to be the precursor of the risen Christ.
Jonah1511Fresco, 400 x 380 cmCappella Sistina, Vatican
Figure 22-15 Cleaning of ceiling of Sistine Chapel, Vatican City, Rome, Italy, 1977–
1989.
Figure 22-16 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. Copyright © Nippon Television Network Corporation, Tokyo.
Figure 22-25 MICHELANGELO BUONARROTI, Last Judgment, fresco on
the altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1534–1541.
Copyright © Nippon Television Network Corporation, Tokyo.
Figure 17-25 GISLEBERTUS, Last Judgment, west tympanum of Saint-Lazare, Autun, France, ca. 1120–1135. Marble, approx. 21’ wide at base.
Figure 22-25 MICHELANGELO BUONARROTI, Last Judgment, fresco on
the altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1534–1541.
Copyright © Nippon Television Network Corporation, Tokyo.
Figure 22-22 MICHELANGELO BUONARROTI, New Sacristy (Medici Chapel), San Lorenzo, Florence, Italy, 1519–1534
Figure 22-22 MICHELANGELO BUONARROTI, tomb of Giuliano de’
Medici, New Sacristy (Medici Chapel), San Lorenzo, Florence, Italy, 1519–1534.
Marble, central figure approx. 5’ 11” high.
Night1526-33Marble, length: 194 cmSagrestia Nuova, San Lorenzo, Florence
Day1526-33Marble, length: 185 cmSagrestia Nuova, San Lorenzo, Florence
Figure 22-22 Alternate ViewView from left
© 2005 Saskia Cultural Documentation, Ltd.
Twilight1524-31Marble, length: 195 cmSagrestia Nuova, San Lorenzo, Florence
Dawn1524-31Marble, length: 203 cmSagrestia Nuova, San Lorenzo, Florence
Pietàc. 1550Marble, height: 226 cmMuseo dell'Opera del Duomo, Florence
BRAMANTE
• Examine the achievements of Donato Bramante: concrete, the dome, and the new St. Peter’s in Rome.
Figure 22-23 DONATO D’ANGELO BRAMANTE, plan for the new Saint Peter’s, the Vatican, Rome, Italy, 1505.
Restored view (a), plan (b), and section (c) of Old Saint Peter’s, Rome, Italy, begun ca. 320. (The restoration of the forecourt is conjectural.)
Figure 22-24 CHRISTOFORO FOPPA CARADOSSO, medal showing Bramante’s design for the new Saint Peter’s, 1506. British Museum, London.
Figure 22-22 DONATO D’ANGELO BRAMANTE, Tempietto, San Pietro in
Montorio, Rome, Italy, 1502(?).
Temple of Vesta (?), Tivoli, Italy, early first century BCE.
Michelangelo, the Architect
• Examine how Michelangelo updated and preserved Bramante’s plans for the new St. Peters, but added “the sculptor’s touch.”
Figure 22-28 MICHELANGELO BUONARROTI, plan for Saint Peter’s,
Vatican City, Rome, Italy, 1546.
Bramante
Michelangelo
Figure 22-29 MICHELANGELO BUONARROTI, Saint Peter’s
(view from the northwest), Vatican City, Rome, Italy, 1546–1564.
Dome completed by GIACOMO DELLA PORTA, 1590.
© 2005 Saskia Cultural Documentation, Ltd.
Figure 22-29 MICHELANGELO BUONARROTI, Saint Peter’s (view from the northwest), Vatican City, Rome, Italy, 1546–1564. Dome completed by GIACOMO DELLA PORTA, 1590.
Figure 22-29 Alternate View Total
© 2005 Saskia Cultural Documentation, Ltd.
Figure 22-30 MICHELANGELO BUONARROTI, drawing of south elevation of Saint Peter’s, Vatican City, Rome, Italy, 1546–1564 (engraving by ÉTIENNE DUPÉRAC, ca. 1569). Metropolitan Museum of Art, New York (Harris Brisbane Dick Fund,
1941).
Figure 22-26 MICHELANGELO BUONARROTI, aerial view of
Capitoline Hill (Campidoglio), Rome, Italy, designed ca. 1537.
© 2005 Saskia Cultural Documentation, Ltd.
Figure 22-26 Alternate View General view of the complex from SW, with Capitoline Museum,
paving, sculpture and Palace of Senators
© 2005 Saskia Cultural Documentation, Ltd.
Figure 22-27 MICHELANGELO BUONARROTI, Museo Capitolino, Capitoline Hill, Rome, Italy, designed ca. 1537.
Fig. 22-54 Michelangelo, Vestibule of the Laurentian Library, Florence, Italy, 1524-1559 Mannerism
End
•The Reformation and Counter-Reformation and their impact on the art of this period•The increasing commissions by the Church to assert power and authority during the Counter-Reformation•Focus on the use of a classical vocabulary to create harmony, beauty, balance – look to the natural world•The importance of Invenzione – invention, Ingegno – ingenuity, Fantasia – imagination, Capriccio – originality to art and culture•Leonardo – bridges the techniques and ideas of 15th century with Renaissance ideals – scientific studies (compare to 15th century Italian and Northern)•Michelangelo as the brooding artist-genius, uses powerful figure style to capture religious themes – pent-up emotion, inventive changes to classical forms in architecture (compare to Greek, Roman, Donatello)•Examine the achievements of Donato Bramante: concrete, the dome, and the new St. Peter’s in Rome (compare to Greek, Rome 15th Century).
