World off art 8th edtion by henry m sayre chapter 18

Describe how the Mannerist style is different from that of the High Renaissance.. © Studio Fotografico Quattrone, Florence... © Studio Fotografico Quattrone, Florence... © Studio Fotog

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The Renaissance through the Baroque

18

Learning Objectives

1 of 2

1 Explain how humanism informs the art

of both the Early and High

Renaissance.

2 Discuss some of the ways that the

encounter with other cultures

impacted the long-established artistic traditions of China and Japan, the

Americas, and Africa.

Learning Objectives

2 of 2

3 Describe how the Mannerist style is

different from that of the High

Renaissance.

4 Define the Baroque as it manifests

itself in both art and architecture.

• Between about 1400 to 1500, Western Europe experienced a rebirth, or

Renaissance, of Classical values.

• By the time of the illumination for Les

Très Riches Heures du Duc de Berry,

human beings are represented as

casting shadows and the setting

portrays some perspectival accuracy.

The Limbourg Brothers, October, from Les Très Riches Heures du Duc de Berry.

1413–16 Manuscript illumination Musée Condé, Chantilly, France

Photo © RMN-Grand Palais (domaine de Chantilly)/René-Gabriel Ojéda [Fig 18-1]

• The Black Death arrived in Sicily around

1348 and quickly spread north.

population was safe.

• Following this, feudal rule gave way to centralized forms of government.

• An influx of workers to the city led to

more manufacture and trade as well as

a growing intellectual class.

The Early Renaissance

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• Humanism was a belief in the unique

value of each person conceived by

Petrarch in the 1330s.

• Donatello's David was the first life-size

nude sculpture since antiquity.

posing, the subject seems to be

self-admiring.

Donatello, David.

ca 1425–30 Bronze, height 5' 2-1/4" Museo Nazionale del Bargello, Florence

© Studio Fotografico Quattrone, Florence [Fig 18-2]

The Early Renaissance

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• Filippo Brunelleschi developed a system

of geometric, linear perspective.

• Painter Masaccio incorporated what he learned from Brunelleschi and Donatello

to create works such as The Tribute

Money.

chiaroscuro and have more realistic

weight, and perspective is one-point.

Masaccio, The Tribute Money.

ca 1427 Fresco Brancacci Chapel, Santa Maria del Carmine, Florence

© Studio Fotografico Quattrone, Florence [Fig 18-3]

The Early Renaissance

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• In the north, artists desired to render believable space and the most realistic detail.

reflect light in a way that fresco and

tempera could not.

• Rogier van der Weyden's The

Deposition has nothing emotionally in

common with The Flagellation of Christ.

The Early Renaissance

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• Piero della Francesca controlled the

emotion in Flagellation by means of

mathematic precision, confining the

composition to a square and rectangle.

• In contrast, van der Weyden composed

Deposition with two parallel curves

seen in the bodies of Christ and the

swooning female below him.

Rogier van der Weyden, The Deposition.

ca 1435–38 Oil on wood, 7' 1-5/8" × 8' 7-1/8" Museo Nacional del Prado, Madrid

© 2015 Image copyright Museo Nacional del Prado © Photo MNP/Scala, Florence

[Fig 18-4]

Piero della Francesca, The Flagellation of Christ.

ca 1455 Tempera on wood, 32-3/4 × 23-1⁄3" Palazzo Ducale, Galleria Nazionale delle

Marche, Urbino

© 2015 Photo Scala, Florence, courtesy of the Ministero Beni e Att Culturali [Fig 18-5]

The Early Renaissance

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• The Medici family highly influenced the Early Renaissance, as they essentially controlled banking in Florence.

• Lorenzo de' Medici studied Neoplatonic thought, which argued that

contemplating beauty could transform love in a corrupt soul to spiritual love.

divinity of the nude figure.

Sandro Botticelli, The Birth of Venus.

ca 1482 Tempera on canvas, 5' 8-7/8" × 9' 1-7/8" Galleria degli Uffizi, Florence

© Studio Fotografico Quattrone, Florence [Fig 18-6]

The High Renaissance

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• Leonardo, Michelangelo, and Raphael lived in Florence at the time of great artistic achievement.

• Leonardo da Vinci worked for Ludovico Sforza primarily as military engineer and had a restless imagination.

 A Scythed Chariot, Armored Car, and Pike shows his desire to create

machines of war.

Leonardo da Vinci, A Scythed Chariot, Armored Car, and Pike.

ca 1487 Pen and ink and wash, 6-3/8 × 9-3/4" The British Museum, London

1860,0616.99 © The Trustees of the British Museum [Fig 18-7]

The High Renaissance

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• Leonardo also painted his famous The

Last Supper under Sforza.

• Around the same time that he returned

to Florence, he produced Madonna and

Child with St Anne and Infant St John the Baptist as well as the Mona Lisa.

psychological depth, leaving the sitter

an aura of ambiguity.

Leonardo da Vinci, Mona Lisa.

ca 1503–05 Oil on wood, 30-1/4 × 21" Musée du Louvre, Paris.Photo © RMN-Grand Palais (musée du Louvre)/Michel Urtado [Fig 18-8]

The High Renaissance

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• Raphael arrived in Florence during a

time of Neoplatonist domination.

imitate it slavishly, as Plato had initially argued.

famous of Raphael's paintings in the

Stanza della Segnatura in the Vatican.

Raphael, The School of Athens.

1510–11 Fresco Stanza della Segnatura, Vatican Palace, Vatican City.Photo Fine Art Images/Heritage Images/Scala, Florence [Fig 18-9]

The High Renaissance

4 of 6

• In Venice, emphasis on art was in the

sensuousness of light and color.

• Giorgione's The Tempest is surrounded

in mystery.

are split by a river and lightning-struck cityscape.

would become a subject of Venetian art.

Giorgione, The Tempest.

ca 1509 Oil on canvas, 31-1/4 × 28-3/4" Gallerie dell'Accademia, Venice

CAMERAPHOTO Arte, Venice [Fig 18-10]

The High Renaissance

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• When Giorgione died of the plague at age 32, it is likely that his friend Titian finished several of his paintings.

as merely a "nude woman," an object of desire.

• She may be a courtesan or a bride.

Titian, Venus of Urbino.

1538 Oil on canvas, 47" × 5' 5" Galleria degli Uffizi, Florence

© Studio Fotografico Quattrone, Florence [Fig 18-11]

The High Renaissance

Albrecht Dürer, Self-Portrait.

1500 Oil on panel, 26-1/4 × 19-1/4" Alte Pinakothek, Munich

Inv 537 © 2015 Photo Scala, Florence/bpk, Bildagentur fuer Kunst, Kultur und

Geschichte, Berlin [Fig 18-12]

The Era of Encounter

• Bartolomeu Dias and Christopher

Columbus explored areas not well

known to Europe in the late fifteenth century.

• In China, Japan, Africa, and the

Americas, established traditions were transformed by European encounters.

Art in China and Japan

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• Marco Polo became an administrator to Kublai Khan's court during a journey to China in 1275.

• Many scholar-painters of the Chinese

court were in exile but sought to keep traditional values and arts alive.

to protest the Mongol conquest of China.

Cheng Sixiao, Ink Orchids, Yuan dynasty.

1306 Handscroll, ink on paper 10-1/8 × 16-3/4" Municipal Museum of Fine Arts, Osaka

Galileo Picture Services, LLC, New York/PPS [Fig 18-13]

Art in China and Japan

2 of 5

• The Ming dynasty was established around 1368.

essay about the history of Chinese painting and its division between

northern and southern schools.

Art in China and Japan

3 of 5

Peacocks is of the northern school.

colorful.

admired by court officials.

• The southern style emphasized

self-expression, as seen in Poet on a

Mountaintop.

Yin Hong, Hundreds of Birds Admiring the Peacocks, Ming dynasty.

ca late 15th–early 16th century Hanging scroll, ink and color on silk, 7' 10-1/2" × 6' 5"

The Cleveland Museum of Art

Purchase from the J H Wade Fund, 1974.31 Photo © Cleveland Museum of Art

[Fig 18-14]

Art in China and Japan

4 of 5

• Zen Buddhism took hold in Japan during the thirteenth century.

 Haboku Landscape is painted in "broken

or splashed ink," an abstract

representation practiced by Chinese

Buddhists.

Sesshu Toyo, Haboku Landscape.

1400s–early 1500s Hanging scroll, ink on paper, 28-1/4 × 10-1/2" The Cleveland

Museum of Art

Gift of the Norweb Foundation, 1955.43 Photo © Cleveland Museum of Art [Fig 18-16]

Art in China and Japan

5 of 5

• A new genre of screen painting known

as namban developed from the arrival

of Portuguese and Dutch traders.

foreign galleon in Kyoto harbor.

a convergence of multiple cultures.

School of Kano, Namban six-panel screen.

1593–1600 Kobe City Museum of Namban Art, Japan.Galileo Picture Services, LLC, New York/PPS [Fig 18-17]

Art in Mexico and South America

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commercial center by the fourth century

CE

Pyramids of the Moon and Sun together.

Dead, played an important role.

200,000 people.

Teotihuacán, Mexico, as seen from the Pyramid of the Moon, looking south down the

Avenue of the Dead, the Pyramid of the Sun at the left

ca 350–650 CE

© Gina Martin/National Geographic Image Collection [Fig 18-18]

The Pyramid of the Moon, looking north up the Avenue of the Dead.

© Frandesca Yorke/Dorling Kindersley [Fig 18-19]

Art in Mexico and South America

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• The Maya in the south were never

unified into a single entity due to their occupation of several regions.

260-day cycle and a 365-260-day cycle, the

convergence of which occurred 52 years.

Art in Mexico and South America

3 of 6

• The Aztecs, merged from Mayan and

Toltec cultures, worshiped the goddess

Coatlicue.

• The Aztec Empire was conquered by

Hernán Cortés in 1519–21.

betrayal, and disease led to the downfall.

Coatlicue, Aztec.

15th century Basalt, height 8' 3" National Museum of Anthropology, Mexico City

De Agostini/G Dagli Orti/Bridgeman Images [Fig 18-20]

Art in Mexico and South America

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• Blood sacrifice prior to the arrival of

Cortés had wiped out almost the entire population of Casas Grandes.

• Diego de Durán's History of the Indies

of New Spain contains an illustration of

Cortés's technological superiority over the Aztecs.

Aztecs confront the Spaniards, from Diego de Durán's History of the Indies of New Spain.

1581 Biblioteca Nacional, MadridBridgeman Images [Fig 18-21]

Art in Mexico and South America

that shows the distinctive style of the culture.

of daily life with symbolic function.

Moche Lord with a Feline, from Moche Valley, Peru, Moche culture.

ca 100 BCE–500 CE Painted ceramic, height 7-1/2" The Art Institute of Chicago.Kate S Buckingham Endowment, 1955.2281 © Art Institute of Chicago [Fig 18-22]

Art in Mexico and South America

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• Inca culture emerged around 1300.

that fit so closely together that they have withstood earthquakes that

destroyed structures created later.

are yet extant and stood by a temple that would have been originally covered

in gold and turquoise.

Original Inca stone wall of the Coricancha with a Dominican monastery rising above it,

Cuzco, Peru, Inca culture

© Richard Maschmeyer/Robert Harding World Imagery/Corbis [Fig 18-23]

African Art of the Encounter

• The Portuguese on the west coast of

Africa were compared to mudfish, which were sacred to the Benin culture.

an ivory mask hip pendant.

• Benin traded gold, ivory, and rubber for beads and brass.

exchange.

Mask of an iyoba (queen mother), probably Idia, Court of Benin, Nigeria.

ca 1550 Ivory, iron, and copper, height 9-3/8" Metropolitan Museum of Art, New York.Michael C Rockefeller Collection, Gift of Nelson A Rockefeller, 1972, 1978.412.323 ©

2015 Image copyright Metropolitan Museum of Art/Art Resource/Scala, Florence

[Fig 18-24]

Portuguese Warrior Surrounded by Manillas, Court of Benin, Nigeria.16th century Bronze Kunsthistorisches Museum, Vienna [Fig 18-25]

The Mannerist Style in Europe

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• Mannerism was a style based on

"invention" and the technical virtuosity

of the artist.

• Michelangelo's The Last Judgment

showed chaotic, swirling line and

grotesque proportion.

• Tintoretto's The Miracle of the Slave

heightens drama with dynamic

composition and contrast.

Michelangelo, The Last Judgment, on altar wall of Sistine Chapel.

1534–41 Fresco Vatican Museums, Vatican City

Vatican Museums,Vatican City/Bridgeman Images [Fig 18-26]

Tintoretto, The Miracle of the Slave.

1548 Oil on canvas, approx 14 × 18' Gallerie dell'Accademia, Venice

Cameraphoto Arte Venezia/Bridgeman Images [Fig 18-27]

The Mannerist Style in Europe

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• The space in Mannerist paintings often seems too shadow and foreshortening

is employed.

• Bronzino's An Allegory with Venus and

Cupid presents bright and clashing

colors.

• El Greco's The Burial of Count Orgaz

shows more than one focal point and an eclectic portrayal of Christ.

Bronzino, An Allegory with Venus and Cupid.

ca 1540–50 Oil on wood, approx 5' 1" × 4' 8-3/4" National Gallery, London

Bought, 1860, Inv 4993 © 2015 Copyright National Gallery, London/Scala, Florence

[Fig 18-28]

El Greco, The Burial of Count Orgaz.

1586 Oil on canvas, 16' × 11' 10" Church of Santo Tomé, Toledo, Spain

© 2015 Photo Scala, Florence [Fig 18-29]

The Baroque

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• Baroque style is especially noted for

its theatricality.

• Gianlorenzo Bernini added a piazza to

St Peter's Basilica that represented the embrace of the church, but his design is symmetrical and conservative

compared to the facade for San Carlo

alle Quattro Fontane.

St Peter's, Rome; nave and facade by Carlo Maderno.1607–15; colonnade by Gianlorenzo Bernini, 1657.

Ikona [Fig 18-30]

Francesco Borromini, Facade, San Carlo alle Quattro Fontane, Rome.

1665–67

© 2015 Photo Scala, Florence [Fig 18-31]

Gianlorenzo Bernini, The Cornaro Family in a Theater Box.

1647–52 Marble, life-size Cornaro Chapel, Santa Maria della Vittoria, Rome

© 2015 Photo Scala, Florence/Fondo Edifici di Culto - Min dell'Interno [Fig 18-32]

Gianlorenzo Bernini, The Ecstasy of St Theresa.

1647–52 Marble, life-size Cornaro Chapel, Santa Maria della Vittoria, Rome

Canali Photobank, Milan, Italy [Fig 18-33]

The Baroque

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• Painter Caravaggio opposed grand

masters of Renaissance style and

created a naturalistic, secularized style

of his own.

 The Calling of St Matthew obscures the

figure of Christ on the right, painting a faint halo amidst a high contrast of light and dark.

Caravaggio, The Calling of St Matthew.

ca 1599–1602 Oil on canvas, 11' 1" × 11' 5" Contarelli Chapel, San Luigi dei Francesci, Rome

Canali Photobank, Milan, Italy [Fig 18-34]

The Baroque

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• Rembrandt used light to emotional

effect, particularly in Resurrection of

Rembrandt van Rijn, The Resurrection of Christ.

ca 1635–39 Oil on canvas, 36-1/4 × 26-3/8" Alte Pinakothek, Munich

© Blauel/Gnamm - ARTOTHEK [Fig 18-35]

The Baroque

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Annibale Carracci features characters thrust into a civilized Italian setting

rather than an Egyptian one.

• Claude Lorrain produced idyllic

landscapes with atmospheric

perspective, such as Pastoral

Landscape.

Annibale Carracci, Landscape with Flight into Egypt.

ca 1603 Oil on canvas, 4' 1/4 × 8' 2-1/2" Galleria Doria Pamphilj, Rome

Canali Photobank, Milan, Italy [Fig 18-36]

Claude, A Pastoral Landscape.

ca 1650 Oil on copper, 15-1/2 × 21" Yale University Art Gallery, New Haven.Bequest of Leo C Hanna, 1959.47 Image courtesy of Yale University Art Gallery

[Fig 18-37]