16th century in Venice Italy not unified until the 19th century Spanish French owned parts of Italian Peninsula during 16th and 17th centuries Republican senate ruled by wealthy families along with head of government Antonello da Messina introduced oil painting technique of Jan van Eyck to Venice Antonello da Messina The Martyrdom of St Sebastian 1477 1479 oil painting uses technique of color theory involving dark neutrals use of perspective Euclidian one point perspective shows excellent mastery of human form flexible body modified chiastic pose light and dark contrast on figure fallen column foreshadows fall of pagan order Giorgione and Titian Giorgione Tempest c 1505 figures difficult to identify introduces concept of poesie example of painting equivalent to poetry Titian highly productive lasting success reinterpreted Giorgione s works began with naturalism turned to drama and fluid brushwork Giorgione and or Titian Pastoral Concert c 1508 probable influence of Leonardo s technique and theoretical writings men dressed like gentlemen of the court water nymph wind nymph nymphs seem invisible to the men idea supported by pastoral drama Titian Bacchanal 1523 1526 attempt to recreate a Roman painting from description in Roman text a work of art that competed with both Roman literature and art figures are active like in the Galatea by Raphael rich contrasting colors of landscape recall style of Giorgione shows inspiration from Michelangelo s and Raphael s works figures very human and natural while at the same time idealized figures appear warm not sculpted Titian Madonna with Members of the Pesaro Family 1519 1526 commissioned by Jacopo Pesaro bishop and commander of papal fleet features St Francis b c located in chapel of Franciscan church Santa Maria dei Frari tall arch shaped picture field view is diagonal not frontal sacra conversazione Virgin with child at apex of triangle infant Jesus is portrayed as natural innocent huge columns represent gateway to Heaven figures all appear to be in motion except for kneeling patrons energetic asymmetry oriented on a diagonal not a central vanishing point figures not vertical St Maurice represents military victory of patron in battle against Ottoman Turks chiaroscuro with black and brown light traversing three dimensional space through cloud cloud appears free floating brings new tradition of Venetian naturalism Titian Venus of Urbino 1538 commissioned by the Duke of Urbino modeled on work of Giorgione owner called this picture of the naked woman purpose is obscure debatable if erotic art or based on classical theme Venetian box composition dog fidelity luxury cassone wedding chest two flower types both symbolizing marriage Titian Man with a Blue Sleeve c 1510 subject unknown may be self portrait figure against plain background Flemish style chiaroscuro texture detail figure makes eye contact with viewer appears to project out of painting with arm Giovanni Bellini San Zaccaria Altarpiece 1505 in church of San Zaccaria Venice sacra conversazione hanging egg as a symbol of creation influence of Giorgione s style evident Andrea Palladio Villa Rotunda near Vicenza c 1566 1570 plan is intersection of square and cross rotunda refers to dome above central circular hall 4 fa ades with porticos each has pediment supported by 6 Ionic columns sculptures of classical deities Veneto region around Venice Villa upper class country house in ancient Roman times Venetian box composition perspective scheme with diagonal going across key part making the painting part of a cube Poesie atmospheric images that create a mood rather than telling a story Chiastic pose one engaged leg and one bent leg creating a sense of consciousness and flexibility in the figure Courtier high noble social climbers or wannabes of high class status Pastor means shepherd in Latin St Sebastian originally a Roman soldier before martyrdom body parts thrown in sewer protector from the plague sewer thought to originate the plague Pediment triangular piece above entablature Acroteria architectural elements on a flat base at the tip of a pediment roof ornaments featured in temples Chancel space around the altar reserved for clergy typically separated by steps Cupola a lantern Italy The Late Renaissance 1521 1597 and 16th c Mannerism Martin Luther challenges Catholic Church in 1517 Followers lost to Protestant movement Italy resists new faiths but Rome reforms Catholic Church New religious orders ex the Jesuits who fought against heresy in Europe Religious imagery becomes increasingly standardized must be accurate with doctrine In Northern Europe Protestants destroy religious works of art France Germany Spain battle over Italian peninsula Northern Italy divided into small principalities Papacy wants to join forces with secular powers conflict with European princes Rome is sacked in 1527 scatters Roman artists throughout Europe Holy Roman Emperor dismantles Republic and reinstates the Medici Rise of elite power spread Mannerist style Titian is knighted gains prestige and patrons Political and cultural fragmentation in Europe Duke Cosimo I sponsors foundation of Academia del Disegno Academy of Design in 1563 Academy to improve training of artists and promote status of the arts Art approached as an intellectual activity not a craft History literature also subjects of study Bronzino and Vasari are founders Mannerism 1520s and later a style of technical virtuosity scholarly subject matter beautiful figures and purposefully complicated composition appealing to sophisticated tastes contrast between form and content marked by experimentation with proportions and ideal figures a sense of spiritual resurgence in Florentine art Rosso Fiorentino The Descent from the Cross 1521 commissioned for chapel in Church of San Francisco Volterra made for society of flagellants Company of the Cross of the Day Catholics who whipped themselves to express penitence emphasis on cross to advertise the name of the patron group less stable compared to Masaccio s Trinity not a triangle from forms all on the same plane muscular bodies like Michelangelo s draperies have brittle stiff planes not like Michelangelo s low horizon lonely feel sharp color contrast unrealistic shadows figures in frantic motion shows Mannerist rejection of High Renaissance ideals Jacopo da Pontormo paintings in Capponi Chapel Florence Piet c 1526 1528 altarpiece lacks cross two androgynous figures hold Christ s body ideal beauty and solidity of