15 Harmony Attained: Tuscany and Rome, early sixteenth century Flashcards
Why was there more competition between artists in Italy than in the North?
Because Italy was fractured into independent cities - which would vie with each other to secure greatest artists, while in the feudal north cities had less independence and civic pride.
Why were the courts of Italy so interested in the work of artists?
Creating magnificent buildings, frescoes, etc. was a way of getting prestige and perpetuating one’s names.
In earlier times, the _____ bestowed his favours on
the ________. In the high renaissance the roles were reversed, and
a great ______ granted a favour by accepting a ____________.
In earlier times, the prince bestowed his favours on
the artist. Now the roles were reversed, and
a great artist granted a favour by accepting a commission.
Who was originally commissioned to rebuild St Peter’s Basilica?
Donato Bramante (1444-1515)
In _____ Pope ______ __ decided to pull down and rebuild St Peter’s.
In 1506 Pope Julius II decided to pull down rebuild St Peter’s.
Identify, date, describe
Tempietto, church of San Pietro in Montorio, Rome, 1501, Donato Bramante.
Shows deep study of classical form. Balustrade balances colonnade below.
In classical architecture, entablature is typically divided into?
Architrave (the supporting member immediately above; equivalent to the lintel in post and lintel construction).
Frieze (an unmolded strip that may or may not be ornamented).
Cornice (the projecting member below the pediment).
What was the plan for Donato Bramante’s St Peter’s?
A square church with chapels symmetrically arranged round a gigantic cross-shaped hall. This hall was to be crowned
by a huge dome resting on colossal arches.
How did the building of St Peter’s help spark the reformation?
Selling indulgences against contributions for the building of the new church led Luther to his first public protest.
Leonardo da Vinci dates?
Late 1400s, early 1500s.
1452-1519
Who was da Vinci apprenticed to?
Andrea del Verrocchio (1435-88)
Identify, date, describe
Bartolomeo Colleoni, 1479, Andrea del Verrocchio, bronze Campo di SS Giovanni e Paolo, Venice.
Colleoni was an Italian condottiero, who became captain-general of the Republic of Venice. Left bequest for equestrian statue to be placed in Piazza S Marco (not allowed, so put elsewhere).
Minute study of anatomy of horse and muscles of Colleoni’s neck. Concentrated energy of pose.
What would Leonardo have learned in Verrocchio’s workshop?
Foundry and metalwork, making studies from nature, optics of perspective and use of colours.
One advantage of Leonardo’s humble background?
He was not constrained by book knowledge, and relied on experiment to solve any problem.
What was peculiar about Leonardo’s writing?
He was left handed and wrote from right to left so his notes can be read in a mirror.
Aristotle had codified the status of artists by distinguishing between arts that are compatible with a liberal education, such as _______, _______, _______, and _______, and those below the dignity of a gentleman, that involved working with the __________.
Aristotle had codified the status of artists by distinguishing between arts that are compatible with a liberal education, such as grammar, rhetoric, logic and geometry, and those below the dignity of a gentleman, that involved working with the hands.
One factor driving Leonardo’s relentless attempts to find a science of painting?
To demonstrate that painting was a liberal art, and legitimate object of study, and that the manual labour was no more essential than in the writing of poetry.
Leonardo often failed to ________ his __________, despite the urgent requests of the patron.
Leonardo often failed to carry out his commissions, despite the urgent requests of the patron.
Identify, date, describe
The Last Supper, Leonardo da Vinci, 1498, tempera on gesso, pitch, and mastic. Refectory of Santa Maria delle Grazie, Milan.
Seems like continuation of same hall. Unlike previous depictions, this supper full of drama. Christ has just revealed that someone will betray him, “and began every one of them to say unto him. ‘Lord, is it I?’” St Peter whispers in ear of St. John, pushing Judas forward.
Tablecloth is white with blue stripes – colours commonly associated with the Jewish people.
Resolves problem of combining demands of realism with those of design. Figures are lifelike, while their combination is beautiful in form.
Leonardo preferred oil painting, as could work slowly and make changes.
Borrowing from panel painting, Leonardo added an undercoat of white lead to enhance the brightness of the oil and tempera that was applied on top.
Jesus’s right cheek is vanishing point for perspective lines.
Leonardo used face of prior who complained about delay as face of Judas.
Church was built hastily, using moisture retaining rubble in walls. Painting began to deteriorate soon after it was completed.
Identify, date, describe
Mona Lisa, Leonardo da Vinci, 1502, oil on wood.
Sfumato on corner of eyes and mouth –parts of face that indicate emotion.
Horizon on left side of picture is lower than on right, so woman looks more erect and regal if we look at right side, and more humble if look on right.
Creates bistability.
Also wonderful example of realistic painting from life –hands, fabric, veil.
Identify, date, describe
Birth of the virgin, 1491, Domenico Ghirlandaio
Master of depicting every day life in Florence –here is fashionable apartment of quattrocento.
Relatives of Mary’s mother, St Anne, come to visit.
Ancient art, fashionable at the time, depicted in relief of dancing putti.
Identify, date, describe
Ceiling of Sistine Chapel, Vatican, central panel, 1512, Michelangelo Buonarroti.
Originally Michelangelo didn’t want thankless commission –thought enemies had intrigued to give it to him. Originally planned 12 apostles, and engaged assistants from Florence to help him. Suddenly shut himself in chapel, let no one come near him and created new plan.
Had to lie on back and paint looking upwards for 4 years. Became so used to this cramped position that when he received a letter during this period he held it over his head and bent backwards to read it.
In vaultings between windows, Old Testament prophets of coming Messiah, alternating with Sibyls, who according to tradition told pagans of coming of Christ.
In other vaults, ancestors of Christ as enumerated in Bible.
Central panel, Adam being called to life. Negative space draws attention to touch of hand of God. God and angels in majestic mantle, suggesting speed with which he floats through the void.
Displays Michelangelo’s mastery in drawing the human body in any position and from any angle.
Identify, date, describe
Dying slave, Michelangelo, c1513, for tomb of Pope Julius II.
Figures of Michelangelo seem to move before our eyes, and yet their outline is firm, simple and restful.
Slave statues represent either the provinces under the authority of the pope, or the arts stricken by his death (Julius II great patron of the arts).
Tomb remained incomplete –Michelangelo finished only Moses and two slaves.
Identify, date, describe
Virgin appearing to Saint Bernard, Perugino, 1494, altar painting, oil on wood.
Shows mastery of problems of Quattrocento –sense of depth without upsetting design, harmonious arrangement of figures, sfumato to avoid rigidity.
However, sacrifices fidelity to nature – angels all same type.
Identify, date, describe
Madonna del Granduca, Raphael, 1505.
His Madonnas set standard to be imitated for 100s of years.
Shade and sfumato (influence of Leonardo) allows to feel volume of body.
Composition expresses poise and simplicity. Nothing strained or sophisticated –looks as though could not be otherwise.
Identify, date, describe
Triumph of Galatea, Raphael, 1514, Fresco in Villa Farnesina, Rome.
Based on verse by Florentine Angelo Poliziani. Describes how sea-nymph Galatea rides with her companions, laughing at love song of Giant Polyphemus.
Raphael was master of composition. Each figure balanced by another.
All lines in picture – arrows, reins – converge on her face.
Like Michelangelo, see interest in musculature of bodies, especially in torsion, expressed through chiaroscuro.
Raphael not painting from life- idealised figures, like his master Perugino, and the ancient masters. Succeeds in doing this without the work looking insipid.
https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-rome/high-renaissance1/v/raphael-galatea-c-1513
Identify, date, describe
Pope Leo X with two cardinals, Raphael, 1518
Patron of Raphael, who put him in charge of St Peter’s after death of Bramante.
Velvets and damask add to atmosphere of pomp and power. But troubled times –Pope has just been attacked by Luther.
