16th-Century Italy: Imagery [CHRONOLOGICAL]

Question 1

When does the Madonna of the Rocks originate? What does the piece provide to the context of 16th-Century Italy?

Answer 1

Leonardo Da Vinci, Madonna of the Rocks, c.1483-86, High Renaissance.

-Naturalism: convincing humanity representation; emanating an emphermal quality, mystical, spirituality–> High Renaissance art–> no halos; physical forms but want to represent the mystical, spiritual, the invisible, and the divine.
- Grounded in a pyramidal arrangement= stability, roundness, centrality of focus–> 3D pyramid reinforces the 3D effect. Purposeful gestures–> usage of foreshortening and projecting, used to indicate who Christ is.
- Atmosphere creates a mystically: surroundings are blurred (Sufmoto)–> distinct from early clarity from contemporaries.

Question 2

When does the Last Super originate? What does the piece provide to the context of 16th-Century Italy?

Answer 2

Leonardo Da Vinci, Last Supper, c.1495-98, High Renaissance.

• Early Renaissance style with highly embellished scene, Pushes back into the wall –> non have halos, and no distinction between the Bible characters. Arranged symmetrically around Christ–> reaction of emotions.
• Vanishing point and the linear perspective system. Creates the surrounding space in a convincing matter. Christ is in the center of the 2D-3D- and psychological dimension.

Question 3

When does the Philosophy (School of Athens) originate? What does the piece provide to the context of 16th-Century Italy?

Answer 3

Raphael, Philosophy (School of Athens), c. 1509-11, High Renaissance.

• Featuring allegorical themes of philosophy, theology, law, and poetry–> branches of human knowledge of wisdom–> presented the pope as a cultured, and knowledgeable individual.
• Ancient Greek thinkers–>reality that transcends reality/ focused on observations= colors reinforces division–> rigorous linear perspective (balance the fluid/ freeness of the bodies) Raphael also included himself.
• Reconstruction of the Church of St. Peter in Rome. Harmony, balance, geometry–> allusion to the broad notion of classical embraced by Renaissance humanist.

Question 4

Where does the Michelangelo, David originate? What does the piece provide to the context of 16th-Century Italy?

Answer 4

Michelangelo, David, c. 1501-4, High Renaissance.

• Florentine people saw a reflection of themselves and the biblical figure of David–> highly idealized, careful anatomy, contrapposto (classical antiquity) and an anticipation of action.

Question 5

Where does the Judgement originate ? What does the piece provide to the context of 16th-Century Italy?

Answer 5

Michelangelo, Last Judgement, c. 1536-41, Late Renaissance

• Illusionistic painted architecture (looks like projecting architecture.) Muscular poses; conveying noise, energy, emotion, and violence–> distorted portrait of Michelangelo. (Terriblita)

Question 6

Where does the Venus of Urbino originate ? What does the piece provide to the context of 16th-Century Italy?

Answer 6

Titan, Venus of Urbino, c. 1538, Venetian Renaissance.

• Represents an idealized female beauty: fair skin, loose blond hair, some sort of flirtatious look, nude, offering flowers, wearing expensive jewelry, projecting Chasity and eroticism–> relates to Venus: love, sexuality, fertility, and beauty.
• Computaco (covering privates)= modest but also an erratic puzzle.

Question 7

Where does the Deposition of Christ originate ? What does the piece provide to the context of 16th-Century Italy?

Answer 7

Jacopo Da Pontormo, Desposition of Christ (or Entombment of Christ), c. 1525- 28, Mannerism.

• Elongated/ distorted figures–> breaking the rules of classicalism, purposely distorting the ideals, balance, rationality in bodies, of the High Renaissance. Small heads, really bright, jarring colors (florescent/pastels).
• Ambiguity of the space, lack of narrative, visual cues focused on individuals emotion and reaction –> sense of instability.

Question 8

Where does the Self Portrait at the Easel originate ? What does the piece provide to the context of 16th-Century Italy?

Answer 8

Sofonisba Anguissola, Self Portrait at the Easel, c. 1556, Later Renaissance.

• Women don’t have the same opportunities for artist training–> portraits navigated contradictory virtues expected of noblewomen–> present herself as a modest young woman of the court but also as a artistic virtuoso.
• Muted/ black colors= Modesty and her virtue= ideal court lady: Painting Mary and Christ= Virtuous, pious woman.