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U of M ARTH 1001 - Renaissance Art (2)

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Lecture 11Outline of Last Lecture I. Giorgio VasariII. Florence CathedralIII. Massacio, The TrinityIV. Jan and Hubert van Eyck, The Ghent AltarpieceV. Jan van Eyck, Arnolfini Double Portrait (Giovanni Arnolfini and Giovanna Cenami) 1434VI. Sandro Botticelli, The Birth of Venus, c. 1485Outline of Current Lecture I. Michelangelo, “David”II. Sistine ChapelIII. Raphael, Portrait of Julius IIIV. Raphael, Portraits for the Stanza della Segnaturaa. The School of AthensV. Albrecht Durer, “Melencolia I”VI. Hieronymus Bosch, “Garden of Earthly Delights”VII. Parmigianino, Madonna of the Long NeckCurrent LectureDate: March 3, 2015Title: Renaissance Art (2)Professor: Michael GaudioReadings: Art Through the Ages, Book D, 535-46, 559-76, 581Terms:- Humanism: a Renaissance cultural movement that turned away from medieval scholasticism and revived interest in ancient Greek and Roman thought- Pope Julius II (1503-1513): Pope who enlarged the temporal power of the papacy and was active in military campaigns in Europe. He also ordered the construction of Saint Peter's in Rome and commissioned Michelangeloto decorate the Sistine Chapel in the Vatican- "World Turned Upside Down": related to the “Garden of Heavenly Delights” See book ArtH 1001 1st Edition- Engraving: a print made from an engraved plate, block, or other surface- Mannerism: a period of European art that emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when the Baroque style began to replace it, but Northern Mannerism continued intothe early 17th centuryWorks:- Michelangelo, David, 1501-04, marble, Galleria dell’Accademia, Florence- Michelangelo, Sistine Chapel Ceiling (Creation of Adam), 1508-12, fresco, Vatican City- Raphael, School of Athens, Stanza della Segnatura, fresco, 1509-11, Vatican Palace, Vatican City- Hieronymus Bosch, Garden of Earthly Delights, 1505-10, Museo del Prado, Madrid- Albrecht Dürer, Melencolia I, 1514, engraving- Parmigianino, Madonna of the Long Neck, 1534-40, Galleria degli Uffizi, FlorenceI. Michelangelo, “David”, 1501-04 - Stood outside public governmental building in Florence- Figure with little to no attributes- Idealized, generalized image, body in its youthful formo Could be anyone- Massive (3x human size)-greatness of Rome- The ordinary can be transformed into the extraordinary in a moment of decisiveaction- Holds stone, slingshot, preparing to slay the giant- Face is concentrated on enemy (not pictured in sculpture)II. Sistine Chapel- The Renaissance was obsessed with antiquity o Revive ancient world- monuments, traditions, etc.- Sixtus, Pope, most known for building III. Raphael, “Portrait of Julius II” 1511-12- Julius was a descendent of Sixtus- Wanted absolute power over church- Took name from Julius Caesar- Ceiling of Sistine Chapel, commissioned Michelangelo to paint frescos on ceiling o Writes of permanent bend in his neck, other pain from painting ceiling- Prophyts/Sibyls- Holding books of prophecies o Conduits for God’s word- 9 main narrative scenes depicting Testament stories (center)o Drunkenness of Noah (First by entrance)o The Floodo The Temptation and Expulsiono The Creation of Adamo Creation of the Sun, Moon, and Plantso God Separating Light and DarkIV. Raphael, Portraits for the Stanza della Segnatura- Inspiration-Sistine Chapel- Painted all four walls of the room- Personal Library for Julius II o Theologyo Poetryo Lawo Philosophy- A. The School of Athens (Philosophy wall)o Scene modeled on Plato’s School of Philosophy Stylized updateo Central figures: Plato (Left), Aristotle (right) Barrel vault of academy frame two central characters, makethem the focus Plato occupied with abstract, symbolized with pointing to heaven, one finger=oneness with god  Aristotle- practical mind, acquiring knowledgeof world around us, foreshorten, gesturetoward ground/eartho Other figures:  Socrates (greenish gold robe facing right)- Engaging in Socratic method Pythagoreas- Lived hundreds of years beforeSocrates, still pictured together Michelangelo as Heraclitus (man on steps)- Inwardness, self-preoccupation Euclid: Compasses, geometric form Raphael may be portrayedV. Albrecht Durer, “Melencolia I” 1514- Processo Printed reproductiono Buren makes engravings in copper plateo Force ink into grooves- Took years to make - Melencolia: permanent condition, tied to birth- Humanists glorified melencoly (spirit of artistic genius) - Raphael shows Michelangelo as melencolico Lost in theory, geometryo Self-absorption- Shriveled up dog-symbol of melencholia- In addition to theory, there needs to be practical application- Puto-winged figuredo Engaged in applicationo Holding plate with a stylus/buren Application without theoryVI. Hieronymus Bosch, “Garden of Earthly Delights”1505-10- 7 ft tall altarpiece- Oil on panel- Two doors, three panels- World-monotone black/white- God’s creation- Open- full color- Left Hand Side-Garden of Eden - Right Hand Side- Humanity being punished (Scene of Hell)- Center- Giving in to senses/lusto Scale inverted Humans dwarfed by fruits, birds, etc.  Birds feeding humans Figure standing on head, head underwater with fruiton genitals- Right Sideo Musical instruments-instruments of torture Imprisoned in drum Stretched across harp Tied to flute, flute up anuso Hare blowing hunting horn with human on spearVII. Parmigianino, Madonna of the Long Neck, 1534-40- Distort stability- Long neck- Long fingers- Elongated leg- Elongated Christ- Huge Virgin Mary- Series of columns-foreshortenedo Support nothing - Prophet on Right hand side- Figures all crammed on left hand


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