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- St. Peter's Basilica
- Artist: Michelangelo
- Era: High Renaissance, 1556-1564
- Location: Vatican, Rome
- Techniques:
- compact domed Greek cross inscribed in a square inscribed in another square
- finished Bramante’s plan
- fronted with a double column portico
- creates a snowflake-like complexity
- more cohesive unity and open space than Bamante's plan
- compact dome makes it look narrow and tall
- double colossal pilasters
- creating and undulating wall surface in addition to undulating wall - more texture
- unity of drum and dome
- mimics beauty of human body
- balance between the static and dynamic elements
- plays on vertical through doubled columns on drum and pilasters on dome
- he doesn't finish it
- drum has an undulating surface
- sculpted garland allude to Roman
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- Last Judment
- Artist: Michelangelo
- Era: High Renaissance, 1534-1541
- Location: Sistine Chapel, Vatican, Rome
- Techniques:
- his style changes
- turbulent times for Italy
- more pessimistic, moralizing, and grimly fanatical religious spirit
- depicts fate of humanity and the fate of his own would
- mankind has forsaken god
- commissioned by Pope Paul III
- Christ is a stern harsh judge
- arms lifted in a gesture of damnation
- could destroy heaven, hell, and earth in one swoop of his arm
- Christ positioned as Moses sculpture
- thicker male anatomy
- heavier figures
- very bright colors
- fresco is polluted because of burning for papal elections
- choirs of heavenly figures
- awe inspiring images
- trumpeting angels
- souls being thrown down to hell
- Romanesque style gargoyles
- saint who had be skinned alive is holding his own skin in the form of Michealangelo
- shaped as a skull
- no Neo-Platonic beauty
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- Il Gesu
- Artist: Della Porta and Giacomo de Vignola (plan)
- Era: High Renaissance, 1575-1584
- Location: Rome, Italy
- Techniques:
- plan
- monumental expansion of Alberti's Sant Andrea
- nave is to take over main volume of space
- great hall with side chapels
- dome empahsizes approach to the altrar
- open space to create a single great hall
- theatrical setting
- Jesuits and beginning of Counter-Reformation
- mother church of the Jesuit Order
- starts Baroque kind of
- exterior
- union of lower and upper stories through scroll buttresses like Santa Maria Novela
- classical pediment
- reduced pediment in tympanum
- pairs pilasters
- horizontal march of pilasters and columns that builds to a dramatic climax at the central bay
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- The Descent from the Cross
- Artist: Jacopo da Pontormo
- Era: Mannerism, 1525-1528
- Location: Capponi Chapel, Sta. Felicita, Florence
- Techniques:
- rotating convential figural groups along a vertical axis
- leaves a void in the center of the piece
- accentuates void by filling it with hands - represented loss and grief
- ambiguity - anxious glances in all directions
- pleading facial expressions
- athletic bending and twisting
- elastically elongate bodies and limbs
- heads are small oval faces
- heavy eyelids
- contrasting colors
- greens clash with blues and pinks
- space is too shallow for action
- no depth, crowded and compressed
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- Madonna with the Long Neck
- Artist: Parmagianino
- Era: Mannerism, 1535
- Techniques:
- delicate hands with elongated fingers
- pear shaped physique
- swaying elongated frames of figures
- soft faces
- elongates Christ to fit in wide lap
- Christ child looks dead - allusion to crucifixion
- sash across her chest
- female on left has short torso and long leg
- awkward space
- astute drapery
- column from nowhere
- little man in bottom right, possibly biblical refenercne
- uses curtain to make a stage like setting but open space on right
- neck matches column which matches medieval hymn, Virgin's neck is a great ivory tower of column
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- The Exposure of Luxury or Venus, Child, Folly, and Time
- Artist: Bronzino
- Era: Mannerism, 1546
- Techniques:
- no depth of space all figures in front plane
- contours for figures are strong sculptures
- heads, hands, and feet are graceful
- Venus is having a relationship with Cupid
- male behind drapery is time
- female in back is truth
- putti symbolizes folly and he is throwing flowers
- envy is tearing her hair out on left
- monsterous figure, little girl, with a honeycomb tail - fraud
- fraud is represented by the masks
- doves for peace
- apple is a symbols of knowledge and death
- all of these are elements of love
- "love is foolish with its hatred and inconstancy and its folly will be discovered in time"
- love doesn't last
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- Rape of the Sabine Madiens
- Artist: Giovanni da Bologna
- Era: Mannerism, 1583
- Location: Loggia Dei Lanzi, Piazza Della Signoria, Florence
- Techniques:
- intertwined figures
- contoured bodies
- true male and female anatomy
- mythological story lines but they are typical men and women - allusion to Laoccon
- action drama and theatricality
- central axis which all motion spins around- contained in a cylinder of space
- negative space is just as important as the solid mass
- first large scale since Classical era
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- Palazzo del Te
- Artist: Guiliano Romano
- Era: Mannerism, 1525-1535
- Location: Mantua
- Techniques:
- summer palace for the duke and a stud farm
- faces inner courtyard
- two unequal registers - bottom is larger
- real and fake windows
- no balance or symmetry
- some rounded and some square entrances
- engaged columns
- semicircular niches some have architraves
- holding up triglyphs
- keystone, arches are going to fall
- Romania personal humor
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- San Zaccaria Altarpiece
- Artist: Giovanni Bellini
- Era: Venetian, 1505
- Techniques:
- Madonna in holy conversation
- very conventional with enthroned virgin
- St. Peter holds key and book
- St. Catherine hold palm leaf of martyrdom and broken wheel
- St. Jerome holds just a book - translation of a Bible
- coil angel playing a viol
- placed in side a shrine with outdoor lighting
- flat wall recesses into space
- softer and more luminous in color
- sophistication of light and color that creates serenity and spiritual calmness
- no interact between figures
- line is not the chief fromal element
- outlines dissolve in light and shadow
- atmospheric hazy quality kind of sfumato
- raise viewers' view point
- floor is used for recession into space
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- Pastoral Symphony
- Artist: Giorgione de Castelfranco
- Era: Venetian, 1508
- Techniques:
- oil on wood
- poesia
- dense shadow in background
- figures emerge as soft forms that project out of shadow
- hazy darkness
- villa crowns hillside
- evokes a pastoral mood
- shepard symbolizes the poet
- natural setting alludes to poetry
- pipes and lute are his poetry
- two women are the muses - invisible inspiration
- one woman with water symbolizes well of poetic inspiration
- women's volumntuous bodies are softly model and hazy
- poetic personifications of nature's abundance
- parishes beauty of nature, music, and pleasure
- lost but not forgotten paradise
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- Assumption of the Virgin
- Artist: Titian
- Era: Venetian, 1516-1518
- Location: Sta. Maria Gloriosa dei Frari, Venice, Italy
- Techniques:
- major altarpiece in the church in Venice
- convey light through color
- moment when Mary rises to heaven
- clouds are golden and luminous
- that light radiates into the church interior
- god the father is above her with open arms
- apostles gesticulationg widely
- calm in heaven and wild earthbound figures
- through vibrant colors infuses the image with drama and intensity - his reputation
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- Madonna of the Pesaro Family
- Artist: Titian
- Era: Venetian, 1519-1526
- Location: Sta. Maria dei Frari, Venice
- Teachniques:
- set inside and architectural arch
- canvas having on wall
- commissioned by bishop Pesaro - commander of papal fleet that led a successful campaign against the Turks in the Venetian-Turkish War
- stately, sunlit setting
- Madonna is receiveing the commander who is knealing below her at the foot of her throne
- St. George behind Pesaro carrying banner with coats of arms of Pesaro and Borgal pope line
- Turkish hostage alludes to Venetian-Turkish War
- on the stairs is St. Peter who is recording in a book
- St Francis is presenting rest of Pesaro family members
- everything is based on a diagonal composition
- Madonna is top of axis
- she is at top of diagonal follows her eye line down to Pesaro
- banner brings symmetry to piece because it provides intersecting diagonal
- based on movement and gesture, dynamic
- colors are about courtly splendor
- monumental figures either single or in groups but they match the majesty of the event itself
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- Venus of Urbino
- Artist: Titian
- Era: Venetian, 1538
- Techniques:
- oil on canvas
- just for her husband
- presented to her husband in a bed chamber of classical mythology
- based on a Venus by Gorgionai
- official formula for reclining female nude
- diagonal composition
- linear play of bed accenting her body
- dog is pendent - balance - doesn't have to be same size - not fidelity - technical balance
- depth of space through foreground, middle ground, and background
- female is in the foreground, dog is in the middle ground, and curtain and everything behind it is in the background
- simple drapery pushes her into foreground
- makes smaller unit for background space
- red of sofa to red of servant's dress provides opposing diagonal
- holding fruit in her hand
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- Jupiter and Io
- Artist: Correggio
- Era: Venetian, 1532
- Techniques:
- oil on canvas
- almost Baroque
- Jupiter is a male god who take any woman he wants - comes to earth in the from of a cloud to seduce Io
- figure with a soft pudgy back whose proportions and skin tone are more realistic
- very sweet angelic face with high receding hairline
- sfumato lighting - hazy quality creates sensuality
- light source is outside picture and accents the softness of her back
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- The Last Supper
- Artist: Tintoretto
- Era: Venetian, 1594
- Location: Chancel, San Giorgio Maggiore, Venice
- Techniques:
- oil on canvas
- almost part of Counter Reformation teaching
- nature of art
- underground tavern
- supernatural lighting that highlights Christ's head and apostles' heads too kind of to create halos (mostly Christ)
- fire of oil lamp is shaped like wings
- highlight smoke the looks like angels
- Christ is at center of table
- table is a sharp diagonal accented by flat coffered ceiling that helps recession into space
- impression of interaction between figures
- heavy atmosphere and hazy in the way it creates a spiritual quality
- solid forms melt into light and dark- ghostly unearthly darkness in back - limitless space
- sharp angles and line that merge extremely fast - baroque style of dramatic perspective
- chiaroscuro
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- Christ in the House of Levi
- Artist: Veronese
- Era: Venetian, 1573
- Techniques:
- majesty of classical architecture
- huge scale
- three arcades divided by massive coloumns
- logia - cover vaulted area over table
- plaza of St. Mark's Square in Venice in background
- chief steward in foreground who is gesturing a welcome
- planned to be a last supper, but accused of inpiety
- commoners, people of different races (blacks) dwarfs, and dogs too close to Christ
- balance ans symmetry
- used entire color palette
- Christ is hidden in center with natural lighting behind him
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- Villa Rotunda
- Artist: Polladio
- Era: Venetian 1566-1570
- Location: near Vicenza, Italy
- Techniques:
- private residence on a hill- based on ancient Roman single family houses
- entire building is symmetrical
- mixes Classicism's clarity with some elements of Mannerism
- exterior has a large flight of stairs on a high podium that enter on four side
- three registers all different sizes, podium, first floor, second floor
- no correlation of exterior to interior
- Pantheon - Roman temple front facades with porticos with dome rising behind
- sensible and functional
- circular platform
- all sides are equal
- four stair cases with views into four different landscapes
- Greek cross from Bramante
- Pazzi Chapel inspiration with short dome
- roof top sculpture from Etruscans and Michelangelo
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- San Giorgio Maggiore
- Artist: Palladio
- Era: Venetian, 1565
- Location: Venice, Itlay
- Techniques:
- ramatically placed building
- short aisles with tall nave
- red brick building with a marble, Roman temple front facade
- mixes triangular pediments with round niches
- monumental engaged columns
- strong shadows
- reflections off water hits the white wall stark white that divided the sea and the sky of blue
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