21 Sixteenth-Century Art

• The oil is on a wood panel.

• For formal, technical, and expressive qualities, apply the vocabulary and concepts relevant century Italian Renaissance art and architecture to sixteenth-century Italian Renaissance art.

• Use the art historical themes, subjects, and symbols to tell the story of a work of Italian Renaissance art.

• It was moved to mystery by the smoky haze that surrounds both Versailles and Tuileries Palace, and Napoleon hung it in his bedroom.
• It hangs at the Louvre.
• The most popular places for tourists to visit Paris.

• For its time, this was an unusual portrait.

• There is no need for a secret code to be cracked.
• Leonardo clothing and jewelry that signaled their status and their da Vinci, one of the most famous painters and most fertile husbands' wealth.
• The likeness of a woman who was calm between 1503 and 1506 was painted by the Italian Renaissance artist, who was living in Florence.

• Her expression was called enigmatic.
• The spell has cast over viewers.

• This portrait is from her mid-twenties.
• The High Renaissance style that will deliver the painting was never hallmarks of him.
• During the first two decades of his life, he tinkered with it and took it with him to Rome after 1513.
• The king bought stability to the monumentally sculptural human form after Leonardo's death.

• The Renaissance caused many artists to flee from the ruined city.
• Charles believed that religious ferment transformed European culture.

• Clement VII had ambitions of warring rulers.
• Charles was crowned emperor by the humanism.

• Cartog knighted Titian.
• Some painters and raphers began to acknowledge the Earth's curvature and sculptors became entrepreneurs and celebrities, selling prints of the degrees of distance, giving Europeans a more accurate depiction of their place within the world.
• The explosion in book production, spread professional and private--in diaries, notebooks, and letters ing new ideas through the translation and publication of that have come down to us, can be attributed to the many artists who recorded their activities.
• In addition, broadening the horizon began to report on the lives of artists, documenting their of educated Europeans, and encouraging the development of physical appearance and literacy.
• Artists felt that travel was becoming more common.

• At the beginning of the 16th century, England, France, and Portugal were seen as a series of critical biographies, but at their core was a nation-states under strong monarchs.

• Vasari argued that art had become more realis ens of principalities, counties, free cities, and small terri tic over time, reaching its apex of perfec tories.
• The Habsburg Holy notion of the High Renaissance as the greatest power in Europe was developed from his description.

• Popes the Classics and mathematics as well as the techniques of behaved like secular princes, using diplomacy and mili the craft, became a topic of intense interest.
• From the tary force to regain control over central Italy, came the Renaissance idea of establishing family members as hereditary rulers.

• The self-aggran idea as well as the rebuilding of St. Peter's weaves its way through Vasari's work like an organiz dizing art projects and luxurious lifestyles.
• Men were favored by this newly elevated status.

• Most artists of either sex had no access to the humanist north of the Alps.
• The Churchchal used gious reformers within it to teach reli education, but women were also denied.
• It was ance of salvation in exchange for a financial contribution almost impossible for an artist to achieve international status to the Church.
• Most women couldn't do that, but the Protestants came to be called Protestants because they protested.

• Artists saw the Roman principles in Classical art.

• The turn of the High Renaissance was marked by two important practical developments.
• The arts in Italy have been affected by the sixteenth century.
• With the High Classical period in ancient Athens, the use of tempera had almost completely given way to term "High Renaissance", which was an art historical the more flexible oil painting medium.

• Florence's renowned artistic tradition attracted a sense of gravity and decorum, a complex but ordered a stream of young artists to that city throughout the tionship of individual parts to the whole.

• The surviving works of Roman antiquity that would have been available to the Renaissance artists and architects who masterminded the Classical revival can be found on the map.

• The chapel frescos show the importance of Masac after an apprenticeship in the Florentine cio.
• Leonardo traveled to Milan in 1481 or the Renaissance, and worked in Florence early in his career, along with other leading artists of the High years.

• The painting of the Virgin and Child with angels was supposed to be done by Leonardo, but he added a figure of the young John the Baptist, who had a relationship with Jesus.
• She draws attention to her child by extending her hand over his head, while the angel who looks out without actually making eye contact with the viewer points to the center of interaction.

• The stable, balanced, pyramidal group is set against an exquisitely detailed landscape and will become a standard feature of High Renaissance Classicism.

• Oil on wood panel is now transferred to canvas.

• The fingers and toes of his two hands and feet will touch mathematical proportions to seek the ideal representation of the circle described therefrom.
• The ideal man may be found from the circular outline of the human body, as was shown by the square figure architect and engineer Vitruvius.
• If we measure the distance from the circle to the square.
• Ancient Egyptian artists laid out soles of the feet to the top of the head and then applied square grids as aids to design.

• The ink is 131/2 x 95/8''.

• Renaissance portraiture was typified by a coffered ceiling and four pairs of tapestries.
• Jesus and his innovative painting are so arresting and haunting, even today.

• Leonardo was sitting in the hall.
• The daily gathering of this local most complete means of creating an illusion of the natu monastic community is a result of Jesus's meal with insistence on the supremacy of painting as the best.
• Michelangelo argued for sculpture while the stagelike space ral world was arguing for stage.
• Leonardo considered the vanishing point of the one-point linear perspec to be secondary to the depiction of sculptural volume, which lies behind Jesus's head.
• His 12 disciples are grouped in four fied his compositions by covering them with a thin, lightly interlocking sets of three.

• Leonardo considered dusk to be the finest time for Jesus to announce that one of them would of day and recommended that painters set up a scene from a Because early evening light tends to produce a similar story--one that captures the individual reactions of the effect naturally.
• Leonardo was an acute observer of human in a courtyard with black walls and a linen sheet stretched behavior, and his art captures human emotions with com overhead to reproduce twilight.

• He was not comparable to the Mass.
• Traditional representations of the ticularly interested in Classical literature or archaeology have been broken.

• His passions were mathematics, engineering, and ance, and he placed the traitor in the natural world.
• Within the first ings and notes on anatomy, geology, meteorology, and the young John the Evan architectural design, he compiled volumes of detailed draw clutching his money bags in the shadows.
• He sought not only the details of the opposite side of the table in his drawings of Peter and gelist.
• The set tions of Judas, Peter, and John were the geometric basis of perfect propor each to play an essential role in Jesus's mission.
• The events leading to Jesus's sacrifice, Leonardo's drawings of the Church after Jesus's death, and John's drawings of machines foretold the Second Coming and the Last.

• The painting's careful geometry, the convergence of its designed flying machines, a kind of automobile, a para perspective lines, the stability of its pyramidal forms, and chute, and all sorts of military equipment, including a Jesus's calm demeanor at the mathematical center of all the mobile His imagination was able to bring commotion, work together to reinforce the sense of gravity, his creations into being.
• He didn't have a source balance and order.
• He may epitomize High Renaissance style.

• The French, who invaded Italy in 1494, complained that he never finished anything and that his inventions distracted him from his painting.

• Instead of painting in fresco, Leonardo created an experimental technique.
• There is a thin layer of plaster with an unknown formula.
• The result was a disaster.
• By the middle of the 16th century, the painting's figures could not be seen due to its poor condition.
• The lower center of the composition was cut through by the monks in the 17th century.
• Despite many attempts to stop the work's decline, it has barely survived the intervening period.
• In World War II, the refectory was bombed to rubble.
• The coats of arms are of the duke of Milan and his wife.

• The pyramidal composition was activated by Raphael ment of the child and the draperies that cling to the Virgin's substantial form.

• Piero della Francesca did portraits of Battista Sforza and Federico da Montefeltro.
• Raphael silhouettes Maddalena and Agnelo against a panoramic landscape.
• Raphael turned his subjects to address the viewer.
• Agnelo leans his arm on a balustrade to add three-dimensionality to his posture.

• Raphael had seen progress.
• With Maddalena, there is no mystery, no psychological presence, and Raphael follows tradition in emphasizing the sumptuousness of her clothing and making ostentatious display of her jewelry.
• The hair that escapes from her coiffure is the only sign of vulnerability.

• The oil is on a wood panel.

• The domed church of San Bernardino, Raphael's most influential achievement in the papal 2 miles outside Urbino, can be seen in the distance on a hilltop.
• The ideals of the Renaissance papacy may have been damaged by the design of a grand church by the architect of the High Renaissance style.

• There is oil on the panel.

• In the course of a ten-year restoration, the vibrant colors of this important work were revealed.

• Julius II must have approved the subjects if he didn't actually do it.
• The vanishing point is framed under three successive barrel vaults by Greek philosophers Plato and Aristotle.
• Philosophers debating and demonstrating their theories with onlookers and each other surround Plato and Aristotle.

• The scene takes place in an immense interior flooded with a clear, even light from a single source, seemingly inspired by the new design for St. Peter's.

• The dignity of the philosophers is matched by the grandeur of the building.
• The sweeping arcs of the composition are activated by the variety and energy of their poses and gestures, creating a dynamic unity that is a prime characteristic of High Renaissance art.

• Agnelo Doni commissioned other paintings to commemorate his marriage alliance with Maddalena.

• He ordered a tondo to portray the Holy Family from Michelangelo.

• The original price for that painting was 70 ducats, but Doni only sent Michelangelo 40.
• The patron had to pay the artist 140 ducats to get his painting.

• The figure bent over a slate with a Raphael placed his own niches in the walls are of ideas and pure forms that were the compass of geometry.

• According to Vasari, Raphael gave the likeness of the god of sunlight, rationality, and the mathematician Ptolemy, as well as the architect who designed the terrestrial globe and the fine arts.

• The group of figures gathered around the composition are depicted in a portrait of Michelangelo, who is depicted next to the Sistine Chapel and the Cynic.
• It is more likely that he is learning, dawning comprehension, which is similar to the style of Socrates.
• The cup is next to the anticipation of the outcome.
• The stonecutter's boots on his feet refer to him.
• Raphael was praised for his ability Michelangelo's self-identification or Raphael's insistence of hemlock and his reclining position to communicate so clearly through the poses that he be seen as a sculptor rather than a painter.

• They stripped to help the master work out.
• Raphael created full-scale cartoons for the weavers that depict the moment when in Brussels to match.
• Jesus addresses his apostles withtorial weaving.
• This is a preliminary idea for wall decoration.
• Raphael, the leading painter of the fifteenth century above his work, changed Christ's gesture so that he addresses the kneeling and Michelangelo's work circling over all, and he felt both honored and challenged.
• The belief that Christ had transferred cost more than Julius II had paid for authority to Peter, who was considered the first pope, gave them papal power.
• The authority Raphael received was a sixteenth of the total cost of the tapestries.
• An important aspect of the design process is revealed by the comparison of drawing and cartoon.

• The cartoons were created in Raphael's workshop because the tapestry would be between 1515 and 1516.
• The back of Raphael's mind was woven behind the compositions so the weavers would need to reverse the drawing in order to prepare and execute it.
• The intended orientation for the mission would reflect directly on the reputation of the.
• The weavers were not required to follow the task in a little over a year without the help of their models.
• The assistants' costumes were embellished.
• The cartoons were first drawn with Christ, perhaps in an attempt to ensure that the viewer's attention would be immediately drawn to this most impor together to form the expanse of a single tapestry, then tant figure in the scene.

• The first was completed in 1517, seven were in Brussels, and the entire was made from them for Henry VIII of England, who died in 1521.

• They are in the British Royal Collection.
• Although still in the Vatican, the tapestries are displayed in the museum rather than on the walls of the chapel for which they were originally conceived, as one of the most prestigious artistic projects from the peak of the Roman High Renaissance.

• The paper has distemper on it, 11'1'' x 17'4''.

• In the Sistine Chapel, Woven 1517 was installed.

• He was popular in northern Europe when he was a child.
• He was apprenticeshipd to Ghirlandaio at the age of 13 in Italy.
• Michelangelo traveled.
• He studied drawings of Classical monu the block from quarries which to make this large work and learned the technique of marble fresco painting in his workshop.
• The talented youth joined the household and began sculpting.
• The Medici family's choice of stone was important to Lorenzo, the head of the family, because he wanted to come into contact with Neoplatonic philosophy sculpture as already existing within the marble, needing and the family's distinguished sculpture collection.
• He only had his tools to set it free.
• Lorenzo died in 1492 and Michelangelo traveled to Venice as an artist and wrote in his Sonnet 15: "The great Bologna, then returned to Florence."

• There is a marble height of 5'81/2''.

• There is a marble with a height of 17'.

• Michelangelo's sculpture was cut from a marble block.
• A small model in wax was used by the sculptor to sketch the figure's shape as it would appear on one of the marble's faces.
• Vasari claims that Michelangelo chiseled in from the drawn-on surface as if making a figure in very high relief.
• The statue took four days to move on tree-trunk rollers down the narrow streets of Florence from the cathedral workshop to its location outside the Palazzo della Signoria.
• The original statue was moved to the museum of the Florence Academy after it was replaced by a copy.

• The young woman in Michelangelo's Virgin is holding the lifeless body of her son.
• When thinking about the interplay of forms, there are no inconsistencies of scale or age.
• The viewer can look directly into Jesus's face if they see Michelangelo's vision up close.
• The artist slipped into the church at night to sign the statue on a strap across the Virgin's breast, answering questions about its creator.

• It was a reminder of Florence's republican status, which was briefly restored in 1494.
• This is not a hero with a trophy head under his feet.

• Pope Julius II saw Michelangelo's work in 1508 and ordered the Cathedral for additional statues.
• "This miserable job has given me a goiter," Michelangelo wrote in a sonnet.

• The force of it has put my belly under my chin.

• The tomb project began by Michelangelo.
• The ceiling was painted 1508-1512 and the end wall was painted 1536-1541.
• The ceiling is 45 x 128'.

• He wanted the 12 apostles to be seated on the altar.
• The earliest thrones on the triangular spandrels are the closest to the altar.
• According to Michelangelo, when he objected to the limitations of Julius's plan, the pope painted what he liked.
• This Michelangelo sion from Paradise, and God's eventual destruction, was guided by all people except Noah and his family by the Flood.
• The eight triangular spandrels over the windows were required by the theological advisor and his plan.

• There is a scene on the ceiling.

• fig type, with the spark of life, are between the pilasters.
• The ures of prophets and seers from the Clas Adam's heroic body, outstretched arm, and profile almost sical world were believed to have foretold Jesus's mirror those of God.

• The figure of Eve is rising behind it.

• The Medici regained control of the unfinished tomb.
• The men are dressed in Florence in 1512 and in 1513 Michelangelo became the chief architect seated in wall niches above pseudo-Classical sarcophagi.

• There is a new chapel for the tombs of Lorenzo female figures.
• The reclining figures of Lorenzo and Giuliano, ordered in 1519 for the New Sacristy, would not seem so frightening had they been installed below them.
• The unfinished tombs for the younger relatives were imposed on them by their architectural surrounds, despite the fact that the older tombs were never built to Michelangelo's designs.
• Each of the two monuments consists of an ideal the Active Life and his sarcophagus figures are allegories of the deceased, who turns to face Night and Day.
• The night at left is accompanied by her sym bols: a star and crescent moon on her tiara, and an owl under her leg.
• Sleep and Death were said to be the children of Night, so the huge mask at her back may allude to them.
• Some have seen this mask that glares out at viewers in the chapel as a way of proclaiming his right to be here because of his long relationship with the family.
• Dawn and Evening support Lorenzo on the other tomb.

• A new library was built at San Lorenzo while work was being done on the Medici tombs.
• After Pope Clement VII was elected in 1523, the money became available to realize the idea for the library, which was created by Cardinal Giulio de' Medici.

• The expense in making them both grand and ambitious.
• The pope paid attention to the library's progress, not the extension of the pediment over the door.
• He wanted to verify the quality of the design, but also wanted to see the broken into parts on the sides of the pilasters project.

• The three flights of stairs leading up to the read tive tradition established at San Lorenzo were designed a century earlier.

• Michelangelo plays with the Clas tural forms draw attention to themselves and their design sical architectural etiquette that Brunelleschi had used to rather than the function of the building itself or the com create such clarity, harmony, and balance in the nave.
• In fortable accommodation of its users, Michelangelo's vestibule, with its large columns, is very similar to the Mannerist architecture.

• Fearing for his life,Michelango returned to Rome in 1534 and settled permanently.
• He left the unfinished library and Medici Chapel.

• In 1557, he sent a plaster model of the library staircase to Florence to make sure it conformed to his design.
• The unfinished figures of the times of day were assembled by his students in 1545 into the composition we see today.

• The dukes' figures are finished, but the times of day are notable for their contrasting areas of rough unfinished and polished marble.
• We don't know what Michelangelo's reasons were for allowing these unfinished sculptures to be put in place.

• Michelangelo believed that humans could only achieve perfection in death.

• stairway designed in the 1500s.

• Work on the architecture in Rome took a long time.
• The architect was near the Vatican when Julius II asked him to redesign St. Peter's.
• During Peter's ten-year papacy, Julius fought wars and formed alliances to control this tiny building.
• The stepped base was the center of a new Christian architecture inspired by the works of Michelangelo.
• Although most of the character was for churches, there were opportunities to trade.
• The tall drum supports create urban palaces and country villas.

• There were temples where Donato Bramante was born.
• He trained as a painter but turned to archi building's exterior with its deep wall niches and sharp tectural design early in his career.
• He became contrasts of light and shadow around 1481.
• The Sforza court in Milan has a circular cloister that is named after Leonardo da Vinci.
• In 1499, the settlement was never built.

• Wealthy and powerful families in other parts of Italy also patronized the arts and letters, just as the Montefeltros and Gonzagas did in Urbino and Mantua during the fifteenth century.
• The architects and painters working for these patrons created fanciful structures and developed a new style of painting.

• The art was designed to appeal to the taste of the intellectual elite in cities such as Parma, Bologna, and Venice.

• The dome and lantern were restored in the 17th century.

• Federigo II Gonzaga continued the family tradition of patronage when he lured a Roman follower of Raphael to build him a pleasure palace.
• Federigo and his friends would have known Classical orders and proportions, so they could appreciate the playful use of them here.
• The building is full of visual jokes, such as lintels masquerading as arches and triglyphs that slip out of place.

• The Palazzo del Te's sophisticated humor and exquisite craft have been seen as a sign of Mannerism.

• The two principal rooms were decorated by Giulio Romano.

• He must have been impressed with his host's extravagant lifestyle, and he saw a connection between the paintings and his own military successes.

• Giulio delight beyond the walls and ceilings.
• The Palazzo del Te was more than just fun and games.
• The unifying themes were Te, in Parma an equally skillful master, Correg love and politics, the former focused on the separate apart gio (Antonio Allegri da Correggio, c. 1489-1534), which was built to house Federigo's mistress.

• The Venetians did not see themselves as rivals of Florence and Rome, but as their superiors.
• The city was the greatest commercial sea power in the Mediterranean, they had challenged Byzantium, and now they confronted the Muslim Turks.
• The Venetians became wealthy and secure patrons of the arts because of their unique geographical situation, which protects them from water and controlling sea routes in the Adriatic Sea and the eastern Mediterranean.

• Their Byzantine heritage, preserved by their con dome, recalls the illusionism of Mantegna's ceil servative tendencies, but Correggio has also assimi surfaces emphasizing light and color.

• Venetians were the first in Italy to use ing, drawing viewers into the swirling vortex of saints and oils for painting on both wood panel and canvas.
• The Possi angels were used to seeing the Virgin as she flew into heaven.
• Correggio's sen worked with large sheets of canvas, and possibly because of the sual rendering of the figures' flesh and the clinging humidity made their walls crack and mold, the Vene contrasts with the spirituality of the theme.
• The oils dried slowly.
• The viewer's strongest impression is of a powerful, errors could be corrected and changes made easily during the upward-spiraling motion of alternating cool clouds and the work.
• The canvas support is flexible and warm.

• It was well suited to the rich opportunity to become a sculptor.
• Giorgione and Titian were two of Bologna's major painters of the 16th century.

• His importance to Venetian painting is critical.
• Joseph is inspired by the contemporary literary revival of ancient escapes, running, as the partially clad seductress snatches pastoral verse but defy specific narrative or symbolic inter at his cloak.
• Properzia is the only woman who had pretation.

• His early life and training were aware of what was happening in this picture, but his work suggests that he studied with interest.
• A woman sits on Giovanni Bellini.
• Perhaps Leonardo da Vinci's subtle light the ground, nude except for the end of a long white cloth ing system and mysterious, intensely observed landscapes thrown over her shoulders.
• Her nudity inspired him.

• Across the dark, rocky edge of her elevated perch stands a man before his death, possibly in response to a personal, mysterious man, as with many modern artists.
• Trying to get to the country.
• Oil on canvas is 32 x 283/4''.

• Giorgione was associated with Tiziano Vecellio, a painter invention of poetry, for a few years before his death.
• Titian was the best known of the two artists for his paint.

• The oil on canvas is 105 x 136.5 cm.

• Titian's early life is not well known.

• The Virgin and Child were placed with Giorgione in the asymmetrical setting of huge columns he created as a mosaicist.
• He absorbed Giorgione's style and on a high throne at one side arranged saints and completed at least one of Giorgione's unfinished paintings.

• Jacopo Pesaro, the commander of the papal fleet tral figure of St. Peter, was commissioned by Titian to destroy the Turks in 1502.
• The Franciscan church of Santa Maria has a red altarpiece with a banner across it and a chapel with a blue one.
• Titian changed the concept three times before the Virgin before painting the tunic and yellow mantle.
• St. Maurice, behind the kneeling Jacopo, came up with a revolutionary composition--one the left, and a cow that complemented the viewer's approach from the left.

• Titian was known for his mastery of light and color, but this altarpiece shows that he could also draw and model as well as any Florentine.

• The perfectly balanced composition, built on color and diagonals instead of a vertical and horizontal grid, looks forward to the art of the 17th century.

• In 1529, Titian, who was well known outside Venice, began a long professional relationship with Emperor Charles V, who promised to let no one else paint his portrait.

• There is oil on the canvas.

• She was a successful diplomat and administrator because of her wealth and brilliant mind.
• She sponsored the publication of an edition of Virgil while still in her twenties and was an avid collector of manuscripts and books.
• She had a collection of ancient art and objects, as well as works by contemporary Italian artists such as Leonardo, Correggio, and Titian.
• Her palace was a museum.
• The walls above the storage and display cabinets were painted with frescos by Mantegna, and the carved wood ceiling was covered with mottoes and visual references to Isabella's literary interests.

• Titian was able to satisfy her wish by referring historian Rona Goffen, who argued that the painting was more to an early portrait by another artist, but he also conveyed about marriage than mythology or seductiveness.

• He built up layers of pure colors on top of each other, mostly red, white, yellow, and black, on his canvases.
• A bridal symbolism of the myrtle and roses she holds in her recent scientific study of Titian's paintings revealed that he hand, and even the spaniel snoozing at her feet, was a symbol of fidelity and domestic.
• He slept peacefully because of the complicated process.
• Many of Titian's works began with a charcoal drawing of Duke Guidobaldo's marriage in 1534 to the 10-year on the prime coat of lead white that was used to seal the old Giulia Verano.
• She would have been considered an adult rather than a tian canvas when the painting was done four years later.
• The forms were built by the artist rather than a child bride.
• It seems to represent neither a Roman glaze of different colors nor a Venetian courtesan, but a bride welcoming ers.
• Titian was able to work in Venice, the first time her husband entered their bedroom.

• Venetian oil painters used ground glass and oil paints to increase their transparency.
• Not until Giorgione's second brushwork in the second half of the 16th century did color sellers open their and Titian.
• Paolo Caliari had shops in other cities.

• The paintings of nude, reclining women became especially popular in Venice.
• The popular image of Venice as a splendid city "Venuses" under the cloak of respectable Classical mythol of pleasure and pageantry has made his paintings popular in court circles.
• In the spring of 1538, Titian delivered to the duke of elaborate architectural settings and costumes, Urbino.
• Here, we see everyday details, such as a beautiful Venetian courtesan with deliberately provoca unconnected with the main subject, stretching on her couch in a spa appealing to Venetian patrons.

• Tintoretto created a small-scale model of a stage set with wax figures, which he populated with his own compositions.
• He adjusted the positions of the figures and the lighting until he was happy with the scene.
• Using a grid of horizontal and vertical threads placed in front of this model, he could easily sketch the composition onto squared paper for his assistants to copy onto a large canvas.
• The canvas was blocked in the areas of dark and light before the artist could finish the painting.
• Tintoretto produced a large number of paintings in all sizes.

• Artists usually invent Giovanni e Paolo.
• At first glance, the subject of the paint details in their pictures and that he had received a commis ing seems to be primarily its architectural setting and only sion to paint the piece in his own way.
• Christ was seated at the table.
• He was ordered to change the posed, balustraded stairways lead to an enormous loggia painting because he was Symmetrically dis on unsympathetic ears.
• He sidestepped the issue by changing the framed arches beyond which sits an imaginary title to that of another banquet, one given by the tax collec city of white marble.
• Levi, the fig tor Jesus had called to follow him, was within this grand setting.
• Veronese took a small revenge on the Inquisitors when Jesus was criticized for his association with foreign people, such as parrots, monkeys, and a man picking his teeth.
• They saw these as distraction to repentance but sinners.

• Veronese carried the Venetian Inquisition, a papal office that prosecuted heretics, because his father was a dyer.
• Tintoretto's goal was to explain his painting.
• He had a sign in his studio that said the picture did not depict the drawing of Michelangelo.

• The early draw shows a closed and logical space with massive ings and the final touches on the finished figures reacting in individual ways to Jesus's statement, paintings.
• Four of his eight children became artists, and he included members of his Tintoretto view the scene from a corner.
• A coffered ceiling, inlaid floor, and two or three of his sons also joined matically into the distance are what the table, est daughter, Marietta Robusti, worked with him as.
• Today art historians can't separate the work of apostles and servants because of the way Marietta captured her father's bodies.

• Tintoretto used two internal light sources.
• The Architecture of Palladio angels can be seen from the light streams from the oil lamp over the near end of the table.
• A second Just as Veronese and Tintoretto built on the rich Venetian light comes from Jesus himself and is repeated in the tradition of oil painting initiated by Giorgione and Titian.
• The architecture of the second erworldly mood is enhanced by deep colors flashed with half of the century by expanding upon the principles of dazzling highlights on figures, consistent with Alberti and the ancient Romans.
• Homey details like the still lifes on villas, palaces, or churches were characterized by har the tables and the cat in the foreground.
• Tintoretto's reference to the institution of the Eucharist has shifted the narrative emphasis from Leonardo's more worldly study of personal betrayal.

• The way Jesus gives bread and wine to a person is similar to how a priest would give the sacrament.

• His working methods may have led to rapid production.
• Plan 1565; construction 1565-1580; facade 1597-1610; campanile 1791.

• Palladio's design was finished by Vincenzo Scamozzi.

• The nickname "Palladio" was given to Thomas Jefferson by one of his friends.

• Palladio was one of the foremost archi Rome, where he made drawings of Roman monuments, when he set academy and accompanied his benefactor on three trips to tled in Venice.

• He had a Renaissance facade for a basilica, as well as ideal fronting the nave and side aisles, and nar plans for country estates using proportions derived from rower front for the nave clerestory.
• His writings were often more practical than the earlier ones because of the large columns on high theoretical bent.

• The original design was followed even though the facade was not built until after each architect's death.

• The use of a central dome on a domestic build was a daring innovation that effectively secularized example of Palladio's harmoniously balanced geometry.
• The United States has tall engaged columns and shorter pilasters.

• Palladio'sVersatility was already apparent in many villas built early in his career.
• He started his most famous villa outside Vicenza in the 1560s.

• Palladio designed this villa as a retreat and a party house.
• To maximize views of the countryside, he placed a porch at the top of a wide staircase on each face of the building.
• The main living quarters are on the second level, while the kitchen, storage, and other utility rooms are on the lower level.
• Palladio's Italy is shown in the plan.

• The Villa Capra became known after it was purchased by the Capra family.

• Some art historians have associated the death of environments with the creation of contrived compositions and irrational spatial in Florence and Rome in the 1520s.
• Mannerism uses artificial poses.
• The pictures show references to the anti-Classical movement in which artificiality was the work of illustrious predecessors.

• The pursuit and Bronzino of beauty were favored by patrons.

• There are frescos on the right-hand wall of Brunelleschi's chapel depicting the Annunciation and the tondi on the pendentives under the cupola.

• The Chapel was acquired by the Capponi family, who ordered paintings by Pontormo.

• The scene is emotionally charged by the odd poses and sense of a specific location.
• Some press forward into the viewer's space, while others seem to levitate or stand precariously on tip combinations-- baby blue and pink with accents of olive toe.
• The moment after Jesus's removal was chosen by Pontormo.

• The dreamy-eyed male figure in the background shadows is a self-portrait by the artist.

• There is no seat in sight for the unnaturally proportioned figure of Mary, whose massive legs and lower torso contrast with her narrow shoulders and long neck and fingers.
• The plunge into a deep background to the right reveals a startlingly small St. Jerome, who unrolls a scroll in front of huge, white columns from what was to be a temple in the unfinished background, whereas at the left a crowded mass of blushing boys blocks any view into the background Similar to Pontormo, Parmigianino presents a well-known image in a challenging manner.

• Art historian Elizabeth Cropper has noted the visual relationship between the shape of the swelling, ovoid vessel held by the figure far left and the form of the Virgin herself, and has proposed that this visual analogy references a sixteenth-century literary conceit.

• Correggio was the strongest influence on Parmigianino's work when he left Parma for Rome.
• The oil is on a wood panel.

• The oil is on the panel.

• He became a cardinal at the age of 17 and only two years after his mother died of malaria.

• It contains all of the formal, iconographical, and psychological characteristics of Mannerist art and could be used as a summary of the movement.

• There are seven figures, three masks, and a dove in this picture.
• The figures show exaggerated poses, graceful forms, polished surfaces, and delicate colors that are characteristic of Mannerist art.
• There are disturbing erotic Attachments and bizarreIrregularities in this composition.
• mid-sixteenth-century courtiers probably enjoyed the painting's complex allegory and relentless ambiguity.
• He was court painter to the Medici by 1540

• It defies easy explanation that he produced altarpieces, fresco decorations.
• It seems nothing is what it seems.

• It's about to throw pink roses at them while stepping on with the self-contained, masklike quality given to the thorn branch that draws blood.
• A cold and formal portrait of Cosimo kisses his mother and pinches her erect nipple while conveying the haughtiness of his subjects and the absolutism she snatches an arrow from his quiver.

• A mother and son as well as their class and old man, Time or Chronos, are exposed by a curtain because of an outraged Truth connection.
• The upper body and head of a beautiful young girl and the Medici succession are assured by this double portrait, which is just behind Venus, a monstrous serpent.
• The path was taken by his elder brother eycomb and the stinger at the end of the lion's tail.
• He pursued a fast-tracked career in the hybrid, which has been interpreted as Fraud and Pleasure.

• A pale and screaming man is in a court that supported Titian.
• She retired to Spanish-controlled Sicily, where she died of STDs, after tearing at his hair at court, and now she has been identified as a victim.

• Anthony van Dyck sketched her and claimed that she was a gers of the disease in the 16th century.
• He wrote that she advised him to spread his love by kissing, breast feeding, and coitus, and that he should place the light for her portrait too high because of the strong shadows.
• The complexity of the painting makes room for her.

• By the 1570s she was an intellectual.
• The impossibil well rewarded that her husband, the painter Gian Paolo, gave up his own painting career to care for their apparent across time, which is what the allegory tells of.
• Or maybe it is a warning to the large family to be careful with their sexual liaisons and to help their wife with the technical aspects of her work.
• Fontana moved to disfiguration of venereal disease.
• Rome is an official painter to the papal court.
• The Habsburgs presented the painting to the French king as a diplomatic gift after Duke Cosimo commissioned it.

• The passage in John's Gos Northern Italy is referred to by Christ's broadbrimmed hat and spade more than any other part of the penin pel.
• In the last half of the 16th century, Bologna had some two dozen women painters and sculptors, as well as a number of learned women who lectured at the university.
• She was not the daughter of an artist and was born into a noble family.
• All of her father's children were encouraged to pursue careers in literature, music, and painting.
• In 1557, he asked Michelangelo for a drawing that his daughter could copy and return to be critiqued.

• Michelangelo's father wrote a letter of thanks.

• Miniatures, an important aspect of portraiture in the 16th century, were created by Anguissola, who was a gifted portrait painter.

• The Anguissola family is enthusiastic about the Classics.

• The queen of Spain invited Anguissola to become a lady-in-waiting and court painter, a post she held for 20 years.
• She was described as 6.4 cm in the Spanish inventory, but her watercolor was 31/2 x 21/2''.

• The Florentine goldsmith and sculptor Benvenuto Cellini worked in the French court at Fontainebleau.
• The Roman sea god Neptune, representing the source of salt, sits next to a tiny, boatshaped container for seasoning, while a personification of Earth guards the plant-derived pepper contained in the triumphal arch to her right.
• The two main figures lean away from each other at impossible angles yet are connected and visually balanced by glance, gestures, and coordinated poses--mirroring each other with one bent and one straight leg.
• Their bodies and heads are similar to those of Parmigianino.

• The oil on canvas is 120.3 x 93 cm.

• Jean Boulogne, better known by his Italian names, Giovanni Bologna or Giambologna, is the owner of Canali Photobank.
• He was the gardener.
• He worked at the court of Duke Cosimo I de' Medici in Florence during the 15th century and settled in the middle of Fontana por Flanders.

• The pose of Christ and the proportions of Mary Magdalen are typical of late Mannerist painting in Italy.

• Mannerist sculpture--often small in size and made from precious metals-- stylizes body forms and emphasizes technical skill in ways that are reminiscent of Mannerist painting.

• There are 101/2 x 131/8'' of gold and enamel.

• He spread the Mannerist style to the north through artists who came to study his work.

• After it was done.
• Giambologna con to address the issues raised by the reformers enabled the ceived of this composition of three nude figures.
• As a formal exer Farnese, Paul III was the first pope to pursue Church reform.
• He appointed ity in 1536.
• The entire sculpture was carved and later convened the Council of Trent from a single block of marble, despite the Commission to investigate charges of Church corruption projecting gestures.
• Because of the spiral, viewers have to walk around the sculp to regulate the training of clerics.

• The Medici was repressed by the Grand Duke Francesco I. Giambologna's masterpiece was installed in a place of honor sition, a papal office that sought out heretics for interro at the front of the Loggia dei Lanzi.

• Some works of Christian art were destroyed because of guidelines issued by the Trent Council.
• Traditional images of Christ and the saints were approved, but art was examined for traces of heresy and profanity.
• The Society of Jesus, a new religious order founded by the Spanish nobleman Ignatius of Loyola and confirmed by Paul III in 1540, used art as a propaganda weapon.
• The Jesuits, as they are known, spread worldwide and became important leaders of the Counter-Reformation movement and the revival of the Catholic Church.

• The Capitoline Hill and St. Peter's were rebuilt by Paul III to restore the heart of Rome.
• The late Italian Renaissance was the subject of some of his work.
• His first major commission brought Michelangelo back to the Sistine Chapel.

• The marble is 13'6''.

• Abandoning the medieval concep of figures around Christ, who wields his arm like a sword, in which the saved are neatly of justice.
• The Virgin under Christ's raised right separated from the damned is a change from Gothic tradition where she writhing swarm of resurrected humanity.
• The dead were equal in size to her son.

• The Fresco is 48 x 44'.

• The chapel's frescos have vibrant colors, but the patches left by restorers contrast with them.
• The dark areas show how dirty the walls were before they were cleaned.

• The elect and still-unjudged Michelangelo were shocked but not the state.
• On the lowest level of the mural, right above the altar, pope--by undoing parts of Sangallo's design, then sim is the gaping, fiery entrance to hell, toward which Charon, plifying and strengthening Bramante's central plan, long the ferryman of

• The painting was thought to be a grim and con because of the pope's changes to the original plan of the cardinals.

• The current dome was built by Giacomo della Porta in the late 1500's and retains Michelangelo's basic design.

• The history of St. Peter's in Rome shows how the Early Christian tradition of constructing domed effects of individual and institutional demands on the design, and round buildings over the tombs of martyrs, itself derived construction, and remodeling of a major religious building.

• The central plan and dome of the original church were designed by Constantine, the first Christian Roman to be perfect.

• The deaths of pope and architect in 1513 and 1514 made Rome the first pope.
• The site was so holy that Raphael's architect had to build a Antonio da Sangallo to hold the crowds of pilgrims.
• However, I was able to visit St. Peter's tomb.
• A huge terrace was cut into the side of the Vatican in order to provide a platform for Michelangelo, who was appointed architect in 1546.
• There is a single, unified space covered with a dome.
• After Michelangelo's death, the architect built a basilica with a new feature, a transept, dome, which allowed large numbers of visitors to approach the shrine at death.
• The rest of the church was a basic design but gave the dome a taller profile.

• When Constantine's basilica was built, more space was needed to house the congregation and allow one of the largest buildings in the Roman world.
• To enlarge the church to 368 feet and a width of 190 feet.
• It was the most important pilgrimage site in Europe for more than a thousand years.

• Pope Julius II ordered the architect Carlo Maderno to change in 1506 after Michelangelo's central plan was torn down.
• The nave was extended to its final length and replaced with a new building.
• Even a pope should have had the nerve to pull down a St. Peter's like the one we see today.
• The venerated building is an indication of the extraordinary self of the sculptor and architect, who created an assurance of the Renaissance and of Julius himself.
• To elaborate approach to the basilica by surrounding the space design and build the new church, the pope appointed Donato in front of it with a great colonnade, like a huge set of arms.

• He was helpful to young artists and devoted to his friends.

• He believed that his art was inspired by God and that he had become more devoted to religious works that subverted Renaissance ideals of human perfectibility.
• He pioneered new directions that would inspire succeeding generations of artists.

• Vignola was the hometown of a young artist who worked to meet the need for new Roman churches.

• He secured the patronage of the ing and directed attention to the altar after returning to Rome.
• The design allows the Farnese family and the Counter-Reforma building to fit into a city block.

• La's original design and della Porta's variation on requiring churches with wide naves and unobstructed it, emphasized the central portal with Classical pilasters, instead of the complex.

• The design of the facade was influential into the next century.

• Vignola was chosen as the architect for the two-story design that Cardinal Farnese latures was abandoned for.
• After Vignola together the two stories of the central block, Giacomo della Porta finished the dome and sponds with the nave elevation.

• Centrally aligned worship.
• Vignola designed a wide, barrel-vaulted naves break into the level above, leading the eye with shallow, connected side chapels.
• There are only truncated transepts within the line of Cardinal Farnese, the patron, and the Jesuits, and no upward aisles to the cartouches with coats of arms.

• Discuss Julius II's efforts to aggrandize the city of Florence were oriented toward drawing, but Venice Rome and create a new golden age of papal art.

• Focus your answer on at least two works discussing specific works from each tradition in that he commissioned one in painting and the other.

• Two paintings commissioned by a powerful political figure combine classical and allegorical themes in unusual ways.
• Each addresses a group.
• Evaluate how the style of presentation relates to the traditions and objectives of Florentine art during the period in which it was painted and compare the nature of the message each painting presents.