The Liberation of St. Peter from Prison

The four walls of the room of Heliodorus display four of Raphael’s masterpieces. As I stood in the middle of a room originally intended for private audiences with the Pope, surrounded by Raphael, one piece managed to stand out; the Liberation of St. Peter from prison. In researching this peace I had learned that it was a revolutionary study in night lighting. A nighttime scene didn’t seem like that big of a deal to me when reading about it, after all they are pretty common now. However, Raphael was not only the first to explore the concept, but he mastered it. It is not simply that the lighting used in the painting is different from his others, or even how it feels like you are looking into the night sky, but the lighting helps portray the quietness of night and the miraculous event taking place. The light appears bright and luminous. It is awesome, and I don’t mean the “dude, awesome” way that word tends to be thrown around, but you look up at it and are in awe. I stood there in a silent gaze. The way Raphael captured the beauty of light shining in the darkness of night through the moonlit sky and the majestic light of the angel truly had to be new and revolutionary. 

-Allie

St. Lucy Altarpiece

My first thought walking up to the main panel of the St. Lucy Altarpiece was how much darker it is than what I had been expecting. But this in no way took away from the amazement that struck me as I noticed the great detail Veneziano put into this piece. While I had read that St. Lucy was holding her eyeballs (which according to tradition had been plucked out) on the tablet in her hand they are not clearly visible in photographs. Looking at the painting in person you are able to take in important details like St.Lucy’s eyes, as well as the intricate brushwork that went into creating the furs worn by John the Baptist and the bishop’s clothing. In the Bishop’s robe trim there is incredibly realistic beadwork that really feels three-dimensional. There is also a great deal of detail in the texture of the marble floor and the carpet below Mary. The thin halos used are also more evident in person and have a golden gleam. The detail in this painting is incredible. It held my attention for quite some time and I’m sure if I had studied the piece longer I would have noticed even more of these details. The other important thing to take note of in this piece is the use of the sacred conversation; the figures are engaged with one another. The saints are all responding to Mary. It helps to direct your eye to her and focus your attention on her. 

-Allie

The Sacrifice of Issac

We learned about the 1401 competition for the second bronze doors of the Florentine Baptistry, in class.  Yet it was something altogether different to see the competition panels in person.  Up close you can see the stark contrast of the Sacrifice of Issac from Ghiberti's panel to Flilippo Brunelleschi's.  Both depictions of Issac are skillful, in their own way, but the lightness and harmony conveyed by Ghiberti's panel is unmatched.  He shows a variation of depth, which helps the eye categorize the action.  Nothing competes with the central action, the sacrifice of Issac.  He also referneces ancient art in the servant pulling a thorn from his foot and Issac's idealized figure.  The action and movement all radiats from Abraham and Issac, radiating around the remainder of the work.  Where Brunelleschi's panel shows a single space, with competing figures that hardly fit the frame, and distracting action, Ghiberti's provides a harmonious and unified story that engages the viewer.  I found my eyes continuously returning to Ghiberti's work, captured by a Bible story brought to life.  In person, there is no doubt that Ghiberti's panel was rightfully chosen.

Raphael UP CLOSE

Being jam packed in one of the Pope's stuffy, library rooms in the Vatican Museum and surrounded by Raphael's paintings on all sides of you can be a little overwhelming to say the least. Looking up at specifically, the School of Athens and the Disputa showed a completely different view/angle of this work. I mean, that IS pretty obvious considering we were in a crowded room craning our necks up to see Raphael's masterpieces, as opposed to seeing an image of it straight on in a textbook. This, however, allowed us to see all the small details of the figures Raphael included in the piece. Studying them allowed for the overall view and look of it as a whole. Being up close, especially near the bottom of the paintings, one could appreciate the beauty in all the little details he added; it never demand any kind of attention. We could see more clearly what each philosopher/religious figure was doing or holding in the School of Athens, and in the Disputa, the worldly leaders and religious figures were seen more clearly and the Holy Sacraments that were set up in the center of the piece. It was just kind of awe-inspiring. You walk in thinking it's another room of the Vatican with some more paintings from other fairly famous artists... and then suddenly you realize you are surrounded by THE Raphael masterpieces that are oh, so talked and raved about :). It was a wonderful surprise despite the awful humidity we soaked our way through.

-Kelsey

Bellini at the Academia

So, the trip is over and we're back in the United States, catching up on sleep :). But, seeing as how we had a lot to do in Italy, we're catching up on all the things we had to say too. Our last stop of the trip was in Venice, home of the Academia museum. Works by one of the artist's I had studied, Gentile Bellini, were located in the museum, but it was his brother's work that caught my attention. Seeing the work of Giovanni Bellini, the better known of the two brothers, though surpassed in some respects by the brother-in-law, Andrea Mantegna, was more impressive in person than reading about it in a textbook. Giovanni painted a considerable number of Madonnas with child (surprise, surprise), but his works exhibit a new focus on the background landscape. Often, the subject is slightly off-center, revealing the background landscape behind a curtain. His painting are colorful with rich blues, greens, and reds. I think it was actually the distinct coloring and the softness of the brushstrokes that caught my attention and made me recognize the works as distinctly Bellini without reading the name cards (I guess that studying paid off)! I even spent a little bit of time in the museum trying to spot a Bellini and then see if I was correct. After realizing I could recognize a work as similar to Giovanni Bellini's without necessarily having seen it before i started thinking about what it was that was so distinctive to catch my attention. I think it was the soft and gentle expressions on the figures combined with the rich coloring. Although I had read about his characteristic gentle quality in the textbook, it wasn't until I saw the works in person that I realized this was one of the uniting themes in his body of work; I previously mistook gentleness to mean weakness rather than the rich yet quiet emotion able to coexist with the rich colors and life-filled faces.  

-Abbie

Raphael's Stanzas (Rome)

In Rome, we got the opportunity to see some of the greatest art of history including one of my favorite artists Raphael Sanzio. We went into the room of Rafael's Stanzas painted on four walls. It was a medium sized room, that was slightly smaller than I had imagined. It was interesting to see the interplay between the paintings that we had studied and read about. The school of Athens and theology stanzas fill the walls across from each other. They seemed to steal the show compared to other two. The mountain of Parnassus, was darker than I anticipated. There is a big door rising up in the center of it which detracts from its visual emphasis compared to the other perpendicular walls. The ceiling was also integrated well with the walls, providing a unified decorative scheme. The overall effect of the room was very grand and impressive. Even with the grand scale of the multi-figured scenes they don't overwhelm the viewer, but rather they maintain rational groupings that function quite effectively.

-Kevin

Botticelli's madonna with Child and five angels (florence)

Looking through the artworks from the 1300-1500's its safe to say that the most commonly painted subject is the Madonna and child. Generally the artist seem to play it safe rather than innovating, with similar, straightforward compositions. Getting through the italio-byzantine and Gothic depictions before going to the Uffizi made Botticelli's Madonna and child seem a breath of fresh air. It keeps some of the traditional elements of gilding and the striated rays, but adds renaissance perspective and realism of the figures. I enjoy the brilliant colors the and the transparent draping banner. Though the composition is still focused on Mary and the child slightly to the right of the center, the use of line and the gesturing of the five angels keeps your eyes moving in a dynamic way. This piece was brighter in real life than most of the pictures I have seen of it, and thee details are definitely more impacting.

-Kevin

Florence vs Pisa

The statue of "Florence's Victory Over Piza" was the most memorable piece in the Vatican museum. This piticular piece was memorable to me because the statue intertwined with the history of Florence. I also found it interesting how Florence was portrayed as a woman capturing and defeating Piza who is depicted as a muscular man with a dog. Normally, Florence used the biblical character David to simblize the city, but instead of using a biblical character, they portrays a female dominating a male.

Mari

Tintoretto - 'Adam and Eve in Front of God'

For this response, I decided that I was going to do a painting which we hadn't previously studied. We had looked over some of Tintoretto's work but not the piece in which I'm going to discuss. 

This is from Tintoretto's Adam and Eve in Front of God which was painted in 1550-1553

It's incredible, the mannerist style of Tintoretto. I really appreciate how he starts from a background of black or dark color and from there works forward. The typical lack of focal point in mannerist painting is not found in this painting, as the character of God or the fruit is a stand out focal point. This is not, however in the center, which is very common of Renaissance art. The realism of the bodies and their reactions with light is breathtaking, particularly upon Adam. God is mostly cast in shadow, but the main light source is coming from behind Him, bringing a greater feeling of majesty and awe to God. The shame and guilt exist within the body and face of Adam and Eve, but almost a sense of explanation seems to be desired from Adam as he points to the fruit in hope that grace will be given to him and his counter at this time. God looks away from Adam and Even in sadness of what He must do in the future.

I was really really impressed with this painting which hung in the latter part of the Uffizi gallery in Florence.

I looked for a picture of this online, but wasn't successful. I'm sorry friends,

Ry

Vatican Museum: Raphael's 'Expulsion of Attila'

For me, the experience of seeing the piece I had studied in class up close was an amazing experience. As a few others have said, seeing the art piece up close in person has changed my views since only seeing it in our textbook. Raphael's large fresco 'Expulsion of Attila' captured my impression of the scene in an entirely different way. Seeing the scene and it's figures in detail allowed me to notice aspects of the fresco I had not seen before. In my initial research of this piece I had discovered a discrepancy in the portrayal of Pope Julius II. Claims in several of my sources stated that the pope had often grew out or shaved his beard, making it difficult to tell whether the figure was truly Julius or whether his face had been painted over with the portrait of Pope Leo X after Julius' passing. Seeing the fresco up close I realize the inclusion of both figures. Pope Leo X is on the left side as a larger figure and Pope Julius II appears to almost be hidden in the crowd on the right side. Now the question seems to be whether one of the figures was painted in later. Viewing this fresco in person allows me to see differently and ask different questions I wouldn't have necessarily formed from the textbook alone. A few other aspects I collected were the variety of colors used and the great sense of motion. Altogether I thoroughly enjoyed studying this piece and seeing it up close was an experience I will definitely remember.

Another piece I enjoyed seeing up close was the panels for the first set of doors in the Baptistry in Florence. I had read about the competition for the design panels between Brunelleschi and Ghiberti, but in person it was much easier to see the differences in rendering and design. The scene on the panel was meant to depict the sacrifice of Isaac.Ghiberti's design stood out from Brunelleschi's in it's greater sense of composition and motion throughout the scene. Although Brunelleschi's piece seemed to really push the boundaries of the panel in it's three dimensionality, it couldn't surmount the tactile flow and clarity of Ghiberti's portrayal.

The experience of seeing both these works has given me a new understanding of the idea the artist intended to get across and also gave me a new perspective on their work. Doing the studies and then seeing them in person connected my thoughts to physical facts.

Shannon Sutton

Finished? Not quite...

When at the Vatican Museum, there are quite a few paintings by Raphael. Quite a few rooms, actually...He is an impressive painter who is more well known as one of the teenage mutant turtles. However, seeing some of his paintings as we walked through the Vatican museum was really a cool experience. The Justice wall, which I discussed earlier in this blog is the piece in which I am going to be talking about on this fine evening in Venice. =]

As a lot of the paintings done at this time in Florence and Rome, Raphael used fresh plaster mixed with pigment as his form of art. As you walk into the room, the painting is at the far end of the room right next to the school of Athens. Even though the painting is very impressive, and the figures of the virtues are extremely beautiful and marvelous in person, the thing which I wanted to discuss is something else. As part of the law portion of the wall, there is an area in which Constantine is being depicted. In my earlier research I had found out that the painting was not finished, and as I looked at pictures, I wasn't really able to see this. However, when in front of the painting, it is extremely evident that it is not finished. The peoples don't have appropriate shadings and the chair in the bottom of the painting lack all form and shape.

As something that you read about, it is something that you can just jump over, which I definitely did in this case. Seeing it in person, however, and seeing many paintings in person really makes me have a greater appreciation for the artists and the amount of work they pour into the pieces.

I LOVE ITALY!!!!

ry=]

Botticelli Obsessed...

I, as I am pretty sure everyone in our little group has heard, am significantly impressed with Botticelli's, Primavera. I have been ranting about this piece for a couple weeks now and Prof isn't necessarily in agreement with me. :) But that's okay. Why...you might ask, am I so impressed with this piece? To me, I appreciate the risk. It was completely and utterly out of the norm to paint a fantastical piece about various mythological characters at that time. On top of that, Botticelli somewhat positioned these characters in a way that screamed "religious painting" (Venus=Virgin Mary, Cupid=Baby Jesus...etc). So, anyway, you can imagine my excitement seeing this piece in person at the Uffizi.

I am in complete agreement with Abbie who posted last... Seeing these works in person allows for so much more focus and attention on the possibly overlooked details of the piece. Some of the things I noticed when I sat down in from of this piece was that for one, it's A LOT darker in person than the online and textbook images I'm used to. Zephyr, the wind god on the right, blends a lot more into the forest than I remember. But, being up in front allows me to see more closely the details such as all the crazy amounts of individual flowers. Supposedly there's like 500 different kinds. Hwhaaat? Nuts. Also, seeing this up close allowed for me to see more closely the different expressions on their faces. Venus, for one, really does seem super motherly and tender. Flora, truly happy... Which is beautiful to me because despite the rape that she experienced from Zephyr on her right, she is completely content and confident-looking in what she has become, as opposed to her pre-transformed Chloris self who is timid, fearful and weak. The three Graces still look ethereal, playful and somewhat in their own world. Zephry and Cupid didn't change much. But Mercury, before seeing this, I thought portrayed manly, protective and masculine characteristics, but honestly, looking at it now, he just looks like a boy.

So, I have thoroughly enjoyed seeing these pieces in person and taking in all the wonderful culture and life around me as well. It's a beautiful time. :)

Kelsey Masuda

When in Rome...the Vatican

I can summarize the effect of seeing so many famous works of art up close and in person with one thought: very few of the works are what I would expect based on the pictures of a textbook. At the same time it's fun to recall information and apply it in person. Though we learned a great deal before seeing the works, the hallmark features I memorized are sometimes more prominent, often less, than I expected. For example, the detailed decoration and architectural elements that characteristically frame renaissance works were so much more interesting and a more important element than I expected. When we study works, it's usually the main figure or prominent character in the narrative that receives the focus; in person, the surrounding detail and extra painted sculpture becomes just as interesting as the focal point.

I began this train of thought while in the Vatican Museum, observing the walls painted by Raphael. Many of the works are beyond famous; The School of Athens comes to mind. This means that just a glance at the painting makes it instantly recognizable. But perhaps the familiarity of such paintings keeps us from noticing the elements which are not the aforementioned "hallmark" features that let us make such quick identifications. While staring up at The School of Athens (as well as the other Raphaels, including The Mass at Bolsena, one of the works I studied in depth during our class) the features I had dismissed when looking at a 4x6 illustration became equally if not more interesting than the representations of famous thinkers. The borders, decorated to blend in with and mimic architectural elements contain so many complex figures that they are paintings in their own rights! I can not imagine painting a masterpiece, and then painting life-size bodies, realistic looking stones, and complex figures in impressive perspective around the edges. All that to say, looking at the realistic looking "statues" painted as though holding up the "main" painting was just as impressive as the "main" painting itself.

Perhaps my interest in the detail has to do with its ability to allude to the time that must have been put into the works; seen in their original setting, the process and daily life associated with the works is in the forefront of your mind. In many of the places we've visited all over Rome and Florence, it's been the daily life, of historical characters captured in ancient ruins and of modern day citizens in the shops and subways that has most captured my attention.

-Abbie

School of Athens...in person

While the room was rather stuffy and crowded, it was well worth it to see Raphael's "School of Athens" (sometimes called "Philosophy.". The detail of the garmets and hair was incredible. In pictures and in textbooks, it looks rather dull, but up close on can see all the work put into each figure and their relationship to those surrounding. Even the books and papers in the fresco had distinct lettering to the extend, that at the right angle, those who can read Latin have the chance to read these clearly. At one point a lady came up to me to inform me that the artist painted himself into the painting to the right and Leonardo is in seen in the center. I laughed slightly at the irony, excited for the chance to share some more details I had discovered in my research, but she meandered off, audio tour pressed firmly to her ear, before I could talk further. It is nice to realize the opportunities have to not only learn about these famous artists but to actually see their work in person.

-Emily

Busy in the sun...

So why no updates, you ask? Well, the truth is that our schedule the first days was rather busy. Now that we are in Florence, however, we have slowed down some. I say "some" because today we are heading to the Bargello and Uffizi museums. But back to Rome...

After landing at 2:30 pm on our first day, we hiked from our hotel to S. Peter in Chains church, home to Michelangelo's famous Moses, part of his giant tomb for Pope Julius II, by all accunts a very scary man (and the father of Cesare Borgia, the "prince" of whom Machiavelli so famously writes). Other sites that day included the Coliseum and part of the Forum.

Day 2 on the ground was spent between St Peter's Basilica and the Vatican Museum, where we not only took in an incredible amount of Renaissance and Baroque art, but some religious art by famous 20th C painters, such as Chagall and Bacon and Dali. The emphasis, of course, was on Raphael and Michelangelo--namely, thie frescos in the Stanze and Sistine Chapel. We had studied these specifically in class, so it was great to be able to study these from only a few feet away. I also had the iPad there with me, opened up to our in-class PowerPoints, so the facts were there when we (the presenter, prof, and classmates) could not remember all the details. The remainder of the day was spent in the Piazza Novana area after visiting the Pantheon and S. Maria Della Sopra Minerva, home to a Michelangelo misnamed "The Risen Christ" (he is really shown as the Man of Sorrows, we discovered, after being detectives).

We left Rome the next morning, but not after rushing off to the Borghese to see the world's best collection of Bernini sculptures. Words almost fail here... But I can say that the trek to see his Baroque masterpieces--the David, Apollo and Daphne, Proserpine--was an intentional move on my part to help understand Michelangelo's work from a century earlier.

That brings us up to Florence, so we are almost current. But the rest will have to wait for a few hours. Ciao! (for now)

Ghirlandaio's Confirmation of the Franciscan Rule

 The artist;

•Real name Dominico Bigordi, Ghirlandaio means “garland maker”

•Was first a metalworker before working on painting, but eventually became popular through his paintings.

•Art style shows presentation of naturalistic effects and realistic details.

•Awarded many major commissions in Florence with his brother and brother in-law as assistance.

The painting; 

•Located at the Sassetti Chapel

•The scene takes place at Rome but the background is the image of Florence’s public square- Piazza della Signoria- representing the idea of a “new Rome”

•There is a nail hole in the middle.- he attached the nail and held a string to it to mark the orthogonal of the perspective scheme and to help create the semicircular arches.

•Depicts St. Francis and Pope Honorious III.

mari

Titian Pieta

•The last painting done by Titian.

•The background is painted in a Mannerist style

•In Titian’s old age, he turned to religious subjects. Contemplating the approach of his own death, he painted and focused more on Christ’s suffering on the cross.

•Pieta was painted by Titian for his tomb in Santa Maria Gloriosa dei Frari, where it contained two of his masterpieces.

•This painting was finished by Palma Giovane due to Titan’s death.

•Below the statue of Moses there is a portrait of Titian’s son Orazio in prayer, and Titian is portrayed as the latter, staring at Jesus' face representing Titian staring at his own upcoming death.
mari

Adoration of the Magi-Alessandro Botticelli

Style emphasized contour and line in complex compositions
Recognized as one of the greats of perspective
Gentile depictions that portray dramatic scenes

Guasparre del Lama was a merchant who wanted to convey an attachment to the Medici family-had Medici family portraits incorporated into piece

Patron=white haired man in the upper right facing the observer

Botticelli=stands in front on right side
In a more prominent position than the patron
Invites the observer to participate

Giuliano Medici also depicted on this side of the painting as the man in dark clothing looking down

Cosimo Medici is the oldest magi
Actions mimic those performed by a priest at the benediction of sacrament

Holy Family is further back in frame
Invites viewer to participate in the scene
More realistic size

Lorenzo Medici=youth at left

Giovanni and Piero are the other magi

Faces have sculptural contours
Crowd in contemporary dress-inspired by the dress during the Epiphany (celebration in Florence commemorating the Wise men)
Peacock=immortality offered  by Christianity
Ruins=new life offered from a commitment to a life with Christ and the Church
Pomegranate=numerous seeds represent the Church bringing together many souls
Dark grass with bright flowers:glories of Paradise to come

-Emily

Procession of the Relic of the True Cross, Gentile Bellini

A Family Business - Jacopo Bellini

• Father of Gentile (oldest brother), Giovanni, and father-in-law of Andrea Mantegna
• Studied under Gentile da Fabriano
• Highly regarded by contemporary Northern Italian poets and writers
• "Extraordinary compositional imagination"
• Drawings bound into books which were probably intended to be used as workshop models
• Books inherited by Gentile, consulted by Mantegna, Giovanni, and others
• Incorporates Albertian perspective with Northern Italian interest in panoramic nature

Gentile Bellini's Procession of the Relic of the True Cross

• Gentile painted for the same merchant, practical public that Ghirlandaio did in Florence, with the same patriotism applied to Venice 
• Procession (1496) painted for the Scuola di San Giovanni Evangelista
• Sculoa were sort of middle class brotherhoods that gathered for religious ceremonies, good works, and had a meeting hall - a club of sorts
• Depicts the procession involving the relic in the possession of the Scuola di San Giovanni Evangelista 
• Shows 1444 Piazza San Marco on the Feast Day of San Mark
• Contains contemporary portraits and representations of Venetian life
• Basilica San Marco and Doge's Palace seen in the background, with great detail

-Abbie

The Annunciation and Two Saints

Painted for Siena Cathedral in 1333
by Simone Martini and Lippo Memmi

Earliest known example of an altarpiece with the focus on the annuciation
Gold background involves raised gesso (pastiglia) words in Gothic lettering
Ave gratia plena dominus tecum-"Hail, thou that art highly favored, the Lord is with thee (Luke 1:28)

Highly expressive-Mary's brow is furrowed and her lips are pursed
Heavenly messenger shows movement-cloak billows out behind
Virgins body contrasts with more dimensional Angel's body
Communicates tension

Angel=symbol of peace (olive branches)
Vase of lilies=Mary's purity
Raised words=message given to Mary (Word of God)-conception

-Emily

Palazzo dei Priori (Vecchio)-Anold di Cambio

Florence 1299  

Priori are the principal governing body of Florence
Palace built to house the signoria (Florence's ruling council)
Built in Pietra Forte (local limestone)
Roughness of material highlights the power of the massive building
Represents victory of civic harmony over internal struggles
Fronts a piazza produced by the destruction of the Uberti family house:power of priori

Interior remodeled by Medici family as personal residence 1540
Dominates whole section of Florence
Remains symbol of local government
Now houses a museum
Essentially a town hall

-Emily

Raphael's "Expulsion of Attila"

1. Date: 1513; Location: Stanza d’Eliodoro, Vatican, Rome; Commission: by Pope Julius II
2. Style: classicism/Roman style;piece is described as vigorous, and having the most dramatic climax in his paintings (also Mass of Bolsena)
3. Attila: Ruler of the Hunnic empire (434-death in 453); one of the most fearsome enemies of the eastern/western roman empire during his rule
4. Appearance (left) of Saints Peter and Paul armed with swords caused the king of the Huns to desist from invading Italy and marching on Rome.
5. Raphael situates the scene at the gates of Rome, identified by the Colosseum, by an aqueduct, an obelisk and other buildings, even if the event actually took place in the north of Italy, near Mantua.
6. There is a discrepancy  in the way that Pope Julius II is depicted—with or without his beard.
7. Purpose: grown and retained for specific purposes relating to Julius’s political parties, which are shown in Raphael’s other frescoes.
8. Leo I may have initially been depicted with the face of the Pope (Julius II) but after his death painted over it with the portrait of Pope Leo X

-Shannon Sutton

St. Ursula Cycle-Carpaccio

Owes idea of crowded anecdotal narrative to Gentile
Narrative engages witty observation (hidden symbols)
Preference of triangular areas
Colors subdued by an all-over golden tone:unity and cohesiveness
Faces are delicately lit and lack emotion

Ursula, the daughter of a Christian king, was asked in marriage by the son of a great pagan king. Desiring to remain a virgin, she obtained a delay of three years. At her request she was given as companions ten young women of noble birth, and she and each of the ten were accompanied by a thousand virgins, and the whole company, embarking in eleven ships sailed for three years. When the appointed time was come, and Ursula's betrothed was about to claim her, a gale of wind carried the eleven thousand virgins far from the shores of England, and they went first by water to Cologne and thence to Basle, then by land from Basle to Rome. They finally returned to Cologne, where they were slain by the Huns in hatred of the Faith.

In 1488 the Confraternity of St Ursula in Venice commission a series of large canvases recounting the story of St Ursula, commissioning Vittore Carpaccio

Legend of St. Ursula was popular in the Middle Ages

Carpaccio drew from "The Lives of the Saints" (Legenda Aurea)

Arrival of English Ambassadors

Departure of English Ambassadors

Return of the Ambassadors

Meeting of Etherius and Ursula and the Departure of the Pilgrims

The Pilgrims meet the Pope

Dream of St Ursula

Arrival of Pilgrims in Cologne

Martyrdom of Pilgrims and Funeral of St. Ursula

Apothesis of St Ursula

-Emily

Botticelli's "Punishment of Korah"

1. In his art he  withdrew from the world around him and moved away from the physical vitality found in the works of Pollaiuolo & Verrocchio
2. Style: emphasizes contour and line in complex compositions; dramatic intensity as opposed to the gentleness of his other pieces
3.  Date: 1481-82; Sistine Chapel, Vatican, Rome; Commissioned by Pope Sixtus IV della Rovere
4.  This piece narrates how these three men challenged Aaron’s right to the high priesthood; when they assumed his role by offering incense to the Lord, they were swallowed up by the earth (Numbers 16:1-40)
5. This unusual subject would appeal to patron interested in asserting his power (papal authority); The fresco carries stories concerning Moses from left to right; Opposite of Perugino’s “Christ Giving the Keys to St. Peter”
6. Left: the earth opens up; only 2 figures are shown; one must have already vanished? And flames are arising to consume them; Center: 6 figures offering false fire to the Lord are consumed by fire from heaven; Right: Moses seeks refuge from the seditious Israelites that tried to stone him
7. Inscription: from St. Paul to his representation of the Arch of Constantine in Rome “And no man taketh this honor unto himself, but he that is called of God, as was Aaron” (Hebrews 5:4)
8. Narrative: prefigures the mission of the Roman Church, esp. as Aaron wears a papal tiara in reference to the patron

-Shannon Sutton

The Dome of Florence Cathedral-Filippo Brunelleschi

Dominates the city of Florence
Consists of rectangular and circular elements
Simplicity and order
1420-1436

Relates more to Gothic vault than hemispherical shape of dome of the Pantheon
Dome is 1/2 as wide as it is tall
4 semicircular exedrae function as buttresses (combination of Gothic buttresses and circular Roman temples)
Columns paired alternate with shell headed niches-ancient architectural membering


Largest dome constructed since Roman Pantheon
Exterior of dome is divided into 8 segments-ribs that articulate cross vaults of traditional Gothic interior
Ribs structurally extend from exterior to interior and provide the basic skeletal structure and stability



-Emily

School of Athens-Raphael

Fresco in Julis's new apartments-project turned over to Raphael and work of artists previously commissioned removed
Becomes a game to locate and identify portraits of Raphael's contemporaries disguised as historical personages

Setting is spacious and monumental to balance out the history represented
Architecture includes massive vaults with hexagonal coffering based on the Basilica of Maxentius
Architectural clarity and depth of space
Based on architecture of Bramante

Statues of Appollo and Minerva-ancient gods of wisdom

Plato-holds Timaeus:origin of nature and the universe is the realm of the mind
Some believe Plato =representation of Leonardo daVinci

Aristotle holds Nichomachean Ethics:rational of humanity and need for moral behavior (earth=source)

Socrates-counts off points on his fingers:Socratic method
Surrounded by young men: Alcibiades (pupil of Socrates and trained in art of Rhetoric)

Epicurus-vine wreathed and rotund:purpose of philosophy is to attain a happy and tranquil life, characterized by ataraxia, peace and freedom from fear, and pain, and by living a self-sufficient life surrounded by friends

Pythagoras-shown calculating:Pythagorean theorem

Dogenes-isolated but commented upon, compositional punctuation (all other figures radiate around):made virtue of poverty and looked for "honest man,"modeled himself after Hercules with virtue revealed in actions not theory

Euclid-bent over calculating:"father" of geometry, work with perspective
Portrait of Bramante-Bramante's concern with geometry and centrally planned dome architecture
Homage to lessons Raphael received from Bramante
RVSM-only instance of artist signing name on other artist's portrait

Zoroaster-holding celestial sphere:purpose of humankind is to sustain asa (truth)

Ptolemy-holding Earthly sphere:horoscopic astrology, positioning of sun, moon and planets

Raphael-observer of Zoroaster and Ptolemy in black cap looking out to viewer:inviting viewer to take part in his work (find the hidden portraits)

Heraclitus-self-taught and pioneer of wisdom, "the obscure," the "weeping philosopher"
Painted as an afterthought-upon completion of the Sistine Chapel
portrait of Michelangelo
Psychologically isolated though surrounded by a society of great men
compare to Michelangelo's "Jeremiah" and Albrecht Durer's "Melencolia"
Meant to show how Michelangelo is an artistic genius who is isolated from the public and incredibly secretive-also indicates his reservations and withdrawal keep him from completing his work

     

-Emily

Last Supper by Castagno

Depictions of the Last Supper are often chosen for representation in refectories (dinning room)
The Tuscan Visual Tradition features Judas on the observer's side of the table
Most depictions of the Last Supper are based on the accounts of Matthew and Mark


Castagno: one of the first Renaissance artists to capture movement
Differs from Domenico by expressing human dilemma in work

"Last Supper"
Based on the John account-shows Judas after devil has entered him
Judas has a hooked nose, jutting beard and a darker complexion: diabolical
Judas was also the last figure painted, setting him apart from the remainder of the fresco
Indicates fate of the disciples (Peter, Andrew and Bartholomew, Thomas and James)
Light seems to come from two windows on the right which corresponds with location of windows in the refectory
Marble panels strengthen narrative and direct focus

INFLUENCES:
Sculptural treatment of figures-Massacio
Expressive realism-Donatello
Style of room-Alberti
Linear perspective and ornate forms-Early Renaissance

Castagno used color highlights in hair, and has the halos recede in perspective

"Famous Men and Women Cycle"

 

             

Intended to awaken emotions-civic pride and delight in figures
3 Florentine military leaders, 3 legendary women, and literary figures
Grandeur and solemnity of figures inspired by Massacio
More diffused light and intricate details (individual hairs in beard and eyelashes) than "The Last Supper"
Figures are strong and wiry-intended to be seen from below
Castagno tried to make his figures more palpable with feet overlapping the edges, folds of garments recede into distance, and no unified perspective

-Emily

Masolino

The Brancacci Chapel, Sta. Maria Del Carmine, Florence
Masolino drew from Gentile de Fabriano's innovations
Created an artificial world of refined shapes, with flowerlike colors and unreal distances
Work is absent of Masaccio's brutal realism
Models round forms in light and shade

"Healing of the Lame Man and the Raising of Tabitha"
Fresco depicting the miracles performed by St. Peter
Same perspective scheme and vanishing point as Masaccio
City of Florence depicted between two cities
Drapery lacks fullness
No sense of urgency in painting
Faces are impassive
Delicate but intense colors
Textures are dense in shade but soft and blurred in light areas
Rocks and figures cast shadows-corresponding to the location of the window in the chapel
-Rocks symbolize Peter as the foundation of the Church

"Temptation"
Gentile Adam and Mild Eve
Serpent features a human head-women are seen at the time to be the root of all evil
Soft appearance to flesh
Feet hang instead of support and Adam and Eve appear separate from the background
Courtly features for Adam and Eve















-Emily

Giovanni Bellini Devotional Paintings

•Bellini's birth is usually placed in the 1430’s

•Recorded as a painter before 1460 and painted until his death in 1516

•Earliest independent works are mostly small scale panels used for private devotion

•calm dignity and spiritual depth

•Early works used pearly pale flesh tones, gray-blues, and shades of rose

•Color warms and deepens with the use of oil in later work and the sea light effect increases

•The Venetian school of painting gained international significance in the later 15th century

Madonna and Child

•C. 1460-65, panel, 28 ½” x 18 ¼”

•Grave, pensive- typical of early Madonnas

•Sleeping Christ meant as a reminder of his crucifixion

•Sea light of Venice used to, reflected from canals and palaces

Pieta

•C.1467-70, panel, 33 ¼” x 42”

•Mary and John the Evangelist hold up the dead Christ for meditation

•Intense drama and emotion

•Blood in Jesus’ wounds is most intense color

•Bottom inscription: “When these swelling eyes evoke groans, this work of Giovanni Bellini could shed tears”

-Allie

Baptism of Christ, Verrocchio

•Andrea del Verrocchio

•Verrocchio- “true eye” not referring to exceptional vision but a Florentine family were his early patrons

•Piece begun in 1468 or 1471

•70 in x 59 in

•First time this scene was portrayed in an altarpiece

•John the Baptist is the patron saint of Florence

•Bony figures, emphasized muscles and tendons

•Traditionally balanced composition

•Figures of Christ and John the Baptist self absorbed and self contained

•Areas including the angel seen in profile, part of the landscape, and Christ’s face, were repainted or added by the young Leonardo da Vinci

•Beams of the white dove symbolize Jesus’ divinity

The Liberation of St. Peter from Prison, Raphael

•Commissioned in August 1511

•Story coming from Acts 12

•Lunette- half moon shape

•Stanza de Eliodoro, audience chamber of Julius II

•Stories of aggression against the church, God’s protection of the Church

•Peter is a portrait of Julius II

•Peter’s salvation is a reference to the deliverance of the papacy from the French

•Prison built of rusticated blocks like Bramante was using for new palaces

•Grate taken from earlier representations of John the Baptist in prison

•Investigation in light

•Clouds in front of moon

•Torches against the armor of the guards

•Light from the Angelo