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The Rebirth of Art:

Ren aLss ance and

Baroque
AtI. ROADS LEAD
TROI'JI TI.OREI{CE
The Renoissonce from the Eorly Renoissonce in Florence ond High Renoissonce in Rome ond Venice to points Norlh, [ost, ond We$

tOW COUNIRIES (HOLLAND, BELGIUM) von Eyck, Bosch, Bruegel

GERMANY

Diirer, Griinewold, Altdorfer, Cronoch, Holbein

'
Leonordo
PARMA

vENltE Giorgione

Iition,

Pollodio

Iintoretto, Veronese

'-

FLORENCE

Donotello, Mosoccio, Bottlcelli, Leonordo, Michelongelo

Roso, Pontormo, Bronzino, Correggio

ROME SPAIN El Grero

Michelongelo, Rophoel, Bromonte

.-''-{"ltl .=F{

(
understanding of anatomy and perspective, painters of the fifteenth through sixteenth centuries went beyond Greece and Rome in technical proficiency.

The Middle Ages are so called because they fall between twin peaks of artistic glory: the Classical period and the
Renaissance.

Vhile art hardly died in the Middle

Ages,

what was reborn in the Renaissance and extended in the Baroque period was lifelike art. A shift in interest from the supernatural to the natural caused this change. The rediscovery of the Greco-Roman radition helped artists reproduce visual images accurately. Aided by the

In the Baroque period of the seventeenth and eighteenth centuries, reverence for Classicism persisted, but everything rewed up into overdrive. Ruled by absolute
the newly centralized states produced theatrical art and architecture of unprecedented grandeur, designed to overwhelm the senses and emotions.

-o.u..hr,

expansion

of scientific

knowledge, such as

an

WORI.D HISTORY
1

ARI HISIORY
40il "- I 5ilil
I 4?$s Eorly Renoissonce Penpective discovered

Gutenberg invents printing with movoble

[pe

144**5$
1

Medicis deposed in Florence, ort center shifis to Rome

4t?

r 5il0
Renoissonce spreods

* 'i*

High Renoissonre

to Northern Europe

l5*il*1*ff*
15$3*6
t5$8 r5il?
Leonordo

prints "Mono Liso"

]t

Mkhelongelo frescoes Sistine [hopel ceiling Rophoel creotes Volicon frescoes Giorgione points fir$ redining nude

* il

151*
Bolboo sights Pocifk 0ceon Luther posts 95 Iheses, Reformolion begins Mogellon circumnovigotes globe

1513

t1l7
1

510
Monnerism

t5?$*1$*il
Rome socked by Germons ond Sponish

5?i
Holbein points British royol[

I 530s
Henry

Vlll of Englond founds Anglicon Church

I 534

1514*41
[opernicus 0nn0un(es plonets revolve oround sun ElDobeth I reigns in Englond

Michelongelo works on "Lo$ Judgment"

I 543

155fl*r*8:

iiTi
Englond defeots Sponish Armodo
1

El Greco goes

to Spoin

58.4

Edid 0f N0ntes e$oblishes religious hleronce

598
Corovoggio points "Ionvenion of St. Poul," Boroque begins

I ${]1 Golileo invents lelexope


King Jomes Bible published
I

iL'y

l&1

Horvey discoven circulotion of blood Pilgrims lond ot Plymouth

i,419
I

*?il
Von Dyck points oristocrocy Rembrondt creotes'Nightwotch" Bernini designs [ornoro Chopel

I $30r
1

64?

{}4:

I 64$
Chorles I

Pousin estoblishes Closicol to$e, Royol French Acodemy of Pointing ond Sculpture founded

of Englond beheoded

64$ 65d
Vel0zquez points "Los Meninos"
Louis XIV orders Versoilles enlorged

t$fi

i 675
Newton devises theory of gmvily Fohrenhe[ invents mercury thermometer

Wren designs St. Poult Cothedrol

l{,81

t7l4

tilS
Boch completes

Louis XIV dies, French Rococo begins

fint

Brondenburg Concerto

7?*
Pompeii ond Herculoneum discovered

li3fi
Cotherine the Greot rules Rusio I

/i)?

lomes Wott invents steom engine

Priestley discoven oxygen Americon rolonies dedore independenre

\ llqs \u*
\fib
1

lI*5
Reynolds heods Royol Acodemy

784 -I 7$7 I ?8?

fit

Dovid lounches Neoclosicism

Mozort becomes eourt muskion to Emperor Joseph ll


French Revolution breoks out

32

THE REBIRTH OF

ARI:

RENAISSANCE AND BAROQUE

THE RE[tAISSA[{(E:

THf

mIGINtt$E$$ffi

OF MODERI{ PA!ruTIf{G
In the early 1400s, the world woke up. From its beginnings in Florence, Italy, this renaissance, or rebirth, of culture spread to Rome and venice, th.n, i, 1500, to the rest of Europe (known as the Northern Renaissance): the Netherlands, Germany, France, Spain, and England.

common elements were the rediscovery of the

at

and

literature of
Hons Holbein ihe Younger, "The trenrh Ambossodors," I 533, NG, London. lhis portroil of fwo "univer
sol

Greece and Rome, the scientific study of the body and the narural world, and the intent to reproduce the forms of nature realistically.

Aided by new technical knowledge like the study of anatomy, arrisrs achieved new heights in portraiture, landscape, and mythological and religious paintings. As skills increased, the prestige of the artist soared, reaching its peak during the High Renaissance (1500-1120) with megastars like Leonaido,
Michelangelo, and Raphael. the exploration of new continents and scientific research boosted man's belief in himself, while, at the same time, the Protestant Reformation decreased the sway of the church. As a result, the study of God the supreme Being was replaced by the study of the human being. From the minutely detailed, realistic portraits of Jan .,an Eyck, to the emotional intensity of Diirer's woodcuts and engravings, to the contorted bodies and surreal lighting of El Greco, art was the means to explore all facets of life on earth.
as

men"

expressed

the ,rersltility 0f the lge. lbiects like

globes, conposses, sundiols, lute, ond hymnbook show wide.

mwk. Holbein fully exploind oll the technkol dbcoveries of the Renoissonce: the
ronging inlerests from mokenotics to
lessons

During the Renaissance, such things

of composition, 0n0t0ny, reoktk depktion of ke

humon form krough ltght lnd


less perspective.

duk,

lustrous color, ond flow.

Mosotrio, "The Iribute Money," i.


ing thrcugh

,I427,
Sonto

Morio del Cormine, Florence. l'/rosouio revolutionized point.

hb

use

of

perspeclive,

consisfenf source of

light, ond three-dimensionol portroyol of the humon figure.

THT TOP FOUR BREAKTTIROU6I.IS During the Renaissance, technical


innovations and creative discoveries made possible new styles of repre-

senting reality. The major breakthroughs were the change from tempera paint on wood panels and fresco on plaster walls to oil on stretched canvas and the use of perspective, giving weight and depth to form; the use of light and
shadow, as opposed to simply draw-

ing lines; and pyramidal composition in paintings.

of rich colors with smooth gradations of tone permitted painters ro represenr textures and simulate three-dimensional form.
2. PERSPE(IIVE. One of the most significant discoveries in the history of art was the method for creating the illusion of depth on a flat surface called ,,perspective," which became a foundation of European painting for the next 500 years. Linear perspective created the optical effect of objects receding in the distance through lines that appear to converge at a single point in the pictrr. known as

l. Olt 0N SIREI(HED CANVAS. Oil on canvas became the medium of


choice during the Renaissance. \7ith

this method,

mineral like lapis


be

lazuli was ground fine, then mixed

u'ith turpentine and oil ro


applied
as

the vanishing point. (In Masaccio's "The Tribute Money,; lines converge
behind the head of christ.) Painters also reduced the size of objects and muted colors or blurred detail as objects got farther away.

oil paint. A grearer range

THE RENNAISSANIE

33

I 'lE USE 0t IIGHI AND SHADOW.

Chiaroscuro (pronounced key arrou' ..-R o), which means "light/dark" ir-r Italian, referred to the ner.v tech- ior modeling forms in painting by u'hich lighter parts seemed to .=: from darker areas, producing the illusion of rounded, sculptural relief
--.it surface.

tYRAMID (0NtlGURATI0N. Rigid profile portraits and grouping of figures :orizontal grid in the picture's foreground gave way to a more three-

:rsional "pyramid configuration." This symmetrical composition builds ---:rnax at the center. as in Leonardo's "Mona Lisa," where the focal point . irgure's head.

'

Yffiffi FHffi$"6"Tffiffiffiffi ffiALt-ffiF-F&flftERs . . ,sfiLY ' $HqAH"[iS.M{ffi; Florence. The triumvirate of quattrocento fenaissance u/as born in ' -.-centurlr) geniuses who invented this new style included the painter ..,--cio and sculptor Donatello, who reintroduced naturalism to art, and ,rinter Botticelli, whose elegant linear figures reached a height of refine.

tt l5ACCIO. The

founder of Early Renaissance painting, u'hich became the r rstone of European painting for more than six centuries, u'as Masaccio rounced ma SAHT chee oh; 1101-28). Nicknamed "Sloppy Tom" . ,.l-re he neglected his appearance in his pursuit of art, Masaccio u'as the .lnce Giotto to paint the human figure not as a linear column, in the :rc st1,le, but as a real human being. As a Renaissance painter, Vasari said, - ,.accio made his figures stand upon their feet." Other N{asaccio innova' : \\-ere a mastery of perspective and his use of a single, constant source of
, casting accurate shadou,s.

Donoleflo,

"Douid,"

c. I 430-32, Museo Nozionole,

Florence. Donritello proneered the Renobsonce slyle of sculp'


Iure with rcunded body mosses.

:,lNATELLO.lX/hat Masaccio did for painting, Donarello (;1186_|166) did for sculpture. His u,ork recaptured the central . - -rvery of Classical sculpture: contrapposto, or weight concentrated on one 1eg with the rest of the body relaxed, often "-.rd, Donatello carved figures and draped them realistically with a sense of their underlying skeletal structure. His "David" u,as the iirst life-size, freestanding nude sculpture since the Classical period. The brutal naturalism of

r:r.Magdalen" uras even more probing, harshly accurate, and "real" than ancient Roman portraits. He carved the -.-i Magdalen as a gaunt, shriveled hag, u,ith stringv hair and hollou.ed eyes. Donatello's sculpture was so life1ike, the ' :i \\roS said to have shouted at it, "Speak, speak, or the plague take youl"
-

BlflrcElll. While Donatello and Masaccio laid


the groundwork for three-dimensional realism, Botticelli (pronounced bought tee CHEL lee; 1144_1510) u,as moving in the opposite direc-

tion. His decorative linear style and tiptoeing, golden-haired maidens \vere more a throwback to Byzantine art. Yet his nudes epito' mized the Renaissance. "Birth of Venus" marks the rebirth of Classical mythology.

Bolticelli, "Birlh ol Venus," I 482 , Uffizi, Florencl.


hodies

Bofficellt drcw

unduloting ltnes rrnd figures with long necks, sloping shoulders, ond pole, soft

3.1

-ri

RiBtRin 0F ART: RENATSSANCE AND BAR00UE

THT ITAI.IAN RENAISSANCE

In the sixteenth cenrury, artistic readership spread from Florence ro Rome and venice, where giuni, iik. L.onurdo, \lichelangelo, and Raphaer created r.rrtfi,r.. and paintings with totar techni_ cal masterv' Their work fused Renairruri" air.o".;;-rik;.o*ior,r,on, ,a.ut proportions, and perspective - a curmination referred ,o ,, ,h.'urgh Renais_ (1500-1520). sance
term man" has come to mean an omnitalented individual who radiates wisdom. n, p.oto tvpe was Leonardo (14j2_1519), *ho cam. nearer to achieving this ideal than anyone
before or since.
LE0NARD0 DA VtNCt. The

HEROES

0F THt HIGH RENATSSAN(E.

luloilA LtsA
It hung in Nopoleont bedroom until moving to the .l804.
Lou_

vre in

lt c0used troffi( ioms in Newyork when 1.6 million people iostled fo see it in seven weeks. ln

Tokyo viewers were ollowed ten seconds. Ihe obpct of oll this ottention wos the world,s mo$ fomous portroif

"Mono Liso."

,,Renaissance

,rnhori norrd Giororl do (the prefix "Mono" wos on obbreviotion of Modon_ no, or Mrs.). Ihe portroit set the stondord
for High
Renoissonce pointings in mony importonl r,lloys. The uie

the young wife of o Florentine

Hisiorkolly, she wos nobody speciol, probobly

ot perspective, with oll lines convuging on o single von_

hearts. "

and "his charming conversation won all

Leonardo was universally admired for his handsome appearance, intellect, and charm. His "personal beauty.."ld ;;;; exaggerated," a contemporary said of this tall man with long blond hair, ;-tror..u".y movement was grace itself, and whose abili_ tles were so extraordinary that he could readiiy solve every difficulty.,, A, if thi, *... not enough, Leonardo could sing ,,divinely,,

Lisot heoi, ond triongulor composition estoblished the importonce of geomeiry in


the iubiecr in o reloxed, noturol, three-quorler pose. For his exoct
of onotomy so evident in the Mono Liso,s honds, Leonordo hod lived in o hospitol, studying skeletons ond dissecting more thon thirty
codovers.

ishing point behind Mono

pointing. lt diverged from the stiff, profile portroits fhot hod been the norm by disploying

knowledge

fromed ond hung on o woll, the ,Mono Liso" fully reoi

One of the first eosel pointings intended t0 be

ized the potentiol ofthe new oil medium. lnsteod of


proceeding from outlined figures, os pointers did before,

God."

free' He frequentry sketched flr:rt".i.rg wings in his notebooks, where he constantly designed flying contraptions thut h. Jr.rrr,rutt, u"ir, )"a strapped on himself in hopes of soaring. H. or." *rote, ,,f wish to work miracles,,, an ambition evident in his inventtns: a machine to move mountains, a parachute, a helicopter, an armored tank, and u aiulng U.ll Leonardo did more to create th. .ori..pt of the artist-genius than anyone else when he began his campaig", ,tr.l.iir, was considered a meniar craftsman' By constantly stressing the interlectual aspects .r creativity, Leonardo transformed th. urt"irt,, p,rbti. "., ".a ,.Lord

L.orr.jJ n-as also fascinated with flighi. \X/h.r.u., I I san, caged birds, he paid ,h. o-.r.. ,o ,jl them

delighted in scaling great heightr,

An avid mounrain climber who

lfI.:'Slj,f#gli,,o'j5rl1,*,

leonordo used chioroscuro to model feotures through

*id;t:;;;i;;rr;ioiri
P.enoissonce discoveries

poris

rhe

light ond shodow. Storting with dork undertones,

he

embodnd ottrhe

built the illusion of three-dimensionol feotures through


loyers ond loyers of thin, semi-tronsporent glozes (Even

of

oercpecrive,

onotony,

ondcomposition.

lhe Mono Liso's pupils were composed oi successive gouzy woshes of pigment). This .tfumoto,,iechnique
rendered ihe whole, os Leonordo soid, "without Iinesor

borders, in the monner of smoke.,, His colors

rongJ

from light io dork in o continuous grodotion of subtle tones, without crisp seporoting edges. The forms
seemed to emerge from, ond melt into, shodows.

And ihen there's thot fomous smile. To ovoid

the solemnity of most formol portroits, Leonordo


engoged musicions ond jesters t0 0muse his subiect.

,iutus into,

as he

put it, a

Although.he frequently left his works irromp'lere


becouse of frustrotion when his hond could nof motch his imoginotion, this work wos instontly hoiled os o mo$erpiece, influencing generotions of ortists. ln I 9l l on liolion worker, outroged thot the supreme ochieve_ ment of ltolion ort resided in Fronce, stole the poinling ,,Mono from the louvre to return

and

;.li..JPt.ssed

His brilliance had one fraw. The contemporary painter Vasari cared Leonardo "capricious and fickle, " His cJosity was so omnivorous that dis_ tractions constantly rured him from one incomplete project to another. when commissioned to paint an artarpiece, he first hua to il; rj;;i;vements in rhe Adriatic, then invent systems to prevent randsrides. A priest said Leonardo with his mathematical experiment, ,,thrt h".u,rno, stand
his

it to its nofive soil.

recovered from the potriotic thief,s dingy room lwo yeors loter in Florence By 1952 more thon

Iiso" wos

6l

versions

ofihe

Mono

with the king. on his deathbecl, sald yasari, Leonarclo admitted ,,he had offended God and mankina ny ,ot *o.t ing at his art as he shourd have.,,

Less than rwenry paintings by Leonardo survive. He died at age 67 in France' where he had b:e1 summoned by rrancis I for the sore dury of cont'ersing

Liso hod been creoted. From Morcel Duchompt gooteed

portroit in I

9 1

9 to Andy Worhol s silkscreen series ond

Josper Johns's imoge

in I 9g3, the Mono

Liso is not

only the most odmired, but olso imoge in oll ort.

fie

most reproduced,

._

THE LAST SUPPER

'

/Iono Liso" is Leonordo's most fomous portroit, his fresco pointing, :per," hos for five centuries been the world's most revered religious pointtng. ,rordo declored the ortist hos two oims: to point the "mon ond the intention of his - " Here he revolutionized ort by copluring both, porticulorly whot wos going :rgh

Unfortunotely, Leonordo wos noltemperomentolly suiled lo the demonCs :r troditionol frexo poiniing, which required quick, unening brushwork insteod of occu' muloted blurred shodingi. ln "The Lo$ Supper," he experimented with on oil/temoero emulsion of his own invention thotfoiled to bond to the plo$er. Even during his iifetime, the murol begon to disintegrote. lt dldn't help thot the buildlng wos used os o stoble ond then portly de$royed in World Wor ll. Behind o bonicode of sondbogs, mildew reduced the fresco to o sod ruin. Todoy it is being re$ored squore inch by
squore inch.

'

Leonordo immortolized the dromotic moment ofler Chri$ onnounced one of !lsciples would betroy him, with eoch reocling emotionolly ond osking,-"Lord, is it Ihrough o ronge of gesture ond expression, Leonordo reveoled for the first time in ihe fundomentol choiocter ond psychologicol $ote of eoch opo$le. His use of perconverging on Chri$'s heod, fixed Chri$ os the opex

eoch figure's mind.

"-

-.rtive, with oll diogonol lines

leonordo,

,''he

pyromidol composition.

"Ihe lost Supper," c. I 495, Sonlo Morio delle Grozie, Milon' gestures' Leonordo reveoled the dbciphi' choroctet thruugh fociol expressions ond

Ihe Nolebooks
Evidente of Leonordo's fefiile imoginotion lies in the thousonds of poges of sketches ond ideos in his noiebooks. His intere$s ond expertise encomposed onotomy, engineering, o$ronomy, mothe-

motia, noturol history, music, xulpture, orchitecture, ond pointing,


moking him one o{ the mo$ versotile geniuses ever. Although the notes r,tiere unknown to loter scientists, Leonordo ontitipohd mony o{

the mojor distoveries ond inventions of sucteeding centuries. He built


conok, in$olled cenitol heoting, droined monhes, $udied oir currents, ond invented o printing pres, telescope, ond portoble bombs. From his study o{ blood vesek, he developed the theory of circulo'

leonordo, "ln lhe Womb,"


c. 1 51 0, Royol
Collection,

tion 1 00 yeon before Horvey. He wos the fint to design o flying


mochine ond fint to illustrote the interior workings of the humon body. His sketches of the growih of the fetus in the womb were so

Windsor [o$le.

oautote they could teoch embryology to medicol students todoy.

.:

REBIRTH OF

ARI: RINAISSANCE AND

BAROQUE

N,(lELANGELO:IHE DIVINE M. As an infant, iVlichelangelo --'= I)61) was cared for by a \vet nurse u,hose husband

:ionecutter. The boy greu, up absorbed with carvart, even though his family beat him : :::-.r'to force him into a "respectable" profession. But , -,ledici prince Lorenzo the Magnificent recognized ' : ..x''s talent and, at the age of 15, took Michelangelo - . Florentine court, u,hete the budding artist lived like
.,

-r:avu.ing, and

: 1,

.
-

,-

-:s

-\lichelangelo did more than anyone to elevate the of the artist. Believing that creativity was divinely
as

: 'divine Michelangelo," but the price for his gift was - ::ude. Michelangelo once asked his rival, the gregari--s Raphael, who u,as always surrounded by courtiers, 'i.'here are you going in such company, as happy as a i.l.rnsignor?" Raphael shot back, "\7here are you going, .,' alone like a hangman?"
wHo
Before

::ired, he broke al1 rules. Admirers addressed him

Michelangelo refused to train apprentices or a1lou, anyone to watch him u,ork. When someone said it was too bad he never married and had heirs, Michelangelo responded, "I've always had only too harassing a wife in this demanding art of mine, and the works I leave behind u,ill be my sons." He was emotional, rough and uncouth, huppy only when u,orking or her.ving rock at the marble quarry. His wit could be cruel, as rvhen he u,as asked why the ox in another artist's painting was so much more convincing than other elements. "Every painter," Michelangelo said, "does a good self-portrait." An architect, sculptor, painter, poet, and engineer, Michelangelo acknowledged no limitations. He once

wanted to carve an entire mountain into a colossus. Michelangelo lived until nearly 90, carving until he died. His deathbed words: "I regret that I am dying just as I am
beginning to learn the alphabet of my profession."

PArD THE

BlLts?
moteriols

',','''l,,I:,.Tiffit'[

111':l'n,, rroining ro

Lorenzo
polozzo

ftere were ort golleries ond museums,

depended on the potronoge

ortisls system n0l only to sup-

de'Medici, but Lorenzo's insensrlrve son ordered


moeslro to sculpt o stotue out of snow in the

the

Michelongelo's worsl loskmoster wos Pope ^x,'*l;l,Ti lulius ll, the "worrior-pope" who wos benl on restoring lhe temporol power of the popocy. Julius hod
grondiose designs for his own lomb, which he envi-

il;:UlJx

ffill;J;l1,ifil,y'*"'

port themselves but to provide expensive

for fieir work. Under the inspired to$e of Lorenzo

/,{ognificent, this resulted in on enlire city


rence

commissioned lovish buildings ond orl. Yet,

ole forly lifesize marble stotues to decorole o momcontly, lhe word for "polron" is the some in deceosed bore no resemblonce lo octuol 0ppeor0nce, moth two-story slrt;(lure. Ihe prolecl lormented French ond ltolion os the word for "boss." Wilh irosci- Michelongelo would brook no interference with Michelongelo for forty yeors os Julius ond his relotives groduolly whittled down the design ond inlerrupted ble ortish like Michelongelo, the tension between ideol concept, soying thot, in 1 00 yeors, no
ues for

becoming o work of ori, os weolthy

- rulers

Flo-

the

courtyord. Yeors loter, Medici popes Leo X


0ement Vll (the sculptor worked for seven of the teen popes who reigned during his lifetime)
Michelongelo

ond thir-

hired to drop other work ond sculpl tomb slot-

sioned os lhe centerpiece of o rebuilt St. Peter's


Cothedrol. He firsl commissroned Mrchelongelo to cre'

signifi-

lheir relotives. When the stone foces of

both

the his

being o creotor ond being iold whot to creote


',veoknesses of

erupled

in ugliness. Ihe best exomple of the strenglhs

ond

one would core whot his octuol subiects looked like.


Unfortunoteiy, the works remoin unfinished, for
fickle poirons constontly chonged their minds,

fie

syslem wos Michelongelo's

testy

his

his progress with disilocting ossignments. When re{er-

obrupl-

ring to the commission, Michelongelo dorkly colled it the "Trogedy of the Tomb."

'498/99-l
'l

Mkhelongelq "Pieli,",
500, St. Peter's, Rome.

THE

:nelongelo's

fil

moslerpiece groups
o pyromidol

i"rtst ond the Vigin in

composttton.

S(UtPIOR. Of all artists, Michelangelo felt the sculptor was most godlike. God created life from clay, and the sculptor unlocked beauty from stone. He described his technique as "liberating the figure from the marble that imprisons it." \ilhile other sculptors added pieces of marble to disguise their mistakes, Michelangelo ahvays carved his sculptures from one block. "You could ro11 them dou,n a mountain and no piece would come off," said a fellow sculptor. The first work to earn him renown. carved urhen Michelangelo was 23,was the "Pieti," u,hich means "pity."

The pyramidal arrangement derived from Leonardo, with the classic composure of the Virgin's face reflecting the ca1m, idealized expressions of Greek sculpture. The accurate anatomy of Christ's body is due to N{ichelangelo's dissection of corpses. When first unveiled, a viewer attributed the u.ork to a more experienced sculptor, unable to believe a young

unknown could accomplish such a triumph. \7hen


Michelangelo heard, he carved his name on a ribbon across
the Virgin's breast, the only u,ork he ever signed.

THI RENAISSAIIIE

37

that's Tl'lt PAINIIR: THE SISIINE (HAPEL. A few vines on a blue background . - Pope Julius II asked for, to spruce up the barnlike ceiling of the Sistine rpel. What the artist gave him was more than 140 human figures (10'to 18' '- -,, representing the origin and fall of man the most ambitious artistic

Michelongelq

"Ihe (reoiion of Adom," deloil,


lo
Adon. lvlichelongelo used ke

Jertaking of the whole Renaissance. The fact that Michelangelo accomplished .:h a feat in less than four years, virtually without assis'. :..e, was a testimonial to his single-mindedness. Physical conditions alone presented a formidable :11enge. Nearly one-half the length of a football field, - . ceiling presented 10.000 ,quur" feet to be designed # t ,:.:'tched, plastered, and painted. The roof leaked, which '" " .e|#ir i''1 . .,$*"1 --:Je the plaster too t^** The ^.---,^l shape of the bar- . r^ -L^ -1 ^^-^^.^^ damp. 'r-L^ curved -L^^^ ^f rL^ 1-^-- ,'^',lt divided tr-', cross .,o,,1t" made Michelangelo's job l: vault Ai',i,1^A by ^"^"" vaults -olo l\/Ii.Lolon..l^'. inh
.:.11

I 508-1 2, Sistine Chopel, Voticon, Rone. A leuvlike 6od trunsmits the spork of life

nole

nude

to

exprcss every

humln lspiltiln ond enofion.

- -rbly hard. In addition, he had to work on a seven, rrr'-high scaffold in a cramped and uncomfortable
-

sition.

Despite his disdain for painting, which he considered an inferior art, .l-:helangelo's fresco was a culmination of figure painting, u'ith the -. - ires drawn not from the real world but from a u'orld of his own -. :.rtion. The nudes, which had never been painted on such a colos, ,- scale, are simply presented, without background or ornament. -. rn his sculpture, the torsos are more expressive than the faces. . :s twisted nude forms have a relieflike quality, as if thev u'ere - -.ed in colored stone. Encompassing an entire wall of the Sistine Chapel is the "Last

' roment" . fresco Michelangelo finished twenty-nine years after the

Michelongelo, "Ihe [osl Judgmenl,"

-:-,ing. Its mood is strikingly gloomy. Michelangelo depicted Christ ' as a merciful Redeemer but as an avengingJudge with such ter. ing effect that Pope Paul III fell to his knees when he saw the -r-sco. "Lord, hold not my sins against me!" the pope cried. Here, r. Michelangelo showed his supreme ability to present human : -ms in motion, as nearly 400 contorted figures struggled, fought, ...J tumbled into helI.

' :

deloil,

I 541, Sistine

[hopel, Rome. 5t Bortholonew, o morlyr who wos floyed olive,


holds up

hb

skin with o

gr ot esque self-poftroil

of

lttkhelongelo.

THE

AR(HIIE$. In his later years, Michelangelo devoted himself to architecture, supervising the reconstruction of Rome's St. Peter's Cathedral. Given his life-

ll.irhelongelo, (ompidoglio, I 538-64,

Rome.

elongelo

bruke Renoissonce rules by designing lhis ptoz'

,',ith inlerlocktng ovols und voriotions fron right ongles.

long infatuation with the body, it's no wonder Michelangelo believed "the limbs of architecture are derived from the limbs of man. " Just as arms and legs flank the trunk of the human form, architectural units, he believed, should be symmetrical, surrounding a central, vertical axis. The best example of his innovative style was the Capitoline Hill in Rome, the first great Renaissance civic center. The hill had been the symbolic heart of ancient Rome, and the pope wanted to restore it to its ancient grandeur' Gvo existing buildings already abutted each other at an awkward 80" angle. Michelangelo made an asset of this liability by adding another building at the same angle to flank the central Palace of Senators. He then redesigned the facade of the lateral buildings so they would be identical and left the fourth side open, with a panoramic view toward the Vatican. Unifying the whole was a statue of Emperor Marcus Aurelius (see p. 17) on a patterned oval pavement. Renaissance architects considered the oval "unstable" and avoided it, but for Michelangelo, measure and proportion u'ere not determined by mathematicai formulae but "kept in the eyes."

38

lHE

REBIRTH OF ART: RENAISSANCE AND BAROQUI

RAPHAEL. Of the three major figures of the High Renaissance school (Leonardo, Michelangelo, and Raphael), Raphael (pronounced rah fa yell; 1483-1520) would be voted Most Popular. While the other two were revered and their work admired, Raphael was

adored. A contemporary of the three men, Vasari, who


\rrrote the first art history, said Raphael was "so gentle and so charitable rhat eveir animals loved him."

Raphael's father, a mediocre painter, taught his precocious son the rudiments of painting. By the age of 17, Raphael was rated an independent master. Called to Rome by the pope at age26 to decorate the Vatican

rooms, Raphael completed the frescoes, aided by an army of fifty students, the same year Michelangelo finished the Sistine ceiling. "All he knows," said Michelangelo, "he learned from me."
The rich, handsome, wildly successful Raphael went from triumph to tri umph, a star of the brilliant papal court. He was a devoted lady's man, "very amorous," said Vasari, with "secret pleasures beyond all measure." .il/hen he caught a fever after a midnight assignarion and died on his thirty-seventh birthday, the entire court "plunged into grief." Raphael's art most completely expressed all the qualities of the High Renaissance. From Leonardo he borrowed pyramidal composition and learned to model faces with light and shadow (chiaroscuro). From Michelangelo, Raphael adapted full-bodied, dynamic figures and the contrapposro pose.
Rophoel, "School ol Alhens," I 5'I0-l l, Voiicon, Rome. Rophoelt m osterpiece embodies ke High Renobsrrnce

in

ils bolonce,

xulpturol quolity, orchitecturol percpea

tive, ond fusion of pogon ond Christion elements.

Tilion, "Bocrhonol ol the Adrions," I 5l

8, Prodo, Modrid. lhis pogon wine porly nntoins the moior ingredi"

ents of lition's eorly slyle: dozzling controsting colors, omple

fenole forms, ond osymmetric conposifions.

flflA[: IHE FAIHER 0t III0DERN PAINIING. Like his fellow Venetian painters, Titian (pronounced TISH un; 1490?-1576), who dominated the art wodd in the city for sixty years, used strong colors as his main expressive device. First he covered the surface of the canvas with red for warmth, then he painted both background and figures in vivid hues and toned them down with thirty or forty layers of glazes. Through this painstaking method, he was able to portray any texture completely convincingly, whether polished metal, shiny silk, red-gold hair, or warm flesh. One of the first to abandon wood panels, Titian established oil on canvas as rhe typical medium.

After his wife died in 1530, Titian's paintings became more muted, almost monochromatic. Extremely prolific until his late 80s, as his sight failed Titian loosened his brushstrokes. At the end they u'ere broad, thickly loaded with paint, and slashing. A pupil reported that Titian "painted more wirh his fingers than with his brushes."
THE VENTTIAN SCHOOT
,',

-. e ortists working in Florence ond Roile concenlroi-

tor, Bellini wos olso the first lo integrote figure ond lond

loretto ond Veronese continued the lorge*cole, moje$ic siyle of deep coloring ond theotricolity. ln the eighteenth century, the Rococo pointer liepolo conied on the Vene tion trodition, os did Guordi ond Conoletto in their otmospheric cityscopes.

.: :- sculpturol forms ond epic themes, Venetion


:-

scope. Giorgione (1476-1510) oroused emotion


through light ond color. ln his "Tempest," 0 menocing $orm cloud creoted o sense of gloom ond mystery. After Tition

--:'s

,,vere

foscinoted with color, texture, ond mood.

. ---

Bellini (l

430-l

I 6) wos the f irst ltolion

-:,-',' :'the

new oil pointing technique. Tition's men-

the most fomous of Venetion orti$s

Tin-

i::-i--:r;i::iriJtrigs|r,;:1:r :..,.!t

:,,;ta;,ill?ljilliill

lHI
AR(HITEfiURE lN IHE lIAtlAN RENAISSAN(E. Informed by the same principles

RENAISSANCE

39

of

l--:rmonious geometry that underlay painting and sculpture, architecture :.covered the magnificence of ancient Rome. The most noted Renaissance ::chitects were Alberti, Brunelleschi, Bramante, and Palladio. A writer, painter, sculptor, and architect, Alberti (pronounced al BEAR -=e'. 1104_72) was the Renaissance's major theorist who wrote treatises on :.rinting, sculpture, and architecture. He downplayed art's religious purpose -i:d urged artists to study "sciences" like history, poetry, and mathematics as l:ilding blocks. Alberti wrote the first systematic guide to perspective and ::ovided sculptors with rules for ideal human proportions. Another multifaceted Renaissance man, Brunelleschi (pronounced brew LESS kee;1)ll-1446) was skilled as a goldsmith, sculptor, mathemati-:11 ::an, clock builder, and architect. But he is best known as the father of modern .::gineering. Not only did he discover mathematical perspective, he also cham::oned the central-plan church design that replaced the medieval basilica. He Cathedral, called "-one was capable of constructing a dome for the Florence
IHE FOUR R'S OF RTNAISSAT{CE
ARCHITECTURT
-he

Brunelleschi, Pozzi

ftopel, I 440-61,

Florence,

four R's of Renoissonce orchitecture ore Rome,

lules, Reoson, ond'Rithmetic.

ROfllE ln keeping with their possion

for the clos-

the Eighth \Tonder of the World. His inspiration was to build two shells, each supporting the other, crowned by a lantern stabilizing the whole. In designing the Pazzi Chapel, Brunelleschi used Classical motifs as surface decoration. His design illustrates the revival of Roman forms and Renaissance
emphasis on symmetry and regularity.

sics, Renoissonce orchitects sy$emoticolly meosured Romon ruins to copy their style ond proportron. Ihey

'evived elements like the rounded orch, concrete


:onstruction, domed rotundo, portico, borrel voult,

:nd column.

RUIES Since orchiiects considered themselves


scholors rother thon mere builden, they bosed their ,vork on theories, os expressed in vorious treotises.

Alberti formuloted oesthetic rules lhot were widely 'ollowed.

REAS0N

Theories emphosized orchitecture's rotio-

rol bosis, grounded in science, moth, ond engineering. Cool reoson reploced the my$icol opprooch of
the Middle Ages.

In 1502, Bramante (pronounced brah MAHN tee; 14441514) built the Tempietto ("Little Temple") in Rome on the site where St. Peter was crucified. Although tiny, it was the perfect prototype of the domed central plan church. It expressed the Renaissance ideals of order, simplicity, and harmonious proportions. Known for his villas and palaces, Palladio (pronounced pah LAY dee oh; 1508-80) was enormously influential in later centuries through his treatise, Four Books on
Ar
cb

Bromonle, Iempiello, 1 444-1

I 4, Rome.

it e ctur e. Neoclassical revivalists

'RITHMETI(

Architeds depended on orithmetic to

produce beouty ond hormony. A sy$em of ideol pro-

porlions reloted ports of o building to eoch other in numericol rotios, such os lhe

2:l

rotio of o nove

Mke

os high os the width of o church. Loyouls relied

on geometric shopes, especiolly the circle ond


squ0re.

like Thomas Jefferson and Christopher \Wren, architect of St. Paul's in London, used Palladio's rule book as a guide. The Villa Rotonda incorporated Greek and Roman details like porticos with Ionic columns, a flattened dome like the Pantheon, and rooms arranged symmetrically
around a central rotunda.
Pollodio, Villo Rotondo,
begun I 550, Vitenzo.

40

THE REBIRTH OF ART: RENAISSANCE AND BAROQUE

THE NORTHERN RENAISSANCE

In the Netherlands as well as in Florence, new developments in art began about 1420.But what was called the

As the Renoissonce spreod north from ltoly,

it took different forms. NORTHERN RENAISSANGART

ITAI.IAN RENAISSAN(E ART

VS.

Northern Renaissance \Mas not a rebirth ;ffiffi:i;';;;;1;:;f;;;l;:tfliffiH$Hiii&1li:.;;;::t:ii:ii:::ii;::::::ifit+:;:if*;;:i:ll{;l;i;l$mffi$ffi::::i$X:{$;:ffiiiii:::t:;;'ll,l{,: in the Italian sense. Artists in the Simplified forms, meosured proportions Lifelike feotures. unflofiering honesty Netherlands modern Belgium (then ,;$uuiBm$$;;;;;;;;;;;r;;;i'ij:&fi$flffitqffiffitrffiftlmwi*ltli';l;li;r:i;;;;$Hftiffi6i'fl4#ffiffiffiffi,:frr:iliif:il: called Flanders) and Holland lacked Roman ruins to rediscover. Still, their :;ffieiffiffifi;llf:I:;;;:l;il;ffirytqgft{ffiMi;;i;;;l;l{i;i;r;-*;*:tr{t{{i:irffilt;l$tupf;8ffiffi8ffifrffis$H,i;i;i;;r;;,la;; break with the Gothic style produced a TECHNIOUE: Fresco, tempero, ond oil pointings Oil pointings on wood ponels brilliant flowering of the arts. ::Sffifffiffi:;ii;:;:;r:::;'i"::;,4tiHF#dlriril{+#ui'rffi;ffitrnitr{:i;}l$i:;lit;i}:;:};ir;lift$*&iffiffi6iffi:}i*iq;:t;{l:;i}fi*;:i,i;r;:i While the Italians looked to ClasBASIS 0F ARI: Iheory Observotion sical andquity for inspiration, northern ;;ffiffiW{ffi:liji';}i;i;ii:;ffffi;iHiiffiru:iiil:j;:r::::::=:;-r;r:;ii;i'l;:;iiii;iiiftii;:Sffi{ffiffiffi#ifr$$f;;i;ii;':i$fr;*s;:; Europeans looked to nature. \X/ithout Classical sculpture to teach them ideal proportions, they painted reality exactly as it appeared, in a detailed, realistic IAN VAN fY((. Credited with inventstyle. Portraits were such faithful likenesses that Chades VI of France sent a ing oil painting, the Flemish artist painter to three different royal courts to paint prospective brides, basing his Hubert van Eyck was so idolized for decision solely on the portraits. his discovery that his right arm was preserved as a holy relic. His brothThis precision was made possible by the new oil medium, which Northern Renaissance painters first perfected. Since oil took longer to dry than temer, Jan van Eyck (c)]90-1441), pera, they could blend colors. Subtle variations in light and shade heightened about whom more is known, used the illusion of three-dimensional form. They also used "atmospheric perspecthe new medium to achieve a peak 1iys" of realism. - the increasin gly hazy appearance of objects farthest from the viewer ro suggest depth. Trained as a miniaturist and THE RENAISSANCT IN THE TOW COUNTRITS In Holland and Flanders, cities like Bruges, Brussels, Ghent, Louvain, and Haarlem rivaled Florence, Rome, and Venice as centers of artistic excellence. The trademark of these northern European artists
was their incredible ability

to portray nature realistically. down to the most minure


detail.

illuminator of manuscripts, Jan van Eyck painted convincingly the most microscopic details in brilliant, glowing color. One of the first masters of the new art of portrait painting, van Eyck included extreme details like the beginning of stubble on his subject's chin. His "Man in a Red Turban," which may be a selfportrait (l$)), was the earliest known painting in which the sitter looked at the spectator. In one of the most celebrated paintings of the Northern Renaissance, " The Arnolfini lWedding," van Eyck captures surface appearance and textures precisely and renders effects of both direct and diffused light.

Von [yclg "Arrolfini Wedding"


1

434,

NG, London.

msster of reolbm, von

[yck reoeoted

the morrioge scene, in minio-

ture in lhe miror. Viluolly every objecl sym-

bolizu the poinling's lheme


of monioge

fidelily ond the cosf-off shoes holy ground.

with the dog representing

the sonctity

l5Cff: GARDEN 0t THE GROIESOUE. It's not hard to underrd u,hy tu,entieth-century Surrealists claimed Dutch rrer Hieronymous Bosch (c, 1450-1516) as their patron ri. The modern artists exploited irrational dream imagery
hardly matched Bosch's bizarre imagination. Bosch's moralistic paintings suggested inventive tor:.rtS meted out as punishment for sinners. Grotesque fanimages such as hl,brid monsters, half-human, haif

ffiry'
{' Llt-

i.-.n
-'-FP$r,

W,,"-qr.:, -fi .
'\i

,.-rough modern critics have been unable to decipher his '


-rcrlying meanings, it seems clear Bosch belierred that cor'-r mankind, seduced by evil, should suffer calamitous con- .lences_

:r.ra1

inhabited his rveird, unse ttling

;':= ,!F

landscapes.

ci

It,,
J.-i.

Boseh,

deloil, "Ihe Gorden of torlhly Delighls,"


prob

c. I 500, Prodo, Modrid. Bosrh


ollegory, worning ogoinsl

ably intended this os on of erclkism. Such dis'

fl',. r ". \"


Ff*-*,F

1A
I

ke

dongers

lurbing imogery mode Eovh o forerunner of Swreolism.

at,kq /B5ffea"
BRUEGEL: PAINIER

0F PIASANTS.

Flemish painter Pieter Bruegel the

Elder (pronounced BROY gull; c.1525-69) was influenced by Bosch's pessimism and satiric
approach. Bruegel took peasant life as his subject. In his scenes of humble folk working, feasting, or danc-

irg, the satiric edge

always "The Peasant \X/edding," appeared.

['regel, "Hunlers in the Snow," '.:tl!


ond solitcolly.

I 565, (un$his-

.-es Museum, Yienno. Bruegel portruyed peosonls both

for example. features guests eating and drinking with gluttonous absorption. Besides elevating genre painting (scenes of everyday life) to the stature of high art, Bruegel also illustrated proverbs, such as "The Blind Leading the Blind," with horrific, bestial facial expressions typical of Bosch's Biblical scenes. Bruegel's most famous paint"Hunters in the Snow," came ing, from a series depicting man's activities during the months of the year. His preoccupation with peasant life is shown in the exhausted hunters plodding homeward, silhouetted against the snow. Bruegel used from atmospheric perspective hazy backsharp foreground to

ground
depth.

to give the painting