Class 3 Review

MANNERISM:MANNERISM:The Madonna with theThe Madonna with theLong Neck by Parmigianino,Long Neck by Parmigianino,Italy, c.1535Italy, c.1535

Other key manneristOther key manneristpainters include:painters include:Giulio RomanoGiulio RomanoPontormoPontormoRosso FiorentinoRosso FiorentinoBronzinoBronzino

MANNERISM: PONTORMO MANNERISM: PONTORMO

Pontormo (1494-1557):Pontormo (1494-1557):--Born Jacopo Carrucci--Born Jacopo Carrucci in the city of Pontormo.in the city of Pontormo.--May have studied --May have studied under Leonardo daunder Leonardo da Vinci before enteringVinci before entering Andrea del Sarto’s Andrea del Sarto’s workshop.workshop.--One of the first --One of the first Florentine artists toFlorentine artists to turn away from theturn away from the High Renaissance andHigh Renaissance and towards Mannerism.towards Mannerism.

MANNERISM: ROSSO FIORENTINO MANNERISM: ROSSO FIORENTINO Rosso FiorentionRosso Fiorention(1494-1540):(1494-1540):--Born in Florence--Born in Florence--Studied under--Studied under Andrea del Sarto,Andrea del Sarto, but refused any but refused any permanent master.permanent master.--Moved to France--Moved to France and painted thereand painted there for Francois I.for Francois I.--Noted for his--Noted for his strange quirks, strange quirks, including a petincluding a pet baboon; supposedlybaboon; supposedly committed suicidecommitted suicide after accusing a after accusing a friend of theft falsely.friend of theft falsely.

MANNERISM: BRONZINO MANNERISM: BRONZINO

Agnolo Bronzino (1503-Agnolo Bronzino (1503-1572): 1572): --Born in Firenze.--Born in Firenze.--Studied under Pontormo--Studied under Pontormo and painted in Florence.and painted in Florence.--Painted for Duke Cosimo--Painted for Duke Cosimo I de Medici.I de Medici.

MANNERISM: PARMIGIANINO MANNERISM: PARMIGIANINO

Parmigianino (1503-Parmigianino (1503-1540):1540):--Born Girolamo --Born Girolamo Francesco Mazzola inFrancesco Mazzola in Parma.Parma.--Worked in Rome, --Worked in Rome, Bologna, and Parma.Bologna, and Parma.--Accused of growing--Accused of growing increasingly eccentric,increasingly eccentric, becoming obsessed becoming obsessed with alchemy and with alchemy and allowing his beard toallowing his beard to grow long and grow long and disordered.disordered.

MANNERISM:MANNERISM:--Emphasis on artistic--Emphasis on artistic virtuosity; sprezzatura virtuosity; sprezzatura --Deliberately difficult, to --Deliberately difficult, to the point illegibility; if it the point illegibility; if it is too easy, it lacks class is too easy, it lacks class --Grazia (grace): emphasis--Grazia (grace): emphasis on elegance on elegance --Taste for bizarre and --Taste for bizarre and novel, often includingnovel, often including eroticerotic--Abstraction—art --Abstraction—art placing aesthetic placing aesthetic concerns over worldlyconcerns over worldly concerns and religious concerns and religious valuesvalues

COUNCIL OF TRENT COUNCIL OF TRENT (1545-63): (1545-63): Catholic response to Catholic response to the Protestant Reformation.the Protestant Reformation.

Counter-Reformation Counter-Reformation

Calls for reform of art Calls for reform of art within the Church, as within the Church, as the Mannerist style was the Mannerist style was considered inappropriate.considered inappropriate.

Giulio de’Fabriano (1564;Giulio de’Fabriano (1564;Dialogues of the Errors ofDialogues of the Errors ofHistory Painting): criticizes History Painting): criticizes contemporary Catholic contemporary Catholic artists for showing a lack of artists for showing a lack of piety and devotion and piety and devotion and paying no attention to paying no attention to subject matter; rather, hesubject matter; rather, heclaims, they interested onlyclaims, they interested onlyin “the charms of art.” Says in “the charms of art.” Says true beauty is in clarity, andtrue beauty is in clarity, andboth in style and subject both in style and subject matter art should strive matter art should strive for beauty through clarity.for beauty through clarity.

Archbishop Paleotti of Archbishop Paleotti of Bologna (Discourse on Bologna (Discourse on Sacred and Profane Sacred and Profane Images): art should be clear Images): art should be clear and easy to understand—and easy to understand—““books for the illiterate.” books for the illiterate.” Desires an new art that will Desires an new art that will ““incite devotion and sting incite devotion and sting the heart.”the heart.”

Some points of Church Some points of Church decrees on the reform of decrees on the reform of art:art:--No “seductive charms;” --No “seductive charms;” no eroticism, no eroticism, lasciviousness lasciviousness --The main function of art --The main function of art must be to incite devotionmust be to incite devotion and inspire the heart of the and inspire the heart of the worshipper worshipper --Art should instruct the --Art should instruct the worshipper in tenets of the worshipper in tenets of the Faith Faith

Philip II Philip II by Titian (1551)by Titian (1551)

El Escorial:El Escorial:JuanJuanBautista deBautista deToledo andToledo andJuan deJuan deHerrera Herrera

--Charles V retires in 1556, leaving --Charles V retires in 1556, leaving control of Spain, its territories and control of Spain, its territories and defense of the Catholic faith in the defense of the Catholic faith in the hands of his son, Philip II.hands of his son, Philip II.

--Among Philip’s early projects is a --Among Philip’s early projects is a royal monastery, El Escorial, royal monastery, El Escorial, construction on which begins in 1563.construction on which begins in 1563.

COUNTER-REFORMATION: SPAIN (Hapsburgs/Habsburgs)COUNTER-REFORMATION: SPAIN (Hapsburgs/Habsburgs)

EL ESCORIAL: J. FERENANDEZ DE NAVARRETE (EL MUDO) EL ESCORIAL: J. FERENANDEZ DE NAVARRETE (EL MUDO)

Juan Fernandez de Navarrete (El Mudo):Juan Fernandez de Navarrete (El Mudo):--Born in Logorno c.1538--Born in Logorno c.1538--Called “El Mudo” because he was a --Called “El Mudo” because he was a deaf mute; struck deaf by a childhood deaf mute; struck deaf by a childhood illnessillness--Lived and worked in Italy, returning to --Lived and worked in Italy, returning to Spain around 1565Spain around 1565--Starts work at the Escorial as a --Starts work at the Escorial as a restorer and copyist restorer and copyist --Is eventually made the principal --Is eventually made the principal painter at the Escorial and signs a painter at the Escorial and signs a contract for 32 paintings for chapels contract for 32 paintings for chapels in the basilicain the basilica


The Martyrdom of St. James The Martyrdom of St. James by El Mudo (c.1570)by El Mudo (c.1570)

“ “The attitude and movement of The attitude and movement of the knife passing through the the knife passing through the neck is done with such neck is done with such propriety and naturalism that propriety and naturalism that those who see it will swear that those who see it will swear that he is already starting to expire.”he is already starting to expire.” — —Father Jose de Siguenza Father Jose de Siguenza


El Mudo dies in 1579El Mudo dies in 1579

Only 8 of his 32 commissioned Only 8 of his 32 commissioned paintings had been completedpaintings had been completed

DOMENIKOS THEOTOKOPULOS: DOMENIKOS THEOTOKOPULOS: EL GRECO EL GRECO

El Greco:El Greco:--Born 1541 in Candia --Born 1541 in Candia (Heraklion), Crete(Heraklion), Crete--Trained as an icon painter --Trained as an icon painter --By 1563 listed as a master --By 1563 listed as a master icon painter icon painter

EL GRECO: CRETE, ICONSEL GRECO: CRETE, ICONS

Dormition of the Virgin and St. Luke Dormition of the Virgin and St. Luke

Mid-1560s gives up his Mid-1560s gives up his trade on Crete, moves trade on Crete, moves to Venice, Italy (Creteto Venice, Italy (Cretewas part of the was part of the Venetian Republic) to Venetian Republic) to retrain himself as an retrain himself as an Italian-style artist.Italian-style artist.

EL GRECO: ROME EL GRECO: ROME Staying at the Farnese Staying at the Farnese Palace, El Greco was Palace, El Greco was introduced by the palaceintroduced by the palacelibrarian, a scholar librarian, a scholar named Fulvio Orsini, into named Fulvio Orsini, into a learned circle that a learned circle that included several included several prominent Spaniards. prominent Spaniards. Among them was Luis Among them was Luis de Castilla, whose father de Castilla, whose father Diego was a dean at Diego was a dean at Toledo Cathedral. Luis Toledo Cathedral. Luis de Castilla encouragedde Castilla encouragedEl Greco to move to El Greco to move to Spain, and helped Spain, and helped arrange a commission arrange a commission for him in the sacristy of for him in the sacristy of the cathedral.the cathedral.

EL GRECO: SPAIN—Toledo EL GRECO: SPAIN—Toledo

The Disrobing The Disrobing of Christ (1577-79)of Christ (1577-79)

EL GRECO: SPAIN—El Escorial EL GRECO: SPAIN—El Escorial

The Martyrdom of St. Maurice and the Theban League (1580-81) The Martyrdom of St. Maurice and the Theban League (1580-81)

EL GRECO: SPAIN—El Escorial EL GRECO: SPAIN—El Escorial

The Martyrdom of St. Maurice and the Theban League (1580-81) The Martyrdom of St. Maurice and the Theban League (1580-81)

““There is a painting here by one There is a painting here by one Domenico Greco . . . of St. MauriceDomenico Greco . . . of St. Mauriceand his soldiers . . . it did not and his soldiers . . . it did not please his majesty which is no please his majesty which is no wonder . . . although they say that wonder . . . although they say that it has great art . . . (Improper art it has great art . . . (Improper art can) deceive the ignorant mind by can) deceive the ignorant mind by means of certain tricks and means of certain tricks and illusions, and thus succeed in illusions, and thus succeed in pleasing the ignorant and pleasing the ignorant and thoughtless . . . (but) as our own thoughtless . . . (but) as our own Mudo said . . . ‘the saints must be Mudo said . . . ‘the saints must be painted in such a way that the painted in such a way that the desire to pray to them . . . is desire to pray to them . . . is unfailing . . . because this must beunfailing . . . because this must bethe main effect and purpose of the main effect and purpose of painting.’”--Siguenzapainting.’”--Siguenza

EL ESCORIAL: ITALIAN PAINTERS EL ESCORIAL: ITALIAN PAINTERS

Pellegrino Tibaldi:Pellegrino Tibaldi:Came to the Escorial Came to the Escorial in 1586, assigned to in 1586, assigned to complete the complete the unfinished work of the unfinished work of the other painters, as well other painters, as well as the library and as the library and other areas.other areas.

EL GRECO: THE BURIAL OF COUNT ORGAZ EL GRECO: THE BURIAL OF COUNT ORGAZ

1323: Death of Gonzalo 1323: Death of Gonzalo Ruiz de Toledo, Count of Ruiz de Toledo, Count of township of Orgaz; a township of Orgaz; a sponsor of the Church of sponsor of the Church of Santo Tome in Toledo Santo Tome in Toledo (where he wished to be (where he wished to be interred), he left an interred), he left an endowment to be paidendowment to be paidannually by the residents annually by the residents of Orgaz to the church of Orgaz to the church


1327: Gonazlo Ruiz’s 1327: Gonazlo Ruiz’s body is transferred from body is transferred from its original burial site in its original burial site in an Augustinian an Augustinian monastery to Santo monastery to Santo Tome; when he Tome; when he was being interred at was being interred at Santo Tome, a miracle Santo Tome, a miracle occurred.occurred.


““Two glorious saints, St. Two glorious saints, St. Stephen . . . and St. Stephen . . . and St. Augustine . . . descendingAugustine . . . descendingfrom on high . . . reachingfrom on high . . . reachingthe body, they carried it the body, they carried it to the tomb where . . . to the tomb where . . . they placed it, saying: they placed it, saying: ‘‘Such is the reward of Such is the reward of those who serve God and those who serve God and His saints,’ and then they His saints,’ and then they disappeared, leaving the disappeared, leaving the church full of fragrance church full of fragrance and heavenly aromas.”and heavenly aromas.”


1564: The town had, after 1564: The town had, after two centuries, tired of two centuries, tired of paying the endowment.paying the endowment.They had refused They had refused payment for several payment for several years. Andres Nunez, the years. Andres Nunez, the parish priest of Santo parish priest of Santo Tome, brings a lawsuit Tome, brings a lawsuit against the town of Orgaz against the town of Orgaz seeking back payment of seeking back payment of the endowment the endowment


1569: Lawsuit settled in 1569: Lawsuit settled in favor of Santo Tome, and favor of Santo Tome, and the church, receiving the church, receiving back payments, is greatlyback payments, is greatlyenrichedenriched


1583: Andres Nunez and1583: Andres Nunez andSanto Tome receive Santo Tome receive official recognition of a official recognition of a miracle and authorizationmiracle and authorizationto depict it in a paintingto depict it in a painting


1587: El Greco signs 1587: El Greco signs contract for the contract for the commission; Santo commission; Santo Tome was his parish Tome was his parish church church


1588: El Greco completes1588: El Greco completesthe paintingthe painting


Two modesTwo modes

Heavenly realm: Heavenly realm: more abstract more abstract

Worldly Worldly realm: morerealm: more material—material— realismrealism


John the Baptist,John the Baptist, Virgin Mary as Virgin Mary as intercessorsintercessors

Angel holding up Angel holding up Gonzalo Ruiz’s soul for Gonzalo Ruiz’s soul for judgment judgment


St. Stephen, Gonzalo Ruiz,St. Stephen, Gonzalo Ruiz,and St. Augustineand St. Augustine


Pointing: draw Pointing: draw viewer’s attention to viewer’s attention to a point of importance;a point of importance; a lesson is being a lesson is being taught.taught.


Justification throughJustification throughgood worksgood works


Good works bring youGood works bring you into a saving relation into a saving relation with God with God

Class 3 Review

Spiritual

Transcript of Class 3 Review