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| Michelangelo: Sistine Chapel Ceiling Frescoes |
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Definition
| Often seen with feelings of uneasiness which led to other development of Mannerism. Mich was not a painter by profession. Scenes dictated by Julius II who was influenced by neoplatonism. Scenes are from Genesis. Along the lunettes are Jesus' human family. Timeline is painted backwards from the entrance. Illusionistic panels, it's actually all a flat barrel vault. Emotional intensity crescendo (increases as you walk on). Uses all of the "Classical" principles. Most famous is "Creation of Adam". After a cleaning it was noticed that Mich used very bright, stunning colors. |
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| Michelangelo: Creation of Adam |
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Definition
| Not traditional, rather a bold humanistic interpretation. Looks like a brain. Characters are in the brain of God, similar to Leonardo's Madonna on the rocks. Woman net to God may be Eve or the Virgin Mary. Adam is modeled after Roman/Greek statues. Adam is lumpy, typical of Mich's male figures. Nude athletic male figures is a throwback to ideal Greeks. Mich replaces straight lines with diagonal line |
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| Michelangelo: Last Judgement |
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Definition
| Chapel fresco painted years after painting the ceiling. Reformation and the Council of Trent was created in between time. Unusual that it is over an altar. Mich had issues with the Pope and didn't want to return. Mich was religious, but also raised learning neoplatonism. Stern image of Christ the judge resembles the "Christ Pantokrator". A fearful image of Christ's wrath, but also an image of hope. Charon is at the bottom leading the souls down to Hell. Mich's face is on the flayed skin St. Bart is holding. Reflects his view of society and the church. Influenced by Sinorelli's "Last Judgement". |
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| Donato Bramante: Tempietto |
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Definition
| The fourth high renaissance artist. An architect who developed the high Renaissance form for of the central-plan church. Philosophical understanding of ancient ideal. Use of ideal forms. Named Tempietto because contemporaries thought it looked like and ancient temple As if he took a Greek temple, rounded it, and stuck it on a drum. Dome inspired by the Pantheon. Believed to be the location of St. Peter's crucifixion. Tuscan styled colonnade. Early Renaissance architecture emphasized detailing flat walled surfaces, while high Renaissance architecture emphasized sculptural handling of architectural masses. |
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Initiated by Pope Julius II who wanted to gain control over the whole of Italy and to make the Rome of the popes reminiscent of (if not more splendid than) the Rome of the caesars. Bramante's plan was so colossal that it boasted placing the dome over the Basilica of Constantine. Mich struggled to stick to Bramante's central plan. Mich reasoned that architecture should mimic the human body in design. Not actually Mich's dome, he designed and ogival dome, then decided to go with a hemispherical dome, but Giacomo
della Porta refinished it with his own ogival dome due to structural properties. |
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| Andrea Palladio: Villa Rotunda |
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Definition
| Known as THE Venetian architect. Made trips to Rome to study architecture firsthand. Influenced England and Colonial America. Wealthy family's weekend getaway home. Belvedere (residence on a hill). Perfectly symmetrical building. Each facade has resembles a Roman Ionic temple. Surmounted by a dome. Ideals of the Renaissance are pushed further to create Mannerism. |
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| Venice was a stable and thriving Italian empire partially due to its geographic isolation and port. Artisan guild complete controlled the compensation of artists. Influenced eastern nations. Keen interest in overall visual and the relationship between light and color. Distinctly smooth method of brushwork that created velvety surface texture. The dampness of the city made fresco paintings difficult to work with. Venice popularized oil paintings as a their preferred medium. Red Venetian clay adds a layer of red to make rich colors. Venetian artists also preferred to paint the poetry of the senses and delighted in nature’s beauty and the pleasures of humanity. Artists in Florence and Rome gravitated toward more intellectual themes the epic of humanity, the masculine virtues, the grandeur of the ideal, and the lofty conceptions of religion involving the heroic and sublime. Read this article, http://arthistory.about.com/cs/arthistory10one/a/ven_ren.htm |
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| Giovanni Bellini: St. Francis in Ecstasy |
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Definition
| St. Francis was a wealthy man who gave up his money to live a life in harmony with nature. One day while pray St. Francis received the "stigmata" from God. Skull is a symbol of mortality. |
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Definition
| "Sacre Conversazione"- sacred conversations, a popular scene of Mary sitting on her throne. St. Peter with keys and "The Book of Wisdom". St. Catherine with the palm of martyrdom and the broken wheel. St. Lucy with a tray holding her plucked eyeballs. St. Jerome with book representing the Bible's translation into Latin. Angel in the center is playing the viol. Supporting characters are custom where it's painted. Setting is interior but walls open up to add symbolism. Mary's purity is particularly important to the Venetians. |
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| Giorgione: Pastoral Symophony |
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Definition
| Some believe Titian is the actual artist. Musicians playing with Muses. Muses are large fleshy woman. Reflects an attitude of having a pleasure in visuals. Giorgione is known for such strange scenes and allegorical representations of women. |
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| Titian: Assumption of the Virgin |
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Definition
| Titian was a student of Giorgione who pushed the envelope with his medium and emotional intensity. He is known for his emotional and deep colors. Given an unusually tall space to paint. Made three clear divisions so they are easily seen over crowds of people. Used multiple perspective view points on Mary and angels so it would appear real from multiple angles. |
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| A "Venus" painting which is characteristic of Venetian artists. The mythological reference is not truly justified by its name. The idea is that if it is called a "Venus" then you can paint nude women. A present from the husband painted for a woman to become a bride. An instruction for how the bride is to behave in the bedroom. Titian modeled from classical statuary which set precedent of the reclining nude woman being somewhat modest. Dog = fidelity. Three divisions of perspective- nude woman in the foreground, maids in the middle ground, landscape in background. Colors not only used for appearance but also mark its diagonal perspective. |
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| One interpretation of the rise of Mannerism is as if the artists said to themselves, "We could never top the High Renaissance, so why bother?" and that Mannerism also represents Renaissance art going out, not with a bang but, rather, a (relative) whimper. Also described as a style of being stylish, cultured, and elegant. A reaction of uneasiness of the Reformation. Often unnatural scenes of representation. In 1527, Charles V sacked Rome and crowned himself Holy Roman Emperor. The Counter Reformation caused a Zero Tolerance policy toward Renaissance innovations. Oil painting and perspective was still used. Due to archeology, contemporaries had actual ancient models to refer to. Where High Renaissance art was natural, graceful, balanced and harmonious, the art of Mannerism was quite different. While technically masterful, Mannerist compositions were full of clashing colors, disquieting figures with abnormally elongated limbs, (often torturous-looking) emotion and bizarre themes that combined Classicism, Christianity and mythology. If the sky in any given scene wasn't a menacing color, it was filled with flying animals, malevolent putti, Grecian columns or some other unnecessary busyness. Or all of the above. The aristocracy all read the same books knew the same people, etc. They withdrew themselves into their own aristocratic group. Refinement to the point of eccentricity. Read this article, http://arthistory.about.com/cs/arthistory10one/a/late_ren.htm |
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| Jacopo Pontormo: Entombment of Christ |
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Definition
| Mannerism. Similarities between Venetian Renaissance and Mannerism. Southern Italian. Apprenticed to Leonardo. Paid for by a middle class patron. Rebelled against the excessiveness of the church. Proportions of figures are distorted. A well known subject that Pontomo played off of. Rotated along a vertical axis to show Mary falls away from the viewer. Unlike High Renaissance artists, who had concentrated their masses in the center of the painting, Pontormo left a void. This emptiness accentuates the grouping of hands that fill that hole, calling attention to the void symbolic of loss and grief. Also, includes figures with anxious glances in all direction, elongated and twisting bodies, and contrasting colors. |
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| Parmigianino: Madonna with the Long Neck |
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Definition
| A subject from a metaphor in medieval hymns that compared the Virgin’s neck to a great ivory tower or column. Achieves a stylish elegance that was the aim of Mannerism. Tiny man on the right is St. Jerome. Notice the column with no capitol. Madonna is sitting on cushions. Weird baby. Nude young people are identified as angels. Crowd space intensifies contrapposto. All are marks of the aristocratic, sumptuously courtly taste of a later phase of Mannerism. Heightened attention to surface detail. |
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| Bronzino: Venus, Cupid, Folly and Time |
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Definition
| Bronzino studied with Raphael. Erotic intentions. A gift for King Francis I of France. Man on top is Father Time jealously peeling back curtain. Cupid is kissing and fondling his mother Venus, incest. Little boy on the right is Folly about to shower the scene with rose petals. Ambiguous meaning. Could be that time goes on and we can't stop time, or that love accompanied by envy and plagued by inconstancy is foolish and that lovers will discover its folly in time. Masks in on the bottom right represent deceit. |
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| Sophonisba Anguissola: Portrait of the Artist's Sister and Brother |
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Definition
| Woman painter. Well to do father widowed and raised his children as a single father. Allowed children to study together. Her childhood, late marriage, and father's connections fostered her painting. The King of Spain provided her a husband to take care of her. Soon after, her husband dies on a ship and she marries the captain. Due to social norms, women were not allowed to paint from nude models which hampered female artist's achievement. A manneristic portrait of her siblings. Stiff, formal, courtly, elegant on a neutral ground, but relaxed poses and expressions. |
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| Tintoretto: The Last Supper |
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Definition
| Student of Titian who aspired to combine Titian’s color with Michelangelo’s drawing, but he also adopted many Mannerist pictorial devices, which he employed to produce works imbued with dramatic power, depth of spiritual vision, and glowing Venetian color schemes. Dark interior with only a single light. Shimmering halos lets you know it is a biblical scene. Use of Mannerism elements. Use of diagonal perspective creates limitless depth and motion. Christ is not the center of converging lines. Looks like a pub or sports bar. Christ's halo is like a beacon. |
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Term
| Paolo Veronese: Christ in the House of Levi |
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Definition
| Veronese specialized in splendid pageantry painted in superb color and set within majestic classical architecture. Painted on a huge scale, 18' 3" x 42". Referred to High Renaissance composition, symmetrical balance, and ordered architectonics. Originally called the last supper. Christ sits with the elites of Venice. Robed lords, their colorful retainers, clowns, dogs, and dwarfs crowd into the spacious loggia. Painted during the Counter Reformation it was ordered to be changed, because of the outrage that Christ is sitting so close to such creatures. Veronese simply changed the name to accommodate. |
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Term
| Giovanni de Bologna: Abduction of the Sabine Women |
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Definition
| Flemish sculpture named Jean who moved to Florence. Used Mannerist elements of figure in sculpture. Drawn from the legendary history of Rome, the group received its present title relating how the early Romans abducted wives for themselves from the neighboring Sabines. Goal was to create a spiral figure composition. Designed to be seen from multiple viewpoints. Spacing between figures give equal effect as do the solids. |
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| El Greco: Burial of Count Orgaz |
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| Mattias Grunewald: Isenheim Altarpiece |
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