Culture and Values, 6th Ed.Cunningham and Reich

Vatican as center of wealth, stability Many artists migrated to the Vatican to be

recipients of patronage when the Medici declined. Patronage – artists were paid and supported to

create specific works of art

Pope Sixtus IV – commissioned artists who were famous in Florence to fresco the side walls of the Sistine Chapel: Ghirlandaio, Botticelli, Perugino

Pope Julius II Beginnings of High Renaissance (1503) Appreciated fine art; influenced by his uncle,

Pope Sixtus IV “il papa terribile” – the awesome pope Summoned Raphael Sanzio and Michelangelo

Buonarroti to Rome

From Urbino to Perugia Born in Urbino and practiced art under his

father’s direction His father died in 1494 Became apprentice to Perugino, the painted

Moved from Perugia to Florence (1505) Worked there for 3 years Painted many madonnas while in Florence

Madonna of the Meadow (1508) (Fig. 13.1) Typical Raphael style of madonna Pyramidal configuration – believable and

balanced space This geometrical device was popularized by

Leonardo da Vinci Rationally ordered Modeling of human forms

Conveys genuine sweetness and warmth

Human quality of the divine figure is Raphael’s trademark

Went from Florence to Vatican (Rome) (1508) Pope Julius had him working on various projects in the

Vatican by the next year. Commissioned him to decorate rooms of his palace

School of Athens (1509-1511) (Fig. 13.2) Large fresco on the wall of the Stanza della Segnatura,

an office in the Vatican Palace Symbolic homage to philosophy

Sets the great philosophers of old in an immense architectural framework inspired by Roman architecture

Renaissance ideal – sensitivity to ordered space, ease with Classical thought, Roman architecture, brilliant color and form, and love for intellectual clarity

The Transfiguration (1527) (Fig. 13.3) Last work, unfinished at his death

Balance of philosophy and theology Old and New Testament figures; light and dark

to reflect balance

Called to Rome in 1505 by Pope Julius II to create a monumental tomb: Tomb for Pope Julius II Tomb was never finished; Michelangelo

was interrupted by Julius, his death, and later the Medici family

Moses (1513-1515) – one of the finished pieces of the tomb (Fig. 13.4) Fiercely inspired look on Moses’ face; bulky

physicality, carefully modeled musculature, drapery, and hair

Face radiates divine fury, divine light Terribilità - awesomeness

Boboli Captives (1527-1528) (Fig. 13.5) Rough and unfinished: Neo-Platonic notion of form and matter – ideal

form struggles to be freed from gross matter Insight into artist’s methods Captives were possible meant to serve as

corner supports for the bottom level of the tomb (Fig. 13.6)

The Sistine Chapel (Fig. 13.8) Julius commanded Michelangelo to fresco the ceiling. He resisted the project and fled Rome; he was ordered

back by papal edict. Finished the ceiling in 3 years (1508-1511).

“Michelangelo, Sculptor” – signed the ceiling to remind Julius of his reluctance to paint.

Architectural and thematic motifs Heroic action of the Old Testament; biblical ancestors

of Christ; pagan sibyls and OT prophets; scenes from Genesis

Interpretation – the overall meaning is problematic The following elements must all be considered:

Neo-Platonism – manipulation of dark and light; liberation of spirit from matter; and geometrical allusions

Old Testament and pagan prophets – points to the coming of Christ

Complex tree symbolism – trees in the Bible: tree of good and evil, the cross, etc.); and allusion to the pope’s family name (della Rovere – “of the oak tree”)

Human wisdom (sibyls) + God’s revelation (prophets)

Michelangelesque: describes the style Masculine anatomy, musculature Combines physical bulk with linear grace, &

powerful display of emotion Creation of Adam (1508-1511) (Fig. 13.9) The Last Judgment (1534-1541) (Fig. 13.10)

Medici Chapel in Florentine Church of San Lorenzo (Fig. 13.11)

Worked under patronage of popes Leo X and Clement VII, both from Medici family Designed and executed both sculptures and the

chapel Never completely finished the chapel

Meditation of the shortness of life, inevitability of death, and hope for resurrection Brothers Lorenzo the Magnificent and Giuliano are

buried in the chapel Night and Day; Dawn and Dusk (Fig. 13.12)

The New Saint Peter’s Basilica – 1,000 years old, and had suffered from roof fires, structural stresses, and ravages of time

Donato Bramante (1444-1514), architect Envisioned a central domed church with a floor

plan in the shape of a Greek cross with 4 equal arms (Fig. 13.13)

Tempietto (little temple) – small chapel he built in 1502 in Rome may give a clue to Bramante’s vision for St. Peter’s.

Raphael and Sangallo worked on the project, as well , after Bramante’s death. Added nave and aisles.

Michelangelo as architect (1546) Used Bramante’s plan for central domed Greek

cross Major difference: ribbed, arched dome modeled

after a cathedral in Florence Michelangelo lived to see the completion of the

drum to support dome Drum was raised 30 years later (after his death) by

Giacomo della Porta

Rome excelled in fresco, sculpture, and architecture – Venice had tradition of easel painting

Use of oil paints because of damp atmosphere Could enrich and deepen color – make color more

brilliant Subtlety of light

Eye for close detail Love of landscape

Giorgione (c.1477-1510) – most celebrated painter in 16th century Venice Venetian Renaissance Style Enthroned Madonna with Saints (1500-1505)

(Fig. 13.15) Painted for his hometown cathedral Highly geometric work – use of pyramid/triangle

More typical work – painting without religious content or recognizable storyline/narrative

Le Concert Champêtre (c. 1510) (Fig. 13.16) Secular homage to joy of life rendered with

richness and lushness of concept and color.

Titian (c. 1488-1576) Use of striking color Very popular and created many works Two representative paintings demonstrate his abilities: Assumption of the Virgin (1516-1518) (Fig. 13.17)

Panel painting in the Venetian Church of the Frari Use of triangular composition; shift from dark to light; and

lines converging on the Madonna for movement Venus of Urbino (1538) (Fig. 13.18)

Homage to feminine beauty from human perspective Architectural background; evenly divided between light

and dark; lush and rich

Tintoretto (1518-1594) “little dyer” – name for his father’s occupation Over his studio door: “The drawing of

Michelangelo and the color of Titian.” Scuola - most famous work; cycle of frescoes The Last Supper (Fig. 13.19) – Church of San

Giorgio Maggiore Energetic and dramatic style

Artistic “mood” – exaggeration of Renaissance form and loosening of Renaissance intellectuality

Frederick Hartt’s schema ***See page 325 in textbook***

Michelangelo’s mannerist style in later works Night, Day, Dawn, and Dusk Entrance to Laurentian Library (Fig. 13.20)

Windows aren’t windows, columns support nothing; staircase steps seem agitated and in motion

The Last Judgment – example of Mannerism

Jacopo Carucci da Pontormo (1494-1557) Eccentric and reclusive painter; studied with da Vinci Deposition (c. 1528) (Fig. 13.21)

Shocking colors: pinks, greens, and blues

Parmigianino (1503-1540) Madonna of the Long Neck (c. 1535) (Fig. 13.22) Gigantic proportions Implied eroticism – shape of her body; long fingers; curving

S of her neck; and partially clad figures clustered at her side Mannerism is a testament to inventiveness,

restlessness of human spirit

Lavinia Fontana (1552-1614) Daughter of Bolognese painter Portrait painter in Rome, Bologna Adopted Mannerist style: Exaggerated angles, use of

color Dead Christ with the Symbols of the Passion (1581)

(Fig. 13.23) Sofonisba Anguissola (1532?-1624)

Influenced by both Renaissance and Baroque masters Pictorial representations – self-portrait (Fig. 13.24) Contrasts of dark and light

Music at the Papal Court

Sistine Choir and Julian Choir – established permanent choirs for private chapels Sistine Choir was composed of male voices

Preadolescent boys sang soprano, older men sang alto, tenor, and bass

a capella – without musical accompaniment

Josquin des Prez (c. 1440-1521) Sistine Choir, composer and director True genius for creative musical composition:

Motet for four voices Praised for his homogenous musical structure,

balance, lyrical quality Motet uses sacred text sung by four voices

in polyphony Clear division in text, but used overlapping voices

to avoid sense of break in the music Tu Pauperum Refugium (Thou Refuge of the Poor)

Music at the Papal Court

Giovanni Pierluigi da Palestrina (1525-1594) Choirmaster of capella Guilia (Saint Peter’s) 1571-1594 Vatican’s music director Conservative masses in response to Catholic

reform movement Returning to the simpler ways of the past Music reflects that conservation

Venetian Music

Adrian Willaert – Dutchman who became choirmaster of the Church of St. Mark Trained both Andrea and Giovanni Gabrieli

Church of St. Mark Split choirs – 2 choirs permitted variation of composition

Could sing to and against each other Instrumental music in liturgy; pioneered the use of the

organ for liturgical music Intonazione (music played before service), toccata

(virtuoso prelude)

Castiglione’s Courtier (1528) Characters discuss chivalry, classical virtues,

Platonic love Courtiers should be a person of humanist learning,

impeccable ethics, refined courtesy, physical and martial skills, and fascinating conversation

Uomo universale – well-rounded person Sprezzatura – effortless mastery Criticism: Overly refined, idealized worldview Courtier’s world is that of elite aristocracy

Cellini’s Autobiography Chronicles a life of violence, intrigue, sex,

egotism, politics Vignettes of all walks of life; realistic

snapshots Popes, commoners, artists, soldiers, cardinals,

prostitutes, assassins Insight into methods of the artist

Describes the process of casting the bronze statue of Perseus (Fig. 13.26)