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AHI 1B Week 9 Lecture Notes

by: Kayla Dillard

AHI 1B Week 9 Lecture Notes AHI 1B

Marketplace > University of California - Davis > Art History > AHI 1B > AHI 1B Week 9 Lecture Notes
Kayla Dillard

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About this Document

These notes cover the week 9 lectures.
Medieval and Renaissance Art
Dr. Ch'ien
Class Notes
AHI 1B, Medieval to Renaissance Art, Art History, UC Davis, Dr. Ch'ien
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This 7 page Class Notes was uploaded by Kayla Dillard on Thursday March 3, 2016. The Class Notes belongs to AHI 1B at University of California - Davis taught by Dr. Ch'ien in Winter 2016. Since its upload, it has received 36 views. For similar materials see Medieval and Renaissance Art in Art History at University of California - Davis.


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Date Created: 03/03/16
3/1/16 Cinquecento II Themes: exploration of the artist as a creator Raphael, School ofAthens (Philosophy), 1509-1511 • painting for the Pope in the Stanza della Segnartura • this room is very decorated for the Pope—all fresco • Rafael becomes very famous after painting this room • yellow paint is transformed to look like gold • pope shows that he can get an artist that can do amazing things with paint—change from showing how rich he is with gold mosaics the bodies look like they have weight and are in different planes of space • • window onto a world • the foreground is occupied with many figures • there are sculptures ofApollo andAthena—classical learning • there is a lot of variety in the painting—valued • the people in the painting are identifiable philosophers • in the center are Plato (pointing up) andAristotle (pointing down) • Socrates , Tomalley, Pythagorus (who looks very similar to Michelangelo’s Zachariah) and others are all shown • Rafael bribed the night porter to let him in to see Michelangelo’s Zachariah painting • Rafael is also in the painting—puts himself among the highest thinkers in the Pope’s private chambers • Michelangelo is sitting with his head propped on his hand, leaning against a stone slab— his preferred medium is sculpture • not a narrative painting—it is an allegory • accomplishes its goals Pontormo, Deposition • massive altarpiece in Florence with pink, yellow, orange, green pastel colors • dead Christ and the Virgin are recognizable, but the rest of the figures are unknown • the figures lack weight—man holding Christ is balancing on his toes • “Virgin is fainting but looks like she is going to float along forever” • space is ambiguous • this type of art was called “mannerism” —which was a put down, people thought this was art without rules to keep people in line and keep the art good Giovanni Bellini, Madonna delgiAlberetti (Madonna of the Small Trees), 1487 • no hard edges • oil paint, but the precision is not there • oil paint is built up on white gesso • Bellini became a leading painter of the Madonna and Child • Madonna presents the Christ child on the parapet • Bellini signed the artwork at the bottom right below Christ’s feet • no support for the cloth that is behind Mary • the trees are proportional and very fictional Giovanni Bellini, Madonna and Child with Saints (San ZaccariaAltarpiece) • sacra conversazione—Madonna and Child enthroned with Saints • Saint Catherine, Saint Lucy (carries her eyes on a plate) • the figures do no seem to be conversing with or acknowledging each other much • calmness and stillness • space is very convincing—the painting is set in an actual stone frame but the painted stone frame seems to continue as if it were another side chapel on a church emotional connection based on imagined physical connection • Titian,Assumption of the Virgin, 1515-1518 • Virgin’s triumph over death • allows Virgin to be like Christ—imitatio Christi • sculpted figure of the resurrected Christ is above this altarpiece which above is a symbolic sarcophagus of Christ • she is choosing that destiny—her hands are lifted up and she is looking up • she is in the sky being lifted by the heavenly host in the form of tiny babies • God the Father is above awaiting her in Heaven • the apostles are on the earth beneath • each realm is joined Titian, Madonna of Ca’Pesaro • altarpiece is place on the side of the church, so the painting makes more sense from an oblique angle—visual access • the columns are thick like the columns in the church itself • the scene is shifter—Madonna is not in the center • the steps are twisted and weird angles • St. Peter with the keys on his ankle—identity is conveyed through objects • the Pesaro family (donors of the altarpiece) in the bottom right corner balances the obliqueness Tintoretto,Annunciation • Angel Gabriel bursts through Mary’s house and the Holy Spirit flies in followed by many angles Tintoretto, San Rocco in Glory, 1564 • oil painting on canvas—can be corrected • Venice is located in a lagoon of salty sea water—salt water eats away at fresco • Tintoretto bribed the night porter and installs his full painting in the ceiling (when they were only supposed to show a drawing • he said he was donating it—they were required to accept all donations • over time, he painted the whole building • it is a portal to look at heaven • San Rocco stands looking up at God who comes in head first • angels are leaning inwards • the view lets us see the figures without being confused Tintoretto, Crucifixion, 1565 dramatic scene • • Christ is on the Cross in the center raised far above the crowd • it is unclear where exactly the cross sits • the other people that are being crucified haven't been raised on their crosses yet • the sky turns black Veronese, Christ in the House of Levi, 1573 • painting made in Venice • tolerant town—acceptance of foreigners because they brought their stuff and traded with them • island of religious tolerance • “ghetto” originates in Venice—means foundry • 18x42 ft—very large oil on canvas painting • made for a church • commission for a Last Supper • Christ is in the center at a very long table with the 12 apostles and many other people • Church officials flipped out when they saw this painting because they thought it looked like chaos—too many figures • there is a dog and a cat under the table—not in the Bible • guards lining the stairs are drinking wine • there are amusing details all over, intriguing distractions • “How could the viewer find Christ among all of this chaos?” • Veronese went to the inquisition because of this painting and said that “painters take the same license as poets” to imagine—authority of creation within himself—new concept • he was required to revise and resubmit the painting in a certain amount of time—all he did was change the title to “Christ in the House of Levi” 3/3/16 Venice • Venice is a weird place politically, geographically, artistically—today we are interested in the topography • all of the goods coming on the silk road go through Venice—lots of money going through Venice • Venice is basically on water—it is a lagoon 3-9 meters deep • ships run aground—Venice doesn't have to worry about invasion • city of foreigners—always has been because of the exchange of goods—founded on the principle of coming and going • they don't have enough land—houses are built on wood that is stamped into the ground • everyone uses boats houses are built for shipping—Venice makes their money off of trade • • people live on upper stories and lower stories are for storing goods • Venice is oriented around canals—people boat around the city rather than walk it Fondaco dei Tedeschi, 1505-1508 • German merchant house • people are locked in at night Ca’d’Oro, 1421-1437 • “house of gold” • the person who built this really wanted to be doge but he never became doge • this is a personal home • Venice tries to keep citizenship first—Venetian over family • decorative crenellation and arches that are very similar to the Palazzo Ducale • carving is lavish • the view looks very similar to het view from the Palazzo Ducale • there is gold leaf on the outside of the building • display of wealth that was not going to stay—clearly wasteful spending—the materials will disintegrate because of the marsh environment Piazza San Marco • where visual identity is expressed • religious power is centered here • people are executed here, public processions take place here • there used to be a church across from the Basilica San Marco—it was torn down and turned into a ballroom • site of performed government—one of the most brilliant concentrations of power in one space Basilica San Marco • has many things stollen from other places including the body of St. Mark Palazzo Ducale, begun 1340-1345 • the arches become a symbol of Venetian identity, civic pride Campanile, 9th-earth 16th, rebuilt 1912 • the bells mark prayer times Torre dell’Orologio 1499-1500 • they wanted something that would tell more secular hours • you walk through it from government power area to shopping center area • The clock keeper lived there there is a 24 hour clock that is gilded in gold • • the lion of St. Mark is sculpted above • there are 2 bronze statues and a bell above—known as the moors (means not us—not civilized) • Virgin Mary and Christ are above also • the date is shown in Roman andArabic numerals (that are on wheels) Marcello Pagan, Ducal Procession, 1556-1559 • all of the people are labeled • the doge is the center • the god women are up in the window Gentile Bellini, Procession in Piazza San Marco, 1496 • 12 x 24 ft painting • people are exiting the Palazzo Ducal and processing into the church • no separation between church and state • members of the confraternity are wearing white robes • the organization shown are the people that paid for the painting • they are depicted with their highly prized relic of the true cross—big deal, made miracles happen • the doge does not take center stage—he is really small • the painting changes the focus—one point perspective allows Bellini to make a statement that he doesn't have to defend—painting makes the members of the confraternity appear to be the most important • the clothing is very precisely rendered • the mosaics on the Basilica San Marco are precise • the campanile is moved out of the sightline because the relationship of governmental and religious power is not as clear if it is there • it is a miracle painting, a narrative painting • the man kneeling on his knees wearing red pays his respects to the relic of the true cross—his son who was deathly ill is miraculously cured at the moment he kneels • makes Venice an integral part of the miraculous occurrence • Venice is part of the story Gentile Bellini, Drawing of a Procession in Piazza San Marco, 1496 • multiple confraternities would process together • processions were diagrams of power that is enacted and performed by the people who were that power structure Gentile and Giovanni Bellini, St. Mark Preaching inAlexandria, 1504 St. Mark is wearing red and blue robes standing on steps • • there are veiled woman and men wearing turbans • there is a giraffe in the background—show that this is Egypt • there is a mosque in the background—it has minarets • mosque resembles the Basilica San Marco as well as the Procession in Piazza painting • 16th century Venetians occupying the same space as the 1st century Saint Mark • anachronic—work of art that refers to multiple points in time (hallmark of the Renaissance) • polytomic—space that St. Mark occupies is bothAlexandria and Venice • lets people make a foreign part of history local • takes St. Mark and puts him in the Piazza San Marco—naturalizes a foreign Saint who count visit Venice because Venice didn't even exist while he was alive Jacopo Tintoretto, Stealing of the Body, 1562-1566 • nude body being carried down the length of a very long Piazza during a storm • the storm is particularly terrible—the storm clouds are black, the sky is orange, there is lightning, water is pouring over the sides of the building turning the piazza into a shallow bathtub • linear perspective creates an interior spaces • the front is populated with figures who move and take a journey towards us from the back • easy to mistake this painting for the 9th century stealing of the body—it is actually the 1st century stealing after St. mark dies the funeral fire that St. mark is being rescued from is shown in the background • • there are people in the background running from the storm • painting looks like it’s in Venice—the buildings on the sides look like the offices on the side of the Piazza San Marco • one of the people (at the head of St. Mark) is recognizable as a member of the confraternity—a little bit too much to include him in this painting, people complained about it • the confraternity returned the painting and asked Tintoretto to fix it (he did not change anything) • prefigures the 9th century stealing of the body because it looks so much like Venice—“true predestined resting place” • it is like they are walking towards the Basilica San Marco—his destined resting place • he uses anachronic and polytonic strategies


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