Homework 1: Skim through Chapter 17, Noting what mannerism means and be able to give an example. What, historically, accounts for mannerism’s development?
Homework 2: explore one of the links on the blog and post a response beneath the blog post. If you’d like to suggest a different link, post it in your response.
On Tues., we’ll do presentations and a record-setting quick overview of Ch 17
Into the High Renaissance: Chapters 15 & 16
*Growing importance of artist demonstrated in Vasari’s The Lives of the Most Eminent Painters, Sculptors and Architects of Italy (p555) *In spite the class the artist was born into, the artist could and did gain a status on par with intellectuals and Humanists, and members of royal/ noble courts *“genius” or “divine” *Why these accolades for the artist? *Strategic patrons drew from a pool of artists who competed against one another for commissions (see p 532 – Domenico Veneziano’s letter to Piero de Medici) *The patrons’ status and political aspirations could be displayed – a kind of PR – for followers and competitors to see. *These marks of status – paintings, sculptures, frescoes and buildings, can be interpreted in part based on where they were placed.
The Renaissance Style reverberates
*Florentine style developed especially under Medici patronage 1430-1494 *This style came to influence and inspire many artists who used its appeal to find patronage and commissions throughout Italy, including Mantua, Venice and the Papal States
*in Mantua: Alberti and Mantegna -Piero della Francesca’s Enthroned Madonna and Saints with Federico de Montefeltro -sacre converzatione -the patron was a condotierre (mercenary general) turned Duke -Adds oil to use of perspective, marrying Northern influence (oil, detail) with Italian obsevation of architecture (Brunelleschi and then Alberti) and perspective - influences: Domenico Veneziano’s Madonna and Child with Saints, Alberti’s Interior of Sant’ Andrea, Paolo Ucello’s Double Portrait of Battista Sforza and Federigo de Montefeltro
*in Venice: Bellini and oil painting (547-550) *in Rome/papal states
High Renaissance in Italy 1495-1520 Chapter 16
Some primary sources: *Giorgio Vasari (784) and in library, online *Leon Battista Alberti’s Treatises *Niccolo Machiavelli’s The Prince *Leonardo da Vinci (560) *Michelangelo (565)
Overview *Status of the artist *Nature of patronage *This idealistic art was made during time of turmoil, for the Medicis had lost power – in 1494, following the death of Lorenzo de Medici, Piero de Medici lost control of Florence to Domenican friar Girolamo Savonarola (p541, 556) and other parties jockeyed for power in Italy
Homework 1: Skim through Chapter 17, Noting what mannerism means and be able to give an example. What, historically, accounts for mannerism’s development?
ReplyDeleteHomework 2: explore one of the links on the blog and post a response beneath the blog post. If you’d like to suggest a different link, post it in your response.
On Tues., we’ll do presentations and a record-setting quick overview of Ch 17
Into the High Renaissance: Chapters 15 & 16
*Growing importance of artist demonstrated in Vasari’s The Lives of the Most Eminent Painters, Sculptors and Architects of Italy (p555)
*In spite the class the artist was born into, the artist could and did gain a status on par with intellectuals and Humanists, and members of royal/ noble courts
*“genius” or “divine”
*Why these accolades for the artist?
*Strategic patrons drew from a pool of artists who competed against one another for commissions (see p 532 – Domenico Veneziano’s letter to Piero de Medici)
*The patrons’ status and political aspirations could be displayed – a kind of PR – for followers and competitors to see.
*These marks of status – paintings, sculptures, frescoes and buildings, can be interpreted in part based on where they were placed.
The Renaissance Style reverberates
*Florentine style developed especially under Medici patronage 1430-1494
*This style came to influence and inspire many artists who used its appeal to find patronage and commissions throughout Italy, including Mantua, Venice and the Papal States
*in Mantua: Alberti and Mantegna
-Piero della Francesca’s Enthroned Madonna and Saints with Federico de Montefeltro
-sacre converzatione
-the patron was a condotierre (mercenary general) turned Duke
-Adds oil to use of perspective, marrying Northern influence (oil, detail) with Italian obsevation of architecture (Brunelleschi and then Alberti) and perspective
- influences: Domenico Veneziano’s Madonna and Child with Saints, Alberti’s Interior of Sant’ Andrea, Paolo Ucello’s Double Portrait of Battista Sforza and Federigo de Montefeltro
*in Venice: Bellini and oil painting (547-550)
*in Rome/papal states
High Renaissance in Italy
1495-1520
Chapter 16
Some primary sources:
*Giorgio Vasari (784) and in library, online
*Leon Battista Alberti’s Treatises
*Niccolo Machiavelli’s The Prince
*Leonardo da Vinci (560)
*Michelangelo (565)
Overview
*Status of the artist
*Nature of patronage
*This idealistic art was made during time of turmoil, for the Medicis had lost power – in 1494, following the death of Lorenzo de Medici, Piero de Medici lost control of Florence to Domenican friar Girolamo Savonarola (p541, 556) and other parties jockeyed for power in Italy
*For a better idea of the political turmoil of the time read 555-556 carefully
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