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Grace, beauty

more elegant and ideally beautified

findings of classical sculpture impact the way the artists make things in the high renaissance

proportions

perfect designs

realism-move and breathe

better perspective

combination of Aristotelian and Platonic ideas

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Pico Della Mirandolla's Oration of the Dignity of Man

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Pico Della Mirandolla's Oration of the Dignity of Man

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"Manifesto of the Renaissance"

Reinforced humanistic thinking- focused on the relation of the human to the divine, seeing in human beings the epitome and purpose of God's creation.

Attempted to remap the human landscape to center all attention on the human perspective, dignity, and capacity

Justified the importance of the human quest for knowledge

Asserted that men could ascend the chain of being through the exercise of their intellectual capacities.

"...God the Father, the Supreme Architect... therefore took man as a creature of indeterminate nature and, assigning him a place in the middle of the world, addressed him thus: 'Neither a fixed abode nor a form that is thine alone nor any function peculiar to thyself have according to thy judgement thou mayest have and possess what abode, what form, and what functions thou thyself shalt desire. The nature of all other beings is limited and constrained within the bounds of laws prescribed by Us. Thou, constrained by no limits, in accordance with thine own free will, in whose hand We have placed thee, shalt ordain for thyself the limits of thy nature."

"We have set thee at the world's center that thou mayest from thence more easily observe whatever is in the world. We have made thee neither mortal nor immortal, so that with freedom of choice and with honor, as though the maker and molder of thyself, thou mayest fashion thyself in whatever shape thou shalt prefer. Thou shalt have the power to degenerate into the lower forms of life, which are brutish. Thou shalt have the power, out of thy soul's judgement, to be reborn into the higher forms, which are divine."

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1452-1519 born in Vinci, Italy, dies in France(invitation from king)

left behind some unfinished paintings, but many drawings and scientific families

Born into family of with dad of notary(bank important documents stuff) and a peasant woman (illegitimate child)

Handsome and strong in youth-could take iron horseshoe and bend it

musician

highly inquisitive

renounced for experimental approach- inductive (Aristotle, experiments) instead of deductive; hands on experimentation

anatomist

1460s-1470s he was in Verrocchio's workshop along with Botticelli- angel drawing- Florence

mash together the real and spiritual, Aristotelian and platonic thoughts

1480s and 90s- Later worked in Milan as a military strategist (submarines...)

1500-1506- Florence

1506-1514- Milan-met France king person

1514-16 Rome under Pope Leo the 10th.

1516 working in France for next three years.

prefers red chalk

ultimate renaissance man

wrote backwards in personal writing-left handed

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Soft contours

hazy misty quality that is associated with water fountain/waterfall mist.

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Leonardo do Vinci (with Andrea del Verrocchio) ca. 1470

The figures of Christ and John the Baptist are done by Verrocchio, more sculpturesque quality(referenced sculpture) emphasize the anatomical structure

furthest left angel could have been Da Vinci.

da Vinci drapery, graceful lighting, aristocratic/soft(sfumato), grace, curls in hair

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Leonardo da Vinci 1470s

late teens, early twenties

solid architecture behind Mary-focus on Mary

beautiful angel, curls, soft/sfumato

garden/flora with angel

Tuscan trees

elongated fingers

drapery, complementary colors

blue and gold Mary colors

Influence of Verrocchio

graceful figures

diffused and soft sunlight

takes traditional subject matter and makes it not so traditional

enigmatic(mysterious, hard to define) background, soft mountains, solid architecture

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Leonardo da Vinci 1474-80

sfumato-gentle gradations along face

curls, equal face

3-quarter pose- northern renaissance painters

white, milky skin-preferred and demonstrates wealth, status

dominates foreground

tree adds emphasis to her

enigmatic(mysterious, hard to define) face-don't know what she is thinking

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Leonardo da Vinci 1480

unfinished work(generally through if you could at least have an unfinished work, it was worth almost the same as a finished work from these distinguished artists.

emphasis on clavicle, building figure before building the sfumato-structure first

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Leonardo da Vinci 1483

2 different versions for 2 different patrons (depicted is the Louvre version)

cave-like background setting, no idea why

elements of grace and effortless portrayal-perhaps influenced by Fra Fillippi's work

all figures work together through gestures

traditional blue and gold mary

subtle lighting, lifelike/naturalistic

meticulously rendered details

calm, reposed tone

similarities and differences

new is halos, cooler color pallete, unfinished

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Leonardo da Vinci 1495-98

fresco, Santa Maria delle Grazie, Milan

refectory- dining hall

2 decades after started having deterioration

conservation-save it from deteriorating more, restoration- restoring it to former glory

42.5% is painted by Leonardo originally

22 years on conservation project

WWII Allies bombed Milan, destroyed a large portion of buildings and monuments

Fresco, Oil, and tempera mixing. Don't go together very well, so it started deteriorating fast-experimenting

did drawings before he painted the last supper

compositionally: based strictly upon 1 point/linear perspective. Point is on Christ, symmetrical, atmospheric perspective

balance between emotion and restraint. grace, invention, and beauty

combination between Aristotle(perspective) and Plato(order and balance of figures comparative to God being a being of order and balance-higher truths beyond appearance)

systematic reactions-Christ is the calm within the storm

Judas is already on the left side of God, clutching the money

door made by Napoleon

Left to right heads- Bartholomew, james, andrew, judas, peter, john, thomas, james the great, philip, matthew, jude Thaleous, and ?. Twelve original apostles, groups of three

string horizontal as set of calm and stability. Apostles act as parentheses

primary color scheme

Representation on earth of the heavenly content- Platonic ideals

Literal grounded figures- Aristotelian ideals

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Virgin and Child with St. Anne and St. John the Baptist

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Virgin and Child with St. Anne and St. John the Baptist

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Leonardo da Vinci Burlington House Cartoon, 1498-99

Preparatory drawing- probably for Madonna and Child with Saint Anne

anatomical details

Start figures with the bones/guts inside before the outer layer of skin. Starts from the inside out.

sfumato

atmospheric softness

Focal point on face/looser at feel

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Madonna(Virgin) and Child with Saint Anne

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Madonna(Virgin) and Child with Saint Anne

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Leonardo da Vinci 1503-06

enigmatic/odd background mountains, geological details

value contrasts in figures, sfumato

Mary sitting on Mother's life, and Christ playing with lamb.

Mary and Anne look not too distant in age.

John replaced with the lamb

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Leonardo da Vinci 1503-05

Defaced and stolen a few times made her popular

enigmatic smile-smile vs smirk turning point in Italian renaissance portraiture- direct eye contact, 3 quarter pose= engaging the viewer

repetition of ovals/shapes

sfumato lighting

pop culture iconized her.

grace

phycological undertones, did Davinci intend for us to get something more?(wasn't meant to be a huge artwork) Experience of the artist versus the viewer

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Leonardo da Vinci 1514

Davinci Face and curls

almost more chiaroscuro/sfumato

enigmatic, archaic/Greek smile

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nick-name because his father made garlands

born and died in Florence 1449-1494 (45 years)

father wrked in the goldsmithing tradition, and known for skill in making garlands

likely apprecnticed in father's workshop, but not know conclusively where he obtained oil and fresco training

known as a fresco painter

tend to avoid decorative aristocratic styles

simplistic monumental style

Giotto, Masaccio, Ghirlandaio, etc.

emphasize abilities as colorist, harmonious compositions

painted many chapels with large scale frescos

incorportates portraits of contemporary florentines to biblical scenes

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Domenico Ghirlandaio 1480 tempera on wood

don't know the exact people, some assume grandson and grandfather

rhinophyma disease on nose, not treatable on renaissance

warts-and-all, roman ideas of being exact with portraits, verism(truthful and honest)- no attempt to cover up physical abnormalities

restoration efforts due to cracking done in previous years

enigmatic background, only part of a window space, heads have plain dark background-greys. likes red

light from window and other source

unity and balance between balance, lines, shape, and interaction between figures.

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Domenico Ghirlandaio 1489-1490

tempera on wood, finest works of early 15th century portraiture, idealized figure

icon of beauty for young girls

long neck, waxy feeling, formal/composed

Albetzi family, one of the most powerful family, painted after death during childbirth

sitting against greys, likes reds

accessories/decor-temporal; prayerbook shows spiritual side

"Art, if only you could portray mores and spirit, there would be no more beautiful picture on earth."-neo-platonic ideals

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Francesco Sassetti (patron) pictured in fresco, sitting on the side of the alter, wife on other side. -gained money as partner of medicis in bank. end of 1470s they gained rights to this chapel, and commissions ghirlanio to paint- multiple frescos on the walls. combines secular, religious, and classical? themes

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Hugo van der Goes 1475 Belgium

annunciation on outside, nativity

northern artwork

intended for high alter for church in Florence(arrived 1483)-probably shipped via water

created a stir amongst contemporary artists-showed the potential of art. impact on manuscript illustration

has patrons and children in tryptic. men on left and women on right

many saints present in the image

influence of adoration of the shepherds 10-11 years after

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Santa Maria Novella, 1486-90

whole front of chapel (altarpiece area) decorated in Fresco

Ghirlandaio completes in 4 years. Designed virtually every aspect, frescos, stained glass, and altarpiece painting

sidewalls show stories of Mary and john the Baptist. light entering into the room is considered, and match the lighting in the paintings

many people working in the workshop to make this happen.

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Domenico Ghirlandaio 1485

inspired by previous piece, rendering of shepherds-self-portrait of Ghirlandaio is Shepard in brown.

iconography/symbolism: city in background, likely Jerusalem. far left is representative of Rome-dead tree with Rome, showing out with the old and in with the new; roman sarcophagus -Pompei inscribed on it. illusion that god will rise from the dead. Garland on it, referencing namesake

Joseph staring heavenward, long procession of the magi

Fra Falipi Lippi Madonna referenced

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Domenico Ghirlandaio 1485-90

the window is really cool and deceives the viewer because of the effect of the light

reference to the trinity by Vesachio

relief scene of puti(baby angels) sculpturesque images-likely inspired by Donatello works

uses patron's daughter-connecting contemporary figures with biblical events

stiff figures compared to the fluid figures on right

womanhood of Mary figure

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born in 1450

because he is from the area of Perusia, trained under Verrocchio

age 31 known well enough to be creating frescos in the Sistine chapel, known for Christ delivering keys to saint peter

mentor to Raphael

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Perugino 1485

frame divides image into 3rds like tryptic

bowl shape composition-v shape

Christ silhouetted

characteristic trees

atmospheric perspective

church of san Domenico- san giminano town

pedigree-what happened from when it was made

poetic elegance with s curves, tilted heads, quiet/cam scene, clarity/crispness in the composition(characteristics of he high renaissance

saint Gerome, mary, john the beloved, mary Magdalene

botanical details in foreground, similar to da vinci

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Christ Delivering the Keys to Saint Peter

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Christ Delivering the Keys to Saint Peter

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fresco, 5th compartment N wall, Perugino 1481

Perugino main dude making the frescos on the walls

Christ giving keys of authority and priesthood to peter, symbolic of the belief of pope having keys

similar to da vinci style

triumph of christianity over paganism

classical/ancient greese structures

symmetrical

orthogonal

similar to da Vinci last supper

bowl-shaped compositions with mountains, wispy Tuscan trees, atmospheric perspective

apostles, contemporary figures mixed in

classical order and spatial clarity, good organization, placed fittingly within landscape

could represent temple of salmon

foreground like a frieze. all figures grouped tightly in foreground, 2 rows

left is tribute money story, right is stoning of Christ, continuous narrative

Verrocchio's works influence of grouping of figures

drapery seems heavy

backs towards us like Giotto.

poses of figures are repeated on each side

gothic s curve

similar to Raphael early works

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Perhaps a reaction against High Renaissance, because it has already be perfected

Pope was taking a stand against a king, Mirror into what is happening politically-Pope taken in custody, blood running in the streets etc. late 1520s Rome was supported to be eternal, but didn't stand the raid.

may be reaction from the Counter-Reformation

A style of Crisis?

Anti-Classical conclusion to the High Renaissance?

Not a traditional Style

A certain artificial quality, with classical elements manipulated

-preface for complex and artificial compositions

-deliberate distortions of perspective. proportion, color, anatomy

-exaggerated emotions and ambiguous meanings

viewed by many as inferior to the achievements of the High Renaissance - a decline? Remains debatable

Many fine masters arose from this style

Art exchanged with the political, cultural, social upheavals experienced at the time

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named after pope Sistus

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1483 in Urbino, 1520 in Rome, buried in the pantheon. 37 years old

father was associated with the court, much less experimental, trained by Perugino age 15, influences with da vinci and michelangelo

father was also painter and poet

1503-1515 is the height of raphael ability is best

towards platonic/neoplatonic ideals

grows up in a more privlaged life

knows anatomy, can draw and paint

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Raphael 1502-03

adds angels-Botticelli's grace(balls of feet)

commissioned as part of altarpiece

first work that Raphael signs-painted by Raphael of Urbino

reminicient of paragino's composition-compare

distinguished by less sentimentality

facial features are more subtle in values/modeling. more slender. beginnings of seperation from master

kinda similar bowl shape, similar trees, same atmospheric perspective, more naturalistic Christ figure

oval faces

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Raphael 1504

similar to Perugino's keys painting, composition

signed panel-on building in background

Albertini family commission

historians inspired by Perugino and another Marriage of the Virgin painting in France?

joseph marrying Mary, staff is blooming, symbolic

temple inspired by bermante, polygonal temple

composition of round top

similar bowl shape composition

golden tones, oval faces in women figures

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Raphael 1505

apocraful encounter between Christ and John the Baptist

botanical details, beautiful landscape, atmospheric perspective, oval bountiful face

rounded shoulders

Leonardo's influence, pyramidal structure

harmonious structure and composition, red and blue dress contrast background

looking at contemporary artists, borrow/blend techniques

good childlike qualities

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Raphael 1505

companion portraits with husband

3 quarter pose

compare with Mona Lisa in composition

serenity, close attention to details, order, balance

portraits were originally in a hinged frame, diptych

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Raphael 1513

tradition identifies woman as the woman who he loved, but woman never identified. Might represent Raphael's ideal beauty

beautiful drapery, good shading, warm colors, oval face, pearls, rounded neckline

eye contact with the viewer

dignity, restraint

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Raphael fresco cycle 1509-11

the room of signatures. where the pope would sign laws etc.

4 images, 1 on each wall

illusionistic designs

same time as Michelangelo in chapel

the artist harmonizes pagan and Christian ideas, theology, philosophy, poetry, and justice. represented by allegorical painting

first painted the Disputa-reverence for the sacrament

separation of heaven and earth- saints, popes, priests etc. depicted-famous people- idea of heart and revelation

orthogonals

second is school of Athens, then Parnassus fresco, then virtues

fake archetecture, trompe loi?

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Raphael 1509-11

ancient times, figures represent subjects that must be mastered, geometry, grammar, arithmetic, music, astronomy, philosophy, etc. Central figures are Plato and Aristotle

truth acquired through reason.

did not depict allegorical figures, which is customary in early renaissance, but groups real, recognizable figures/scholars/philosophers

self portrait side

barrel vault, inspired by good friend who rebuilt st. peters

composition colors work together harmoniously

active discussion, excited about classical thought

dedicated to liberal arts in general, such as Apollo and Athena as statues in niches.

Trivium- arts of numbers (geometry, mathematics, and music

Quadrium- art of words (grammar, logic, rhythm)?

Michelangelo representation front/center, represents Heracutus(sculptor)

frescos were an immediate success, described as beautiful, unified, organized, accepted as a great work of art

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Raphael 1517

stunning textures (fur, sleeves)

one of most well-known or appreciated masterpiece. One of the fe pieces he completed without help in last years

cardinals are relatives of the Pope. Group portrait, 3 quarter pose, sensation

pope leo is definite focus- 2nd son of Medici person, came right after Pope Julius II. Born same year as Michelangelo.

left is a future pope

illuminated prayerbook, symbolic reveal expensive taste, active patron of the arts(monumental figures, international gothic through decorations)

nothing idealized in face, but clothing shows power.

Nobody looks at ease, reflect the troubled times-Martin Luther posts complaints, has issues to deal with in Reformation (sale of indulgences (buying away sins, prepay)to get money to fund stuff like St. Peters)

Raphael gets put in charge of St. Peters from Pope Leo X

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Raphael 1517-20

1st scene: more classical

Christ, Moses, and Elijah

peter James and John

2nd scene: more mannerist

multitude- A man who brings vexed son,

variations of colors-heading towards mannerism-contrast of light and dark, more unbalanced-atypical of the high renaissance-influence of Caravaggio

references to classical antiquity-da Vinci-mannerism

commissioned by Pope Leo

restoration in 1977- shows that it is entirely by the hand of Raphael

monumental style influences

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Michelangelo di Lodovico Buonarroti Simoni

Born march 6 1475- near Tuscany, in city-state of Florence-beb 18 1564 at 89 years old

father Ludovico sent him to student grammar with Medici boy in Florence, he found himself liking art more than schoolwork

did lots of master-copies

age 13 he apprenticed Ghirlandaio

14 his father persuaded Ghirlandaio to pay Michelangelo to get paid as artist

15 Lorenzo Medici-Magnifico- asks Ghirlandaio for best students, send Michelangelo and another student-Lorenzo recognized Michelangelo's talent and had him move into palace- exposed into poetry and science and the arts

attended humanist academy-founded by Medici family-hears many philosophies

he is connected to some of the most prominent philosophers

studies sculpture in Medici garden

early 1490s first does sculpture

"squat, flat-nosed, ill-dressed"

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The Torment or Temptation of St. Anthony

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The Torment or Temptation of St. Anthony

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Michelangelo 1487-88

Oil and Tempera on Panel

aged 12/13

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Michelangelo ca. 1492

~17 years old, may be earliest artwork of him, probably second time working in marble

similar to Donatello's st. george and the dragon, shallow/low reliefs

figure of mary is very nice, profile, monumental figure sitting on step

somewhat chunky hand and feet

genre scene in background

likely influeced by greek headstone sculptures, classical profile, square block

christ being nursed

calm, serene, figuring out scale

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Michelangelo 1492

full figures, almost free-standing

high relief

unfinished borders/edges, so you can see the carving technique, see the hand of the artist

understand the human form

powerful sculpturesc

carved in white marble for Lorenzo?

Poliolo-battle of 10 nudes similarities

looks towards the masters, such as teacher, etchings, paintings, sculptures, and classical works.

dynamic energy

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maybe Michelangelo, 1492

Wooden, painted

4 by 5 feet aprox.

commissioner let Michelangelo see dead bodies, studies anatomy/cadavers. Creates this as payment/exchange

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Michelangelo, 1494, San Domenico, Bologna

martyr of bologna

scowl, intense gaze-terribilita

scholars aren't sure about this one

sense of anotomy stucture

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Michelangelo 1494-95 San Dominico Bologna

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Michelangelo 1496-7 Rome 6'6"

Age 21

figure closer to greek figure, rather than the mucle articulation of classical roman art.

god of wine-unbalanced, tipsy, youthful/feminity

support next to figure for stability

commissioned by Roman Banker for gallery, wanted it fashioned after the models of the ancients

strange blending of effects of greek god-heroic and feminine qualities

left hand holding lion skin, symbol of death. Grapes symbolic of life-creates conflict- live life but it is short

satyr figure-playful

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Michelangelo 1498-1500 ~6ft by ~6.5 ft

only work he signs, across sash on Mary

about 24 years old

classical figures

John Bilheras? commissioned

idea of redemption, but the pain helps people feel the pain of Christ's death

Mary's proportions are bigger than Christ, but helps maintain mother and child relationship as well as composition balance

precision of Christ's body-exactness- even with the veins

Mary presents Christ's body with left hand

youthful face-shows virtue- idealized

shows divine qualities of both figures

shows pain and beauty-symbolic of Christ's sacrifice and resurrection -salvation/redemption

damage in 1972, restored

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Michelangelo 1500-01

unfinished painting-sculptural elements

colors heading towards mannerism

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Michelangelo 1501-05, Bruges, Belgium ~4ft

midevil/byzantine iconography

Made for chapel

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Michelangelo 1501-04, Florence ~17 ft tall

arte della lana-wool merchants- commissioned

given the block of marble-had previously been rejected

breaks away from traditional way of depicting David-instead of after it is before

likely influenced by classical sculpture-similar to spearbear artwork-teather support behind leg

contrapposto stance

terribilita- intense phycological gaze

instead of being up high, it must sit down lower

first nude allowed in public place

force of an artist-and force of community understanding-David is their 'patron'- strength and wrath- old patron Hercules

makes optical adjustments based upon how high it was supposed to be up

accurate placement of muscles, tendons, etc.

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Michelangelo 1503 marble

Working through the stone, front to back. Not in the round

didn't finish

monumental figure- painting to scupture

Originally for Florence Cathedral

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Madonna (Tondo Pitti) and Madonna and Child with the infant Baptist (taddei Tondo)

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Madonna (Tondo Pitti) and Madonna and Child with the infant Baptist (taddei Tondo)

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Michelangelo 1504-05

relief sculpture, combination of low and high relief

1505-06

another round image

relief

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Doni Tondo (Holy Family with the infant St. John the Baptist

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Doni Tondo (Holy Family with the infant St. John the Baptist

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Michelangelo 1503-1506ish tempera on panel

nude forms in background

twisting poses, figures are chiseled-muscular structure

not primary colors, experimental

minute attention to detail

perhaps the pagan world juxtaposed with the Christian world

john the Baptist child in middle ground

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Michelangelo 1513-1540s, S. Pietro in Vincoli, Rome

Julius commissions his tomb-many changes to it

original plan called for 40 statues-largest funeral thing for one person

no formal contract, but was supposed to be about $1,500,000 in today's money

100 tons of marble shipped to Rome by Michelangelo, and after original thing was cancelled was not refunded.

Pope Julius is the warrior pope, violent rages, etc. So when Michelangelo left and was rude, it was a big deal. After letter was sent for his return, Michelangelo still said no.

completed in 1545

rachel and leah on the bottom. Symbolic of reflective and active life, faith and active love

Moses , completed in 1515, located in the middle, about 7.5 ft, standing would be 9 ft.

has horns because of mistranslation of bible

monumental figure, texture of drapery/beard contrast smooth skin texture

powerful and intense work

Loecolon sculpture immediately impacts/influences Michelangelo sculpture, dramatic sculpture

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Michelangelo 1508-12, Rome

1475-1483 built- pope cistus the 4th-Rovera family(oak-- oak leaves and acorns)

pope's private chapel-location of the election for the new pope

Julius II is nephew- commissions Michelangelo-cracks in drywall due to settling of the foundation

proportions of the temple in the Old Testament.

Architectural plans by Archio Bottelli

served as a place of worship-pope and 200 secular officials such as cardinals.

originally had stars on the ceiling

spring 1504- cracks appeared in the ceiling-settling of foundation-threatens to pull ceiling apart-fixing it ruined the blue starry sky at the top

1508- Michelangelo commissioned to scrape off old fresco of stars and to paint the new scenes.

contract stated that the sculpture would be paid 3,000 gold ducats, about half a million dollars. Still needed to use that to pay for materials and labor.

12,000 square feet of fresco. Fresco is difficult, and is the most 'manly and masculine' medium because of its challenges.

Outside Siena had materials to make frescos as well as good weather.

Monumental/sculptural figures and elegance

Likely there was somebody to help him with the religious side of things

God is depicted as a tangible thing

A difference between the intellect and the brain

1880-1994- cleaned- the paintings are copyrighted

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Michelangelo 1508-12, S. Lorenzo, Florence

Located in a sactuastry-funerary complex

commissioned by pope clement II, a Medici

Lorenzo the magnificent is buried here under Medici Madonna statue-think Michelangelo did this one fully

dark stone complimenting the light stone via pilasters, checkered floor, contrast of lights and darks

balanced/organized structure

Lorenzo (grandson) buried under knight, and dawn and dusk peoples, more contemplating-figures have elongated proportions, more ambiguity?

Giuliano Lorenzo (son) night and day depicted above, more active- figure wielding a sword

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Michelangelo 1534-41 Rome

starts after Martin Luther stuff

seems more Old testament and pessimistic

righteous on right hand of Christ, Wicked on left side, literally falling out of Heaven

vibrant blue on Mary behind Christ

his face on the drapery skin

commissioned by Pope Clement II- Medici

largest fresco in the 16th century

unsettled time in Rome- reflections in art

hierarchy of scale

clothing added later

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Michelangelo 1550s

known as his Florentine Pieta

Nicodemus (supposedly helps with Christ's burial) is holding up Christ, and Michelangelo puts his face on him.

Doesn't seem to be a commission, likely planned to decorate his own tomb

his pupil continued the work and added Mary Magdalene and fixed arm and leg. After pupil died it was never completed

Michelangelo said that one never thinks about how much blood

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Michelangelo ca. 1550/60, Milan-- 1552-64

last sculpture-records show he was working on it up to 6 days before his death

effected by the counter-reformation to reinvigorate the catholic members-art and music changes-Council of Trent

Christ and Mary merging into one being- both are in need of help

unfinished quality-step away from naturalism and towards neoplatoism. Stripped away many of the tangible qualities

signature on bottom

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Miracle

new hope, focuses on the individual, reflects humanism

Don't forget the 1400s, they shape the art and resolve the artistic problems so the 1500s artists can thrive

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Done after Black Death, which killed ~50% or more of people

Florence is run by businesses/wealthy families

Arte della Calimala was most powerful/wealthy, and took care of baptistry

Competition for North Baptistry doors, requirements were it must be made of bronze, it must depict the Biblical story of Isaac and Abraham, and it must be in a Quatrefoil shape.

The doors were made to give thanks/gratitude token

Finalists were Brunelleschi and Ghiberti, and they wanted them to be cowinners but they didn't want to work together

Ghiberti ended up winning(he used 15 lbs less, meaning costs would be cut.

Door ended up being 8.5 tons of bronze used

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Ghiberti started the evolution

he had a self portrait on the North doors as sculpture self portrait, located in between panels, left door at eye level.

Says the work of Lorenzo the Florentine, shows pride in the city and themselves.

Signed sculpture of St. John the Baptist bronze sculpture on fabric folds, says the work of Lorenzo

East Doors/Gates of Paradise signs wonder at the skill of Lorenzo son of Cione Ghiberti

basically saying take a look at my skill and what I've done

Shows that the artist takes pride in his own artwork and demands respect and attention for it.

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idea that skill comes from the divine, showcasing men's divinity

signatures are not about being cocky, but reflect the ideas of self worth from the trends of the time/humanism

sets the standard of artists being respected during the renaissance

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trained in Florence

1508 develops his own style, and represents new trends in Florence-all other famous artists left Florence at this point

Mainly stays in Florence

monumental style

solomn and restrained

high renaissance style

brilliant designer/planner, good compositions

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Fra Bartolomeo 1498, oil on wood

latin inscription alludes to Monk's status, sent by God. Seems like he was held in high regard by the artist

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Vision of St. Bernard [with Sts. Benedict and John the Evangelist]

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Vision of St. Bernard [with Sts. Benedict and John the Evangelist]

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Fra Bartolomeo 1504-07

First painting after he became a friar under Dominican order

Mary and child floating in, John the evangelist and St. Benedict in the background

weighted figures, monumental

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God the Father with Saints Catherine of Siena and Mary Magdalen

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God the Father with Saints Catherine of Siena and Mary Magdalen

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Fra Bartolomeo 1509

Mary on left side, and Catherine on right hand side.

after his trip to Venice

beautiful blues-venetian blue

originally commissioned by people in Murano, but it never made it to the convent who commissioned it.

depicts that the love of God can transport one's soul towards God: says "Divine Love causes extacy, Our conversation is in Heaven, although we live on Earth, I am weak with Love"
Corporal figure of God

solid monumental figures, restrained in emotion etc.

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Fra Bartolomeo 1511 oil on wood panel

She is being 'married' to Christ

carefully composed, alterpiece, but has archetecural forms, complimentary colors, balanced

peter on Left, Laurence and steven, Saint Dominic and Francis in background,

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Fra Bartolomeo 1511

signed and dated in the steps

originally painted for king of France

interior but opens up towards exterior landscape

Pushing towards mannerism

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1486-1530 Florence

son of a tailor

considered the best painter in 16th century--different from craftsman/designer

influenced from albert Durer prints

married wealthy widow, was model sometimes for artwork

pupils include pontormo, vasari

known for colorist, but did like to plan it out and was picky

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Andrea del Sarto 1512

painted for convent

produced when pontomo were still in hsi workshop

annciation scene, but also weird scene in the background-suzanna and the elders story

specific face style

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Andrea del Sarto 1517

painted for nuns

was to depict Madonna and child, crowned with angels, etc. Didn't end up doing what the contract was originally supposed to be

striking colors, not typical color palate

artist signature next to 'harpies'

"To our lady of the assumption"

harpies potential meaning--virgin triumphant over evil,

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Andrea del Sarto, Convent of San Salvi, Florence, 1520-25

fresco painting, refectory

inspired from davinci

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Andrea del Sarto 1520

pushes the figures forward, different perspective

greens, pinks, added colors into it

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Andrea del Sarto 1526-29 oil on wood

virgin's face bears resemblance to his wife

dramatic contrast-separation of divine and earthly

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1494-1557 Florence

puts aside the renaissance classicism and moves towards more personal and expressive style

upprenticed under da Vinci and Albertinelli

Darsotto's workshop as well

restless, disconcerting, hyperaggitated or neurotic.

religious painter, becomes more of a recluse-meloncoly, intropective, hypocondriac

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Pontormo 1525-28 Oil on Wood

Originally in a small chapel

recently underwent a major restoration

decorative frame

vivid colors, interesting empty spaces

dramatic poses and expressions

may represent the politicul turmoil and unrest after the sacking of Rome and reformation.

composition--irregular, no cross depticted, uncertianty and ambiguity

twisted body of Christ is similar to Michelangelo's first pieta

accurate depiction of emotions

may have self portrait on right side

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1494-1540

means the red one

influenced from del sarto and pontormo

shows influence of michelangelo and gothic engravings- not muscular, but perhaps colorations

was in Rome during the sacking

Invited to France by king

had pet baboons?-vasari my dude

color- feel the violence and emotional impact

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Rosso Fiorentino 1521

red shows the emotional impact

somewhat awkward gestures

void in the center of the composition

different scales

lighting feels like lightning strike- looks like chalk sketch of Michelangelo's first pieta

depicts the more likely chaotic response

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Rosso Fiorentino 1523

seems to take a lot of notes from muscular drawings

dramatic movement and gestures, almost savage behaviors

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1503-1572

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1540

moody, thick atmosphere landscape and atmosphere

exagetated proportions, fingers and neck

doesn't have same classical calm

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1540 oil on wood

textures of clothing

dramactic and posed

similar composition

interesting forshortening forms of the hand

differences in archetectural

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1503-1540

born in Parma

love of unusual spatial effects

became interested in alchemy

allowed his beard to grow long, became melancholic and eccentric

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1524

love of unusual spatial effects

distorted hand

vasari says he looks so beautiful he is almost an angel

moved to florence, works became grander

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1527

foreshortening, awkward posing, long finger

commissioned for a family chapel- female patron

saint John the Baptist in foreground, Gerome having vision in background

lengthening and exaggerated proportions

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1534

painted for church of Santa Maria

works on it for about 6 years

arguments say it is unfinished-column in background

poetic and ambiguous feeling

large and long christ child, almost slipping off of lap, man-child face

angelic faces on left, cut off

metalic greys and blues in clothing

small man in right bottom corner-poem likening neck to tall ivory column.

exagerated length of limbs

signal to painting's religious meaning-elegent

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1539

longer fingers

elegant figure, luminous curls, feminine figures

nike victory medallion/necklace

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1518-1594

most successful venetian painter after Titian's death

spends most life arond venise

formittable draftsman

influenced by contemporary artists

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1592-94

diagonals correspond to alter in church and its architecture

Would start with black underpainting, and add figures and lights on top of it.

large work-mural size

could be described at the festival of the poor people

banqueting genre scene

supernatural spirits/smoke 'bread of angels'

holy ghost in flame, wings of bird

the alter was an extension of the last supper table depicted

work was specifically designed for the location and has a specific location.

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During the Renaissance, apprenticeships played a pivotal role in the development of artists and craftsmen. The primary purpose was to impart skills, knowledge, and techniques from master artists to apprentices, ensuring the continuity and evolution of the artist's craft across generations.

1.     Skill Acquisition: Structured learning environment to learn practical skills, techniques, and craftsmanship through observation, imitation, and hands on experience.

2.     Mentorship and Guidance: Masters acted as mentors, guiding in technical skills, artistic vision, creativity, and conceptual development through personalized instruction, critique and feedback.

3.     Cultural Transmission: facilitated transmission of cultural and artistic knowledge from one generation to the next. It preserved traditional methods allowed for innovation

4.     Networking and Professional Development: Apprenticeships provided opportunities for networking within artistic communities to gain access to patrons, workshops, and resources.

5.     Legacy and Continuity: The master's work can be seen through the apprentice's work, carrying on their legacy.

Master: Perugino, Christ Delivering the Keys to Saint Peter, 1481

Characteristics (stylistically, compositionally): two clusters of figures, interaction between the two, scenes in the background, domed building in background, large tike courtyard, bowl-shaped landscape, similar Jesus and Mary poses/forms, eye contact with viewer, 1 point perspective

Apprentice: Raphael, Marriage of the Virgin,  1504

Characteristics (stylistically, compositionally):

Master: Ghirlandaio, Birth of the Virgin, 1485-90

Characteristics (stylistically, compositionally): Sculpturesque and monumental figures(puti), classical calm?, stagnant and fluid figures

Apprentice: Michelangelo, Madonna and Child, and 1501-1505

Characteristics (stylistically, compositionally):sculpturesque/monumental figures, classical calm

Christ child similar structure to puti statues, stagnant and fluid figures

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Discuss the impact and contributions of Plato and Aristotle on Italian High Renaissance artists and art.

Plato's Influence: Plato's philosophy was rooted in the idea of ideal forms or concepts, which he believed existed beyond the material world. His chief characteristics included:

Theory of Forms: Plato argued that the material world was a flawed and imperfect reflection of an ideal, non-material realm of perfect forms. Renaissance artists were inspired by this idea, and it influenced their quest for beauty and perfection in their work.

Idealism: Plato believed in the transcendent and eternal nature of reality. Renaissance artists were drawn to this concept, aiming to capture the idealized beauty and harmonious proportions in their works, often depicted through idealized human figures.

Allegory and Symbolism: Plato's dialogues frequently utilized allegory and symbolism to convey philosophical ideas. Renaissance art also often employed allegorical elements to represent deeper meanings and concepts.

Aversion to the Senses: Plato had reservations about relying too heavily on sensory perception because it could be deceptive. Renaissance artists were influenced by this notion, often seeking to elevate their art beyond mere representation by infusing it with intellectual and moral values.

Aristotle's Influence: Aristotle's philosophy, on the other hand, was more grounded in empirical observation and empirical study. His key characteristics included:

Empiricism: Aristotle advocated for the study of the material world and the use of empirical observation and evidence to understand it. This influenced Renaissance artists to explore anatomy, perspective, and the natural world more closely.

Naturalism: Aristotle's emphasis on empirical study encouraged artists to portray the world as it appeared in nature, leading to a more naturalistic and detailed representation of the human form, landscapes, and other elements.

Causality: Aristotle's concept of causality and the study of cause-and-effect relationships influenced Renaissance artists to think more deeply about the underlying reasons and meanings behind their artistic subjects.

Ethics and Virtue: Aristotle's ethics, which focused on virtue and the cultivation of moral character, had an impact on the portrayal of idealized human figures in Renaissance art. Artists often depicted figures exhibiting virtuous qualities and behavior.

In summary, Plato's influence on Italian Renaissance art was primarily through his idealism and emphasis on capturing the transcendent, while Aristotle's influence was rooted in empiricism and the naturalistic representation of the material world. These two philosophical traditions coexisted in the Renaissance, and artists often found ways to synthesize the two approaches to create a rich and diverse body of work that reflected both the ideal and the real.

Plato artwork 1: Michelangelo, Rondanini Pieta, 1552-64

embodiment of principles: less of a focus on the tangible and more on the spirit/feeling. ‘idealized’; elevated art beyond just representation

adaption of ideas in creative process: Christ and Mary merging into one being- both are in need of help. unfinished quality-step away from naturalism and towards neoplatoism. Stripped away many of the tangible qualities

Plato artwork 2: Leonardo da Vinci, Annunciation, 1470s

embodiment of principles: idealized forms shows interest in the divine/spiritual

adaption of ideas in creative process: idealized forms, focus on the spiritual/ideas

Aristotle artwork 1: Ghirlandaio, Old Man with a Child, 1480

embodiment of principles:

adaption of ideas in creative process: realistic representation of old man’s nose, hair, wart, etc.; not idealized; verism. Focus on the ‘beauty’ of the physical; tangible interaction.

Aristotle artwork 2: Raphael, Pope Low X with Cardinals, 1517

embodiment of principles: focus on the tangible, depictions of the world times, realism

adaption of ideas in creative process: stunning textures on clothing, reflection of the struggles happening at the time(Martin Luther), not idealized figures/faces.

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During the Italian Renaissance, many artists emerged who challenged the previous Medieval conventions of art,
seeking to express their individual creativity, self-awareness, and self-worth. Using Dr. Steven Bule’s in-class Ghiberti lecture and Pico della Mirandola’s influential Oration on the Dignity of Man

High Renaissance artist: Michelangelo

personal and professional experiences shaped their artistic vision and identity.

At age 13 Michelangelo was apprenticing under Ghirlandaio, and after only a year, Michelangelo started getting paid just as much as a professional artist die to his artistic merits. When Lorenzo Medici asked Ghirlandaio to send his best students, Ghirlandaio send Michelangelo only at age 15. Lorenzo realized Michelangelo’s talent and moved him into the palace and gave him more exposure to all the arts. His natural gift and hard work in developing it enabled him to become a great artist at a young age, which he carried throughout his life.

Oration of the Dignity of Man: humans have indeterminate nature, only restricted by themselves. Relation to human and divine- power to become divine

Relates to Michelangelo because through his actions he chose to advance himself further and further, enabling his works to become ‘divine’ and therefore himself through his personal development

Michelangelo takes pride in his artwork, a common theme for Renaissance artists. Show respect for themselves and demand it from others. It is not to be cocky, but to be proud of what you have made and showcase your ability.

1: Michelangelo, Pieta, 1498-1500

reflect the artist’s individual sense of self-worth and innovation: signs sash on Mary. Used to show his incredible skill and craftsmanship and realism- show people what he is capable of creating

2: Michelangelo, Tomb of Julius II, 1501-04

reflect the artist’s individual sense of self-worth and innovation: Original design was to be worth about 1.5 million dollars. Ended up falling through, upsetting Michelangelo. He stood up for himself and left, and refused to return even though the Pope specifically requested it.

3: Michelangelo, Rondanini Pieta, 1552-64

reflect the artist’s individual sense of self-worth and innovation: signature on the bottom-last work. Very different from his first pieta-different message. Michelangelo was still proud of his artwork even though throughout his life he had stylistic changes.

Examine also how the artist’s self-awareness/self-worth influenced his reputation and legacy among his patrons, fellow artists, and even rivals or critics.

His unwavering confidence, combined with a deep understanding of his own artistic abilities, played a crucial role in shaping how he was perceived and remembered.

1.     Uncompromising Artistic Vision: Michelangelo had an exceptional level of self-assurance in his artistic abilities. He was known for his unwavering commitment to his artistic vision; contributed to the creation of masterpieces like the Sistine Chapel ceiling and the statue of David

2.     Confidence in Negotiations: His self-awareness extended to his dealings with patrons. Michelangelo understood his own value as an artist and was confident in negotiating contracts and fees for his work. This confidence sometimes led to clashes with patrons, but it also ensured that he was respected for his talent and not just seen as a hired craftsman.

Overall, Michelangelo's self-awareness and strong sense of self-worth not only shaped his reputation but also contributed to the enduring legacy he left behind. His unwavering confidence in his abilities allowed him to create some of the most iconic works in art history and cemented his place as one of the greatest artists of the Renaissance and beyond.

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Italian Mannerism is characterized by a deliberate distortion of perspective, anatomy, proportion, and color, as well as: a preference for complex and artificial compositions, exaggerated emotions, and ambiguous meanings.

As such, discuss the role of Mannerism in art as a possible reaction to contemporary artistic styles (namely that of da Vinci, Raphael, and Michelangelo)

Mannerism emerged in the late Renaissance as a distinct artistic style that deviated from the harmonious and balanced principles of the High Renaissance. It can be seen as a reaction, or even a rebellion, against the established norms and ideals of their art.

Reaction against Classical Ideals and artistic norms: Artists like Leonardo da Vinci, Raphael, and Michelangelo epitomized the ideals of classical balance, naturalism, and harmony in their works. Mannerist rejected the serene and balanced compositions, exploring exaggerated forms, elongated figures, and distorted proportions. create a sense of emotional intensity and ambiguity. While artists like da Vinci, Raphael, and Michelangelo aimed for naturalism and idealized beauty, Mannerist artists focused on conveying emotions, often through unconventional and exaggerated means. This departure from naturalism allowed for more subjective interpretations and emotional depth in their works.

and political/historical events of the time (i.e. the Reformation, the Sack of Rome, and the Council of Trent).

Mannerism in art emerged during a period of significant political, religious, and social upheaval in Europe, and it's likely that these historical events influenced the development of this artistic style.

1.     The Reformation: The Protestant Reformation, spearheaded by Martin Luther, challenged the authority of the Catholic Church and led to religious division across Europe. Mannerist artists, in their departure from the classical norms of the High Renaissance, reflect the uncertainty, complexity, and spiritual ambiguity of the era. The emphasis on enigmatic compositions and the exploration of unsettling or ambiguous themes in Mannerist art might be seen as a response to the religious turmoil and the quest for new expressions of spirituality.

2.     The Sack of Rome: The Sack of Rome in 1527, a traumatic event where the city was invaded and plundered by troops. The chaos and destruction caused by this event disrupted the artistic community, leading to a sense of instability and disillusionment. Mannerist art, with its distorted forms, exaggerated expressions, and unconventional compositions, might be interpreted as a reflection of the psychological trauma and uncertainty experienced by artists and society in the aftermath

3.     The Council of Trent: The Council of Trent, convened by the Catholic Church to address the challenges posed by the Reformation, sought to reaffirm and strengthen traditional Catholic doctrine. The Council placed emphasis on clarity, legibility, and the didactic nature of art, promoting works that were easily understandable and served as tools for religious instruction. In response, Mannerist artists, with their complex and often ambiguous compositions, could be seen as pushing against these guidelines, deliberately creating art that was more elusive and open to subjective interpretation.

Andrea del Sarto, Madonna of the Harpies, 1517

Mannerist deviation from High Renaissance Classical ideals: atypical color palette.

How it transitions to Baroque drama, movement, and realism: Dramatic lighting, engages with the audience, diagonal lines/movement, realistic figures and architecture

Andrea del Sarto, Assumption of the Virgin, 1526-29

Mannerist deviation from High Renaissance Classical ideals:

How it transitions to Baroque drama, movement, and realism: Dramatic lighting, engages with the viewer, energy and movement of puti

Fiorentino, Decent from the Cross, 1521

Mannerist deviation from High Renaissance Classical ideals: Unbalanced composition(void in center, intense color, big emotions/chaos

How it transitions to Baroque drama, movement, and realism: dramatic diagonals, expressive gesture, lots of movement-cloths on top figures, dramatic lighting

Fiorentino, Moses Defending the Daughters of Jethro, 1523

Mannerist deviation from High Renaissance Classical ideals: chaotic mood, little grace/beauty

How it transitions to Baroque drama, movement, and realism: diagonals, dynamic movement(figures, pink cloth, intense emotion/expression/drama, realistic figures