Chapter 16: High Renaissance and Mannerism

He started a theological and political revolution in Europe in 1517 when he nailed his theses to a church door in Wittenberg, Germany.

_______'s fundamental principles pit the ideal, natural, and symmetrical against the actual, artificial, and imbalanced.

At the _____ (1545–1563), Catholics responded to the Reformation's split with the Counter-Reformation.

Charles V of the Holy Roman Empire praised _____.

Francis I of France held _____'s dying body

Michelangelo's biographers dubbed him "___."

In 1563, _____ of Florence founded the first permanent painting college to teach painters and elevate their reputation.

a heavy woven material used as the surface of a painting; first widely used in Venice

a painting technique utilized by Leonardo da Vinci, created a hazy look by rendering figures softly.

a gradual transition from light to dark in a painting. Forms are not determined by sharp outlines, but by the meeting of lighter and darker areas

thin transparent layers put over a painting to alter the color and build up a rich sonorous effect

nude corner figures on the Sistine Chapel ceiling

a motif on the ceiling, were inspired by the crest of the chapel’s patron, Pope Julius II.

a meal shared by Jesus Christ with his apostles the night before his death by crucifixion

a Greco-Roman prophetess whom Christians saw as prefiguring the coming of Jesus Christ

as told in Genesis 7 of the Bible, Noah and his family escape rising waters by building an ark and placing two of every animal aboard

Opposite of Raphael's Painting School of Athens.

a simple rural and rustic setting used especially in Venetian paintings of the High Renaissance; named after Arcadia

a district in Greece to which poets and painters have attributed a rural simplicity and an idyllically untroubled world

trunks intended for storage of clothing for a wife’s trousseau seen in the background of the painting.

a painting or sculpture depicting Jesus Christ’s burial after his crucifixion

a painting of a grouping of inanimate objects, such as flowers or fruit

painting in which scenes of everyday life are depicted

Mannerist painting's worth lies in its deliberate ____.

• Painted by Leonardo da Vinci (1494–1498)

• Painted for the refectory, or dining hall, of an abbey of friars.

• A relationship is drawn between the friars eating and a biblical meal.

• Commissioned by the Sforza family of Milan

• Great drama of the moment | Matthew 26:21 | Matthew 26:26–27

• By Michelangelo (1508–1512)

• grand and massive figures are meant to be seen from a distance; also a grandeur of the Biblical narrative

• 300 figures on the ceiling, with no two in the same pose

• The chapel is dedicated to the Virgin Mary

• Acorns, a motif on the ceiling, were inspired by the crest of the chapel’s patron, Pope Julius II.

• By Michelangelo (1508–1512)

• There is a dramatic contrapposto positioning of the body.

• Shows a combination of Christian religious and pagan mythological imagery.

• One of five sibyls on the ceiling.

• By Micheangelo (1508–1512)

• Sculptural intensity of the figure style.

• More than 60 figures are crowded into the composition.

• By Michelangelo (1536–1541)

• The subject was chosen because of the turbulence in Rome after the sack of the city in 1521.

• Spiraling composition is a reaction against the High Renaissance harmony

• Pope Paul III was the patron.

• By Raphael (1509–1511)

• Commissioned by Pope Julius II to decorate his library.

• Painting originally called Philosophy

• Opposite this work is a Raphael painting called La Disputà,

• By Titian (1538)

• May have been commissioned by the Duke of Urbino as a wedding painting.

• Oil painted in layers; glazes achieve rich color.

• By Jacopo da Pontormo (1525–1528)

• It is placed over the altar of a family chapel near the right front entrance of Santa Felicità in Florence.

• The composition and Mannerist style may reflect the instability in European politics brought on by the Protestant Reformation.

• By Giacomo della Porta (1568–1584)

• Principal church of the Jesuit order.

• Jesuits are seen as the defenders of Counter-Reformation ideals.