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Santa Maria Maggiore, Rome, Originally built 432-440 CE
-17th century additions
-back of church faces center of town
-basilica=hall
-mosaics along hall illustrating scenes important to christianity to educate members about the history of the church
-baldichin=canopy over alter to show privileged space |
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Via Latina Catacomb, c. 300 CE.
-sacred for Christians because they were buried there and met ther when chrsitianity was illegal
-earliest Christian art found in catacombs
-Rome as Christian pilgrimage |
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San Clemente, Rome, upper church, c. 1100
-built on site of ancient temple of Mithras
-Mithras - cult
-built on site of ancient houses where secret Xian meetings to place
-monks' choir: served to separate monks from laity
-some later additions but character is primarily saped by 12th century architecture
-shows how sites evolve |
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Cross as Tree of Life Mosaic, San Clemente, Rome, c. 1125
-fresca in monk's choir |
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Santa Maria in Cosmedin, Rome, c. 1100
-in 17th cent., interior and exterior were redecorated, destroying mideival frescoes
-later, decided it was better as midieval than baroque and the older decorations and facade were ripped off
-act of restoration and vandalism - have to chose which phase they want to preserve; every phase is historically significant |
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Santa Maria in Cosmedin (interior), Rome, c. 1100
-inside is more austere than San Clemente
-no extraordianry mosaics but a few modest frescoes
-in 17th cent., interior and exterior were redecorated, destroying mideival frescoes
-later, decided it was better as midieval than baroque and the older decorations and facade were ripped off
-act of restoration and vandalism - have to chose which phase they want to preserve; every phase is historically significant |
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Arnolfo da Cambio, St. Peter Enthroned, St. Peter's, c. 1295
-still in St. Peter's nave
-image that marks terminus of pilgrimage to Rome
-pilgrims would kiss or touch his right foot which is now worn down
-St. Peter as first pope, all pope's descendent of him, legitimacy and yada yada |
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San Vitale, Ravenna, dedicated 547 CE
-once capital of Byzantine Empire in Italy
-originally palace chapel of Byzantine Emperor
-beautiful mosaics (Emperor Justinian bringing gifts to altar)
-historical interface between Greco Roman antiquity (Byz Emp) and Christianity |
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Mosaic representing Emperor Justinian Bringing Gifts to the Altar, San Vitale, c. 547
-once capital of Byzantine Empire in Italy (Ravenna)
-originally palace chapel of Byzantine Emperor (San Vitale)
-beautiful mosaics (Emperor Justinian bringing gifts to altar)
-historical interface between Greco Roman antiquity (Byz Emp) and Christianity |
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San Marco, Venice, began in 1063
-palace chapel of duke of Venice
-style influenced by Byzantine architecture (Greeks); Byzantine=surviving remnants of Roman empire
-belltowere is not original, the original spontaneously collapsed in 1902 and was rebuilt quickly
-inside mosaics from original building
-acoustics so great, church gave birth to a particular style of Xian music in the Renaissance |
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San Marco (interior), Venice, began in 1063
-palace chapel of duke of Venice
-style influenced by Byzantine architecture (Greeks); Byzantine=surviving remnants of Roman empire
-belltowere is not original, the original spontaneously collapsed in 1902 and was rebuilt quickly
-inside mosaics from original building
-acoustics so great, church gave birth to a particular style of Xian music in the Renaissance |
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Pisa Cathedral , begun 1063
-Pisa was a trading center so it came out of the economic slump of the middle ages quicker than other towns
-basilica was built in imitation of ancient Roman and Byzantine basilicas |
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Pisa Baptistry, begun 1152
-originally had an opulus - homage to pantheon
-wanted to draw comparisons between Pisa and the achievements of ancient Rome |
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Leonardo Davinci, Last Supper, 1495
-culmination of Renaissance techniques (naturalism - 3D believability on 2D surface)
-perspective used to rpovide setting
-apostles reacting to Jesus' telling that someone will be betrayed ->this moment is to the focus to portray drama and life
-sense of reality - lighting, one wall is in shadow while other is lit |
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Raphael, "Philosophy" ("School of Athens"), Stanza della Segnatura, Vatican Palace 1508-1511
-fresco on wall of Julius II's personal library
-portrays all learned men of ancient Greece discussing with each other
-suggest that Greek philosophy is an ongoing dialogue descending time and space
-first point perspective: space extends into viewers space -> fulfills Humanist wish to engage with ancients
-in center: Plato and Aristotle, greatest philosophers - >arch draws your eyes to center -> arch embraces both P and A, suggesting their ideas may have commonality
-symmetry and first point perspective similar to Last Supper
-differences: Last Supper tells story, but Philosophy is a picture of a whole structure of thought, culture; extends power of painting to represent abstract things |
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Michelangelo, Creation of Man, Sistine Chapel, Vatican Palace 1508-1512
-ideal beauty
-competition with ancients
-idea of man in God's likeness suggests human nature is inherently good |
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Titian, Pastoral Concert, c. 1510
-based on pastoral poetry
-naturalistic
-men in Ren clothing
-poetic superposition of 2 levels of reality: men go to forest to make music and music draws nymphs to them -> fantasy of ancient world mingling with reality
-sexual and nostalgic
-man turns face away in darkness
-light hitting his hand before he strums -> suggests fleeting nature of pleasure and proper mood in which pleasure should be experienced
-depth of meaning makes it representative of poetry |
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Titian, Bacchanal of the Andrians, c. 1520
-Bacchanal = feast sacred to Bacchus
-party as a release that brings you closer to your own human experience
-captures state of sensuality and abandon that most people didn't experience in everyday life |
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Titian, Venus of Urbino, 1538
-Venus in a contemporary Ren. palace
-merging of antiquity and contemporary times
-or is it a portrait?
-if it is a portrait, it's meant to show the parallels to Venus
-her glance=sexual invitation |
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Albrecht Durer, Fall of Man 1504
-German artist who went to Italy to learn Italian Renaissance painting style
-copper engraving
-ideal man and woman
-template for Northern European artists to judge their own representations of body
- effort by a German artist to emulate that he is keeping in stride with Italian art, produced naturalist/true seeming bodies but also ideal bodies
- rendering of ideal male bodies more successful than female bodies |
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Maerten van Heemskerck, The Triumph of Silenus, 1536
- Silenus – companion of Backus God of wine
- Silenus = usually a fat man
- Here he is seated on top right corner very drunk, and accompanied by the kinds of characters that are described in ancient poetry
- Spirit of sensuous abandon, lively illustration
- Ability to create a scene of this kind of an ancient subject in a style that corresponds to classical art, in its modernity and skilled adaptation o classical forms comparable to what Italian (Raphael, Botticelli) artists had been doing – so Heemskerck is showing he can do what they have been doing
- Incidental details: people on stilts, tumblers etc all described in ancient poetry
CLOSEUP: A tumbler in the foreground indicates that Heemskerck is trying to show his own mastery of anatomy (what Michelangelo was famous for). Ambitious because it does look a bit contorted.
CLOSEUP NO. 2: Fragment of Roman statue on bottom left = just the base of the foot of a statue = similar to his sketch of feet/shoes ~ increasing/reinforcing classical feeling to the picture |
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| Maerten van Heemskerck, Self-Portrait, 1553 |
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Bartolomeus Spranger, Hercules and Omphale, c. 1580
- Very good copy of Italian skill
- An example of development of the skill of being able to copy
- Spranger was a German trained in Holland then went to Italy – specially Venice – he cultivated a refined style of brilliantly colored painting
- Hercules – strong man of antiquity, a hero of classical antiquity ~ he makes a blunder prone to let his instincts get the better of him and he falls for Omphale who is flattered that the worlds strongest man is in love with him so she makes him wear women’s clothes while she takes his club and swings it around…
- susceptibility of even the strongest men to the power of women
- in this picture Hercules is spinning with thread – something that women should do
- the painting is humorous, skillful in terms of treatment of forms and anatomy
- Bartholomeus Spranger understands anatomy better than Heemskerck
- He prefers attenuated/artificial looking style (naturalism is not here)
- Brilliant effects of color, texture – intended to be on cartoonish side
- Creates an effect of humor
- Sophistication of the sense of humor |
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Hendrik Goltzius, Hercules, 1611
- Painting of one of Goltzius’ patrons AS Hercules..
- Rulers at the time liked to have themselves as Hercules, but for just a middle-class ordinary Dutchman to ask to be painted as Hercules – there is humor in this
- Humor in juxtaposition of heroic/classical form of Hercules and portrait of this guy
- A sincere homage to classical art yet it is funny
- COMPARE TO VENUS (portrait of girl in palace): both artists are doing the same thing, but mood is very different. nothing funny or self-mocking about the girl portrait lying on a bed (ancient celebration of power of love), but Hercules is ironic and amusing. |
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Hendrik Goltzius, The Farnese Hercules, c. 1592
12 feet high statue
- On RHS front, LHS on back
- A witty way to represent a great classical monument – in print.
- The engraving in copper plate of the butt – lines curve smoothly
- Effects of light to shadow, reflected light etc. |
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Peter Paul Rubens, Head of Seneca, c. 1603
-Rubens' art was inspired by classical antiquity
– son of a lawyer/high ranking official in Belgium
- most renaissance artists were from working class backgrounds ~ rare for an aristocrat to practice painting
- Ancient philosopher’s statue he bought and made sketches of it
- His drawing revitalizes life into the statue
- Imagine he |
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Peter Paul Rubens, Death of Seneca, c. 1605
- Seneca was an ancient philosopher
- Idea that wise men don’t let suffering affect their spirituality
- Facing pain with heroism – self sacrifice of an individual who doesn’t want to bend to will of tyrant ruler
- Emperor Nero sentenced Seneca to death – so he chose to commit suicide by having his veins opened while hw as bathing – a famous scene described in ancient literature ~ a beloved story
- He spoke of the immortality of his soul as he died
- This painting exemplifies the values Seneca had
- Seneca’s face is based on Bust of Seneca that Rubens owned
- Disciple writes his last words on bottom left, soldiers overseeing the death at back (sent by emperor)
- Rubens produces ghastly, powerful picture
- The way the Body is painted is similar to a statue from the renaissance of black marble ~ a sculpture of a fishermen who’s skin blackened from work
- Rubens used this sculpture to create his own visualization of the death of Seneca – intense engagement with ancient art |
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Peter Paul Rubens, Raising of the Cross, 1610
his first big success – big painting, dramatically conceived from Passion of Christ
- a religious painting
- muscular anatomy painted as well as renaissance artists
- body of Christ: his pale skin contrasting to dark skin of those around him
- Similar to statue of Laocoon (with bent arm)– image of noble suffering (priest of troy) –
- Process of synthesis as he travelled Italy was on a philosophical level shown here |
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Peter Paul Rubens, Prometheus Bound, 1611-12
- Another Myth: one of the titans who defies the will of Zeus and steals fire form him giving it to man, so Zeus chains him to a mountain and gets a vulture pick out his liver everyday
- A figure of heroic suffering
- The titan feels man is defenseless and needs the fire
- Powerfully muscled figure, dramatically conceived eagle picking at him
- Body of Prometheus is based off of the Laocoon? ~ but the shoulders are switched
- Pagan and Christian are fused at a deeper level in Rubens’ mind (evident in his painting of raising of cross and Prometheus) |
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Andrea Palladio, Teatro Olimpico, Vicenza, 1580-5
– eventually people started building theaters
- oldest continually functioning theater in the world
- bleachers ~ semi circular seating
- Elaborate architecture/sculpture on façade to serve as background
- Through arches were corridors that extended back at angles to the back, looked like streets that receded ~ illusion of great distance
- theater of ancient world was stylized, not naturalistic
- During Renaissance, people wanted to revive theater on the models of classical antiquity. Dramas were fashioned to mimic ancient spectacle during Renaissance. |
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Bernardo Buontalenti, Sea Nymph costume design, 1589
- elegant costumes, fantastic/dream clothing
- designed to represent figures from ancient myth |
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Johann Lingelbach, Roman Carnival Scene, c. 1650
-carinival - days leading up to Lent, full of debauchery before austere Lent days
-Dutch painter
-in Venice, carnival is still elaborate public event
-dancing around monument...contemporary celebration and more ancient achievement? |
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Commedia dell'arte Entertainers in the Piazza San Marco, Venice, c. 1600
- artful comedy
- practice by professionals who considered themselves artists
- engraving from 1600s showing Commedia dell’arte characters with St Marcos in background (Venice) – people on ground watch actors on elevated platform
- actors on wooden planks performing
- made up of stock characters (standardized set of characters with tight roles and patterns of behavior – conventionalized comic situations)
- not sophisticated very slapstick and stylized form of performance featuring masks
PAINTING: Of a temp. stage with simple backdrop and 2 characters in Commedia dell’arte costumes
RAZULLO and CUCURUCU – characters have funny names, exagerrated movement on stage, vulgar/course dialect
- People would dress up in costumes of Commedia dell’arte characters
- Sophisticated musicians began acting like actors of commedia dell’arte
- so a kind of sophistication was eventually acquired |
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| Joseph Wright of Derby, Fireworks at the Castel Sant'Angelo, Rome, 1779 |
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Gian Lorenzo Bernini, Cornaro Chapel, Santa Maria della Vittoria, Rome, 1645-52
-- Play on theatrical orientation by Bernini
- Bernini’s approach to architecture was theatrical b/c he was a playwright and designer of stage sets, he was famous for writing plays as for a sculptor and architect. He played with illusions. Descriptions talk about some of his designs for special effects of water coming at you, he also played on the idea of what theater is as he had actors acting with their backs to the real audience performing to a real audience |
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Gian Lorenzo bernina, Ecstasy of Santa Teresa, Cornaro Chapel
- Altarpiece representing the Spanish Santa Teresa’s dream that her heart was pierced repeatedly by an angel with an arrow so as to learn true love
- Natural light comes down and illuminates action on stage (spotlight)
- Ecstasy or St. Teresa re-enacted in this sculpture
- Balconies made as boxes of audience members looking down at the stage
- The family reassembles here to see this performance even though some have already passed away
- Marble carving |
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Francesco Borromini, Sant'Agnese, Piazza Navona, Rome, begun 1653
The city itself is a theatrical space – artificial line of theater and urban space is blurred/can be moved. AERIAL VIEW of city: PIAZZA NAVONA
PIAZZA NAVONA
- long open square, on site of racetracks from ancient roman times, bldg’s around it went up after the fall of the empire to maintain the open space which naturally turned into a theater adapted for spectacles, parades, mock naval battles,
FRANCESO BORROMINI, SANTAGNESE, begun 1653
- accommodates the shape of the square perfectly |
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Gian Lorenzo Bernini, Four Rivers Fountain, Piazza Navona, 1648-51
- the obelisk mounted on a pedestal (in middle of 17th century – obelisk brought from Egypt and re-erected by Bernini in front of Church in the center of the square.
- Weight of obelisk sits equally on the supports which cant be seen – looks like it is on an empty space
- Bernini liked this illusion (that the obelisk was actually lightweight), and also used it in theater
- 4 over life-size male figures to represent four rivers of (Danube, Nile, Indus and one more) of the world ~ tradition of ancient statuary brought back to life
- The four rivers meet here to commemorate the obelisk
- Creation of a theatrical space from an actually urban space |
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Francesco de Sanctis, Spanish Steps, 1723-5
- this hillside was a natural theater from ancient times that became theatricalized by embellishment of monumental steps “Spanish steps”
- a space to be in for no reason. People gather here, street performers, musicians, still from ROMAN HOLIDAY - Aubrey Hepburn on steps
- natural theatrical quality of city exploited by architects in their designs |
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Nicola Salvi, Trevi Fountain, 1732-62
- Plazza surrounding this fountain also like a natural theater
- This is the back –end of a new palace that had gone up. God Of Sea Neptune, standing on shell chariot with sea horses in front of him – he is riding a sea chariot demonstrating his mastery of waves
- Other mythological figures spill out over rocks into large basin
- Naturally refreshing place – pouring water cools people off
- Natural place of assembly for people, other human beings as object of interest/spectacle
- Natural amphitheater with terraces roughly like bleachers
- Cinematic scene: quality that a space like this liberates people of their inhibitions |
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Raphael, Portrait of Baldassare Castiglione, c. 1514
-Italy as a place to learn refinement and manners, along with art and theatre
-Baldassare wrote "Book of the Courtier"about codes of conduct expected at court
-people came to Italian courts to seek refinement
-Italian court behavior became model for civilized and refined behavior all throughout Europe
-deeper idea of what it means to be civilized
-portraits show courtiers represented in a way that indicates how highly civilized they are |
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Anon., Portrait of Michel de Montaigne, c. 1590
-Montaigne was philosopher and author
-wrote about his travels to Italy
-wrote about different manners at different courts
-also wrote description of carnival in Rome |
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Anon., The Museum of Ferrante Imperato, c. 1600
-Italy was also a center for science
-ferrante imperato="wonder cabinet" or "collection of wonders"
-private collections of scientific speciments and experiments
-half entertainment, half serious science
-Italy was also forum for scientific exchange |
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Portrait of Galileo Galilei, c. 1635
-famous Italian scientist
-alternative to Copernican theory
-developed idea that earth moved around the sun
-his writings were widely circulated
-but under house arrest but people came to visit him anyway |
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Antonio Stradivari (Stradivarius), violin, 1693
-music and opera developed in Italy
-music language is still in Italian
-significant musicians from 15-18th century went to Italy to perfect craft just as painters did
-instruments=art and technology
-violins were modeled after Italian model |
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Portrait of W.A. Mozart, 1770
-Mozart made 3 trips to Italy
-met leading musicians, networking to try to get a court job (never happened)
-encountered talented people from all over Europe; Italy=site of interactions for musicians |
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Anon., Thomas Coryat Visits a Courtesan, c. 1608
-courtesans = art of love pracited at high degree of sophistication
-Coryat wrote about visiting courtesans - major part of his trip
-courtesans were educated and performers of civilized ideal; they would recite poetry, sing, provide converastion
-Italians turned prostitution into a high art just as they developed other areas of high art
-courtesans were socially accepted and tolerated, unlike elsewhere in Europe |
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Portrait of Girolamo Casanova, c. 1750
-Venice as place to explore sexuality; freer place than other places in Europe in regard to self indulgence ("Stealing Beauty")
-ability to explore alternative sexual relations was linked to free-thinking and freedom
-Casanova was a libertine=free-thinker
-famous for being a seducer, active questioner, free thinker
-sexual exploits as an extension of free-thinking and philosophical principles
-philosophical underlying to courtesans and sexual freedom ->personal freedom |
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Nicolas Poussin, Rape of the Sabine Women, 1636
-Poussin=French man who spent almost entire carerr in Rome
-contrast his work to Rubens; Ruben loved Venetian painting, intense color leaving brushstrokes to portray energy, spontaneous, free, type of painting
-Poussin=discipline and precision; tried to best what the very best ancient paintings would look like
-Rape of Sabine Women - Rome had too few women so invaded and kidnapped Sabines
-message that might makes right
-Poussin's attempt to tell chaotic story
-individual figures and groups form sculpture like units ->look like sculptures that came to life
-to Poussin, success was scenes that look like they could be ancient sculptures
-beauty of rigor, composition carefully planned and calculated to perfection |
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Nicolas Poussin, Et in Arcadia Ego, 1638
-"I too am in Arcadia" = inscription on tomb
-Arcadia=land of shepherds, mythological realm of primitive state close to nature
-invokes pastoral
-ideal relationship between nature and humans
-tomb=consequence of life in nature; acceptance of death
-philosophical representation that if you live close to nature, you must accept mortality |
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Nicolas Poussin, Dance to the Music of Time, c. 1640
-not specific ancient text but themes
-bubbles=trainscience; Father Time; 2 heads=Janus, looking toward past and future
-women=4 seasons
-goddess of dawn
-Apollo, Muses - holding ring of Zodiac=symbol of cosmic order, suggesting idea that movement of time is a part of the order of the universe
-philosophical statement about acceptance of time |
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Claude Lorrain, Pastoral Landscape, c. 1638
-his paintings became model for landscape paintings
-portrayed ancient pastoral concept
-creates serene mood
-about human dependence on nature
-serene but shadows are long; mortality is ever present
-must accept mortality to enjoy nature
-we are things of nature but looking at beautiful scene breeds acceptance of death
-mood is similar to Arcadia and Letician's pastoral - combination of beauty and nostalgia; pleasure in any one moment should be savored because life is fleeting |
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Jan van der Straet, Academy of Art, c. 1572
-Academy=grove of trees where PLato used to discuss
-artists using word "academy" is saying that art is an intellectual craft
-idea of academy portrayed - studying anatomy and ancient sculpture
-idea that painting and sculpture are similar because ideas matter more than medium
-Italian idea ->France, French Academy |
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Peter van Laer (Bamboccio), Italian Scene, c. 1630
-modest, rural life
-pretzel vendor by castle - juxtaposition of setting and rural people |
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Anton Goubau, Artists Studying Ancient Art, 1662
-ruins and ancient statues
-put statues in one place where they aren't actually together in real life ->allegory of studying ancient art
-patrons watching artists draw, represents that patrons have a role also
-one side = artists and sculptures
-other side = sheep=pastoral
-country inn=celebration of that plyaful aspect of Italian life
-trying to represent totality of Italian experience; artists must chose between studying and bohemian lifestyle (represented by the inn) |
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Pompeo Batoni, Lord Crowle, c. 1770
-Grand tour=18th cent Italian travel
-Indus Rev and imperialism made England very wealthy
-notion of tourism begins
-travel to Italy to complete education
-common to have portrait done while on tour
-Batoni=most fashionable portrait painter in Rome
-Lord Crowle=beautifully dressed, auro of aristocratic confidence ->supremacy and entitlement
-books suggest he's educated |
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John Zoffany, The tribune of the Uffizi, c. 1775
-represent gathering of English aristocrats
-group portrait of people who visited at different times
-tribute to art loving quality of English aristocrats |
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Joshua Reynolds, Society of the Dilettanti, 1778
-dilettanti from diletto (pleasure)
-portrait of founding members
-collect art because gives pleasure, not because they're artists or want money
-drinking wine = combo of seriousness and fun |
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Portrait of James Boswell, 1766
-exemplifies in writings the complexity of Italian experience
-stops in geneva to visit philosopher Rouseau
-emotionally young, hoping to learn about love and relationships
-speaks of chasing women and also of having a religious experience in ROme
-emotionally vulnerable and comes to understand his own emotions |
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Wilhelm Tischbein, Goethe in the Campagna, 1787
-Goethe's Italian journey is classic example of Italian experience
-wanted education he never got when he was younger
-describes Roman carnival in detail; says carnival is important metaphor for life; by extension, Italian life in general contains lessons even for serious minds
-more sophisticated and emotionally mature than Boswell
-Geothe's erotic experience - more poetic |
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Anon., "Welladay! Is This My Son Tom?", ca. 1770
-macaroni = someone who acquired taste for Italian fashion
-some saw Italian travel as a corruptin of morals
-men come back effeminiate
-satirical print of man in Italian fashion |
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Robert Fagan, Elizabeth Webster, 1793
-women went to Italy to break free from English sexual constraints
-Webster is unhappily married, goes to Italy and finds strength to break out of it
-volcano is background is metaphor for her feelings inside, demure outside |
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George Romney, Emma Hart (Lady Hamilton) as Circe, 1782
-Sir William Hamilton's young, beautiful bride
-Circe=anceint witch who beguiles men
-she was painted many times in classical style
-she was a spectacle to be seen
-fell in love with Admiral Nelson, had long term affair |
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column of Trajan, c. 115 CE
-reliefs wind around column
-statue of Trajan at top but it disappeared
-popes put statue of St. Peter at top - shows Christian take over of Rome |
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Arch of Titus, c 82 CE
-depiction of triumphant procession carrying booty from temple of Jerusalem
-ancient monument but Christians could relate |
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Capitol HIll Complex; current configuration by Michelangelo, c 1536
-most important temple |
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Equestrian Statue of Emperor Marcus Aurelius, Campidoglio, c. 175 CE
-best ancient bronze equestrian statue to sruvive, survived because in middle ages they thought it was constantine (xian emperor) |
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Colosseum (Flavian Amphitheater). C. 70-90 CE
-gladiator combats
-ritual significant for church ->site of martydom |
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Pantheon, c. 125
-pantheon = "sacred to all gods" |
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Pantheon (interior) c. 125
-one of largest, singular internal spaces
-opulus - open space in center that lets light in |
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