Late renaissance venice and mannerism
This presentation is the property of its rightful owner.
Sponsored Links
1 / 27

Late Renaissance (Venice) and Mannerism PowerPoint PPT Presentation


  • 96 Views
  • Uploaded on
  • Presentation posted in: General

Late Renaissance (Venice) and Mannerism. Ch. 22 Italy 1500-1600 PART 2. Late Renaissance Painting. Influenced by Classical statuary Poetic themes Pastoral scenes Oil on canvas Colorito Venice. Bellini. Developed a new kind of mythology Sacra conversazione.

Download Presentation

Late Renaissance (Venice) and Mannerism

An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -

Presentation Transcript


Late renaissance venice and mannerism

Late Renaissance (Venice)and Mannerism

Ch. 22 Italy

1500-1600

PART 2


Late renaissance painting

Late Renaissance Painting

  • Influenced by Classical statuary

  • Poetic themes

  • Pastoral scenes

  • Oil on canvas

  • Colorito

  • Venice


Bellini

Bellini

  • Developed a new kind of mythology

  • Sacra conversazione


Late renaissance venice and mannerism

Figure 22-33 GIOVANNI BELLINI, San Zaccaria Altarpiece, 1505. Oil on wood transferred to canvas, 16’ 5” x 7’ 9”. San Zaccaria, Venice.


Late renaissance venice and mannerism

Figure 22-34 GIOVANNI BELLINI and TITIAN, Feast of the Gods, from the Camerino d’Alabastro, Palazzo Ducale, Ferrara, Italy, 1529. Oil on canvas, 5’ 7” x 6’ 2”. National Gallery of Art, Washington, D.C. (Widener Collection).


Giorgione da castelfranco

Giorgione da Castelfranco

  • Pastoral mood

  • Mysterious


Late renaissance venice and mannerism

Figure 22-35 GIORGIONE DA CASTELFRANCO (and/or TITIAN?), Pastoral Symphony, ca. 1508–1510. Oil on canvas, 3’ 7 1/4” x 4’ 6 1/4”. Louvre, Paris.


Late renaissance venice and mannerism

Figure 22-36 GIORGIONE DA CASTELFRANCO, The Tempest, ca. 1510. Oil on canvas, 2’ 8 1/4” x 2’ 4 3/4”. Galleria dell’Accademia, Venice.


Titian

Titian

  • Sets standard for Western art

  • Colorist

  • Canvas


Late renaissance venice and mannerism

Figure 22-37 TITIAN, Assumption of the Virgin, 1516–1518. Oil on wood, 22’ 7 1/2” x 11’ 10”. Santa Maria Gloriosa dei Frari, Venice.


Late renaissance venice and mannerism

Figure 22-38 TITIAN, Madonna of the Pesaro Family, 1519–1526. Oil on canvas, 15’ 11” x 8’ 10”. Pesaro Chapel, Santa Maria dei Frari,Venice.


Late renaissance venice and mannerism

Figure 22-39 TITIAN, Meeting of Bacchus and Ariadne, from the Camerino d’Alabastro, Palazzo Ducale, Ferrara, Italy, 1522–1523. Oil on canvas, 5’ 9” x 6’ 3”. National Gallery, London.


Figure 22 40 titian venus of urbino 1538 oil on canvas 3 11 x 5 5 galleria degli uffizi florence

Figure 22-40 TITIAN, Venus of Urbino, 1538. Oil on canvas, 3’ 11” x 5’ 5”. Galleria degli Uffizi, Florence.


Late renaissance venice and mannerism

Figure 22-41 TITIAN, Isabella d’Este, 1534–1536. Oil on canvas, 3’ 4 1/8” x 2’ 1 3/16”. Kunsthistorisches Museum, Vienna.


Architecture

Architecture

  • Venice as an independent port city

  • Palladio influential architect

  • Studied classically in Rome


Late renaissance venice and mannerism

Figure 22-29 ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.Figure 22-29 ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza, Italy, ca. 1566–1570.


Late renaissance venice and mannerism

Figure 22-31 ANDREA PALLADIO, aerial view of San Giorgio Maggiore, Venice, Italy, begun 1566.Figure 22-31 ANDREA PALLADIO, aerial view of San Giorgio Maggiore, Venice, Italy, begun 1566.


Mannerism

Mannerism

  • Style or manner

  • Artifice

  • Ambiguous space

  • Unique and unexpected conventions


Late renaissance venice and mannerism

Figure 22-42 JACOPO DA PONTORMO, Entombment of Christ, Capponi Chapel, Santa Felicità, Florence, Italy, 1525–1528. Oil on wood, 10’ 3” x 6’ 4”.


Late renaissance venice and mannerism

Figure 22-44 BRONZINO, Venus, Cupid, Folly, and Time, ca. 1546. Oil on wood, 5’ 1” x 4’ 8 1/4”. National Gallery, London.Figure 22-45 BRONZINO, Portrait of a Young Man, ca. 1530–1545. Oil on wood, 3’ 1 1/2” x 2’ 5 1/2”. Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929).


Figure 22 47 tintoretto last supper 1594 oil on canvas 12 x 18 8 san giorgio maggiore venice

Figure 22-47 TINTORETTO, Last Supper, 1594. Oil on canvas, 12’ x 18’ 8”. San Giorgio Maggiore, Venice.


Late renaissance venice and mannerism

Figure 22-49 PAOLOVERONESE, Triumph of Venice, ca. 1585. Oil on canvas, 29’ 8” x 19’. Ceiling of the Hall of the Grand Council, Doge’s Palace, Venice. Figure 22-48 PAOLO VERONESE, Christ in the House of Levi, from the refectory of Santi Giovanni e Paolo, Venice, Italy, 1573. Oil on canvas, 18’ 3” x 42’. Galleria dell’Accademia, Venice.


Mannerist architecture and painting

Mannerist Architecture and Painting

  • Rejecting balance, order and stability of the High Renaissance style

  • Triglyph

  • Tuscan column

  • Architraves

  • Voussoir


Figure 22 53 giulio romano interior courtyard facade of the palazzo del t mantua italy 1525 1535

Figure 22-53 GIULIO ROMANO, interior courtyard facade of the Palazzo del Tè, Mantua, Italy, 1525–1535.


Late renaissance venice and mannerism

Figure 22-55 GIACOMO DELLA PORTA, facade of Il Gesù, Rome, Italy, ca. 1575–1584.Figure 22-56 GIACOMO DA VIGNOLA, plan of Il Gesù, Rome, Italy, 1568. (1) dome, (2) nave, (3) chapel.


Late renaissance venice and mannerism

Figure 22-54 MICHAELANGELO BUONARROTI, vestibule of the Laurentian Library, Florence, Italy, 1524-1534; staircase, 1558-1559.


Late renaissance venice and mannerism

Figure 22-51 BENVENUTO CELLINI, Saltcellar of Francis I, 1540-1543. Gold, enamel, and ebony, 10 ¼” X 1’ 1’ 1/8”. Kunsthisotrisches Museum, Vienna. Figure 22-52GIOVANNI DA BOLOGNA, Abduction of the Sabine Women, Loggiadei Lanzi, Piazza della Signoria, Florence, Italy, 1579–1583. Marble, 13’ 5 1/2” high.


  • Login