ARTS 150 1st Edition Lecture 7 Outline of Lecture 7I. 16th century art in Italy, high renaissanceII. Leonardo da VinciIII. Raphael SanzioOutline of Lecture 8I. Michelangelo Buonarroti (1475-1564)II. VeniceCurrent LectureI. Michelangelo Buonarroti (1475-1564)i. Painter, architect, sculptor, poetii. Favored subtractive method of sculpture (pieces are removed from a solid to create a form vs. adding onto a structure piece by piece)b. Pieta, (c.1500), Michelangelo, St. Peter's, Vatican, Rome, High Renaissancei. Ideal body of Jesusii. Mary's garment has "energy" formed by bunches and folds of the robes- Says he wants to express her sorrow through her garment so as to keep her “ideal” faceiii. Mary looks younger than her son- She is virgin and spiritually pure so she aged differentlyiv. Jesus looks peaceful, as if asleep- Doesn't show tortured body- Foreshadows resurrectionc. David, (1501-1504), Michelangelo, 17' tall, marble, Florence, high renaissancei. Hands are big and veiny, large headii. Initially the city wanted to do a series of sculptures for the top of Florence cathedral so he adjusts it for this, but then the people protested it being so far from view and put it in front of the town halliii. before battle, energy in twist of body and head, brow furrowediv. Marble had flaw that had to be worked around, David has a deep dip between his shouldersd. David, (c. 1450), Donatello, 5' 2", bronze, post battle*only Popes you need to know are: Sixtus IV and Julius IIe. Sistine ChapelThese 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. M is called back to Rome by pope to do the tomb of sixtus, they run out of money for it and to keep M occupied they suggest he paints the ceiling ii. He objects saying he is not a painteriii. Pope wanted to ceiling to be like that of past, but M says that is too boring and argue, pope concedesf. The Flood, Sistine Chapel, frescoi. Very slow, painting each character at a timeii. Panels are simplified as he goes on g. Creation of Adami. Woman under the arm hypothesized to be either Eve or Mary and the other people are also those waiting to be bornii. Shape of God with the other figures and cloth seem to resemble the shape of human brain cross sectionh. Sybil, a woman/prophet, from old testament, shows m's style - he uses intense musculature to show spiritual strengthII. Venicea. Venus of Uribino, Titian, (c. 1538), high renaissance, Venicei. Real female nude model, very sensualii. Unknown who woman is supposed to be (wife on wedding night, courtesan)iii. Maids in background putting clothes away/taking them out, supports idea of married because women would often bring "marriage chests" with themiv. Titian is acclaimed for his ability to paint flesh*Artists start to use oil on canvas, Venice is too humid for fresco (mold would develop), painting on woodwas poor because wood would warpb. Pesaro Madonna, Titian, oil on canvas, (1519-26)i. Head of Pesaro family kneeling at foot of stairs, commemorates his victory over Turksii. Virgin Mary is put more towards the back than in previous Madonna paintingsiii. The triangle of people is more off center than previous styles, more dramaticiv. Considered to be one of the pieces that marks the decline down from the peak of the renaissancec. Last Supper, Tintoretto, 1594, Venicei. Much more going on than in Leonardo's last supperii. Less concerned with the features of people and more with the activity going oniii. Less concerned with naturalismiv. Loudv. Judas doesn't have a halo & is on opposite side of the benchEarly Ren (13th-14th) - birth/childhoodMid (14th-early 15th) - childhood/young adultHigh (late 15th- 16th) - adulthoodMannerism - old age and
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