ARHI 2300 1st Edition Lecture 38Outline of Last Lecture I. Pastoral Symphony, Giorgione/TitianII. Venus of Urbino, Titian Outline of Current LectureI. Last Judgment, Altar Wall Sistine Chapel, Michelangelo, Late Italian Renaissance1536-1541 II. Madonna with the Long Neck, Parmigianino, Mannerism, 1534-1540III. Hunters in the Snow, Bruegel the Elder, Late Northern Renaissance1565Current LectureI. Last Judgment, Altar Wall Sistine Chapel, Michelangelo, Late Italian Renaissance, 1536-1541 a. Michelangelo put a self-portrait of himself as St. Bartholomew (who was skinned alive) b. The damned were usually shown on the left and the saved on the right c. This painting is very busyi. Michelangelo is trying to create a sense of anticipation d. Everyone who is dead is brought up out of their grave e. People are not sure if they like it or notThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.i. Wanted Catholics depicted as saved and the Protestants depicted as damnedii. Church did not advocate this, because they did not consider Protestants athreat at this point f. Nudity is controversial g. Michelangelo had increasingly disproportional figures- Christ’s arms are biggeri. Judgement Handii. Mary is at his right hand 1. Her head is too small and her hips are too large2. Less proportional than the Libyan Sibyl iii. Still considered Italian Renaissance- symmetry, equal number of people h. Order in the chaosi. Michelangelo influenced the new developing style, but the new style (Mannerism) also influenced MichelangeloII. Madonna with the Long Neck, Parmigianino, Mannerism, 1534-1540a. Mannerist artists are not concerned with naturalismi. Paintings are not the real world; you don’t have to be ruled by perspective/laws of proportion ii. The artist can use his imagination to decide what is beautifulb. Term mannerism comes from Italian “manerie”- stylish, elegant c. This is Madonna with the Christ child i. Her head is disproportional to her shoulders and hipsii. Her neck is impossibly long iii. Some thought of this as the height of elegance d. We believe that the artist is looking at Michelangelo’s sculpture Pieta, 1498-1500 i. Mary holding the adult crucified Jesus in her lap e. One of this women’s favorite hymns was one that compared the Virgin Mary’s neck to a marble column f. Becomes popular in Italy, Spain, and France (countries that remain mainly Catholic)III. Hunters in the Snow, Bruegel the Elder, Late Northern Renaissance, 1565a. Because of the Protestant Reformation, the artists need to look for new subject matteri. No more commissions from churches (paintings in the churches were thought to distract worshipers) b. Reinforce harshness/dreariness of lifei. At first glance, seems bleak and dismal c. Patron: Niclaes Jonghelinck, a Belgian bankeri. This is part of a series of paintings; he wanted peasants depicted during each month of the yearii. Only five of the twelve paintings survived (March, June, August, October/November, December) iii. This one is thought to be December iv. Part of the cycle of life/the cycle of the seasons d. During the Renaissance, people were usually more interested in heroes and religious subject matter than peasants i. Bruegel the Elder became known for his paintings of peasantse. We have a birds-eye view; we are looking down on the scene f. Niclaes may be looking down on these people; happy he doesn’t have to live like him i. There may also be a romantic viewii. Niclaes and his friend would dress up as peasants and go live in these villagesiii. He saw them as closer to nature; more real1. The background of society; because of their work, the life of a banker was
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