Section Six:

“The High Renaissance,” c. 1500-1520, Imaging the Ideal:

“The Mannerist Crisis,” c. 1520-1600, Imaging Cultural Tension:

(I) The High Renaissance:

(For High Renaissance in Italy, the center of patronage shifted from Florence to Rome;

For High Renaissance in Northern Europe, the center of patronage shifted to Germany).

Some Significant Artists of the High Renaissance Period, *(Know these artists well):

In Italy:  *Leonardo da Vinci,  *Michelangelo Buonarotti,  *Raphael Santo,  and  *Donato Bramante, (*Note, Bramante was the first architect of the present St. Peter’s Basilica in Rome). 

In Northern Europe:   *Albrecht Durer;  *Hans Holbein, the Younger, *Mathias Grunewald. 

*(Note, Hans Holbein the Younger was one of the greatest portrait painters of all time). 

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OBSERVATIONS on HIGH RENAISSANCE ART:

Compositional and Stylistic Aspects:

1.  Closed-composition as contrasted with open-composition of the Early Renaissance of the 15th century.

2.  Composition based on large, simplified, geometrical groupings.

3.  Few figures, placed close to the picture plane.

4.  Greco-Roman Classical Types, used to emphasize ideal proportions.

 

(A) Examples from the Northern High Renaissance, (all German painters):

IN307. The Four Horsemen of the Apocalypse, ,Albrecht Durer, (1471-1528),,woodcut, 39 x 28 cm, , 1498.

IN308. Adam and Eve, Albrecht Durer, engraving, 9 3/4" x 7 1/2", 1504.

IN309. Adoration of the Trinity, Albrecht Durer, oil on wood, Kuntshistorishes Museum; Vienna, Austria, c. 1510.

IN310. Sir Thomas More, Hans Holbein, the Younger, (1497-1543), oil on panel, Frick Gallery; New York City, New York, c. 1430.

IN311. Isenheim Altarpiece, Mathias Grunewald, (c. 1475-1,528), oil on wood, 8’ 10” x 10’ 1”, - the entire front of the altarpiece, when closed showing St. Anthony of Egypt on the left panel, St. Sebastian on the right panel, and the Crucifixion of Christ on the center panel, , Musee d'Unterlinden; Colmar, Germany, c. 1,510-15. (The bottom, predella panel, shows the Entombment of Christ).

IN312. Crucifixion, the center panel of Isenheim Altarpiece, 105 7/8" x 120 7/8".
IN313. The Crucifixion Isenheim Altarpiece, detail showing of central panel .
IN314. Annunciation to Mary and Angel Concert (left); Madonna and Child and Resurrection of Christ (right), Isenheim Altarpiece; left side of the central panel, when the altarpiece is first opened. The Isenheim Altarpiece atypically opens twice).

 

(B) Examples from the Italian High Renaissance, (center of influence - Rome):

Vatican "Stanze" of Raphael:

During the Renaissance these "rooms," (In Italian, stanze, sing -stanza) served as the official rooms, in which important papal ceremonies took place. Today the same rooms are part of the Vatican Museums and are often referred to as, the, Raphael Stanze . The frescoes painted by Raphael and his students are located on the lunettes, one on each of the four walls of each room.

IN320. Stanza della Segnatura, oblique view of the room containing four of Raphael’s most significant fresco paintings, including the School of Athens and the Disputa', Vatican Museum; Rome, Italy, 1509-1511. was the first to be painted. The subject matter of the four fresco in this room refers to basic aspirations of humanity, as understood in the Renaissance. These are respectively: (1) the School of Athens, symbolizing knowledge; (2) the Disputa,' symbolizing divine revelation; (3) the Cardinal Virtues, symbolizing ethical relationships; and (4) Mount Parnassus, symbolizing artistic expression.

IN320a. " ", Self-Portrait, Raphael, from the lower, right area of the School of Athens, (second face from the right, shown looking at the viewer).

IN321. School of Athens, allegory of human knowledge, showing philosophers and scientists of the Greco-Roman world, Stanza della Segnatura, Vatican Museums; Rome, Italy, 1509-1511.
IN322. Plato and Aristotle, fresco, detail from the School of Athens.
IN322a. School of Athens, Raphael’s tribute to Michelangelo, lower center part of the School of Athens.

IN323. Disputa,’ allegory of divine inspiration - symbolic depiction the of the Sacrament of the Eucharist. This fresco is located in the lunette across from the School of Athens in the Stanza della Segnatura.

IN323a. " ", detail, showing Pope Sixtus IV in the center, wearing the papal tiara. Pope Sixtus IV was the pope, who commissioned the building of the Sistine Chapel built.

IN324. Mount Parnassus, allegory of artistic expression, Stanza della Segnatura.

IN324b. The Cardinal Virtues, allegory of ethics and jurisprudence, symbolized by the the Four Cardinal Virtues: Prudence, Justice, Fortitude, and Temperance. (Only three allegorical figures are seen in the illustration; the fourth was painted above the lunette).

 

Leonardo da Vinci, (1,452 - 1,519):

IN324a. Self-portrait, Leonardo da Vinci, red chalk.

IN315. Vitruvian Man, pen and ink drawing, c. 1492.

IN316. Last Supper, Leonardo da Vinci, fresco a secco (tempera painted on dry plaster), 15' x 9', refectory wall of the convent of Santa Maria delle Grazie; Milan, Italy, 1495-98, before recent restoration. Relate to -

IN387. Last Supper, Leonardo da Vinci, after restoration of the 1980s.

IN319aa. Madonna of the Rocks, Leonardo da Vinci, oil on wood, Louvre; Paris, France, 1483-85.

IN319b. Madonna, St. Ann, the Christ Child and John the Baptist, Leonardo da Vinci, cartoon (preparatory drawing), charcoal and touches of white on paper, 55 3/4" x 41 1/4", National Gallery of Art; London, England, c. 1501. (Leonardo's motivation for drawing this magnificent study remains unknown. Strangely, it is much more finished than most cartoons: and we have no known painting that resulted from it. Perhaps, it was a study for the painting shown in IN318, the following example). Contrast with -

IN318. Madonna, St. Ann, and the Child, Leonardo da Vinci, oil on wood, 5 1/2' x 4 1/2,' Louvre; Paris, France, c.1508-1,510.

Relate to Raphael's-

IN319. Madonna and Child with Saint John the Baptist, (known as, La Belle Jardini'ere) Raphael, oil on wooden panel; 122x80 cm, Louvre; Paris, France, 1507.

IN317. Mona Lisa, oil on wooden panel, Louvre; Paris, France, 1503. Relate to-

IN325a. Portrait of a Woman (called La Veleta), Raphael, oil on canvas, Pitti Gallery; Florence, Italy, 1518. (With the Mona Lisa, Leonardo da Vinci set the standard for the waist-length, three-quarter view portrait. Afterwards, many artists followed the same approach. This especially can be seen in the Veleta and in Raphael's earlier portrait of, Magdalena Doni).

 

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NOTE:

Ghirlandaio was the teacher of Michelangelo.

Verrocchio was the teacher of Leonardo da Vinci.

Perugino was the teacher of Raphael.

 

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(C) Differences between Leonardo da Vinci and Michelangelo:

Leonardo   (1452 - 1519)	Michelangelo   (1475 - 1564)
1. Philosophically
Empirical and Inductive in reasoning,  using Aristotle as a model	Deductive in reasoning and Idealistic in a Neo-platonic sense, using Plato as a model
2.   Preferred Artistic Medium
Oil painting	Carved marble sculpture
3.   Preferred Subject Matter
Ideal Classical female face	Muscularity of the male anatomy
4.    Personality Characteristics
Reflective and Analytical	Passionate and Melancholy
5.    Spiritual Convictions
A sincere agnostic, (one who is not certain of the existence of God.).  Yet, before his death,  Leonardo expressed in his writings a  belief in God .	A devout Christian and member of the Roman Catholic Church, though often honestly critical of that Church's abuses of the time. Toward the latter part of his life, he became a mystic of sorts, who increasingly sought to abandon his life to God.
6.    Sexual Preference
Never married, was a known homosexual, and was once jailed for being so.	Never married, yet had close friendships with both men and women.  There is no clear evidence to indicate that Michelangelo had any other than heterosexual inclinations - despite the views of certain revisionists,  who vainly try to indicate otherwise.
7.    Patronage
Free-lance artist, who received major commissions from the nobility and from various, church representatives throughout Italy.	Devoted most of his time and energies to immense projects in sculpture, painting, and architecture and was mostly commissioned by the Medici family in Florence and by the popes in Rome.
8.   Avocations
Though both were equally facile and creative in painting, sculpture, architecture, and engineering, both also were gifted in many other areas of study and creativity. For example, Leonardo emphasized scientific experimentation and mechanical invention; while Michelangelo expressed himself in well-written and thoughtful sonnets.   Both also wrote music and invented musical instruments, (sadly none of the music or instruments have survived).

 

Michelangelo Buonarotti, (1475 - 1564):

IN367. Vatican Pieta', Michelangelo, marble, 5’ 8 1/2”h, St. Peter’s Basilica; Rome, 1498. (The Vatican Pieta' was carved in Rome, during Michelangelo's first visit there, when he was little known in that city).

IN325. Piazza della Signor'ia, Florence, Italy. This view shows the scale, marble copy of Michelangelo’s David that was placed in front of the town hall of Florence, (the Palazzo della Signor'ia, also known as the, Palazzo Vecchio). On Michelangelo's return to Florence from his first trip to Rome, he was commissioned by the city magistrates to carve a giant marble sculpture of the Biblical hero, David. This sculpture was to be represent the heroism of the city and was to be placed in a niche of a buttress on an exterior wall of the Cathedral of Florence. However, after marveling at the completed work, a civic commission decided to place the David where the copy now stands, so that it could better be seen. However, later the David was placed in the Galleria dei Belle Arte, also known as the Academia, to protect it from further weather damage. The original sculpture remains in Galleria dei Belle Arte to this day. The fame of the David made Michelangelo well known throughout Italy, so that soon afterward Pope Julius II called Michelangelo to Rome to work on the pope's tomb. *photographed by Dr. Robert Prestiano (c).

(D) Tomb of Pope Julius II:
IN326. Tomb of Pope Julius II, Michelangelo, drawing suggesting Michelangelo’s early concept for the tomb. (Work on the tomb began with a design similar to this. Yet, work was stopped within a few years, owing to contemporary financial difficulties within the Church and differences between the Church and the Julius II's family, della Rovere family. Therefore, the Tomb of Julius II was never realized as it was originally conceived that is as a free-standing mausoleum to be placed under the dome of the projected new St. Peter's Basilica. In fact, the final tomb was never placed in St. Peter’s Basilica, as Julius had hoped. Rather, after Julius’ death, the concept was reduced to a wall-tomb design for the della Rovere family church of San Pietro in Vincoli in Rome. It is in that form and in that church that the tomb now exists. The sculpture of the Moses is the only completed work by Michelangelo that was planned for the original tomb. Indeed, according to that early design, shown here, the Moses seems to have been intended for placement near an upper corner of the planned, free-standing tomb. Now, however, it stands on the ground, at eye level with the viewer, as the centerpiece of the final, wall-tomb version. Michelangelo also carved two unfinished, muscular, male athletic types that also were intended for the original tomb. These, so called Slaves, are now in the Louvre in Paris).
IN327. Moses, marble, 8’ 4”h, Tomb of Pope Julius II, Church of San Pietro in Vincoli; Rome, Italy, c. 1513-1515.
IN328. Plaster Copy of the Moses, placed at the approximate height intended for the figure as it was originally conceived; Victoria and Albert Museum; London, England.
IN329. Tomb of Pope Julius II, final version, worked out as a large wall-tomb in the church of San Pietro in Vincoli; Rome, Italy. The figures, other than that of the Moses, were carved by Michelangelo's assistants. *photographed by Dr. Robert Prestiano (c).

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(E) The Sistine Chapel:

Three Major Areas of Fresco Painting in the Sistine Chapel:

1.   The Frescos of the Early Renaissance, located below the Windows

      (a)   Subject:  on the left side, looking toward the altar are,
            Scenes from the Life of Moses; these are paralleled on
            the right side with, Scenes from the Life of Christ. 
     (b)   Patron:  Pope Sixtus the IV, who also commissioned the building of the Sistine Chapel.
     (c)   Date:    1481.
     (d)   Style:    Early Renaissance.           
     (e)   Artists:  Many of the most accomplished, Italian painters of the late fifteenth century, including:                   
             Botticelli,  Ghirlandaio, and Perugino. (Perugino also may have been was supervisor of the project).

2.   The Ceiling Fresco:
      (a)   Subject:  The Creation and first few Episodes from the Book of Genesis, depicted in nine central scenes.    
      (b)   Patron:   Pope Julius II. 
      (c)   Dates:     1508-1512. 
      (d)   Style:      High Renaissance.
      (e)   Artist:     Michelangelo, working alone.                            
              (It took three and a half years to complete the painting, which contains over 300 figures).

3.   The Altar Wall Fresco:  
      (a)   Subject: The Last Judgment.  
      (b)   Patron:  Pope Paul III. (Pope Clement the VII earlier commissioned a different subject that was never begun)   
      (c)   Dates:    1534/6 - 1541. 
      (d)   Style:     Mannerist. 
      (e)   Artist:    Michelangelo, working alone.

IN330. Exterior of the Sistine Chapel, Vatican City; Rome, Italy.

Michelangelo's Sistine Chapel Ceiling Fresco:
IN331. Sistine Chapel, the interior as it appeared before Michelangelo was commissioned to paint the ceiling, mid-15th century. ( The ceiling was originally painted in a typically medieval manner with gold stars against a dark blue background, representing the heavens).
IN335. Sistine Chapel, interior prior to the restoration, which took place during the 1980s through the early 1990s.
IN336. Sistine Chapel, a portion of the ceiling after restoration, *photographed by Dr. Robert Prestiano, June 1889.

IN336b. Doni Tondo, Michelangelo, Uffizi Gallery; Florence, Italy, c. 1505. (As the cleaning/restoration of the Michelangelo's Sistine Ceiling fresco took place through most of the 1980s, most were astonished by the brilliant colors that Michelangelo had used. Michelangelo's brilliance as a colorists was generally forgotten after the 16th century. One reason for this is probably the fact that Michelangelo preferred sculpture to painting; yet another more obvious reason is the fact that soot and dirt had gathered over centuries on the ceiling and walls of the Sistine Chapel, since candles and oil lamps were used to light the interior and since the windows were left opened on hot days. Nevertheless, the observant viewer then, as now, would have noticed that the brilliant colors that Michelangelo used on the Doni Tondo, a painting on a circular wooden panel that was completed well before the Sistine Chapel frescos were begun. Ironically, though the brilliant colors of the Doni Tondo never darkened, since they were not exposed to the soot and dirt that the frescos of the Sistine Chapel were, few seem to have remembered the intense colors of the Doni Tondo, while the restoration took place).

IN336a. The Entire Ceiling seen from below, Note - Iconographically the Scenes depict: the Prophet Zaccaria at the far left, located above the traditional entrance to the chapel, and the Prophet Jonah at the far right, located above the altar. Zaccaria may symbolize the contemplative or reflective aspect of human nature, (ie. thought); while Jonah may symbolize the active aspect of human nature, (ie. will). Indeed, Renaissance thought held that thoughtful refection leads to a distinct act of the will. It also has been suggested that the nine major episodes from the beginning chapters of the Book of Genesis, viewing them from left to right, symbolize a spiritual journey, or "pilgrimage," from sin to grace. This intent may explain the reverse chronological placement of the scenes, in that the scenes under the entrance, at the far left of the illustration, emphasize fallen human nature; whereas those from the center to the right end, located above the altar, emphasize the return to grace. (Before more recent times, one would enter the chapel under the first scene at the far left, that of the Drunkenness of Noah and proceed toward the altar area, which is located under the scene at the far right, that of God Creating the Firmament, thus symbolizing a journey from fallen nature to redeemed nature). Also, the scenes alternate in size from relatively small square panels to larger rectangular panels. (I) From left to right, the Nine Episodes Scenes from Genesis are: (a) at the far left, the Drunkenness of Noah; (b) the Flood; (c) the Sacrifice in Thanksgiving after the Flood, (strangely out of narrative sequence); (d) the Temptation and Fall of Adam and Eve; (e) the Creation of Eve; (f) the Creation of Adam; (g) the Creation of Land, Water, Plants, Fish, and Animals; (h) the Creation of the Sun and the Moon; (i) the Creation of the Firmament. (II) Images of ignudi - nude, male, Greco-Roman, athletic types - are seen at each of the corners of the scenes within the smaller, square panels. Such muscular, male, athletic types were often used by Michelangelo to symbolize the yearning of the soul for greater union with God. (III) Alternating Images of Prophets Sybils. (According to Greco-Roman tradition, sybils were prophetesses, who predicted the coming of a savior, as did the prophets of the Old Testament). These large figures of prophets and sybils are located in illusionistic niches that run along both of the long sides of the ceiling. (IV) Figures representing the Ancestors of Christ, located in triangular spandrels, and arched lunettes on the walls below, alternate with the prophets and sybils. (V) Old Testament Scenes symbolic of Sacrifice and Salvation are located in the four larger spandrels, one scene in each of the corners of the ceiling. - from lower left to lower right, these are: (1) the Beheading of Goliath by David from the Book of Kings ; (2) the Beheading of Holerfernes by Judith from the Book of Judith; (3) the Exposition of the Brazen Serpent in the Desert from the Book of Exodus ; and (4) the Crucifixion of Haman from the Book of Esther.

 

IN337. Sistine Chapel, interior, looking toward the altar wall, after the restoration.

IN377a. Sistine Chapel, interior, looking toward the back wall, before restoration.

IN338. Ezechias and Amon, Michelangelo, frescoed lunette, depicting two ancestors of Christ, as seen before restoration. *Contrast with-

IN339. Ezechias and Amon, the same lunette, as seen after restoration.

IN340. Restoration’s Scaffolding, Sistine Chapel, 1980-1989.
IN341. Ignudo, (pl. ignudi), Michelangelo, Sistine Chapel Ceiling.
IN342. Four Ignudi, Michelangelo, Sistine Chapel Ceiling,one seen at each of the four corners of the scene of God Separating the Waters from the Firmament. (Throughout the ceiling an ignudo is located at each of the four corners of the five smaller, square scenes, while no ignudi exist in the four larger, rectangular scenes).
IN343. Creation of Adam, Michelangelo, Sistine Chapel Ceiling, after restoration.
IN344. " ", Michelangelo, central scene of the above, after restoration.
IN345. " ", Michelangelo, closer view.
IN346. Temptation and Fall of Adam and Eve, Michelangelo, Sistine Chapel Ceiling.
IN347. Prophet Zaccaria, Michelangelo, above the traditional entrance to the Chapel.
IN348. Zaccaria, Michelangelo, closer view after restoration.
IN350. Prophet, Jonah, Michelangelo, Sistine Chapel Ceiling, after restoration.
IN349. Jonah, Michelangelo, over the altar, at the opposite end of the Ceiling from the end containing the image of Zaccaria, after restoration.
IN351. Libyan Sibyl, Michelangelo, Sistine Chapel Ceiling, after restoration.
IN352. Study for the Libyan Sibyl, Michelangelo, red chalk drawing. (Michelangelo began his anatomical studies as male figures, even when some were designated to be female figures in the final iconographical program. Michelangelo, then, simply added the appropriate appendages and eliminated the one which was no longer necessary. It is theorized that Michelangelo may have depicted such powerful muscular figures to symbolize a restless humanity, seeking unity with God. Contemporary, Florentine, Neo-platonic philosophers, who greatly influenced Michelangelo's thought, emphasized a need for a spiritual "ascent," to union with God, beyond the physical limitations of this life).

IN353. The Prophet Jeremiah, Michelangelo, Sistine Chapel Ceiling, after restoration. *Relate the Poses to -

IN322a, Tribute to Michelangelo, Raphael, seen the in the center of Raphael's, School of Athens fresco in the Vatican Stanze. (Only a few years after Michelangelo began the Sistine Chapel Ceiling fresco, Raphael, who was strongly influenced by Michelangelo, used a similar pose for his image of the older artist).

IN354. Duke Lorenzo, (nephew of Lorenzo de Medici, "Il Magnifico"), Michelangelo; Medici Tombs, in the New Sacristy, of the church of San Lorenzo; Florence, Italy, 1,519-1,534. (Note how the figure sits in the same relative pose).
IN354a. closer view of above. *(Michelangelo’s sculptures for the Medici Chapel in the family's church of San Lorenzo are excellent examples of his stylistic transition from High Renaissance classicism to the increasingly popular Mannerist style of the last three quarters of the sixteenth century. Indeed, Michelangelo did much to contribute to the development of the Mannerist style). Centuries later, a similar pose was used for the -
IN355. The Thinker, Auguste Rodin (1840-1917), bronze, Rodin Museum; Paris, France, 1880. (The Thinker was originally intended as part Rodin’s monumental bronze, Gates of Hell, which was never completed during the artist's life).

The same general pose can be seen in other works such as in -

IN354c. Seated Youth, Wilhelm Lembruch, bronze, 1916-17.

(These are only some of the most well known examples of this pose, expressive of inward reflection. Indeed, the pose has origins in sculptures by Greco-Roman artists).

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(II) Mannerism, 1520 - 1600:

The beginning of Mannerism in Italy, was supported mainly by Florentine patronage. Whereas. the beginning of Mannerism in Northern Europe was supported mainly by Flemish patronage. Soon afterward the Mannerist style spread throughout the rest of Italy and the rest of Northern Europe).

(A) Artistic Aspects of Mannerist Art,  

  1.   Lack of Central Focus in Composition.

  2.   Crowding,  (a sense of horror-vacui in composition).

  3.   Distortions  in the depiction of anatomy, spatial illusion, architecture, etc.

  4.   Strange Facial Expressions.

  5.   Disturbing Subject Matter.

  6.   Sense of Precariousness,  (seeming lack of balance in positioning of figures and objects).

  7.   Seemingly illogical Spatial Relations.

  8.   Seemingly illogical Relations in Proportions.

  9.   Rude Expressions and Gestures

10.   Unnatural Color Schemes.

11.   Unresolved Diagonal Directional Lines in Composition.      

12.   Use of Extreme Detail, distracting the viewer from the main subject.        

(The Resultant emotional experience is one of Tension). 

 

(B)  Three Historical Influences on the Development of Mannerism:

1.  The Sack of Rome in 1527 by mercenary troops of Emperor Charles V;

2.  New Outbreaks of Bubonic Plague; 

3.  The Division within western Christendom.

(The Reformation, begun in October of 1,517 by Martin Luther, not only resulted in a break between the followers of Luther and the Roman Catholic Church, but also resulted in many divisions within Protestantism . The consequent suspicions, mistrust, and animosity resulted in divisions in religious communities throughout Europe. Indeed, in many instances prolonged, brutal religious warfare occurred.  A consequent sense of deep anxiety and tension spread throughout Europe.  The strange subject matter, distortions in proportions, seeming lack of balance, and other illogical aspects of Mannerist art undoubtedly reflect the anxieties of that time). 

 

(C) Some significant Mannerists Artists:           

(1) In Italian painting:   Michelangelo,   Jacopo Pontormo,  Parmigianino,  Il Rosso Fiorentino,

(2) In Italian sculpture:  Bevenuto Cellini and Giambologna.              

(3) In Northern European painting:   Pieter Bruegel, the Elder,  Lucas Cranach, and  Albrecht Altdorfer.

(D) Examples of Michelangelo’s Mannerist Style:

IN356. Last Judgment, altar wall fresco, Sistine Chapel, 1534-1541, before restoration.
IN357. Last Judgment, after restoration of 1989-1992.
IN358. Last Judgment, detail of upper central section, after restoration.
IN359a. Last Judgment, closer view of Christ and Mary.

*Relate image of the torso of Christ to -

IN360. Laocoon, Agesander, Athenodoros, and Polydoros, 8’ h., Vatican Museums, Hellenistic Greek sculpture of the 1st century BCE. (Michelangelo was present, when this group was discovered in Rome), *photographed by Dr. Robert Prestiano.

IN360aa. Belvedere Torso, (Michelangelo also had seen this original, Greek, Hellenistic, marble torso), *photographed by Dr. Robert Prestiano (c).

IN360a. Last Judgment, Michelangelo, angels sounding the last trumpets.

IN361. Sistine Last Judgment, Michelangelo, a figure being pulled down to Hell, before restoration.
IN361a. " ", the same figure after restoration,
IN362. " ", detail, showing the head of a devil.
IN363. " ", St. Bartholomew Holding his Flayed Skin, from central upper group of Sistine Last Judgment.
IN363a. " ", The Self Portrait of Michelangelo, painted on the flayed skin of St. Bartholomew. (The self-portrait may expressed the torment that Michelangelo felt in regard to the Sistine project. Michelangelo believed passionately that his essential gift was that of sculpture; whereas he resented being forced to paint such extensive areas of the Sistine Chapel).
IN364. Entrance to Hell, lower right corner of the Sistine Last Judgment, before restoration.
IN365. Cardinal Cascena at the Entrance to Hell, detail of above, after restoration.

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(E) Summary of Michelangelo's Stylistic Phases:

1. High Renaissance Classicism, 1500 - 1520:

IN366. Pieta', artist unknown, painted and gilded wood, 14th century, 34 1/2 ”h, Provincial Museum; Bonn, Germany.

Contrast with-

IN367. Vatican Pieta', Michelangelo, marble, 5’ 8 1/2”h x 6', St. Peter’s Basilica; Rome, Italy, 1498-99. (Note, the sense of quiet dignity and inward reflection, expressed through the Classical High Renaissance style, as contrasted with the disturbing expressionism of the earlier, more traditional Pieta', shown above).
IN368. " ", detail showing frontal view of the Virgin’s head.
IN369. " ", detail showing the head of Christ.

IN369a. " ", detail showing damage done to the face of the Madonna in 1,972, when a deranged man began smashing parts of the sculpture with a hammer before he could be stopped. However, since the damage was not extensive and since the pieces were salvageable, the sculpture has been restored without notice of the damage.

2. Mannerist Style of the mid through late sixteenth century:

IN370. Florentine Pieta', Michelangelo, marble, 7’ 5”h; Museum of the Cathedral Works; Florence, Italy, 1548-1555. (Note, the tension and sense of anguish expressed by this unfinished Mannerist work, especially when contrasted with the High Renaissance, Vatican Pieta.’ Michelangelo intended this group for his own tomb, before he became dissatisfied with it).
IN371. " ", detail.
IN372. " ", detail.

3. Michelangelo's Late Style, c. 1555 - 1564

IN373. Rondanini Pieta', Michelangelo, marble, 6’ 4 3/4”h, Castello Sforzesco; Milan, Italy, 1555-1564.
IN373a. " ", detail of the upper portion. (This and other late works by Michelangelo are incredible examples of the artist's attempt to dematerialize physical form and develop a unique, personal style, which some have described as expressing mystical inclinations).

 

(F) Other Examples of Mannerist Art in Italy c. 1520-1600 CE:

IN374. Deposition, Pontormo, oil on panel, Santa Felicita'; Florence, Italy, 1525-1528.

IN376. Deposition, Il Rosso oil on panel; Florence, Italy, 1521.

IN376a. " ", figure on right side near foreground, Il Rosso,

IN375. The Madonna with the Long Neck, Parmigianino (1503-1540), oil on panel, Uffizi Gallery; Florence, Italy, 1534-1540.

IN377. Rape of the Sabine Women, Giovanni da Bologna, (also known as, "Giambologna"), marble, 13’ 6”h, Loggia dei Lanzi, Piazza della Signoria; Florence, Italy, 1,583, *photographed by Dr. Robert Prestiano (c).

IN378. Salt Cellar of King Francis I, Bevenuto Cellini, gold on enamel, 10 1/4” x 13 1/2,” 1543.

IN380. Medici Tombs, Michelangelo, marble, oblique view of the interior, showing Giuliano’s Tomb at the left, church of San Lorenzo; Florence, Italy, 1,526-34. (Note, this Giuliano was the son of Lorenzo, Il Magnifico and is not to be confused with the brother of Lorenzo Il Magnifico, whose name also was Giuliano).

IN380a. " ", View from behind the altar.

IN379. Tomb of Giuliano de’ Medici, Michelangelo, 5 1/2'h, (Relate the pose of the duke in this work to placement of the figures in Cellini's Slat Cellar, shown below in #IN378),

IN379a. " ", close up view of the head.

IN379b. " ", another view, *photographed by Dr. Robert Prestiano (c).

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(G) Examples of Mannerist Art in Northern Europe, c. 1520-1600 CE:

IN382. The Battle of Alexander and Darius, (or Battle of Issus), Albrecht Altdorfer (c. 1480-1538) German, oil on canvas, 5’ 2 ¼” x 3’ 11 1/4”, Alte Pinakothek; Munich, Germany, 1,529.

IN383. Peasant Wedding Feast, Pieter Bruegel, the Elder (1525?-1,569) Flemish, oil on wood; 3’ 8 ½” x 5’ 4 1/2”, Kuntshistorishes Museum; Vienna, Austria, c 1566.

IN384. Peasant Dance, Pieter Bruegel, the Elder, oil on wood, 4’ 5” x 6’ 5”, Kuntshistorishes Museum; Vienna, Austria, c. 1567.

IN385. Hunters in the Snow, Pieter Bruegel, the Elder, oil on wood, 3’ 10 ½” x 5’ 3 ¼ ”, Kuntshistorishes Museum; Vienna, Austria, c. 1,565.

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Summary of 15th and 16th century stylistic expression, through a comparison of four paintings of the Last Supper :

IN386. Last Supper, Andrea del Castagno ( 1423-1457, )Italian, fresco, refectory of the monastery of Sant' Apollonia; Florence, Italy, c. 1455 - 15th Century Type.

IN387. Last Supper, Leonardo da Vinci fresco a secco, after restoration of the 1980s; refectory of the monastery of Santa Maria delle Grazie; Milan, Italy, 1498, - Psychological Type.

IN388. Last Supper, Tintoretto (1518-1594) Italian, oil on canvas, church of San Giorgio Maggiore; Venice, Italy, 1592-1594. - Mannerist Type.

IN389. Feast in the House of Levi, Paolo Veronese, (c. 1528-1588) Italian , oil on canvas, 18 ½’ x 42 ½’, Galleria dell Academ'ia; Venice, Italy, 1573, (originally titled, The Last Supper). - Baroque Type.