Humanism and the Allure of AntiquityPART 3

NeoplatonismA compilation of Platonic, Aristotelian and Stoic ideas that experienced a strong revival during the late Middle Ages and the Renaissance. Central to the philosophy is the notion that spiritual things are real and that material things are not. The freeing of the spiritual element, the soul, from the material element, the body, should be the ultimate goal of all of mankind and could be achieved through knowledge and contemplation.

Marsilio Ficino• Translated Plato into Latin • (from Greek)

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NeoplatonismEmbraced by the powerful

Medici family.

All sources of inspiration,whether Biblical orClassical (Pagan) mythology, represent ameans of ascendingearthly existence to amystical union with “the

One”.

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Neoplatonism- a marriage of Ancient Myth with Christian Theology

Contemplation of the sensual worldly beauty of the Goddess of Love (Venus) leads to a contemplation of spiritual divine beauty (Virgin Mary). The two systems of thought are not necessarily opposed.

Virgin Mary Venus

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Syncretism

Santeria and Vodou• Combinations of African tribal

religion with christian iconography

The Medici Dynasty

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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence.

The Birth of Venus

Inspired by a love poem written by Humanist scholar Angelo Poliziano.

Zephyr (west wind), and Chloris on left.

Venus in center, her maiden Pomona on right.

Sacred Island of Cyprus.

First female nude since classical antiquity not associated with shame. Accommodating culture made possible by powerful Medici family.

Contemplation of worldly (physical) beauty-in theory leads to contemplation of spiritual and divine beauty.

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SANDRO BOTTICELLI, Birth of Venus, ca. 1484–1486. Tempera on canvas, approx. 5’ 9” x 9’ 2”. Galleria degli Uffizi, Florence.

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Botticelli

Byzantine influence shown in lyrical use of line.Decorative and flat space, little illusion of depth.Strong focus on Classical Mythology.

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Simonetta Vespucci

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Piero di Cosimo

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Sandro Botticelli, Primavera, ca. 1482. Tempera on wood, 6’ 8” X 10’ 4”. Galleria degli Uffizi, Florence. 28

PrimaveraPrimavera=springtime

Clothed Venus in center. Cupid above

Zephyr, Chloris and Flora at right.

Three graces to the left, and either Mars or Mercury to the far left.

The occasion for the painting was probably Lorenzo de Medici’s wedding in May 1482

Another Neo-Platonist allegory on worldly and spiritual love, although difficult to decipher.

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Sandro Botticelli, Primavera, ca. 1482. Tempera on wood, 6’ 8” X 10’ 4”. Galleria degli Uffizi, Florence. 42

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DOMENICO GHIRLANDAIO, Giovanna Tornabuoni(?), 1488. Oil and tempera on wood, 2’ 6” x 1’ 8”. Thyssen-Bornemisza Collection, Madrid.

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Individualism vs. “Original Sin”

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FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera on wood, 2’ 11 1/2”. x 2’ 1”. Galleria degli Uffizi, Florence.

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PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco, 11’ 5 1/2” x 18’ 8 1/2”.

Christ Delivering the KeysGospel of Matthew (16:18-19) as Christ said to Peter: “And I tell you that you are Peter (Petros), and on this rock (petra) I will build my church… I will give you the keys to the kingdom of heaven….”

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Christ Delivering the KeysPerugino (Pietro Vanucci- Birthplace is Perugia in Umbria)

1481-83 Pope Sixtus IV summons artists to paint walls of Sistine Chapel.

Papacy bases claim to authority on this biblical event.

Temple of Solomon in background along with Triumphal arches modeled on arch of Constantine (first Christian Emperor)

Background scenes include “Tribute Money” and “Stoning of Christ”

Christ surrounded by apostles, including Judas (5th from left)

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Notice the artist making eye contact

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Judas with hand in pocket.

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ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

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ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in diameter.

ANDREA MANTEGNA, Camera PictaPainted of Ludovico Gonzaga, the Marquis of Mantua

Depicts scenes of the Marquis greeting guests, and court life.

All the room is painted (trompe l’oel) “fool the eye”

Di sotto in su (from below, upward)

8 fictive reliefs of the first Roman Emperors shows an interest in Rome’s Imperial past (Florence would be more interested in the Republican past)

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ANDREA MANTEGNA, interior of the Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco.

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ANDREA MANTEGNA, Camera Picta (Painted Chamber), Palazzo Ducale, Mantua, Italy, 1465–1474. Fresco, 8’ 9” in diameter.

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80ANDREA MANTEGNA, Foreshortened Christ, ca. 1500. Tempera on canvas, 2’ 2 3/4” x 2’ 7 7/8”. Pinacoteca di Brera, Milan.

ANDREA MANTEGNA, Foreshortened Christ, Reduced the size of Christ’s feet to compensate for unusual (foreshortened angle)

St. John, Virgin Mary, Mary Magdalene

Wounds prominently and realistically displayed

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ANDREA MANTEGNA, Saint James Led to Martyrdom, Ovetari Chapel, Church of the Eremitani, Padua, Italy, 1454–1457. Fresco, approx. 14’ X 11’ (destroyed 1944).

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Girolamo Savonarola1490’s Florence undergoes political, cultural, religious upheaval.

Dominican monk Savonarola becomes priest-dictator, banishes the Medici.

Denounces Humanism and Neo-Platonism as heretical, prophesied the downfall of the city unless they undergo large scale repentance. Forces bonfire of secular art, philosophy and literature (Bonfire of the Vanities).

City comes to its senses and executes Savonarola in 1498.

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LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco, 23’ wide.

Damned Cast into Hell

Painted for Pope Alexander VISaint Michael and Angels cast the damned into hell. Horrible consequences of a sinful life graphically depicted. Striking representation of the nude figure.

One part of an “End of Days” Narrative when Christ returns to Judge mankind.

Other scenes included: Deeds of the Antichrist, Resurrection, Elect Being Called to Heaven

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104Signorelli in lower left. Antichrist represents Savonarola.

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The Devil influencing the anti-christ

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