Chapter 22Beauty, Science, and Spirit in

Italian Art:Part Two: Venice and

Mannerism

Venetian Painting

Figure 22-33 GIOVANNI BELLINI, San Zaccaria Altarpiece, San Zaccaria, Venice, Italy, 1505. Oil on wood transferred to canvas, approx. 16’ 5” x 7’ 9”.

Figure 22-34 GIOVANNI BELLINI and TITIAN, The Feast of the Gods, 1529. Oil on canvas, approx. 5’ 7” x 6’ 2”. National Gallery of Art, Washington (Widener Collection).

Figure 22-36 GIORGIONE DA CASTELFRANCO, The Tempest,

ca. 1510. Oil on canvas, 2’ 7” x 2’ 4 3/4”. Galleria dell’Accademia,

Venice.

Figure 22-34 GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3’ 7” x 4’ 6”. Louvre, Paris.

Giorgione, Sleeping Venusc. 1510Oil on canvas, 108 x 175 cmGemäldegalerie, Dresden

Figure 5-47 Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height approx. 4’ 5”. British Museum, London.

Figure 22-37 TITIAN, Assumption of the Virgin, Santa Maria Gloriosa dei Frari, Venice, Italy, ca. 1516–1518. Oil on wood, 22’

6” x 11’ 10”.

Figure 22-38 TITIAN, Madonna of the Pesaro Family, Santa Maria dei Frari, Venice, Italy, 1519–

1526. Oil on canvas, approx. 16’ x 9’.

Figure 22-40 TITIAN, Venus of Urbino, 1538. Oil on canvas, approx. 4’ x 5’ 6”. Galleria degli Uffizi, Florence.

Figure 5-47 Three goddesses (Hestia, Dione, and Aphrodite?), from the east pediment of the Parthenon, Acropolis, Athens, Greece, ca. 438–432 BCE. Marble, greatest height approx. 4’ 5”. British Museum, London.

Figure 19-3 NICOLA PISANO, The Annunciation and the Nativity, detail of Pisa baptistery pulpit, Pisa, Italy, 1259–1260. Marble relief, approx. 2’ 10” x 3’ 9”.

Figure 22-40 TITIAN, Venus of Urbino, 1538. Oil on canvas, approx. 4’ x 5’ 6”. Galleria degli Uffizi, Florence.

Figure 22-40 DetailReclining Venus

© 2005 Saskia Cultural Documentation, Ltd.

Figure 22-39 TITIAN, Meeting of Bacchus and Ariadne, 1522–1523. Oil on canvas, 5’ 9” x 6’ 3”. National Gallery, London.

The Andrians (Bacchanalia)c. 1525Oil on canvas, 175 x 193 cmMuseo del Prado, Madrid

Portraits and Patronage in Venice

• Explore the art of portraits and the role of powerful female patrons.

Figure 22-41 TITIAN, Isabella d’Este, 1534–1536. Oil on canvas, 3’ 4 1/8” x 2’ 1 3/16”. Kunsthistorisches Museum,

Vienna.

Titian, Man with Gloves1523-24Oil on canvas, 100 x 89 cmMusée du Louvre, Paris

1523-241514

Mannerism

• Understand Mannerism as an artificial style in contrast to the naturalism of the High Renaissance.

• Examine Mannerism as interested in expressive forms of art rather than classical forms.

• Explore the lives and works of key artists of the Mannerist style.

• Recognize the artistic elements of Mannerist painting, sculpture, and architecture.

Figure 22-42 JACOPO DA PONTORMO, Descent from the Cross, Capponi Chapel, Santa Felicità,

Florence, Italy, 1525–1528. Oil on wood, approx. 10’ 3” x 6’ 6”.

Figure 22-43 PARMIGIANINO, Madonna with the Long Neck, ca. 1535. Oil on wood, approx. 7’ 1” x 4’ 4”. Galleria degli

Uffizi, Florence.

Self-portrait in a Convex Mirrorc. 1524Oil on wood, diameter 24,4 cmKunsthistorisches Museum, Vienna

Figure 22-45 BRONZINO, Portrait of a Young Man, ca. 1530s. Oil on wood, approx. 3’ 1 1/2” x 2’ 5 1/2”. Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of

Mrs. H. O. Havemeyer, 1929).

Figure 22-46 SOFONISBA ANGUISSOLA, Portrait of the Artist’s Sisters and Brother, ca. 1555. Methuen Collection, Corsham Court, Wiltshire.

Figure 22-47 TINTORETTO, Last Supper, Chancel, San Giorgio Maggiore, Venice, Italy, 1594. Oil on canvas, 12’ x 18’ 8”.

Figure 22-48 PAOLO VERONESE, Christ in the House of Levi, 1573. Oil on canvas, approx. 18’ 6” x 42’ 6”. Galleria dell’Accademia, Venice.

Figure 22-49 PAOLO VERONESE, Triumph of Venice, ceiling of the Hall of the Grand Council, Palazzo Ducale, Venice, Italy, ca. 1585. Oil on

canvas, approx. 29’ 8” x 19’.

Figure 22-50 ANTONIO ALLEGRI DA CORREGGIO, Assumption of the Virgin, dome fresco

of Parma Cathedral, Parma, Italy, 1526–1530.

Jupiter and Io1531-32Oil on canvas, 163,5 x 70,5 cmKunsthistorisches Museum, Vienna

Mannerist Sculpture

Figure 22-52 GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggia dei Lanzi, Piazza della Signoria, Florence, Italy,

completed 1583. Marble, approx. 13’ 6” high.

Later 16th Century ArchitectureMannerism

• Examine the outstanding architecture and architectural theories of Andrea Palladio.

• Examine the pre-Baroque style of the late 16th century.

• Examine the religious and thematic origin of the later 16th century architecture.

Figure 22-53 GIULIO ROMANO, interior courtyard facade of the Palazzo del Tè, Mantua, Italy, 1525–1535.

Figure 22-53 Alternate ViewGeneral View, E side of main courtyard

© 2005 Saskia Cultural Documentation, Ltd.

LEON BATTISTA ALBERTI, Palazzo Rucellai, Florence, Italy, ca. 1452–1470.

MICHELOZZO DI BARTOLOMMEO, facade of the Palazzo Medici-Riccardi, Florence, Italy, begun 1445.

Figure 22-55 GIACOMO DELLA PORTA, facade of Il Gesù, Rome, Italy, ca. 1575–1584.

Figure 22-55 GIACOMO DELLA PORTA, facade of Il Gesù, Rome, Italy, ca.

1575–1584.

LEON BATTISTA ALBERTI, west facade of Santa Maria Novella, Florence, Italy, ca. 1458–1470.

LEON BATTISTA ALBERTI, west facade of Sant’Andrea, Mantua, Italy, designed ca.

1470.

Figure 22-56 GIACOMO DA VIGNOLA, plan of Il

Gesù, Rome, Italy, 1568.*

Figure 22-29 ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.

Figure 22-29 ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.

Palladian arch and window

True Palladianism" in Villa Godi by Palladio from the Quattro Libri dell'Architettura. The extending wings are agricultural buildings and are not part of the villa. In the 18th century they became an important part of Palladianism

Figure 22-57 ANDREA PALLADIO, plan of the Villa Rotonda (formerly

Villa Capra), near Vicenza, Italy, ca. 1566–1570.

Figure 22-31 ANDREA PALLADIO, west facade of San Giorgio Maggiore, Venice, Italy, begun 1565.

Figure 22-31 ANDREA PALLADIO, west facade of San Giorgio Maggiore, Venice,

Italy, begun 1565.

Figure 22-32 ANDREA PALLADIO, interior of San Giorgio Maggiore (view facing east), Venice, Italy, begun 1565.

End of Chapter•The Reformation and Counter-Reformation and their impact on the art of this period•The increasing commissions by the Church to assert power and authority during the Counter-Reformation•Focus on the use of a classical vocabulary to create harmony, beauty, balance – look to the natural world•The importance of Invenzione – invention, Ingegno – ingenuity, Fantasia – imagination, Capriccio – originality to art and culture•Leonardo – bridges the techniques and ideas of 15th century with Renaissance ideals – scientific studies (compare to 15th century Italian and Northern)•Michelangelo as the brooding artist-genius, uses powerful figure style to capture religious themes – pent-up emotion, inventive changes to classical forms in architecture (compare to Greek, Roman, Donatello)•Examine the achievements of Donato Bramante: concrete, the dome, and the new St. Peter’s in Rome (compare to Greek, Rome 15th Century).•Raphael’s achievements as the quintessential Renaissance artist (compare to Leonardo, Michelangelo)•Titian and other Venetian painters – themes: religious, sleeping Venus, arcadian/ bacchanal, figures in expansive landscape, radiant color, creation of mood, soft lighting•Palladio’s villas- rational proportion, classical elements, writings on architecture•Mannerism – a reaction to High Renaissance styles using jarring color, elongated forms, awkward poses, unusual spatial configurations, tension, ambiguous meaning (compare to Early and High Renaissance)