ART H 202 Professor Christine G ttler Winter Quarter 2007 LECTURE NOTES HANDOUT LATE GOTHIC TO HIGH RENAISSANCE Contents: I. LATE GOTHIC SCULPTURE II. BOOK ILLUMINATION (PARIS) III. RENAISSANCE IDEALS IV. ITALIAN CITY STATES V. POLITICAL GROUPS VI. NEW RELIGIOUS ORDERS VII. ST. FRANCIS VIII. NEW PAINTING MATERIALS AND METHODS IX. CIMABUE, DUCCIO, AND GIOTTO X. EARLY FIFTEENTH-CENTURY ITALIAN PAINTING XI. FIFTEENTH-CENTURY ITALIAN ARCHITECTURE XII. FIFTEENTH-CENTURY ITALIAN SCULPTURE XIII. LATER FIFTEENTH-CENTURY ITALIAN PAINTING XIV. MEDICI PATRONAGE XV. PAINTING AND PATRONAGE IN MANTUA XVI. PATRONAGE IN URBINO XVII. ARISTOCRATIC PATRONAGE AROUND 1500 XVIII. DESCRIPTIONS OF THE GARDEN OF EARTHLY DELIGHTS XIX. ALESSANDRO FARNESE AS PATRON (1468-49) XX. LAST JUDGMENT (WEST WALL OF THE SISTINE CHAPEL) XXI. POPE PAUL III FARNESE AS PATRON OF MICHELANGELO (1475-1564) XXII. THE POPES XXIII. VENETIAN ART XXIV. TITIAN Art History 202: Survey of Western Art: Medieval and Renaissance I. LATE GOTHIC SCULPTURE 1. Intense naturalism 2. Living presence (religious past connected with the spectator s presence) 3. Shared emotion; figures enact a narrative story 4. Interest in distinctive and individual features II. BOOK ILLUMINATION (PARIS) Chef d atelier: Scribe: Rubricator: Illuminator: organizes labor copies the text special entries border decoration, illuminated initials, painted stories Breviary: Book of prayers to be recited daily by a priest of a member of a religious order Book of Hours: A private prayer book containing various devotions: a sequence of prayers to the Virgin, penitential psalms, various litanies (petitions, recitals), liturgies for local saints, the office of the dead, and a calendar. Jeanne d vreux, wife of Charles IV Prie-dieu: a praying-desk (or kneeling-desk) with a footpiece on which to kneel and a top designed to support the arms or a book. (The Oxford Dictionary of the Renaissance) III. RENAISSANCE IDEALS Revived interest in classical cultures (classical texts, classical education classical art, in particular sculpture) Studia humanitatis: o humanities , humanism : study of literary style and political and moral theory of classical antiquity World, originally focused on the Mediterranean, enlarged: o Islamic Ottoman Empire o Explorations around the coast of Africa o European discovery of the Americas 2 Art History 202: Survey of Western Art: Medieval and Renaissance IV. ITALIAN CITY STATES Republics: Venice, Florence, Siena States ruled by sovereigns: Naples, Milan Papal States, including Rome NOTE: different artistic traditions in Siena, Florence, Rome and Venice V. POLITICAL GROUPS Guelphs (supported the pope): Florence Ghibellines (supported the Holy Roman Emperor): Siena VI. NEW RELIGIOUS ORDERS St Dominic (1170 1221): Dominicans St Francis (1181 1226): Franciscans NOTE: different religious styles. VII. ST. FRANCIS 1224 1228 1235 Stigmatization (Mount La Verna) Canonized (made a saint); first biography of St. Francis commissioned. Bonaventura Berlinghieri, St. Francis, for San Francesco, Pescia VIII. NEW PAINTING MATERIALS AND METHODS Wall painting (fresco) Panel painting o tempera (egg yolk) o oil (from 15th c. onwards) Bronze sculpture NOTE: changing image of the artist 3 Art History 202: Survey of Western Art: Medieval and Renaissance IX. CIMABUE, DUCCIO, AND GIOTTO Cimabue, active 1272 1302 Probably from Florence, traveled to Rome and Pisa; modified and transformed the revered Byzantine tradition. Generally viewed as the artist who initiated a new style. Duccio, active 1278 1318 Sienese master with highly personal, accomplished style; interested in French models. Giotto, circa 1266/7 1337 Florentine painter and architect, often considered as a pupil of Cimabue. Revolutionized Italian art. Dante, Divine Comedy, Purgatory (XI, 94 96) Cimabue believed that he held the field In painting, and now Giotto has the cry, So that the fame of the former is obscure. X. EARLY FIFTEENTH-CENTURY ITALIAN PAINTING Masolino (c.1383 after 1435) Masaccio (1401-28) o Brancacci Chapel, c. 1427 o Trinity, c. 1428 XI. FIFTEENTH-CENTURY ITALIAN ARCHITECTURE Filippo Brunelleschi Michelozzo L. B. Alberti Baptistery doors (1401 2) Florentine Cathedral, dome (1420 36) Pazzi Chapel, begun c. 1440 Medici Palace, begun 1445 <a href="/keyword/santa-maria/" >santa maria</a> Novella, c. 1458 1470 XII. FIFTEENTH-CENTURY ITALIAN SCULPTURE Donatello Verrocchio St George, Orsanmichele, 1410-15 St Mark, Orsanmichele, 1411-13 David, late 1420s- late 1450s David, c. 1465-70 4 Art History 202: Survey of Western Art: Medieval and Renaissance XIII. LATER FIFTEENTH-CENTURY ITALIAN PAINTING Paolo Uccello o The Battle of San Romano, c. 1455 ! Niccol da Tolentino w mazzochio ! medicinal apple (mala medica) Sandro Botticelli o Portrait of a Youth o The Birth of Venus, c. 1480 Mantegna o Camera degli Sposi , c. 1465 74 o The Dead Christ P. della Francesca o Enthroned Madonna and Saints, c. 1472-74 Luca Signorelli o The Damned Cast into Hell, 1499-1504 XIV. MEDICI PATRONAGE Giovanni di Bicci de Medici (1460 1429) o papal banker Cosimo de Medici (1389-1464) o Humanist o founder of Platonic academy o patron of Marsilio Ficino, o supported Ghiberti, Brunelleschi, Donatello, Alberti, Uccello Piero de Medici (1416-69) Giuliano (1453-78) o murdered in the Pazzi Conspiracy Lorenzo the Magnificent (1449-92) o Golden Age o Neo-Platonism o supported Marsilio Ficino and Botticelli 1494: Medici driven out of the city XV. PAINTING AND PATRONAGE IN MANTUA Patrons: Ludovico Gonzaga (1412 78) and Barbara of Brandenburg (1423-1481) 1460: Andrea Mantegna hired as court artist; interest in classical antiquity c. 1465-74: Camera degli Sposi ( camera picta ) Techniques: trompe l il deceit of the eyes di sotto in su depiction of objects as though seen from below 5 Art History 202: Survey of Western Art: Medieval and Renaissance XVI. PATRONAGE IN URBINO Federico da Montefeltro (1422-82) Employed artists and architects from many Italian states as well as northern Europe. Created a great library. Piero della Francesca (1416-1492) o Enthroned Madonna and Saints, c. 1472-74 XVII. ARISTOCRATIC PATRONAGE AROUND 1500 Hieronymus Bosch, Garden of Earthly Delights, oil on panel, Madrid, Prado In 1517 at the h tel of Hendrik III, Count of Nassau, in Brussels. Ludovico Sforza (1451-1508), called il Moro Leonardo da Vinci, Last Supper, 1495-97/98, commissioned by Ludovico Sforza and the Dominicans from Leonardo da Vinci for the Refectory, <a href="/keyword/santa-maria/" >santa maria</a> delle Grazie, Milan. XVIII. DESCRIPTIONS OF THE GARDEN OF EARTHLY DELIGHTS Antonio de Beatis, an Italian who saw the Garden of Earthly Delights in the Brussels palace of the counts of Nassau in 1516-1517: And then there are some panels on which bizarre things have been painted. Here seas, skies, woods, meadows, and many other things are represented, such as those [figures] that emerge from a shell, others that defecate cranes, men and women, whites and blacks in different activities and poses. Birds, animals of all kinds, executed very naturally, things that are so delightful and fantastic that it is impossible to describe them properly to those who have not seen them. Spanish Priest Fray Jos de Sig enza, 1605: vanity and glory and transient taste of str...