Midterm IDs Flashcards
(30 cards)
Tempietto c. 1510 (not after 1514 but 1502 inscription probably date of inception)
Who: Bramante
Where: courtyard to side of San Pietro in Montorio (on Janiculum hill)
So What:
- High Rennaisance architecture
- Included in book by Serlio on classical architect
- on par with ancient structures, really the pinnacle of high ren. architecture in striving to emulate classical art. “an exemplum worth examining the basis that the Tempietto in some way sums up the ideals of Renaissance architecture at the very moment of its maturity”
- make it seem like could be built in classical period
- shaped like Byzantine Martyrium, Doric Order collumns used for figures like Jove, Hercules, Jesus, St. Paul, St. Peter
- Humanist argument for this as the location of Peter’s crucifixion (on Spina of Nero’s Circus”
- grotto underneath
- reliefs referencing christian mass as well as the crossed keys of St. Peters
San Pietro in Montorio c. 1480
Architect: Unknown
Patron: Amadeo Meneses de Silva (personal confessor Sixtus IV) given church by Sixtus IV; Ferdinand and Isabella = patrons
Location: On the Janiculum hill
So What:
- Early Renaissance architecture (box/wall - grand but simple)
- Under Sixtus IV’s effort of renovazio Romae
- Similar to Church of San Francesco
- Made of Travertine repurposed from ancient buildings (significant)
- In early times it was right at the top of hill, would have shone out, easily seen from Rome
Chapel of Pierfrancesco Borgherini 1524 (revealed to public)
- Flagellation of Christ
- Transfiguration
- Flanked by St. Peter and St. Frances
Painter: Sebastiano del Piombo
Patron: Pierfrancesco Borgherini (rich banker)
Location: San Pietro in Montorio (right neat door)
So What:
- High Renaissance
- Michaelangelo provides sketch for the flagellation
- Fresco done in oil (new technique) - allows him to paint shadows
- light and shadow imitate real life lightsource from the window
- Raphael doing a contemporary transfiguration scene
- Prophets done by 1517 - 2 namesakes of Borherini
Villa Farnesia c. 1508-1510
Location: Across fro Palazzo Farnese (Trastevere - accross river)
Architect: Baldassare Peruzzi (also paints frescoes - astrological ceiling in the dining room)
Patron: commissioned by Agostino Chigi (WEALTHY banker of Alexander VI)
So What: Climax of 15th century Villa Development (poems written about villa)
- Purchased in 1584 by the Farnese - spot for Cardinals and Popes to unwind
- Front meant to imitate ancient stage
- Front imitate ancient stage, gardens decorated with ancient sarcophogai
- Everything about villa is classical - art, literature, love delight
- Images and stories go with location and dwellers (e.g. Vulcan over fireplace)
- held lavish parties, often over the top (interesting place for christian members to go)
Galetea c. 1514
Location: Villa Farnesia (Dining room)
Artist: Raphael
So What:
- High Renaissance, complex controposto
- Done side by side with Polyphemus
- head of Galetea at center of painting
- Philostrarus writes about these paintings
- Galetea looking at cupid with bundle of arrows (celestial love as opposed to the sexual love happening around her)
- Lots about love in this house - Chigi’s mistress housed here; marriage plans with another woman fell through
Polyphemus 1513
Location: Villa Farnesia (over door next to Galetea)
Artist: Sebastiano
So What: in competition with Raphael
Sebastiano also does the lunettes in this room, broad, sweeping strokes, large figures
Marriage of Alexander and Roxanne, c. 1517
Location: Bedroom Fresco of Villa Farnesia
Artist: Il Sodoma
So What:
- High Rennaissance
- based on the description in Lucian
- mirror relecting closed curtains - looking into future - what is about to happen
- playful image of the cupid figures playing with armor
Sistine Chapel Ceiling 1508 - 1512
Artist: Michaelangelo
Patron: Julius II
So what:
Painted oriented to original entrance - see full thing on Porphyry circle when pope kneels
- play with perspective - large figures towards altar (2x life size)
- 3 groups of 3 (god, adam and eve, noah)
- on sides - prophets and sybils
- skill progresses throughout production of piece
- bases lots of figures on Belvedere torso
The Sistine Chapel 1477 -1481
Architect: unknown
Patron: Sixtus IV
So What:
Early Rennaissance, box architecture
- built to hold papal court (private meeting place
- Fortress-like
- @ North of Vatican, would have been first building people came upon
- thick walls, crenallations
- Chapel with vaulted ceiling, protected from weather
- had structural problems fixed by Julius II (probably a reason fro ceiling repainting)
- floor tells you where to go
- * width:height:length = 1:2:3 same as temple of Jerusalem - Pope as new high priest, God’s new cjosen temple
- Side walls - Moses and Jesus
- Perugino, Boticelli, Ghirlandaio, Rosselli
- scenes from old and new testament
The Pieta 1499 (for Jubilee 1500)
Artist: Michaelangelo
Patron: commisioned by French cardinal
So What:
- *on cusp of early/high renaissance*
- Image not really known in Italy before this (nothern image)
- usually Christ is terribly wounded but M. makes him peaceful
- made from 1 unit of Luna marble
- for Jubilee year of 1500 (places there in 1499) MANY visitors would come see it
- Carved to fraw viewer in –> Mary beckoning with L. hand
- 3D view from all angles
- L hand bigger than R - optical corrective (approach from right)
- playing with light - face of Virgin shadowed while christ lit up
- R. hand touched by people, has veins, idea of sleeping death
- Mary touching Christ with cloth - imitates priest touching host with cloth (which he would have done right in front of the altar
- ONLY SCULPTURE M. EVER SIGNED “fecebat” - was making never completed - completed by
- Mary is young (body sinless) - connects with popular image of ren.
Opening of the Papal Library, 1470
Location: Vatican Museums
Painter: Melozzo da Forli
Patron: Pope Sixtus IV
So What:
- early renaissance
- NEPOTISM: Pope on papal throne, man next to him = secratary (pope’s nephew), in red - Julius II, 2 closest and twp farthest brother sets cousins to one another, nephews of Pope
- institutional painting - serious
- Plautina = librarian
- highly classicized inscription (renewing Rome) also background supposed library, high classical arces, fancy collumns
Virgin and Child, 1495
Artist: Peregino (trained Raphael)
Patron: Decemviri of Perugia, altar piece for Priori
Location: Vatican (Pinacoteca)
So What:
- Early Renaissance
- technically bold, beautiful colors, but no personality in photos
- sacred conversatione - vergin with christ enthroned in heavan
- 4 patron saints of Perugia
- Virgin - oval face, long rosy cheeked (FORMULAIC)
Assumption and Coronation of Virgin, 1502-1503
Artist: Raphael
Patron: Oddi family Altar piece for burial chapel in Perugia
Location: Vatican Pinacoteca
So What:
- Early Renaissance
- Painted at very early age (19-20 y.o)
- Peruginesque - calm, peaceful , little emotion
- flying baby heads - ranks of Angels
Madonna di Filigno, 1510 - 1512
Location: Vatican Pinacoteca
Artist: Raphael
Patron: Conti (Secretary to Pope Julius II)
So What:
- High Renaissance - speaking in a new visual language, more complex, controposto
- kneeling = donor pose in costume of papal secratary (piqued - probs used death mask)
- painted in rome for a Roman audience
- St. Jerome with lion presenting secretary
- depicts subtly founding myth of Aracelli - Aug. seeing bright light of Christ
- also the comet in background
- *absorbs new age painting - learns to master it, more Florentine, high re, style
Transfiguration, 1519-1520
Location: Vatican Museum (Pinacoteca)
Artist: Raphael
Patron: Cardinal Giulio de Medici, the later Pope Clement VII
So What:
High Renaissance (one of last paintings)
- commissioned for Narbone in celebration of cardinal appointment, in competition with Sebastiano
- never sent to Narbone
- lower half completes story - Apostles unabl to exorcise boy pointing to real cure (Christ)
- Parents pleading - EMOTION
- woman - highly classcicizing figure
- can’t reallly id exactly most apostles
- 4 images in center quotation of leonardo adoration of magi
Stanza della Segnatura, 1508-1512
Artist: Raphael
Patron: Julius II
Location - Papal apartments of Julius II (library)
So What:
High Renaissance
only a few figures identifiable
uomini famosi cycles that Julius II would have been familiar with after tour of Italy
Room unified by ceiling - oculus painted, angels bringing down papal shield
4 female personifications of knowledge (theology, law/ justice, art, philosophy)
walls are the men who practice this
*raise connection to god by obtainng knowledge*
School of Athens - perspectival, draw you in (can imagine self within them), plato pointing up
Disputa - theologians of Christian world, see father son, holy spirit
- jesus surrounded by biblical heros
Light source = oculus
Santa Maria del Popolo, (1472-1477)
Architect: unknown (Bernini adds arches and other things on upper register)
Patron: Pope Sixtus IV
Location: near piazza del popolom N. part of city near Aurelian wall, Pora Flamma
So What:
- Early Renaissance (box architecture)
- *FIRST church rebuilt by Sixtus IV
- 1st and last church pilgrims would have seen
- had been papal church
- Connection to Mary (contains miracle-working painting of her
- Imperial connection (Nero, founding myth - supposedly Nero’s tomb - evil nut tree)
- evil nut tree replaced by strong della rovere oak (heraldry are extremely important symbols
- Augustinians are a powerful order (control church)
- Wants to vreate grand welcome for pilgrims
- interior - high vault - classical, thermal vault
Della Rovere Chapel (Adoration of the Child), c. 1485
Artist: Pintericchio
Patron: delle rovere
Location: Santa Maria del Popolo
So Waht -
Grotesque decoration (classical)
- painting - christ ling on wheat - what host is made of
- resurection hints - ivy
- roman broken arch - symbolic of pagan fall
- shephards - direct reference to pilgrims
- simple controposto
Chigi Chapel (1507 - 1520/1530)
Artist: Raphael (plan, ceiling mosaic) - 1513-1516; Bernini;
Patron: Agostino Chigi
Location: Santa Maria del Popolo
So What: - gets special dispentation to get chapel
- MUCH expense
- tomb bast on pyramid of Cestius
elaborate celing mosia by Raphael - god in center, cosmos around (probs infl. by plato)
- have to actively look at it
altar probably meant to be assumption of Virgin
- Raphael dies leaving work unfinished
- Elijah and Jonah designed by Raphael (christian ascension/resurrection
Parnassus (c. 1511)
Location: Satanza della Signatura
Artist: Raphael
Patron: Julius II
So what:
- HIgh Renaissance
- light, naturalistic, inviting to join in, symmetry
The Expulsion of Heliodorus from the Temple, 1511-12
Location: Stanza della Eliodoro
Artist: Raphael
Patron: Pope Julius II
So What:
- High Renaissance
- All paintings in this room are good intervening on behalf of humans
- Shoving heliodorus out of temple
- center is empty - focus on praying priest in top center
- set in architecture, deep perspective, set slightly back
- all action and energy clustered to R.side; on L. Audience is quiet (interesting balance)
- old testament story with contemporary pope - Julius II portrayed with beard
Deliverance of St. Peter, 1514
Artist: Raphael
Location: Stanza Di Eliodoro
So What:
- High Renaissance
- over a window so has to deal with natural light/ difficulty of painting a night scene in fresco
- light from angel into darker shadowy place
- All lights represented but none as powerful as light of god
- guards illuminated but not woken by light
Fire in the Borgo 1514
Artist: Raphael
Location: Stanza di Incendio
So What:
- High Renaissance
- Room = miracles during time of early Leo’s (?)
- pope is not front and center - upper center
- *canephor - water bearing, semi-profile - quoted later in mannerism
- lots of drama
- L. Aeneas quote
Visitation of John the Baptiste, 1534
Artist: Francesco Salvati
So Waht:
- Mannerist
- Mary and John’s mom meeting
- confusing, lots going on, visually challenging/interesting
- use of pastel colors
- elongated, elegant figures
- quote of dancer as canephor
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