Unit 2 DB: The Artist as an Individual Genius
Chapter 22
RENAISSANCE AND MANNERISM IN CINQUECENTO ITALY
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Describe the role of Florence, Rome, and Venice in the Italian High Renaissance.
Discuss the style and artistic goals of Leonardo da Vinci, Raphael, and Michelangelo.
Outline the trends in architecture of this period and identify principal monuments.
Identify the characteristics that distinguish Mannerist art from High Renaissance art.
Discuss the status of artists in Renaissance society.
Describe the role of women as artists and as painters in this period.
Explain how the experiments of 15th-century artists were employed by 16th-century artists.
Compare the artistic philosophies that distinguished Venetian Renaissance art from contemporary Florentine and Roman work.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
2
MAP 22.1
22.1 Rome with Renaissance and Baroque monuments.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.1
22.1 Interior of the Sistine Chapel (looking west), Vatican City, Rome, Italy, built 1473; ceiling and altar wall frescoes by Michelangelo Buonarroti, 1508–1512 and 1536–1541, respectively.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.2
22.2 Leonardo da Vinci, Madonna of the Rocks, from San Francesco Grande, Milan, Italy, 1483–1490. Oil on wood (transferred to canvas), 6' 6 1/2" 4'. Musée du Louvre, Paris.
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Figure 22.3
22.3 Leonardo da Vinci, cartoon for Madonna and Child with Saint Anne and the Infant Saint John, ca. 1505–1507. Charcoal heightened with white on brown paper, 4' 6" 3' 3". National Gallery, London.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.4
22.4 Leonardo da Vinci, Last Supper, ca. 1495–1498. Oil and tempera on plaster, 13' 9" 29' 10". Refectory, Santa Maria delle Grazie, Milan.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.5
22.5 Leonardo da Vinci, Mona Lisa, ca. 1503–1505. Oil on wood, 2' 6 1/4" 1' 9". Musée du Louvre, Paris.
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Figure 22.6
22.6 Leonardo da Vinci, The Fetus and Lining of the Uterus, ca. 1511–1513. Pen and ink with wash over red chalk and traces of black chalk on paper, 1' 8 5/8". Royal Library, Windsor Castle.
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Figure 22.6A
22.6A Leonardo da Vinci, Vitruvian Man, ca. 1485–1490. Pen and ink on paper, 1' 1 1/2" 9 5/8". Galleria dell’Accademia, Venice.
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Figure 22.6B
22.6B Leonardo da Vinci, project for a central-plan church, folio 22 recto of manuscript B, ca. 1487–1490. Chalk and ink on paper, 9 1/8" 6 3/8". Bibliothèque de l’Institut de France, Paris.
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Figure 22.7
22.7 Raphael, Marriage of the Virgin, from the Albizzini chapel, San Francesco, Città di Castello, Italy, 1504. Oil on wood, 5' 7" 3' 10 1/2". Pinacoteca di Brera, Milan.
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Figure 22.8
22.8 Raphael, Madonna in the Meadow, 1505–1506. Oil on wood, 3' 8 1/2" 2' 10 1/4". Kunsthistorisches Museum, Vienna.
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Figure 22.8A
22.8A Andrea del Sarto, Madonna of the Harpies, from San Francesco, Florence, Italy, 1517. Oil on wood, 6' 9 1/2" 5' 10". Galleria degli Uffizi, Florence.
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Figure 22.9
22.9 Raphael, Philosophy (School of Athens), Stanza della Segnatura, Apostolic Palace, Vatican City, Rome, Italy, 1509–1511. Fresco, 19' 27'.
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Figure 22.10
22.10 Raphael, Pope Leo X with Cardinals Giulio de’ Medici and Luigi de’ Rossi, ca. 1517. Oil on wood, 5' 5/8" 3' 10 7/8". Galleria degli Uffizi, Florence.
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Figure 22.10A
22.10A Raphael, Baldassare Castiglione, ca. 1514. Oil on canvas, 2' 6 1/4" 2' 2 1/2”. Musée du Louvre, Paris.
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Figure 22.11
22.11 Raphael, Galatea, Sala di Galatea, Villa Farnesina, Rome, Italy, ca. 1513. Fresco, 9' 8" 7' 5".
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Figure 22.11A
22.11A Sebastiano del Piombo, Polyphemos (left, with Raphael’s Galatea, fig. 22.11), Sala di Galatea, Villa Farnesina, Rome, Italy, ca. 1512. Fresco, 9' 8" 7' 5".
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Figure 22.12
22.12 Michelangelo Buonarroti, Pietà, ca. 1498–1500. Marble, 5' 8 1/2" high. Saint Peter’s, Vatican City, Rome.
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Figure 22.13
22.13 Michelangelo Buonarroti, David, from Piazza della Signoria, Florence, Italy, 1501–1504. Marble, 17' high. Galleria dell’Accademia, Florence.
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Figure 22.14
22.14 Michelangelo Buonarroti, Moses, from the tomb of Pope Julius II, Rome, Italy, ca. 1513–1515. Marble, 7' 8 1/2" high. San Pietro in Vincoli, Rome.
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Figure 22.15
22.15 Michelangelo Buonarroti, Bound Slave (Rebellious Prisoner), probably from the tomb of Pope Julius II, Rome, Italy, ca. 1513–1516. Marble, 7' 5/8" high. Musée du Louvre, Paris.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.16
22.16 Michelangelo Buonarroti, tomb of Giuliano de’ Medici, New Sacristy (Medici Chapel), San Lorenzo, Florence, Italy, 1519–1534. Marble, central figure 5' 11" high.
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Figure 22.17
22.17 Michelangelo Buonarroti, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512. Fresco, 128' 45'.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.18
22.18 Michelangelo Buonarroti, Creation of Adam, detail of the ceiling of the Sistine Chapel (fig. 22.17), Vatican City, Rome, Italy, 1511–1512. Fresco, 9' 2" 18' 8".
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Figure 22.18A
22.18A Michelangelo Buonarroti, Fall of Man, detail of the ceiling of the Sistine Chapel (fig. 22.17), Vatican City, Rome, Italy, ca. 1510. Fresco, 9' 2" 18' 8".
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Figure 22.18B
22.18B Michelangelo Buonarroti, Libyan Sibyl, at the beginning of the cleaning and restoration process. Detail of the ceiling of the Sistine Chapel (fig. 22.17), Vatican City, Rome, Italy, ca. 1511–1512.
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Figure 22.18C
22.18C Michelangelo Buonarroti, Libyan Sibyl, after the completion of the cleaning and restoration process. Detail of the ceiling of the Sistine Chapel (fig. 22.17), Vatican City, Rome, Italy, ca. 1511–1512.
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Figure 22.19
22.19 Michelangelo Buonarroti, Last Judgment, altar wall of the Sistine Chapel, Vatican City, Rome, Italy, 1536–1541. Fresco, 48' 44'.
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Figure 22.20
22.20 Michelangelo Buonarroti, Pietà, ca. 1547–1555. Marble, 7' 8" high. Museo dell’Opera del Duomo, Florence.
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Figure 22.21
22.21 Donato d’Angelo Bramante, Tempietto, San Pietro in Montorio, Rome, Italy, begun 1502.
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Figure 22.22
22.22 Donato d’Angelo Bramante, plan for Saint Peter’s, Vatican City, Rome, Italy, 1505.
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Figure 22.23
22.23 Cristoforo Foppa Caradosso, reverse side of a medal showing Bramante’s design for Saint Peter’s, 1506. Bronze, 2 1/4" diameter. British Museum, London.
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Figure 22.23A
22.23A Michelangelo Buonarroti, aerial view (looking east) of the Campidoglio, Rome, Italy, 1538–1564. Left: Palazzo Nuovo; center: Palazzo dei Senatori; right: Palazzo dei Conservatori.
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Figure 22.24
22.24 Michelangelo Buonarroti, plan for Saint Peter’s, Vatican City, Rome, Italy, 1546.
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Figure 22.25
22.25 Michelangelo Buonarroti, aerial view of Saint Peter’s (looking northeast), Vatican City, Rome, Italy, 1546–1564. Dome completed by Giacomo della Porta, 1590.
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Figure 22.26
22.26 Antonio da Sangallo the Younger, Palazzo Farnese (looking southwest), Rome, Italy, 1517–1546; completed by Michelangelo Buonarroti, 1546–1550.
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Figure 22.27
22.27 Antonio da Sangallo the Younger, courtyard of the Palazzo Farnese (looking south), Rome, Italy, ca. 1517–1546. Third story and attic by Michelangelo Buonarroti, 1546–1550.
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Figure 22.28
22.28 Michelangelo Buonarroti, vestibule of the Laurentian Library, Florence, Italy, 1524–1534; staircase, 1558–1559.
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Figure 22.29
22.29 Giovanni Bellini, Madonna and Child with Saints (San Zaccaria Altarpiece), 1505. Oil on wood transferred to canvas, 16' 5 1/2" 7' 9". San Zaccaria, Venice.
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Figure 22.30
22.30 Giovanni Bellini, Feast of the Gods, from the Camerino d’Alabastro, Palazzo Ducale, Ferrara, Italy, 1514; repainted in part by Titian, 1529. Oil on canvas, 5' 7" 6' 2". National Gallery of Art, Washington (Widener Collection).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.31
22.31 Giorgione da Castelfranco, The Tempest, ca. 1509–1510. Oil on canvas, 2' 8 1/4" 2' 4 3/4". Galleria dell’Accademia, Venice.
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Figure 22.32
22.32 Titian, Pastoral Symphony, ca. 1508–1511. Oil on canvas, 3' 7 1/4" 4' 6 1/4". Musée du Louvre, Paris.
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Figure 22.33
22.33 Titian, Assumption of the Virgin, 1515–1518. Oil on wood, 22' 7 1/2" 11' 10". Santa Maria Gloriosa dei Frari, Venice.
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Figure 22.34
22.34 Titian, Pesaro Madonna, 1519–1526. Oil on canvas, 15' 11" 8' 10". Pesaro Chapel, Santa Maria Gloriosa dei Frari, Venice.
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Figure 22.35
22.35 Titian, Meeting of Bacchus and Ariadne, from the Camerino d’Alabastro, Palazzo Ducale, Ferrara, Italy, 1522–1523. Oil on canvas, 5' 9" 6' 3". National Gallery, London.
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Figure 22.36
22.36 Titian, Venus of Urbino, 1536–1538. Oil on canvas, 3' 11" 5' 5". Galleria degli Uffizi, Florence.
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Figure 22.36A
22.36A Lavinia Fontana, Portrait of a Noblewoman, ca. 1580. Oil on canvas, 3' 9 1/4" 2' 11 1/4". National Museum of Women in the Arts, Washington, D.C. (gift of Wallace and Wilhelmina Holladay).
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Figure 22.37
22.37 Titian, Isabella d’Este, 1534–1536. Oil on canvas, 3' 4 1/8" 2' 1 3/16". Kunsthistorisches Museum, Vienna.
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Figure 22.38
22.38 Titian and Palma il Giovane, Pietà, ca. 1570–1576. Oil on canvas, 11' 6" 12' 9". Galleria dell’Accademia, Venice.
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Figure 22.39
22.39 Jacopo da Pontormo, Entombment of Christ, Capponi chapel, Santa Felicità, Florence, Italy, 1525–1528. Oil on wood, 10' 3" 6' 4".
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Figure 22.39A
22.39A Domenico Beccafumi, Fall of the Rebel Angels, ca. 1524. Oil on wood, 11' 4 1/2" 7' 4". Pinacoteca Nazionale, Siena.
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Figure 22.40
22.40 Parmigianino, Self-Portrait in a Convex Mirror, 1524. Oil on wood, 9 5/8" diameter. Kunsthistorisches Museum, Vienna.
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Figure 22.41
22.41 Parmigianino, Madonna with the Long Neck, from the Baiardi Chapel, Santa Maria dei Servi, Parma, Italy, 1534–1540. Oil on wood, 7' 1" 4' 4". Galleria degli Uffizi, Florence.
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Figure 22.42
22.42 Bronzino, Venus, Cupid, Folly, and Time, ca. 1546. Oil on wood, 5' 1" 4' 8 1/4". National Gallery, London.
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Figure 22.43
22.43 Bronzino, Eleanora of Toledo and Giovanni de’ Medici, ca. 1546. Oil on wood, 3' 9 1/4" 3' 1 3/4". Galleria degli Uffizi, Florence.
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Figure 22.43A
22.43A Bronzino, Portrait of a Young Man with a Book, ca. 1530–1545. Oil on wood, 3' 1 1/2" 2' 5 1/2". Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929).
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Figure 22.44
22.44 Sofonisba Anguissola, Portrait of the Artist’s Sisters and Brother, ca. 1555. Oil on wood, 2' 5 1/4" 3' 1 1/2". Methuen Collection, Corsham Court, Wiltshire.
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Figure 22.45
22.45 Benvenuto Cellini, Saltcellar of Francis I, 1540–1543. Gold, enamel, and ebony, 10 1/4" 1' 1 1/8". Kunsthistorisches Museum, Vienna.
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Figure 22.45A
22.45A Benvenuto Cellini, Genius of Fontainebleau, 1542–1543. Bronze, 6' 8 3/4" 13' 5". Musée du Louvre, Paris.
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Figure 22.46
22.46 Giambologna, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy, 1579–1583. Marble, 13' 5 1/2" high.
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Figure 22.47
22.47 Giulio Romano, aerial view of the Palazzo del Tè (looking north), Mantua, Italy, 1525–1535.
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Figure 22.48
22.48 Giulio Romano, courtyard of the Palazzo del Tè (looking southeast), Mantua, Italy, 1525–1535.
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Figure 22.49
22.49 Giulio Romano, Fall of the Giants from Mount Olympus, fresco in the Sala dei Giganti, Palazzo del Tè, Mantua, Italy, 1530–1532.
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Figure 22.50
22.50 Tintoretto, Last Supper, 1594. Oil on canvas, 12' 18' 8". San Giorgio Maggiore, Venice.
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Figure 22.51
22.51 Paolo Veronese, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, 1573. Oil on canvas, 18' 3" 42'. Galleria dell’Accademia, Venice.
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Figure 22.52
22.52 Paolo Veronese, Triumph of Venice, ca. 1585. Oil on canvas, 29' 8" 19'. Hall of the Grand Council, Doge’s Palace, Venice.
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Figure 22.53
22.53 Correggio, Assumption of the Virgin, 1526–1530. Fresco, 35' 10" 37' 11". Parma Cathedral, Parma.
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Figure 22.53A
22.53A Jacopo Sansovino, Mint (left) and Library (right; looking northwest), Piazza San Marco, Venice, Italy, begun 1536.
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Figure 22.54
22.54 Andrea Palladio, Villa Rotonda (looking southwest), near Vicenza, Italy, ca. 1550–1570.
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Figure 22.55
22.55 Andrea Palladio, plan of the Villa Rotonda, near Vicenza, Italy, ca. 1550–1570.
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Figure 22.56
22.56 Andrea Palladio, San Giorgio Maggiore (looking southeast), Venice, Italy, begun 1566.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.57
22.57 Andrea Palladio, interior of San Giorgio Maggiore (looking east), Venice, Italy, begun 1566.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.58
22.58 Giacomo della Porta, west facade of Il Gesù, Rome, Italy, begun 1568.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 22.59
22.59 Giacomo da Vignola, interior looking east (left) and plan (right) of Il Gesù, Rome, Italy, 1568.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Discussion Questions
Was Romanticism an inevitable reaction to the Enlightenment? Which of the two movements do you think has more influence today?
Which debate over aesthetic theory was behind the caricatures of the battling artists Ingres and Delacroix? How does this connect with earlier artistic debates?
Identify the major developments that shaped 19th-century architecture.
How do the artistic aims of early photography coincide with those of painting from the same time? Do you think early photography should be considered “art”?
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.