AP Chapter 22 Beauty, Science, and Spirit in Italian Art The High Renaissance and Mannerism High Renaissance 1.

What dates are generally accepted as the span of the High Renaissance?
The accepted span of the high renaissance of the high renaissnce is 1500-1520.

2. According to Leonardo, what was the major purpose of his scientific investigations? The major purpose was to be informed and be able to enhance his art. He studied the human
body and considered the eyes the most vital organs and sight the most essential function.

3. What compositional devices did Leonardo use in The Virgin of the Rocks (22-1) to knit the figures together?
Leonardo painted Virgin of the Rocks, which employs the subtle play of light and dark to model forms and to express the emotional states of his figures. The figures, arranged in a pyramidal group, are placed within a cavern. The optical haziness of the light creates an atmosphere of psychological ambiguity

4. Define: sfumato, chiaroscuro, cartoonhow do these terms relate to art? 5. What two 15th c. trends does Leonardo synthesize in The Last Supper? (22-3)? Sfumato: art technique of allowing tones & colors to shade gradually into 1
another, producing softened outlines or hazy forms. Chiaroscuro: using several different shades of the same color.

Cartoon: These terms relate to art because they all help make a piece of art look different. 6. Who was Julius II and why was he important for the history of art?
The greatest art patron of all the popes, Julius was a close friend of Michelangelo, from whom he commissioned the sculpture of Moses and the paintings in the Sistine Chapel.

7. How much of the building of the new St. Peters was completed during Bramantes lifetime? During bramantes life time, the actual construction of st peters did not advance the building of the crossing piers and lower choir walls. 8. Describe 4 aspects of the sculptural appearance of Bramantes Tempietto. Four aspects of the sculptural appearance he used the circular design, Doric capitals, the spacing of the olumns, and the interior pilasters. 9. What are Michelangelos slave images thought to represent? Because he believed that the human figure was the best vehicle for any artistic statement. 10. Briefly describe the iconography of the Sistine Chapel ceiling. The iconography of the Sistine Chapel consisted of the depiction of the most solemn themes: the Creation, Fall, and Redemption of humanity. Michelangelo managed to merge more than three hundred figures together in an drama of the human race. As you enter the chapel look up, and walk toward the altar, they

review the history of the fall of mankind in reverse order. The overall conceptualization of the ceilings design and narrative structure presents not only keeping with Renaissance ideas about Christian history but also presents a sweeping chronology of Christianity. The ideas include interest in the conflict between good and evil and involving the energy of youth and the wisdom of age. 11. Name the 4 general themes Raphael used for his paintings in the Stanza della Segnatura. The four general themes Raphae used to for his paintings in the Stanza della Segnatura are poetry, theology, law, and philosophy. 12. Who are the 2 central figures represented in Raphaels School of Athens (22-17) and what aspects of philosophy does each represent? The two central figures represented in Raphaels school of Athens are aristotle and plato. Aristole holds his book Nichomachean Ethics and points to Earth because he believed knowledge comes from experiences in life, here on Earth and also Plato is holding his book Timaeus and points to heaven because he believed wisdom came from heaven. 13. Discuss 3 characteristics of Raphaels style as seen in the Madonna of the Meadows (22-19). In the Renaissance the young Raphael struggled to form his own style while incorporating elements of the renaissance period and to mimic Michelangelos and to extend Da Vinci elements. In the Madonna of the Meadows, there is the main focus of perspective that was revealed in the landscape, it also constructed Da Vincis use of landscape in the portrait. The oversized figure in the art implies the use of hierarchic scale to emphasize the importance. The placement of the three figures composed a perfect pyramidal composition like Leonardos earlier image. The use of chiaroscuro was left out and suggested that he preferred lighter tonalities. 14. How does the central figure of the Galatea scene (22-20) differ from Botticellis Venus (21-27)? Both works refered back to the antiquity, there is a variety of differences in the work, and the aspect of centered figure to the motion of the overall painting. In the Botticellis painting the figure is shown nude and also steps back from antiquity by having a soft but not natural figure. While the painting of Galatea has a moving half nude figure as seems as a Hellenistic statue, the motion in the painting as he separates the two works since Galateas work also is a constant figure and creature twisting and turning. In the Venus work all figure assumed to be in motion but the

figures went along with the nature and lack of the motion needed to give a sense of interruption. 15. Describe briefly the iconography of the toms of Lorenzo and Giuliano de Medici. What according to the Neo-Platonic interpretation, are the tombs thought to symbolize? In the unfinished tomb of the De Medicis was a perfect reflection of the Neo Platonic idea that soul should ascend to the heavens. The tomb represented the two sides of night and day. These images followed the lifecycle and the passage of time, and also connecting to the armored figure to connect with god and not only portraits. 16. How does the Farnese Palace differ from the Palazzo Medici-Riccardi (21-20)? In the palace of Medici-Riccardi, the building has an appearance in the aspect of the organized levels it also has an appealing look and the frames all differ from the original Medici-Riccardi palace. The quoins and cornice are all elements manipulated to add a royal hit across it rather than a normal horizontal band. The windows and the frames all contributed to not flush the building as earlier and a three-dimensional mass. 17. What scene did Pope Paul III commission Michelangelo to paint on the altar wall of the Sistine Chapel? The Pope Paul III asked Michelangelo to paint the 12 apostles in the Sistine chapel but he made a mistake he stopped and thrived to buy his own inspiration. His next attempt was the subject of creation and human fall in the ceiling. With Michelangelos figure twisting turning and flexing he was able to portray the beauty in the human involved in biblical stories. 18. What city project did Michelangelo design/re-design? What were the limitations? What geometric shape did he utilize to relate the various elements to one another? Michelangelo had redesigned the Capitoline Hill, but he was limited in the feature that another artist had already made the other buildings and but he constructed a 80 degree building. The idea was born from the same theory of the human form unifying the space it contained. Such as controposto and chiastic, because of the theory he built the building at an angle in attempt to unify the building.

19. Describe the changes Michelangelo made in Bramantes original designs for St. Peters; plan?; elevation?

Michelangelo design/re-design Saint Peters Michelangelo had limitations because he wanted to keep Bramantes original plan. Michelangelo decided to reduce the central component, for a number of interlocking crosses to a compact dome to make a Greek cross inscribed in a square and with a double-columned portico.
20. What concerns distinguish the art of Venice from that of Florence and Rome. Make a chart for comparison.

Venice

Florence/Rome Sculpture form design/ drawing Intellectual themes; grandeur of ideal religion

Venice: Supremacy of color process of paint application poetry of the senses/pleasure imbalanced composition visual complexity. Florence/rome: Sculpture form design/ drawing intellectual themes; grandeur of ideal religion 21. What does the term poesia mean in reference to Venetian painting? Name a work that exemplifies this approach. 22. What characteristics of Titians Madonna of the Pesaro Family (22-36) are typical of High Renaissance painting? What characteristics are not typical? The typical High Renaissance painting characteristics of Titians Madonna of the Pesaro Family are the Renaissance colors, the symmetrical at the banner, and its a work of religion. The characteristics that are not typical are the unsymmetrical composition, opposing angle, and a heavy diagonal stress on Mary. 23. Which of Titians paintings established the compositional essentials for

the representation of the female nude in much of later Western art? Titians painting Venus of Urbino established the compositional essentials for the representation of the female nude. 24. Identify Isabella dEste and explain the role she played as a patron of artists. Isabella dEste was an art patron and was the daughter of the duke of Ferrara and she married Francesco Gonzaga. Because she was married into a wealthy family, she was allowed to become a major art patron. She didnt only collect art she also collected ceramics, glassware, gems, cameos, medals, classical texts, musical manuscripts and instruments. She used her art collections to become more famous. Mannerism 1. When did the Mannerist style emerge? The Mannerist style emerged in Italy during the 16th century. 2. Discuss 5 characteristics of Mannerist painting that can be called antiClassical and that distinguish the Mannerist from the High Renaissance style. Mannerists painting can be calledanti-Classical because the style is unnatural for example, the body figures are awkward and elongated. Another, characteristic are the unbalanced composition and the unusual complexities both visual and conceptual. 3. Which Italian Mannerist sculptor most strongly influenced the development of French Renaissance art. Which Mannerist sculptor developed the compositional device of the spiral?

Later 16th c. Venetian Art and Architecture 1. What devices does Tintoretto use to identify Christ in his version of the Last Supper, #22-52 (v. Leonardos Last Supper)? In Leonardos Last Supper, he portrays Christ as the calm center of the drama and the perspective focus. In Tintorettos Last Supper, he exemplifies Christ as above and beyond the perspective lines that race diagonally away from the picture surface. Creating disturbing effects of limitless depth and motion. 2. What is the difference in the type of illusion created by Veronese in The Triumph of Venice (#22-54) and that created by Correggio in The Assumption of the Virgin for the dome of Parma Cathedral (22-41)?

The difference of Veroneses illusion and Coreggios illusion is that Veroneses perspective is not projected directly up and below. Hence, it is a projection of the scene at a 45 degree angle to the viewers 3. In the Library of San Marco in Venice (22-55) which feature seems to have been modeled after the Roman Colosseum? Decorative scheme of the 2nd story? How is the treatment of the roofline different from the traditional practice? In what ways does the Library harmonize with the Doges Palace opposite it?
The plain ground story arcade has Tuscan-style columns that are attached to the arch-supporting piers which are modeled after the Roman Colosseum. The second story main columns carry an entablature with a decorative frieze of putti. The oval windows of an attic story scatter this frieze which is a decorative motive of the ancient Romans. Sansovino replaced the rooflines traditional cornice with a balustrade interrupted by statue-bearing pedestals. Sansovino managed to adjust his building to the older one of Doges Palace. Correspondences are almost identical spacing of the lower arcades, the rich and ornamental treatment of the second stories including the balustrades, and the closure of the rooflines.

4. What was most significant about Palladios writings? What geometric forms did Palladio use to create the basic structure of the Villa Rotonda (2256)?
Palladios writings had a wide-range of influence which was on succeeding generations of architects throughout Europe. Palladios influence outside of Italy was most significantly in England and in colonial America, and was stronger and more lasting than that of any other architect. The geometric forms Palladio used to create the basic structure of the Villa Rotunda are that is central planned with four identical facades and projecting porches. The central dome is covered with rotunda functions as a kind of circular platform.

5. Describe the device Palladio used for the faade of San Giorgio Maggiore (22-58) to integrate the high central nave and low aisles. Palladio superimposed a tall, narrow classical porch on a low broad one as a device used for the faade of San Giorgio Maggiore to integrate the high central nave and low aisles 6. In what ways does Palladios architectural style differ from Mannerist architecture? In Mannerist architecture, architects experimented using architectural forms to emphasize solid and spatial relationships. The Renaissance ideal of harmony gave a way to freer and more imaginative rhythms. Palladios architectural style led to the Baroque style in which the same architectural vocabulary was used for very different rhetoric. Discussion Questions 1. Why is Bramantes Tempietto often referred to as the first High Renaissance building? What are the basic qualities that distinguish it from a

typical Early Renaissance building? Do you feel that the building reflects a religious attitude that is different from the Medieval one? If so, what? One of the main differences between the Early and High Renaissance styles of architecture is the former's emphasis on detailing at wall surfaces versus the latter's sculptural handling of architectural masses. Bramante's Tempietto initiated the High Renaissance era. High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510. The Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphael's works in the Vatican (1509-11), "is an attempt at reconciling Christian and humanist ideals". The building reflects a religious attitude from the medieval one. 2. Compare Bronzions Venus, Cupid, Folly and Time (22-44) with Giorgiones and/or Titians Pastoral Symphony (22-33). Keeping poses of the figures, the settings, and the compositions in mind, how do these works reflect the different styles preferred by artists of Venice and those of Florence? In Bronzinos painting he demonstrated the mannerists fondness for extremely learned and intricate allegories that often had lascivious undertones, a shift from the simple and monumental statements and forms of the high renaissance. The bodies are in awkward poses, the picture seems to suggest that love is foolish and that lovers will discover its folly in time. In Giorgiones picture the theme is as enigmatic as the lightning. He used the technique of sfumato. Shows the fullness of the figures.