Pieter Bruegel the Elder. The Return of the Hunters. 1565, o

Bartolomé Esteban Perez Murillo

The Immaculate Conception

1645-50

oil on canvas

State Hermitage Museum,

St. Petersburg, Russia

Diego Velazquez, "Las Meninas" (The Maids of Honour), c. 1656-1657, oil on cavas

Museo del Prado, Madrid

Still Life with Lemons, Oranges and a Rose, 1633,

oil on canvas, Norton Simon Museum

The Martyrdom of Saint Serapion 1628, 120 × 103 cm, Oil on canvas, Wadsworth Atheneum, Hartford, Connecticut

recreation of a "theater"

Teresa de Avila: founder of the Reformed Order of the Discalced Carmelites

Gianlorenzo Bernini

The Ecstasy of St. Teresa

1645-52

Marble, life-size

Cornaro Chapel. Santa Maria della Vittoria

Golden orb: symbol of triumph of Christianity

Baldacchino: a ceremonial canopy of stone, metal, or fabric over an altar, throne, or doorway.

created mostly in bronze stripped from the ancient Pantheon

Gianlorenzo Bernini

Baldacchino, at the nave crossing

1624-33

Gilt bronze

Vatican, Rome

St. Peter's Nave and facade. Carlo Maderno. 1607-12. Vatican, Rome

Architecture in Italy

Artemisia Gentileschi

Judith and her Maidservant with

the Head of Holofernes

1625

oil on canvas

Detroit Institute of Arts

First woman to be admitted to the Academia del Disegno in Florence

biblical heroines

erotic, sensual pleasures

The Musicians. 1595. oil on canvas; The Met

Caravaggio (Michelangelo Merisi

The Calling of St. Mathew

1599-1600

oil on canvas

Contarelli Chapel,

San Luigi dei Francesi, Rome

Vocabulary

The Baroque

in Italy and Spain

rural life - speak about the human condition

Peasant Wedding. 1568, oil on panel

Netherlands tradition - explores moral allegory, landscape, and peasant life

Pieter Bruegel the Elder. The Return of the Hunters. 1565, oil on panel

marks the passage of time

The cat, rabbit, ox, and elk = symbols of bodily fluids, humors

anger, lethargy, melancholy, energetic sensual

Adam and Eve

1504

engraving

1500 - Second Coming of Christ

Pale horseman-death

Black horsemen-earthquake, famine

Red horseman-war

White horseman-conquest

Albrecht Durer. The Four Horseman of the Apocalypse

1498

Woodcut

music herbs bath light

cycle of salvation - Incarnation to Resurrection

Matthias Grunewald. Isenheim Altarpiece (open): The Annunciation;

Madonna and Child with Angels; The Resurrection)

St. John

John the Baptist

predella

ergotism: disease caused by eating spoiled rye

"St. Anthony's Fire"

Matthias Grunewald (Gothart Nithart).

Isenheim Altarpiece (closed): The Crucifixion; predella: Lamentation)

1509-15, oil on panel

Monastery Church of the Order of St. Anthony

Alsace, France

compressed space, unearthly light, weightless bodies

count's soul

St.Stephen

St. Augustine - intercessors with Heaven

El Greco (Domenikos Theotokopoulos)

Crete (Venetian rule)

The Burial of Count Orgaz

1586

Oil on canvas

Chapter 18: Renaissance and Reformation

throughout Sixteenth-Century Europe

Spain becomes a world power in the 16th century

iconoclasm: destruction of images

Baroque: May come from the Portuguese word "barrocco," referring to an irregular pearl - grandeur, sensual richness, emotional exuberance, tension, and movement (17th century)

Protestant Reformation: To protest some practices of the Catholic Church and to reform that Church.

Tenebrism, from the Italian, tenebroso (murky), also called dramatic illumination, is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image.

wanted to "paint like Titian and to design like Michelangelo"

'absorbed their later styles

'wants to make visible the miracle of the Eucharist - 'transubstantiation of earthly to divine food

Jacopo Tintoretto. The Last Supper. 1592-94, Oil on canvas

San Giorgio Maggiore, Venice

uninterested in conveying spiritual or psychological messages

claimed the privilege to "paint pictures as I see fit"

Paolo Veronese. Feast at the House of Levi. 1573

unbalanced.. composition

in Mannerist fashion, these elements draw att. to the artist's skill

gateway to Heaven and eternal life

Immaculate Conception

Parmigianino

The Madonna with the Long Neck

1535

Oil on panel

Giorgio Vasari: Painter, architect, and historiographer who wrote "The Lives of the Artists"

Marcos Vitruvius: Roman author, architect, civil engineer and military engineer during the 1st century BC. who considers that the perfect geometrical forms of the circle and the square may be derived from the human body.

Chiaroscuro: the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition.

Sfumato: smokiness, or smoke beyond the focus plane

Pope Julius II: invested vast sums in large-scale projects of architecture, sculpture, and painting

Medici: along with other families of Italy, such as the Visconti and Sforza of Milan,, fostered and inspired the birth of the Italian Renaissance.

Council of Trent

foundation fo the Society of Jesus, Jesuits

Ignatius of Loyola

impressive grandeur - excessive ornament

arch. embodiment of the spirit of the CR

Giacomo della Porta

Façade of the Church of Il Gesù

Rome, c. 1575–84 CE

de-emphasizes physical torment and stresses spiritual agony

dead rise from the earth toward Heaven damned sink away from Heaven toward Charon

Michelangelo Buonarroti,

Last Judgment

1534 - 41, Sistine Chapel

legends of ancient Rome - Sabine women taken as wives

Giovanni Bologna

The Rape of the Sabine Woman

1583

Marble

Father Time tears back the curtain from Fraud or Oblivion

Jealousy/pain pleasure play

Agnolo Bronzino

Allegory of Venus

1546

Oil on panel

confined space, graceful rhythms, desaturated colors

Jacopo da Pontormo

Pieta

1526-28

Oil on panel

Santa Felicita, Florence

night Giuliano day

expresses the triumph

of the Medici

Michelangelo Buonarroti,

Tomb of Giuliano de' Medici

1519-1534 - San Lorenzo, Florence

Chapter 17:

Late Renaissance and Mannerism

in Sixteenth Century Italy

-Commissions came from princely courts

The Medici family controlled most of the republic of Florence

-Maneira: manner or style that emphasized technical virtuosity, erudite subject matter,

beautiful figures, grace, variety, and complex compositions

experimented with proportions, ideal figure types, and unusual compositions

originality and personal expression is the focus

Martin Luther: came to reject several teachings and practices of the Roman Catholic Church and a seminal figure in the Protestant Reformation

may have been intended as an erotic image, not classical theme

Titian. Venus of Urbino. 1538. Oil on canvas

gateway to heaven / Immaculate Conception

Titian. Madonna with Members of the Pesaro Family. 1526, oil on canvas

Santa Maria Gloriosa dei Frari, Venice

The nymph Galatea being pursued by the giant, Polyphemus / sculptural, dynamic

Raphael

Galatea

1513

Fresco

gathering of philosophers from ancient Greece

study of philosophy

Raphael. The School of Athens. 1508-11. Fresco; width 19’ Vatican Palace

barrel vault spandrels

Michelangelo. Creation of Adam (1508-12) portion of the Sistine Chapel ceiling, Fresco

passage of the divine spark from God to man

the human body as a divinely inspired vessel for conveying complex and deeply felt meaning

lunettes

originally placed at the Piazza della Signoria

symbol of strength and youthful beauty

Interior of the Sistine Chapel (1508-12), Rome

Center: 9 scenes from the Book of Genesis, Creation of the World, Drunkenness of Noah

Figs. of prophets and sibyls, ancient Greek prophetesses

Michelangelo

David

1501-04

Marble

Accademia Gallery

Human image as the supreme vehicle of expression

youth = perpetual virginity

Survey of Western Art II:

Renaissance to Contemporary

Hellenistic influence / heroic scale and superhuman beauty

contrapposto poses were thought of as a distinctive feature of antique sculpture

Lisa di Gherardo, wife of Francesco del Giocondo

Roettgen Pieta

Chapter 16: The High Renaissance in Italy

1495-1520

Michelangelo

Pieta

1498

Marble; St. Peter's Basilica, Rome

The last Supper

1495-98

Oil and tempera on plaster

Leonardo da Vinci. Vitruvian Man Mona Lisa

1487 1503-05

FIDM

FALL 2015

Dr. M. Ramos