Giotto, frescoes, Arena Chapel, Padua, 1305-1310
    Kiss of Judas

 Kiss of Judas: from “the passion” (arrest, torture, death of Christ)

Explicates the contrast between treachery and dignity

Stresses dramatic core of scene: lances point you to what’s important in the scene

Visual repetition to tie the composition together: outstretched arms and cloaks

Expressive use of his drapery: folds of judas’ drapery all come to the Head of Christ, the jaggedness of drapery folds of high priest indicates his conflict

Gesture and expression: high priest wavering

Giotto, frescoes, Arena Chapel, Padua, 1305-1310

Lamentation

Core- slightly to the left, focus is Mother and Son. Meant to recall the scene of the nativity, scene of unbearable grief

Composition made up of two groups tied together with Christ’s body

Some figures have their backs to us, very innovative for the time, creates three dimensionality and brings audience into the painting

Vertical tree, dead treeDiagonal slant of horizon guides eye to core

Giotto, frescoes, Arena Chapel, Padua, 1305-1310

Meeting of Anne and Joachim

Not from the Bible, from the Golden Legend

St. Anne and Joaquin (parents of Mary) meet at the gate: what does this really depict?

The embrace of Mary’s parents= her immaculate conception à the immaculate conception refers to Mary’s conception in Anne’s womb, not Christ’s conception in Mary’s

The rounded arch:

Associated with the pagan world, the pre-Christianity world

The woman in black: perhaps represents the “Old Law” , the Jewish law

Cimabue, Madonna and Child Enthroned, c. 1285

 Madonna and Child Enthroned, ca. 1285

Panel painting: panels of wood joined together, red clay layed down to set gold leaf, detailed under-painting, allows for very

detailed rendering

Painted in italo-byzantine style

Emphasizes qualities of heavenly sphere: accent of verticality, no ground line, figures seem weightless/immaterialized, lots of goldà emphasis on surface of the work, Mary is in hieratic style: highly symbolic , has nothing to do with reality effects: she is depicted as larger than everyone else

Giotto, Madonna and Child Enthroned, c. 1310

Giotto’s departure from Cimabue in Madonna and Child

Both have gold backgrounds, both have used hieratic scale

Giotto’s is less vertical, different proportions

Space: Giotto begins to approximate the reality of space; spatial recession

figures are more three dimensionality

rephrased religious sentiment

Giotto gets classicizing elements from Nicola Pisano

Duccio, Maest‡ Altarpiece, 1308-1311:
    Madonna in Majesty with Saints and Angels

Madonna and Child (front)

Particularly meaningful because Madonna was thought to be special protector of Siena

Duccio signs the work: civic and religious messages are interwoven

Mary is flanked by four kneeling saints “Queen and her entourage”à emphasis of beauty and elegance

Line: Duccio is fascinated by curving calligraphic line (Cf. French gothic fused with italo-byzantine)

Duccio, Maest‡ Altarpiece, 1308-1311:
    Entry of Christ into Jerusalem

Entry to Jerusalem (back)

Beginning of the Passion Cycle, enters Jerusalem on donkey

Application of paint, has jewel-like quality, visually complex, elegance and style, full of narrative detail, lots of gold

Duccio is GREAT at creating space

Duccio, Maest‡ Altarpiece, 1308-1311:
    Betrayal of Christ

Duccio, Maest‡ Altarpiece, 1308-1311:

Lamentation

Filippo Brunelleschi, Sacrifice of Isaac, 1401-1402

Brunelleschi’s Sacrifice of Isaac: God asks Abraham to sacrifice son Isaac to demonstrate faith

Organized a parametal shape

Looks like a renaissance artwork

Lorenzo Ghiberti, Sacrifice of Isaac, 1401-1402

Angel plummets in in the Ghiberti

More graceful drapery

Figure of Amberham is curved

Action b/t A and I is less physical

More atuned to the setting

Lorenzo Ghiberti

Actually a transitional figure between late medieval and renaissance

Isaac is first classicizing nude since antiquity

Nanni di Banco, Four Crowned Saints, Orsanmichele, Florence, c. 1413

•  
  • Nanni di Banco, four Crowned Saints

•  
  •  
    • Figures in a semi circle: suggests strength and commonness of purpose

•  
  •  
    • Obvious revival of classicizingà antique subject and style

•  
  •  
    • Predella- masons shown

Donatello, St. Mark, Orsanmichele, Florence, c. 1413

•  
  • Donatello, St. Mark
    
    • Commissioned by weavers guild
    •  
      
      • 7’ 8” tall

•  
  •  
    • most complete recreation of an ancient type

•  
  •  
    • depicts one of the evangelists (authors of the gospel)

•  
  •  
    • pose called contraposto: all the weight on one leg

•  
  •  
    • drapery

Donatello, St. George, Orsanmichele, Florence, c. 1415

Commissioned by armorers guild

St. George slaying the dragon thought to be first attempt at atmosphere in sculpture

Lorenzo Ghiberti, St. John the Baptist, Orsanmichele, Florence, 1414

Lorenzo Ghiberti, St. John the Baptist

Made of cast bronze, more costly than marble

Over 8 ft tall

Lost wax technique: used in antiquity, knowledge of how to do it was lost in middle ages and rediscovered during renaissance

You can see the body underneath classical draperiesà Ghiberti’s John the Baptist is different:

The body is curved into a kind of S-shape

Donatello, David, c. 1440

Donatello, David 1440’s

62” tall, slightly under life size

cast bronze, very expensive

commissioned by the Mettace family for the Mettace palace

first free standing nude since antiquity: elegant, sensual, probably homo-erotic in intent

detail of feather on the helmet comes up to tickle his leg

conservative: Christian, David as the precursor of Christ

secular symbo of republica Flowrence symbolic of Florentive opposition to authoritarian forms of gov’t

Platonic/homo-erotic interpretation: erotic and political at the same time, possibly a statement about the triumph of homosexuality over a tyrannical homophobia

Brunelleschi, Foundling Hospital, Florence, c. 1419-1440

commissioned by the silk workers and goldsmiths guild

important because it introduces classical style in architecture 

colonnade is a series of columns joined by arches

  giant fluted palasters hold up horizontal piece called “entablature”

roundals have sculptures in the them (babies because it is an orphanage

first renaissance structure in Florence

à why?

Classical vocabulary; derives from classical architecture: one of the sources for this building is the Roman Coliseum

Harmony, symmetry

Modular system of architecture= series of repeated shapes, basic unit is the cube

Brunelleschi, Church of Santo Spirito, Florence, 1436

Filippo Brunelleschi, Church of Santo, Spirito, Florence, 1428-36

•  
  • Latin cross plan : reflects harmony of renaissance, based on square or cube, creates order in the building and serenity for the viewer of the building

•  
  • Usually built facing East, main entrance in the West

•  
  • Dome at the trancept (where the “cross” crosses)

•  
  • Nave = the long section of the cross, where the procession takes place; delineated by arcades

•  
  • Ceiling is coffered, flat (painted on wood, not actually vaulted stone)

Leon Battista Alberti, Church of Sant’Andrea, Mantua, begun 1470

à true renaissance man

•  
  • church built for the Metace family

•  
  • concern for perfect proportion on the façade: height and the width are the same

•  
  • reusing an ancient formula: temple-front façade

•  
  •  
    • arcade across the front porch, arcade supports an entablature, entablature in turn supporting triangular pedement

•  
  • INSIDE:

•  
  •  
    • First stone vault of the modern era

Masaccio, Tribute Money, c. 1425, Brancacci Chapel, Florence

Massacio, Tribute Money, c. 1425, Brancacci Chapel, Santa Maria del Carmine, Florence

represents a three part narrative

1.  
   1. Christ with his disciples

1.  
   1. Being asked for money for taxes, Christ tells Peter to go get the money out of the mouth of a fish

1.  
   1. Based on Nanni di Banco

1.  
   1. C.f Giotto, Lamentation: Massacio’s faces are more individualized, the bodies are more realistic

1.  
   1. Striking monumentality, clear focal point, sculptural, majestic, individualized faces (roman portraiture), concerned with human body, sophisticated modeling (to show spatial recession) à chioscuro reates sense of relief, deposits a light source, believeable landscape through use of perspective

1.  
   1. Optical/ atmospheric perspective: diffusion of light, blurring of colors in receding space creates sense of space, first time since antiquity

1.  
   1. Humanist principles:

1.  
   1.  
      1. Reason dominates

1.  
   1.  
      1. Interest in empiricism

1.  
   1.  
      1. Revival of antiquity

1.  
   1.  
      1. New historical consciousness, interest in civic responsibility

Masaccio, Expulsion from the Garden of Eden, c. 1425, Brancacci Chapel, Florence

Masaccio, Expulsion fro the Garden of Eden, Brancacci Chapel, c. 1425

Typical gender coding

Eve is EMOTING, Adam is beyond expression

Masaccio, Trinity, c. 1428, Santa Maria Novella, Florence

Masaccio, Holy Trinity, 1428, Santa Maria, Novella, Florence

Illusionistic barrel vault

Rendered in nearly perfect one point perspective

Masaccio, Madonna and Child Enthroned, 1426

Masaccio, Madonna and Child Entroned (Pisa Altarpiece), 1426

C.f. Giotto: figures are more lifelike

Cf. Nicola Pisano: Mary looks matronly

Cf. Duccio, Maesta Altarpiece: Christ child as a real baby!

Christ baby eats grapes, Mary looks sadà foreshadow of inner psychological life

Fra Angelico, Descent from the Cross, late 1430s

Fra Angelico, Descent from the Cross, late 1430s, San Marco Museum

Original location: Sacristy in the Church of Sana Tinita, Florence

Dominican Friar – trained in tradition of Masaccio

Old fashioned looking – to do with frame

Began by another artist

Lorenzo Monoco

Actually modern

Box like space lit by a coherent light

System that suggests space

Figures

Middle grouping

Figures unified in semi-circle like Masaccio

Fra Filippo Lippi, Annunciation, c. 1440

Fra Filippo Lippi, Annunciation, c. 1440, Church of San Lorenzo Florence

Tempera on panel

Commissioned by the Martelli family

Crazy background story

Kidnapped and sold into slavery

Later found a nun to be his girlfriend

Had a child who is also an artist

Very influenced by Masaccio

Lippi has preoccupation with illusionistic space

Can see perspective at work

Orthogonals evident

2 bay (separated in middle by column)

middle column painted

2 angels looking outwards

activate space

involve viewer

Glass corath (?) placed at viewer of Gabriel, draws eye to main action

Domenico Veneziano, St. Lucy Altarpiece, c. 1445

Domenico Veneziano, St. Lucy Altarpiece, c. 1445

Tempera on Panel

High altar of the Church of St. Lucia

Most coherent space that we’ve seen yet

Mature example of Alberti’s one point perspective

Sacred conversation piece

Scene that depicts saints from different time periods joined in same space in communication with each other

Madonna and child

St. Francis – medieval time

St john Baptist – Christ time

St. Lucy

other random saint who is not important

Architecture

Combo of classical and gothic

Classical columns (capitals)

Classical niches (shell)

Gothic pointed arches

Clarity of space and community of figures influenced by Masaccio

Clear special recession also from Alberti

Antonio Pollaiuolo, Battle of the Ten Nude Men, engraving, c. 1465

Antonio Pollaiuolo, Battle of the Ten Nude men, c. 1465, engraving

Engraving new medium

Engravings produced in multiples

Printed on paper

Less costly than painting

No patron

Beginnings of speculative art market

New appreciation of human body

Masterful anatomy

Body strained in action

Front, back, side

Knowledge acquired by performing dissections

Tension in body evident

Sandro Botticelli, Primavera, c. 1482

Sandro Botticelli, Primavera, c. 1482, Florence, Uffizi

Medici patronage – Lorenzo de Pierfrancesco de; Medici

Prob. To commemorate Lorenzo’s marriage

Mythological theme

Demonstrates new representational trend

New poetic imaginative

Fantastic strain emerges in later 15^th

Reaction against Masaccio

Botticelli wanted different style

Graceful

Stylish

Lyrical

Considered one the truest depiction of Alberti’s narrative (historia)

Some scholars say first convincing historia

Narrative wherein movement of body reveals emotion

Main figure Venus in dark forest (identifiable by red drapery)

Orange trees

Medici patronage (oranges on coat of arms)

Story begins on right

Figure of wind god Zephyr pursuing nymph Cloris

Intends to rape her

First of numerous depictions of rape

Further backgroung: After Zephyr raper Cloris, he marries her and she transforms into goddess Flora

Venus- goddess of marriage and fertility

Venus often decorated wedding chambers

Rape scenes not infrequent in these commissions

Three graces

Mercury

Sandro Botticelli, Birth of Venus, c. 1485

Sandro Botticelli, Birth of Venus, 1485

Medici villa

Zephyr and Cloris reappear intertwined

Blowing Venus to shore

Venus born of the foam of the ocean

Testicles of Uranus castrated

Cast into ocean

Born of foam from testes

Being swept to shore by wind in sea shell

Figure waiting to clothe her

In Controposto

Influenced by ancient sculpture

Reluctant to be clothed

Reacting against Masaccio

Wants something more artful and lyrical

Botticelli denies spatial recession

Shoreline: appears to go up instead of back

Water seems flat

Art more decorative

Agitation in limbs of intertwined figures and Jagged drapery

Contrasts with elongated graceful figure of Venus

Robert Campin, MÈrode Altarpiece, c. 1425

Robert Campin, Merode Altarpice. C. 1425

One of very first N. Renaissance Panel painters

Triptych – 3 panels

Main scene annunciation flanked by donors on left and St. Joseph panel on right

For a side chapel in church

Panel meant to aid their prayers

Main panel: Annunciation

Depicts in contemporary 15^th C. Flemish home

Christ child headed for ear

First time scene depicted in home interior

Goal of artist to make scene accessible

Argued that scene is strongly symbolic and theological

Contains disguised symbolism

Lilies in vase

Purity

Snuffed out candle

Underscore earthly light is inferior to heavenly light

Mary sitting reading – leaning against bench

Bench corners adorned with Lions

Represents throne of Wisdom

Sign for Mary

Her lap throne of wisdom because Christ sits on it

Jan van Eyck, Ghent Altarpiece, 1432

Jan and Huber van Eyck, Ghent Altarpiece, 1432

à popularized the use of oils

Commissioned by two people of the church

Profoundly liturgical, explains the ritual of the catholic mass

Incarnation and transubstantiation

Two saints depicted as if in sculpture

St. John the Baptist

On the inside is a complex cosmic vision:

Christ in majesty flanked by the Virgin Mary and St.John the Baptist

Holds a scepter, earthly crown on ground, Christ as priest and King

Mary as both Christ’s mother and bride

Incest and cannibalismà possible subtexts of Catholicism

Wafer/wine becomes

Christ’s body

Adam and Eveà first nudes of the North!

Adoration of the Lamb, apocalyptic vision of eternal mass in heaven

Blood coming from the sacrificial lamb into the chalice

Fountain in the foreground thought to represent baptismà washes away original sin

Jan van Eyck, Arnolfini Wedding Portrait, 1434

Jan van Eyck, Arnolfini Wedding Portrait, 1434

- first full sized double portrait

according to Panofsky, everything points to this being a marriage ceremony

more likely just a portrait of husband and wife: lots of symbolism anyway

St. Margeret on the bedpost

Painting shows the materialism prominent in Flemish culture: mirror, chandelier, imported oranges, beautiful furniture, dog as emblem of fidelity

“signature” could be humorous; possibly a comment on the status of painting “look, painting can fool you into thinking what you are seeing is real”

Rogier van der Weyden, Descent from the Cross, c. 1435

commisioned by a guild designed to aid your meditations as a viewer

image of strong grief

focus on Mary (on Mother and Son)

new representation of Mary: suggests that Mary’s suffering at crucifixion is equal to that of Christ’s

figures are isolated: no landscape, no environment, compresses the emotion, figures organized into this arch

expressive drapery

Hugo van der Goes, Portinari Altarpiece, c. 1476

commissioned by an important banker of the Mettace family

main panel depicts the nativity: Mary and Joseph and shepherds, adoring the Christ child on the ground

birth scene, but many symbols alluding to the passion, or his death:

flowers symbolic of passion

wheat

Joseph has discarded one of this shoes: holy ground

New tension and anxiety in the style

Strange jumps in scale: tiny angels, huge shepherds

Right and left wings depict commission family

Right panel shows women in family: patron saints are huge and humans are tiny, weird portrayal of St. Margeret’s dragon

Left panel is men in family

Outside of altarpiece

Weird that Mary is depicted on left  instead of right

Dove of holy spirit is not really a dove, some sort of attack bird

 Why is this picture so weird?

Van der Goes entered a monastery as laymen

Suffered depression

culminated with suicide attempt

Fernando Gallego, Pieta, c. 1470

Fernando Gallego, Pieta, c. 1470

Mary holding crucified son in her arms

Cf. Rogier can der Weyden

Less use of glazes in Spanish version, more stark, ore yellows and tans (Spain is dry)

Pedro Berruguete, St. Dominic Pardons a Heretic, c. 1500

Pedro Berruguete, St Dominic Pardons a Heretic, c. 1500

Done for a Dominican monastery, represents a moment in the life of St. Dominic, also a contemporary document of the inquisition

Pardons a heretic from death at the stake

Original intent was to glorify St. Dominic

Disturbing is informal tone of paintingà points to cruelty of the inquisition: two naked people have been stripped and are about to be burned at the stake

Seated figure bored and impatient (a jailer)

Leonardo da Vinci, Adoration of the Magi, 1481-1482

Adoration of the Maji (1481-82, unfinished)

Gives insight into Leo’s creative process, introduces high renaissance

Greater grandeur in the high renaissance, more movement and dynism, high ren. Inherits the desire to control spaceà leads to perfection and refinement of perspective systems.

Universalizes the figures and the types

Main device= triangle

Madonna’s head is the top

Example of Leo imposing order in his picture

Strong verticals on either side; composition well thought out

Does not actually depict a “serene world”à Leo obsessed with releasing energies, sense of urgency and turbulent movement

Strong light/dark contrast (typical of Leonardo)

Leonardo da Vinci, Madonna of the Rocks, 1483-86

Madonna of the Rocks (1483-86 (first version, Lourve)

Perfect V.Mary in center: unsullied beauty + babies and angel

Extraordinary world: abstract light, figures seem to glow from within

Uses smoky shadows to model (spumatto)

Composition is pyramidal

Everything is contained within the frame- gestures stay in the lines

USE OF GESTURE: angel points toward St John the Baptist, John prays to cousin Christ, Christ returns gaze with blessing gesture

Setting an figures work together:

Plants- the new life that Christians believe come with Christ

Background reads in contrast (era before Christ)

Cave as reference to future tomb of Christ

Christ and Mary as new Adam and Eve

Leonardo da Vinci, Last Supper, 1495-1498

Last Supper, 1495-1989, Santa Maria della Grazie, Milan

Painted in oil and tempera on dry wall

Less than 50% of the original remains

Subject from gospel of John (Christ says “one of you will betray me”, all deny save Judas who pulls away)

Less interested in the sacramental side (consecration of break and wine) more interested in the human side

Christ is only element of repose: also sits in triangular pose, isolated, dignified

Leonardo da Vinci, Virgin and Child with St. Anne, c. 1501-1513

Virgin and Child with St. Anne, c. 1501-13

Mary, seated on her mother’s lap, Christ attempts to climb onto the back of the sacrificial lamb

Spumatto technique creates  atmospheric perspective

Psychoanalytic reading: jesus with Mother and “step” mother? Freud suggests that this is an allusion to Leonardo’s two mothers

Leonardo da Vinci, Mona Lisa, 1503-1506

Fragments of columns on the sides, picture has been cut down

Previous portraits tended to be in profile, bust length

Spumatto: used in face and background both

Pose = triangular

Famous enigma

Possibly didn’t make it to the sitter/patron because he/she didn’t like it: Mona Lisa depicted without clothes/jewelry to indicate social status, loose hair

Michelangelo, Pieta, 1498-1500, St. Peter’s, Rome

Defines high renaissance in sculpture

Carved in marble

5ft wide, 8.5ft tall

signed audaciously in a band across Mary’s chest

scene of intense grief, but M. depicts it as ideal serene realityà reason must control all; order and rationality can be seen in this restrained reaction\

solid, stable, eternal

christ’s face: looks like he’s sleeping, does not look torutured, brutality of death has been downplayed

Mary’s youth is an example of neoplatism: her physical beauty manifests the beauty of her sole

Polished stone looks like flesh

This is not meant to be an everyday reality; people are not a part of this realm

Michelangelo, David, 1501-1504

Competition to complete gigantic statues for cathedral dome in Florence

So beautiful that Florentines put it outside of city as emblem of republican values

Shown before the battle: watchful, on guard (against Florence’s enemies)

Preoccupation with anatomy

dependence on classical form: stands in contraposto

colossal scale

sense of tension and every in figure

demonstrates new attitude for and appreciation of nude male body

Michelangelo, Holy Family (Doni Tondo), 1503-1506

Michelangelo, Doni Tondo, 1503-06

Symbolic meaning of circle: perfection, deification

C.f Leonardo’s St. Anne, Madonna and Child

Nothing mysterious or fantastic in M.’s

Much more sculptural

M. uses hallows and projections to communicate 3 dimensionality

M.’s is about power, L.’s is about grace

Figures of power and might, not mere mortals

New plants in the foregroundà symbolic of new life given to Christians with the coming of Christ

Mary seated on ground, indication of humility

Christ is Hercules baby (muscular, strong)

5 male nudes in background, probably represent the pagan world

st. john links the pagan and Christian world’s

•  
  • Scene 5: Creation of Adam
  • Intellectual creation of Adam, his body already exists
  • Very beginning of consciousness: languid arm, longing look at god
  • Adam is meant to be read in contrast with God: incredible figure of vitality
  • Composition is further balanced with the mantle and landscape

Michelangelo, Frescoes, Sistine Chapel, Rome, 1508-1512:
    Temptation and Expulsion from the Garden of Eden

Scene 6: Temptation and Expulsion of Adam and Eve

True sadness of scene depicted

Both Adam and Eve reach for the fruit of knowledge, suggesting the universality of sin

Tree with forbidden fruit divides the scene

Adam and Eve are powerless in face of angel

Turning point on ceilingà shows off M.’s pension for expressivity through the human body

Michelangelo, Frescoes, Sistine Chapel, Rome, 1508-1512:
    Prophet Jeremiah

Prophet Jeremiah: (last thing that Michelangelo painted in the chapel)

Wearing a sculpture’s smock (reference to the painter’s state of mind?)

Michelangelo, Frescoes, Sistine Chapel, Rome,

    Last Judgement, 1536-1541

End Wall: Last judment

M. called back

after the completion of the ceiling to paint thisLast judgment as stupendous and terrifying event

Top of rendering shows angels with instruments of the passionà meant of remind of the redemption possible for sinners

Center is Christ with right arm raised damning sinners to hell, lower left arm beckons the saved

Mary appears to cringe at Christ’s power

Extremely pessimistic work: M. depicts himself in the flayed off skins of St. Bartholomew

Body proportions have changed

When this was finished it caused an uproarà different artist was commissioned to paint fig leaves on all the nudes

Why is last judgment so important?

Represents turning point in M.’s portrayal

1) personal: M. gets more dark as he ages

2) political: pope dies, Rome is sacked, Catholic church is being challenged by the protestant reformation: Martin Luther

Raphael, Madonna of the Meadows, 1505

Madonna of the Meadows, 1505

Influenced by Leonardo and Michelangelo

C.f. Leonardo’s Madonna, Anne, Christ,

Accessible, lucid image

Landscape of R. is uncomplicated, inviting

More intelligible work

Mary’s perfect smooth oval face= R. trademark

Raphael, Portrait of Baldassare Castiglione, c. 1515

Portrait of Castiglone

Response to Mona Lisa

Face is almost frontal, arms and hands are visible

Main difference from Mona Lisa is the clarity
Applies varying thickness of pigment to achieve different effects

Raphael, Disputa (Theology) Stanza della Segnatura (Papal Library), Rome, 1509-1511

Disputa: on theology

Organized on two tiers: the earthly and heavenly realms

Theologians are debating transubstantiation

à discussion participants in a semi circle

center of work is a monstrance holding a waferà points up to heavenly realm: dove of holy spirit , Jesus flanked by Mary and St. John the Baptist

text in the work argues that text is at the root of renaissance ideology

Raphael, Transfiguration, 1520

ransfiguration, 1520

Depicts moment at Mt. Tabor when Christ’s divinity is revealed to his followers

Two figures flank him: Moses and Elijah but Christ’s higher position reflects Christianity’s supposed supremacy over Judaism

Christ’s heavenly light blinds the three apostles clearly earthbound

Scene at bottom in foreground shows more apostles trying to cure a boy of a demon possessionà trying to use Christ’s methods, unsuccessful because only Christ is heavenly

Range of tormented reactions in scene below = important

Christ’s body and possessed boy’s body echo eachother

Raphael died before this picture was completed; finished by a student

Painting as a whole shows that Raphael was moving beyond the renaissanceà contorted poses, colors, foreshadow mannerism

Albrecht D¸rer, Self Portrait, 1498

Self Protrait:

Both show figure in three-quarters with distant landscape

Diff. in crisp lines harsh edges found in Northern High Renaissance

Durer pays much more attention to pattern

Interested in line, linearity typical of German art

Albrecht D¸rer, Four Horsemen of the Apocalypse, c. 1497-1498, woodcut

4 Horsemen of the Apocalypse, 1497-98

process of engraving grew out of goldsmith’s tradition

importance of printmaking comes from its ability to mass produce: many copies

according to Book of Revelations, four horseman come at end of world

foreground horseman is Death

Famine is most prominent

War is above famine (holding sword)

Final figure in the background is Plague identified by bow and arrow

Top left corner shows rays of light representing God, the divine

Albrecht D¸rer, Melancholia I, 1514, engraving

Melancholia I, 1514 engraving

Artists as depressed

Artists as saturnine geniuses

Genius is winged female figureà  head on hand= melancholic and deep in thought

Figure looks idle and uninspired

So does little angle

Hourglass detail above indicates the passage of time

Squeaking bat holding up text sign that says MELANCOLIA

Albrecht D¸rer, Erasmus, 1526, engraving

Erasmus, 1526

Portrait of the great humanist  in his office

Lily’s in the west signify purity of mind/soul

Erasmus also was a Catholic reformer

School of Athens (Philosophy), frescoes, Stanza della Segnatura (Papal Library), Rome, 1509-1511

School of AthensDepicts ancient Greek philosophers

More emphasis on written word

Setting is majestic and classical: columns, monumental classical statues of Apollo and Minerva

On the left is Plato (pointing up), thought ot be a portrait of Leo da Vinci

Aristotle points down at earth

Left foreground is Pythagoras explaining perspective

Right foreground is Euclid with compass, portrait of Bromanti

At right looking out is portrait of Raphael

Cynic philosoher Diogenes is sprawled on steps

Titian, Assumption of the Virgin, 1516-1518