6 - SLIDE LIST#5 contd High Renaissance Architecture...

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SLIDE LIST #5 contd. High Renaissance – Architecture Bramante - Plan for new St. Peter’s, 1505 - Bramante began in Milan around Leonardo (whom he may have derived his interest in centrally planned churches – perfect form) - Commissioned by Pope Julius II, warrior pope - Greek Cross (and central dome) with smaller Greek crosses (smaller domes acting as buttresses) - He dies before the job is finished Michelangelo takes over the job in his late years Michelangelo - Design for Dome of St. Peter's, 1546-64 - Less of a snowflake - More massive more sculptural - The porch is a nod to the longitudinal church - He doesn’t deviate from Bramante’s plan instead he strengthens it - Hemispherical dome originally but no longer - Ogival - Paired engaged columns - Michelangelo’s architecture seems to predict mannerism - Huge entablature - Giant order columns – following every curve and twist of the building, “a very sculptural work” Bramante - Tempietto, l502 (?) - At San Pietro in Montorio, Rome Italy - Has the reputation of being “perfect” although it is very small - Greco- Roman aspects o Temple in the round – Roman motif o Columns are Tuscan o Synthesis of Greek and Roman influences - Dome is perfectly hemispherical - Commission by Ferdinand and Isabella (devout Catholics) Antonio da Sangallo the Younger, Palazzo Farnese, Rome, Italy, c. 1530-1546 - Vestiges of rustications on the edges framing the building also framing the door - Simple order on the bottom on sophets - He varies the pedimental types on the windows between triangular and rounded - Roman technique – the windows are up/ raised - Entablatures - Michelangelo adds space (between the window and the next floor) making the building look more like a strong unit. - Courtyard in the middle o Pilasters o Sophets o Makes things elaborate and light at the top and heavy and study on the bottom
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SLIDE LIST #6 Mannerism - The art of the artificial – over the top, trying to hard - Checklist for Mannerism o Pontormo - Descent from the Cross, l525-28 Parmigianino - Madonna with the Long Neck, c. l535 Bronzino - Venus, Cupid, Folly and Time (aka The Exposure of Luxury), c. l546 - Unrealistic coloring o Blue is put right up to the front rather than in the background - Venus holds the gold apple she wins - Masks in the bottom right former - Working for the Grand Duke of Florence - Allegory – for love as a double edged sword - Roses – beautiful yet thorns - Duplicity false hood with the hands and the masks – falsehood of love perhaps - Special disjunction Bronzino, Portrait of a Young Man, c. l530s - Haughty guy - No feeling for the person himself - You see bits and pieces of the room behind him, the world becomes spaceless and strange Benvenuto Cellini, Salt Cellar of Francis I of France, 1540-43 Giovanni da Bologna, Rape of the Sabines, 1583 Giulio Romano, Palazzo del Tè, Mantua, 1525-35 (Spanish Mannerism): El Greco, Burial of Count Orgaz, Santo Tomé, Toledo Spain, 1586 [NOTE: isn’t in this chapter, but be responsible for—see Chapter 18, p. 524.]
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6 - SLIDE LIST#5 contd High Renaissance Architecture...

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