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Chapter Nine
Europe, 1500-1600
Prepared by Kelly Donahue-Wallace
Randal WallaceUniversity of North Texas
Gardner's Art through the Ages, Concise Edition by Fred Kleiner
ItalyDates and Places: • 1500 to 1600• Rome, Florence, Milan,
and Venice
People:• Humanism• Reformation/Counter-
Reformation• Powerful courts• Artist-genius Interior, Sistine Chapel,
1473. Fig. 9-1.
ItalyThemes:• Life of Christ and the
Virgin Mary, saints• Portraiture• Mythology, antiquity• Allegory, poesiaForms:• Balance, harmony, ideal
beauty• Venetian color, Mannerist
distortion
RAPHAEL, Madonna in the Meadow, 1505–1506. Fig. 9-
6.
ItalyExample:
• Mathematical linear perspective
• Compositional emphasis on Christ
• Unity through pose and movement
• Studied emotion
• Capturing the observable world
LEONARDO DA VINCI, Last Supper, ca. 1495–1498. Fig. 9-
3.
ItalyExample:
• Wife of wealthy merchant
• Convincing likeness
• Personality, boldness
• Sfumato, chiaroscuro, atmospheric perspective
• Window onto landscape
LEONARDO DA VINCI, Mona Lisa, ca. 1503–1505.
ItalyExample:
• Papal library with Allegories of philosophy, theology, poetry, and law
• Philosophers of antiquity
• Semi-circular composition, illusionistic space
RAPHAEL, Philosophy (School of Athens), 1509–1511. Fig.9-7.
ItalyExample:
• Visually pleasing proportion, not mathematical rules
• Classical figure with emotion
• Anticipation of battle with Goliath, not victory
• Symbol of Florentine liberty
MICHELANGELO BUONARROTI, David, 1501–1504. Fig. 9-9.
ItalyExample: • Fresco in pope’s chapel• Old Testament scenes
on ceiling, Judgment on wall
• Creation, Fall, Redemption narratives
• Ignudi, ancestors, prophets, sibyls
• Architectural framework • Expressive human body
MICHELANGELO BUONARROTI, ceiling, Sistine Chapel, 1508–1512. Fig. 9-10.
ItalyExample:
• Central plan chapel
• Classical order
• Added dome
• Sculptural architecture of volume and masses, solids and voids
• Site of St. Peter’s martyrdom
DONATO D’ANGELO BRAMANTE, Tempietto, 1502(?). Fig. 9-
13.
ItalyExample:
• Adjusts Bramante’s central plan
• Greek cross inscribed in square
• Dome over crossing
• Colossal order
MICHELANGELO, Saint Peter’s,1546.
Fig. 9-14.
ItalyExample: • Private villa • Near Venice• Central plan• Dome over crossing• Four facades like
temple portals• Pantheon likely model• Wrote architectural
treatise
ANDREA PALLADIO, Villa Rotonda, ca. 1550–1570. Fig.9-
16.
ItalyExample:
• Venetian painters love color (colorito), atmosphere, texture
• Oil on canvas glows
• Voluptuous body with smoky shadow
• Portrait or mythology?
• Color organizes composition
TITIAN, Venus of Urbino, 1538. Fig.9-20.
ItalyExample:
• Mannerist painting after 1520
• Self-conscious stylishness, not window onto world
• Complex, exaggerated, difficult
• Unstable composition, unnatural color
PONTORMO, Entombment of Christ, 1525–
1528.Fig. 9-21.
ItalyExample: • Mannerist complicated
allegory • Folly of love revealed
by time• Lascivious, sensuous• Strong contours,
undulating and exaggerated limbs, complex pose shows artist’s skill
BRONZINO, Venus, Cupid, Folly, and Time, ca.
1546. Fig. 9-23.
ItalyExample:
• Late Venetian painting
• Pageantry of event
• Classical setting
• Invented characters
• Renaissance balanced composition
• Inquisition challenges subject so changes title
PAOLO VERONESE, Christ in the House of Levi, Italy, 1573.
Fig.9-26.
Holy Roman EmpireDates and Places: • 1500-1600• Germany
People:• Martin Luther• Protestant Reformation • Political change
ALBRECHT DÜRER, Four Apostles, 1526. Fig. 9-
30.
Holy Roman EmpireThemes:• Life of Christ, Virgin
Mary, Saints • Portraits
Forms:• Renaissance illusionism• Surface description• Naturalism HANS HOLBEIN THE YOUNGER, The
French Ambassadors, 1533. Fig. 9-31.
Holy Roman EmpireExample:
• Altarpiece for monastery church with hospital
• Gruesome description of wounds
• Emphasize suffering
• Catholic inclusion of Lamb, Christ’s blood, plague saints
MATTHIAS GRÜNEWALD, Isenheim Altarpiece, ca. 1510-1515.
Fig. 9-28.
Holy Roman EmpireExample:
• Engraving
• Interest in Renaissance proportion of human body
• Combine with northern European surface description and disguised symbolism
ALBRECHT DÜRER, Fall of Man (Adam and Eve), 1504. Fig. 9-
29.