1525- 1600 Mannerism and the Late Renaissance in Italy and Spain X

1525- 1600 Mannerism and the Late Renaissance in Italy and Spain X

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Wednesday, February 20, 2008 Quiz** study bracket dates, not individual dates. Know the stylistic periods and bracket dates as they appear on the syllabus and slide sheets. ALWAYS IDENTIFY: Artist (if known) Title (always italicize or underline titles of paintings and sculpture) Location (if applicable) (For architecture or painting and sculpture in situ , you must identify the location as well as the title). Stylistic Period (as described in the course syllabus) Bracket Dates (as described in the course syllabus) Medium (painting, sculpture, or architecture – be as specific as possible, i.e., identify materials; these are also posted on the course website) (I will always refer to this information as a “short ID”). Examples of a slide identification (or “short ID”). Albrecht Dürer, The Fall of Man (Adam and Eve ), Northern European 16th-Century Art, 1500-1600, Engraving. El Greco, The Burial of Count Orgaz , Santo Tomé, Toledo, Spain, Mannerism, 1500- 1600, Oil on canvas. Midterm format: Next Wednesday 2/27 10 slide ids 1.5 minutes *locations provided on slide sheet 4 short essays (id slide, analyze and interpret via function, style, content, context) 8 minutes compare and contrast 25 minutes Mannerism and the Late Renaissance in Italy and Spain Vocabulary Terms: Maniera (translates from Italian as “manner” – term which refers to the “artificial” or “mannered” style of mid-sixteenth-century Florentine and Roman painters) Illusionistic perspective Figura serpentinata Cangiante Rustication Voussoir Central plan Key Historical Figures and Events: Plague of 1522 Sack of Rome - 1527
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Republic of Florence Cosimo I de’ Medici Eleanora of Toledo Charles V Giorgio Vasari The Protestant Reformation The Counter Reformation The Council of Trent (1545-1563) Mannerism: the term has been contested and debated by art historians. Comes from the Italian word for the manner or the way. Originally referred to artists who’s style or mannerism was derived from Michelangelo or Rafael. Art that emphasizes the ambiguity of space, appealed to an elite aereodyte audience. Pontormo, Descent from the Cross, Capponi Chapel, Santa Felicita, Florence, Italy 1525-1528, Oil on Wood Moment when Christ is taken off the cross. The small figure who peers in from the right is a self portrait of the artist himself, Pontormo. Christ’s body is draped over his shoulder, minimizes the effects of suffering in christ’s wounds. The figures are all placed in the foreground but not placed in the triangular or even asymmetrical axis. At the center is a void. The void could point to the sense of loss or emptiness that comes with the sense of death, or grief. Mary through the extension of the arm almost attempts to beseech Christ in death
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This note was uploaded on 04/07/2008 for the course ART HIST 106 taught by Professor Budd during the Spring '08 term at Rutgers.

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1525- 1600 Mannerism and the Late Renaissance in Italy and Spain X

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