Chapter 17 Beauty, Science, and Spirit in Italian Art: The High Renaissance
In drawing and painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling, In drawing or painting, the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling
A full size preliminary drawing in which a painting is made., In painting, a full-size preliminary drawing from which a painting is made.
A smoke-like haziness that subtly softens outlines in paintings, A smoke-like haziness that subtly softens outlines in painting; particularly applied to the painting of Leonardo and Correggio.
|Council of Trent|| |
A meeting of Roman Catholic leaders, called by Pope Paul III to rule on doctrines criticized by the Protestant reformers.
|Leonardo da Vinci, Last Supper, ca. 1500|
Fresco (oil and tempera on plaster), 29' 10" x 13' 9". Refectory, Santa Maria delle Grazie, Milan.
Left Florence for Milan and that's when he did this commission of the last supper
Restored in 1978
Using an experimental painting technique
Using fresco secco
Bad restoration jobs
Restoration techniques have been changed over the years but now they use soap and water
One of them will betray Christ
Final meal together
The figures around him are in a frenzy of activity
Everything is symmetrical in the picture plain
Groups of 3
His technique of perspective is meant to add to the intensity of the subject matter and bring the focus to Christ and bracket the painting ends
Judas is on Christ's right holding the bag
|Michelangelo, David, 1500|
Marble, 13' 5" high. Galleria dell'Accademia, Florence.
Displayed in this alcove that allows you to walk around
Right hand he holds the rick
Classical contropasto stance
The head is too big for the body and the arms are a little too long for the body
By making the head larger, the is making it in proportion to the viewer since it is so tall and on a pedestal
|Michelangelo, Creation of Adam, Sistine Chapel ceiling, 1515|
Fresco, approx. 9' 2" x 18' 8".
- Image of god on the right
- Swooping in, just before he gives life to adam
- Adam is nude
- He focuses on the sculptural aspect of the figure
- He didn't want to be painting, he wanted to be forming the hsuman body in his hands
- The god is sort of a concave figure and adam is convex so they fit together
- Christ is meant to be on the right of god
- Under gods arm, some people think it's a depiction of eve
- She is looking directly at adam
| Raphael, School of Athens, 1500|
Fresco, approx. 19' x 27'.
| Raphael Madonna of the Meadows, 1500|
Oil on panel, 3' 8 1/2" x 2' 10 1/4".
|Sacra conversazione|| |
Italian, "holy conversation"; a style of altarpiece painting popular after the middle of the 15th century, in which saints from different epochs are joined in a unified space and seem to be conversing either with each other or with the audience.
|Poesia||A term describing "poetic" art, notably Venetian Renaissance paintings, which emphasizes the lyrical and sensual.|
|Arcadian landscape||pastoral or country setting; Greek territory called Arcadia; refers to a pleasurable place; has an idealistic setting|
|Trompe l'oeil|| |
(French, "fool the eye") a form of illusionistic painting that tries to convince the viewer that the image is real and not painted
|Mannersim||an artistic movement that emerged in Italy in the 1520s and 1530s; it marked the end of the Renaissance by breaking down the principles of balance, harmony, and moderation|
|Titian, Venus of Urbino, 1540|
Oil on canvas, approx. 4' x 5' 6". Galleria degli Uffizi, Florence
Commission of the duke of Urbino
- the servants in the background looking inside a chest.
- looking for clothes to dress her - might be the narrative - justifies the nudity
- strong central axis
- her figure is balanced by the pendant figure
- titians interest in texture
- a little bit of spumato
- using color to balance the composition - red - creating a diagonal
the red diagonal is counterbalancing the other diagonal
- vertical line in the center of the painting
|Parmigianino, Madonna with the Long Neck, 1540|
Oil on wood, approx. 7' 1" x 4' 4".
Based on a medieval hen
- describes her neck as a
- attempt to focus and elongate the body. Meant to be elegant and graceful (mannerism style)
- conscious artistic mannerism.
- she is not meant to be in proportion
- extended fingers
Makes a reference to his future death
- 5 angels, 4 plainly seen
- unusual that they were
- imbalanced composition is the feature of mannerism
Tried to eroticize the scene a
bottom right, thought to be St. Jerome, an old testament to the prophet
The size is unrealistic
gaunt and emaciated
The column seemed to be unfinished
|Andrea Palladio, San Giorgio Maggiore, ca. 1560|
| Giorgione, Pastoral Symphony, ca. 1500|
Oil on canvas, approx. 3' 7" x 4' 6".
|Titian, Assumption of the Virgin, 1515|
Oil on wood, 22' 6" x 11' 10".
Titian is the most successful of the venetian painters
- made the official painter to Venice
- instrumental to making his career.
- The shape and size echo's the architecture
- largest altarpiece in venis made from oil on wood
- Shows the assumption on the virgin
- he was a master of color
- the painting seems to radiate actual light
- he used a red underpainting which contributed to the glow he was able to
- FORESHADOWING, DIAGONALS
- make the compositions more complex
| Tintoretto, Last Supper, 1590|
Oil on canvas, 12' x 18' 8".
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- "Chiaroscuro" image
- "Sfumato" image
- "Council of Trent" image
- "Sacra conversazione" image
- "Trompe l'oeil" image
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