Post on 21-Jan-2016
Chapter 13Chapter 13The The High Renaissance and Mannerism Renaissance and Mannerism
in Italyin Italy
Chapter 13Chapter 13The The High Renaissance and Mannerism Renaissance and Mannerism
in Italyin Italy
Culture and Values, 8Culture and Values, 8thth Ed. Ed.Cunningham and Reich and Fichner-RathusCunningham and Reich and Fichner-Rathus
Culture and Values, 8Culture and Values, 8thth Ed. Ed.Cunningham and Reich and Fichner-RathusCunningham and Reich and Fichner-Rathus
Italy 1494Italy 1494
Leo X (1513–1521)
Son of Lorenzo the Magnificent; patronized Michelangelo and excommunicated Martin Luther.
HadrianVI (1522–1523)
Born in the Netherlands; a ferocious reformer and the last non-Italian pope until the 1970s.
Clement VII (1523–1534)
Grandson of Lorenzo the Magnificent; commissioned the Medici tombs in Florence, and The Last Judgmentfor the Sistine Chapel just before his death; excommunicated Henry VIII.
Paul III (1534–1549)
Commissioned Michelangelo to build the Farnese Palace in Rome; called the reform Council of Trent, which first met in 1545.
Julius III (1550–1555)
Patron of the composer Palestrina; confirmed the constitutions of the Jesuits in 1550; appointed Michelangelo as chief architect of Saint Peter’s.
Marcellus II (1555)
Reigned as pope for 22 days; honoree of Palestrina’s Missa Papae Marcelli.
Paul IV (1555–1559)
A fanatical reformer; began the papal reaction against the Renaissance spirit; encouraged the Inquisition and instituted the Index of Forbidden Books in 1557.
Popes and PatronagePopes and Patronage
Vatican as center of wealth, stabilityVatican as center of wealth, stabilityPope Sixtus IVPope Sixtus IVPope Julius IIPope Julius II
Beginnings of High Renaissance (1503)Beginnings of High Renaissance (1503) ““il papa terribileil papa terribile”” Raphael, MichelangeloRaphael, Michelangelo
The deThe de’’ Medici Family Medici Family
Vatican as center of wealth, stabilityVatican as center of wealth, stabilityPope Sixtus IVPope Sixtus IVPope Julius IIPope Julius II
Beginnings of High Renaissance (1503)Beginnings of High Renaissance (1503) ““il papa terribileil papa terribile”” Raphael, MichelangeloRaphael, Michelangelo
The deThe de’’ Medici Family Medici Family
The Visual ArtsThe Visual Arts
Leonardo da Vinci (1452-1519)Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of Mona Lisa, The Last Supper, Madonna of
the Rocksthe RocksOrthogonals, chiaroscuroOrthogonals, chiaroscuro
NotebooksNotebooks Mathematics, natural world and humanity, Mathematics, natural world and humanity,
love for beautylove for beauty
Leonardo da Vinci (1452-1519)Leonardo da Vinci (1452-1519) Mona Lisa, The Last Supper, Madonna of Mona Lisa, The Last Supper, Madonna of
the Rocksthe RocksOrthogonals, chiaroscuroOrthogonals, chiaroscuro
NotebooksNotebooks Mathematics, natural world and humanity, Mathematics, natural world and humanity,
love for beautylove for beauty
13.313.3 Leonardo da Vinci, Leonardo da Vinci, The Last SupperThe Last Supper, 1495-1498, Refectory, , 1495-1498, Refectory, Santa Maria delle Grazi, Milan, ItalySanta Maria delle Grazi, Milan, Italy
13.313.3 Leonardo da Vinci, Leonardo da Vinci, The Last SupperThe Last Supper, 1495-1498, Refectory, , 1495-1498, Refectory, Santa Maria delle Grazi, Milan, ItalySanta Maria delle Grazi, Milan, Italy
13.4A13.4A Leonardo da Leonardo da Vinci, Vinci, Madonna of Madonna of the Rocksthe Rocks, begun , begun 1483. Musee du 1483. Musee du Louvre, Paris, Louvre, Paris, FranceFrance
13.4A13.4A Leonardo da Leonardo da Vinci, Vinci, Madonna of Madonna of the Rocksthe Rocks, begun , begun 1483. Musee du 1483. Musee du Louvre, Paris, Louvre, Paris, FranceFrance
13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France
13.5 Leonardo da Vinci, Mona Lisa, 1503-1505. Musee du Louvre, Paris, France
The Visual ArtsRaphael Sanzio (1483-1520)
The Visual ArtsRaphael Sanzio (1483-1520)
From Urbino to PerugiaFrom Urbino to Perugia Apprentice to PeruginoApprentice to Perugino
From Perugia to Florence (1505)From Perugia to Florence (1505)Madonna of the MeadowMadonna of the Meadow (1508) (1508)
Pyramidal configurationPyramidal configuration Rationally orderedRationally ordered Modeling of human formsModeling of human forms
Human quality of the divine figureHuman quality of the divine figure
From Urbino to PerugiaFrom Urbino to Perugia Apprentice to PeruginoApprentice to Perugino
From Perugia to Florence (1505)From Perugia to Florence (1505)Madonna of the MeadowMadonna of the Meadow (1508) (1508)
Pyramidal configurationPyramidal configuration Rationally orderedRationally ordered Modeling of human formsModeling of human forms
Human quality of the divine figureHuman quality of the divine figure
13.713.7 Raphael, Raphael, Madonna of the Madonna of the MeadowMeadow, 1508, , 1508,
Kunsthistorisches Kunsthistorisches Museum, Vienna, Museum, Vienna, AustriaAustria
13.713.7 Raphael, Raphael, Madonna of the Madonna of the MeadowMeadow, 1508, , 1508,
Kunsthistorisches Kunsthistorisches Museum, Vienna, Museum, Vienna, AustriaAustria
The Visual ArtsRaphael Sanzio (1483-1520)
The Visual ArtsRaphael Sanzio (1483-1520)
From Florence to Vatican (1508)From Florence to Vatican (1508)School of AthensSchool of Athens (1509-1511) (1509-1511)
Symbolic homage to philosophySymbolic homage to philosophy Renaissance idealRenaissance ideal
Balance of philosophy and theologyBalance of philosophy and theology
From Florence to Vatican (1508)From Florence to Vatican (1508)School of AthensSchool of Athens (1509-1511) (1509-1511)
Symbolic homage to philosophySymbolic homage to philosophy Renaissance idealRenaissance ideal
Balance of philosophy and theologyBalance of philosophy and theology
13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy
13.8A Raphael, Philosophy (School of Athens), 1509-1511. Stanza della Segnatura, Vatican Palace, Vatican State, Italy
The Visual ArtsThe Visual Arts
Lorenzo deLorenzo de’’ Medici MediciMichelangelo Buonarroti (1476-1564)Michelangelo Buonarroti (1476-1564)
PietáPietáMichelangeloMichelangelo’’s s DavidDavid
Statement of idealized beautyStatement of idealized beauty Palazzo Vecchio: symbol of civic powerPalazzo Vecchio: symbol of civic power
Lorenzo deLorenzo de’’ Medici MediciMichelangelo Buonarroti (1476-1564)Michelangelo Buonarroti (1476-1564)
PietáPietáMichelangeloMichelangelo’’s s DavidDavid
Statement of idealized beautyStatement of idealized beauty Palazzo Vecchio: symbol of civic powerPalazzo Vecchio: symbol of civic power
Pieta1498-9, marble
St. Peter’sVaticanRome
Pieta1498-9, marble
St. Peter’sVaticanRome
13.1013.10 Michelangelo, Michelangelo, David, David, 1501-1504, 1501-1504, Accademia di Belle Accademia di Belle Arti, Florence, ItalyArti, Florence, Italy
13.1013.10 Michelangelo, Michelangelo, David, David, 1501-1504, 1501-1504, Accademia di Belle Accademia di Belle Arti, Florence, ItalyArti, Florence, Italy
The Visual ArtsMichelangelo Buonarroti (1475-1564)
The Visual ArtsMichelangelo Buonarroti (1475-1564)
Tomb for Pope Julius IITomb for Pope Julius II
MosesMoses (1513-1515) (1513-1515) Divine fury, divine lightDivine fury, divine light TerribilitàTerribilità
Tomb for Pope Julius IITomb for Pope Julius II
MosesMoses (1513-1515) (1513-1515) Divine fury, divine lightDivine fury, divine light TerribilitàTerribilità
13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy
13.11 Michelangelo, Moses, 1513-1515, San Pietro in Vincoli, Rome, Italy
The Visual ArtsMichelangelo Buonarroti (1475-1564)
The Visual ArtsMichelangelo Buonarroti (1475-1564)
The Sistine ChapelThe Sistine Chapel
““Michelangelo, SculptorMichelangelo, Sculptor””Architectural and thematic motifsArchitectural and thematic motifs InterpretationInterpretation
Neo-PlatonismNeo-Platonism Old Testament and pagan prophetsOld Testament and pagan prophets Complex tree symbolismComplex tree symbolism Human wisdom + GodHuman wisdom + God’’s revelations revelation
The Sistine ChapelThe Sistine Chapel
““Michelangelo, SculptorMichelangelo, Sculptor””Architectural and thematic motifsArchitectural and thematic motifs InterpretationInterpretation
Neo-PlatonismNeo-Platonism Old Testament and pagan prophetsOld Testament and pagan prophets Complex tree symbolismComplex tree symbolism Human wisdom + GodHuman wisdom + God’’s revelations revelation
13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy
13.12A Michelangelo, Ceiling of the Sistine Chapel, 1508-1511, Vatican Palace, Vatican State, Italy
13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy
13.13 Michelangelo, Creation of Adam, detail of the ceiling of the Sistine Chapel, 1508-1512, Vatican Palace, Vatican State, Italy
The Visual ArtsMichelangelo Buonarroti (1475-1564)
The Visual ArtsMichelangelo Buonarroti (1475-1564)
MichelangelesqueMichelangelesque Masculine anatomy, musculatureMasculine anatomy, musculature Physical bulk, linear grace, emotionalityPhysical bulk, linear grace, emotionality Creation of AdamCreation of Adam (1508-1511) (1508-1511) The Last JudgmentThe Last Judgment (1534-1541) (1534-1541)
Medici ChapelMedici Chapel Architectural and sculptural designArchitectural and sculptural design Life, death, resurrectionLife, death, resurrection
MichelangelesqueMichelangelesque Masculine anatomy, musculatureMasculine anatomy, musculature Physical bulk, linear grace, emotionalityPhysical bulk, linear grace, emotionality Creation of AdamCreation of Adam (1508-1511) (1508-1511) The Last JudgmentThe Last Judgment (1534-1541) (1534-1541)
Medici ChapelMedici Chapel Architectural and sculptural designArchitectural and sculptural design Life, death, resurrectionLife, death, resurrection
1534-41 The Last Judgeme
nt, fresco, Sistine Chapel,
Vatican.
1534-41 The Last Judgeme
nt, fresco, Sistine Chapel,
Vatican.
13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy
13.16 Michelangelo, Night, 1519-1531, detail of the tomb of Giuliano de’ Medici, Church of San Lorenzo, Florence, Italy
The Visual ArtsMichelangelo Buonarroti (1475-1564)
The Visual ArtsMichelangelo Buonarroti (1475-1564)
The New Saint PeterThe New Saint Peter’’ss
Donato Bramante (1444-1514)Donato Bramante (1444-1514) TempiettoTempietto
Michelangelo as architect (1546)Michelangelo as architect (1546) BramanteBramante’’s plan s plan RRibbed, arched dome ibbed, arched dome Drum to support domeDrum to support dome
The New Saint PeterThe New Saint Peter’’ss
Donato Bramante (1444-1514)Donato Bramante (1444-1514) TempiettoTempietto
Michelangelo as architect (1546)Michelangelo as architect (1546) BramanteBramante’’s plan s plan RRibbed, arched dome ibbed, arched dome Drum to support domeDrum to support dome
Floor plans for the new Saint Peter’s Basilica, Rome, Italy, 1506–1666. (I) Bramante’s plan, 1506–1514, shows a compact plan of a Greek cross with arms or transepts (b) of equal length meeting at a central altar (a) set under a dome, with each arm ending in a semicircular apse (e) opening to a portal or entrance (c), and including several chapels (d) for smaller services. (II) Antonio da Sangallo’s plan, 1516–1546, imposed a Latin cross, adding Raphael’s choir (f) to surround the altar on three sides, closing the portals in favor of a formal entrance (c), and forming a nave (g) from the arm proceeding from a huge vestibule or narthex (h). (III) Michelangelo’s plan, 1547–1564, rejected Sangallo’s design and returned to a centralized domed Greek cross inscribed within a square but retained the vestibule (c), now fronted by a portico with giant columns. (IV) Carlo Maderna’s plan, 1606–1615, returned to a Latin cross with elongated nave (g), narthex (h), portico (c), and Baroque façade. This plan also shows Gian Lorenzo Bernini’s piazza (j) with colonnades, 1656–1667. Maderna’s final additions, especially the elongated nave, narthex, and large façade, obscured Michelangelo’s original design. Artwork by Cecilia Cunningham.
The High Renaissance in VeniceThe High Renaissance in Venice
Andrea PalladioAndrea Palladio Classical Architecture of Greece reflected Classical Architecture of Greece reflected
through Roman structuresthrough Roman structures Four Books of Architecture (1570)Four Books of Architecture (1570) Palazzo Chiericati Palazzo Chiericati
Harmony and balanceHarmony and balance
Andrea PalladioAndrea Palladio Classical Architecture of Greece reflected Classical Architecture of Greece reflected
through Roman structuresthrough Roman structures Four Books of Architecture (1570)Four Books of Architecture (1570) Palazzo Chiericati Palazzo Chiericati
Harmony and balanceHarmony and balance
Andrea Palladio
Palazzo Chiericati
begun 1550s.
Vicenza, Italy.
Andrea Palladio
Palazzo Chiericati
begun 1550s.
Vicenza, Italy.
The High Renaissance in VenicePainting
The High Renaissance in VenicePainting
Tradition of easel paintingTradition of easel paintingUse of oil paintsUse of oil paints
Brilliance of colorBrilliance of color Subtlety of lightSubtlety of light
Eye for close detailEye for close detailLove of landscapeLove of landscape
Tradition of easel paintingTradition of easel paintingUse of oil paintsUse of oil paints
Brilliance of colorBrilliance of color Subtlety of lightSubtlety of light
Eye for close detailEye for close detailLove of landscapeLove of landscape
The High Renaissance in VenicePainting
The High Renaissance in VenicePainting
Titian (c. 1488-1576)Titian (c. 1488-1576) Assumption of the VirginAssumption of the Virgin (1516-1518) (1516-1518) Venus of UrbinoVenus of Urbino (1538) (1538)
Tintoretto (1518-1594)Tintoretto (1518-1594) ““The drawing of Michelangelo and the color of The drawing of Michelangelo and the color of
Titian.Titian.”” The Last SupperThe Last Supper
Titian (c. 1488-1576)Titian (c. 1488-1576) Assumption of the VirginAssumption of the Virgin (1516-1518) (1516-1518) Venus of UrbinoVenus of Urbino (1538) (1538)
Tintoretto (1518-1594)Tintoretto (1518-1594) ““The drawing of Michelangelo and the color of The drawing of Michelangelo and the color of
Titian.Titian.”” The Last SupperThe Last Supper
13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy13.20 Titian, Venus of Urbino, 1538, Galleria degli Uffizi, Florence, Italy
1592-94, Tintoretto, The Last Supper, oil on canvas,San Giorgio Maggiore, Venice, Italy.
1592-94, Tintoretto, The Last Supper, oil on canvas,San Giorgio Maggiore, Venice, Italy.
MannerismMannerism
Characteristics of MannerismCharacteristics of Mannerism Distortion and elongationDistortion and elongation Flattened, two-dimensional spaceFlattened, two-dimensional space Lack of a defined focal pointLack of a defined focal point Discordant pastel huesDiscordant pastel hues
Jacopo Carucci da Pontormo Jacopo Carucci da Pontormo (1494-1557)(1494-1557) DepositionDeposition (c. 1528) (c. 1528)
Il BronzinoIl Bronzino Venus, Cupid, Folly, and Time (The Venus, Cupid, Folly, and Time (The
Exposure of Luxury)Exposure of Luxury)
Characteristics of MannerismCharacteristics of Mannerism Distortion and elongationDistortion and elongation Flattened, two-dimensional spaceFlattened, two-dimensional space Lack of a defined focal pointLack of a defined focal point Discordant pastel huesDiscordant pastel hues
Jacopo Carucci da Pontormo Jacopo Carucci da Pontormo (1494-1557)(1494-1557) DepositionDeposition (c. 1528) (c. 1528)
Il BronzinoIl Bronzino Venus, Cupid, Folly, and Time (The Venus, Cupid, Folly, and Time (The
Exposure of Luxury)Exposure of Luxury)
Jacopo Pontormo
(born Carucci), Ent
ombment, 1525–1528.
Oil on panel, 123″ × 76″ (312.4 × 193
cm). Capponi Chapel, Santa
Felicità, Florence,
Italy.
Jacopo Pontormo
(born Carucci), Ent
ombment, 1525–1528.
Oil on panel, 123″ × 76″ (312.4 × 193
cm). Capponi Chapel, Santa
Felicità, Florence,
Italy.
13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England
13.23 Bronzino, Venus, Cupid, Folly, and Time (The Exposure of Luxury), 1546, National Gallery, London, England
MannerismMannerism
Lavinia Fontana (1552-1614)Lavinia Fontana (1552-1614) Daughter of Bolognese painterDaughter of Bolognese painter Portrait painter (Rome, Bologna)Portrait painter (Rome, Bologna) Exaggerated angles, use of colorExaggerated angles, use of color
Sofonisba Anguissola (1532?-1624)Sofonisba Anguissola (1532?-1624) Renaissance and Baroque mastersRenaissance and Baroque masters Pictorial representationsPictorial representations Contrasts of dark and lightContrasts of dark and light
Lavinia Fontana (1552-1614)Lavinia Fontana (1552-1614) Daughter of Bolognese painterDaughter of Bolognese painter Portrait painter (Rome, Bologna)Portrait painter (Rome, Bologna) Exaggerated angles, use of colorExaggerated angles, use of color
Sofonisba Anguissola (1532?-1624)Sofonisba Anguissola (1532?-1624) Renaissance and Baroque mastersRenaissance and Baroque masters Pictorial representationsPictorial representations Contrasts of dark and lightContrasts of dark and light
13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy
13.24 Lavinia Fontana, Noli Me Tangere, 1581, Galleria degli Uffizi, Florence, Italy
13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland
13.25 Sofonisba Anguissola, A Game of Chess, 1555, National Museum in Poznan, Poland
MannerismMannerism
Giovanni da Bologna (1529-1608)Giovanni da Bologna (1529-1608) SculptorSculptor Abduction of the Sabine WomenAbduction of the Sabine Women
El Greco (1541-1614)El Greco (1541-1614) Distortion of figures and ambiguous spaceDistortion of figures and ambiguous space The Burial of the Count of OrgazThe Burial of the Count of Orgaz
Giovanni da Bologna (1529-1608)Giovanni da Bologna (1529-1608) SculptorSculptor Abduction of the Sabine WomenAbduction of the Sabine Women
El Greco (1541-1614)El Greco (1541-1614) Distortion of figures and ambiguous spaceDistortion of figures and ambiguous space The Burial of the Count of OrgazThe Burial of the Count of Orgaz
Giovanni da Bologna, Abduction of the Sabine
Women, ca. 1581–1583.
Marble, 13′5″ (409 cm) high. Loggia dei
Lanzi, Florence,
Italy.
Giovanni da Bologna, Abduction of the Sabine
Women, ca. 1581–1583.
Marble, 13′5″ (409 cm) high. Loggia dei
Lanzi, Florence,
Italy.
13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain
13.27 El Greco, The Burial of the Count of Orgaz, 1586, Santo Tome, Toledo, Spain
Music in the Sixteenth CenturyMusic in the Sixteenth Century
Music at the Papal CourtMusic at the Papal Court
Sistine Choir and Julian ChoirSistine Choir and Julian Choir Male voices, Male voices, a capellaa capella
Josquin des Prez (c. 1450-1521)Josquin des Prez (c. 1450-1521) Sistine Choir, composer and directorSistine Choir, composer and director Motet for four voicesMotet for four voices Structure, balance, lyrical qualityStructure, balance, lyrical quality
Music at the Papal CourtMusic at the Papal Court
Sistine Choir and Julian ChoirSistine Choir and Julian Choir Male voices, Male voices, a capellaa capella
Josquin des Prez (c. 1450-1521)Josquin des Prez (c. 1450-1521) Sistine Choir, composer and directorSistine Choir, composer and director Motet for four voicesMotet for four voices Structure, balance, lyrical qualityStructure, balance, lyrical quality
Music in the Sixteenth CenturyMusic in the Sixteenth Century
Music at the Papal CourtMusic at the Papal Court
Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina (1525-1594)(1525-1594) Choirmaster of Choirmaster of capella Guiliacapella Guilia (Julian choir) (Julian choir) 1571-1594 Vatican1571-1594 Vatican’’s music directors music director Conservative masses in response to Catholic Conservative masses in response to Catholic
reform movementreform movement
Music at the Papal CourtMusic at the Papal Court
Giovanni Pierluigi da Palestrina Giovanni Pierluigi da Palestrina (1525-1594)(1525-1594) Choirmaster of Choirmaster of capella Guiliacapella Guilia (Julian choir) (Julian choir) 1571-1594 Vatican1571-1594 Vatican’’s music directors music director Conservative masses in response to Catholic Conservative masses in response to Catholic
reform movementreform movement
Music in the Sixteenth CenturyMusic in the Sixteenth Century
Venetian MusicVenetian Music
Adrian WillaertAdrian Willaert Andrea and Giovanni GabrieliAndrea and Giovanni Gabrieli
Church of St. Mark Church of St. Mark Split choirsSplit choirs Instrumental music in liturgyInstrumental music in liturgy Intonazione, toccataIntonazione, toccata
Intellectual influence of Italian humanismIntellectual influence of Italian humanism
Venetian MusicVenetian Music
Adrian WillaertAdrian Willaert Andrea and Giovanni GabrieliAndrea and Giovanni Gabrieli
Church of St. Mark Church of St. Mark Split choirsSplit choirs Instrumental music in liturgyInstrumental music in liturgy Intonazione, toccataIntonazione, toccata
Intellectual influence of Italian humanismIntellectual influence of Italian humanism
LiteratureLiterature
Leonardo da Vinci 13,000 pages of notes
Michaelangelo Buonarroti Poetry
Vittoria ColonnaBaldassare Castiglione
The Book of the CourtierVeronica FrancoBenvenuto Cellini
Leonardo da Vinci 13,000 pages of notes
Michaelangelo Buonarroti Poetry
Vittoria ColonnaBaldassare Castiglione
The Book of the CourtierVeronica FrancoBenvenuto Cellini
Tintoretto, Veronica
Franco, late 16th century. Oil on canvas,
18″ × 24″ (46 × 61 cm).
Worcester Museum of Art, Worcester, Mass.
Tintoretto, Veronica
Franco, late 16th century. Oil on canvas,
18″ × 24″ (46 × 61 cm).
Worcester Museum of Art, Worcester, Mass.
Compare & contrastCompare
& contrast
Compare & contrastCompare & contrast
Compare/contrastCompare/contrast
Chapter Thirteen: Discussion QuestionsChapter Thirteen: Discussion Questions
Compare the artistic developments that took place Compare the artistic developments that took place in Rome and those that took place in Venice. To in Rome and those that took place in Venice. To what can we attribute the differences? Explain.what can we attribute the differences? Explain.
To what extent did Neo-Platonism manifest itself To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and in this chapter? Explain, citing specific artists and works.works.
How did environmental factors and geography How did environmental factors and geography contribute to Venetian art during the contribute to Venetian art during the Renaissance? Consider both visual and aural arts Renaissance? Consider both visual and aural arts in your discussion.in your discussion.
Compare the artistic developments that took place Compare the artistic developments that took place in Rome and those that took place in Venice. To in Rome and those that took place in Venice. To what can we attribute the differences? Explain.what can we attribute the differences? Explain.
To what extent did Neo-Platonism manifest itself To what extent did Neo-Platonism manifest itself in the works of Michelangelo? Are there traces of in the works of Michelangelo? Are there traces of this philosophy in works of other artists discussed this philosophy in works of other artists discussed in this chapter? Explain, citing specific artists and in this chapter? Explain, citing specific artists and works.works.
How did environmental factors and geography How did environmental factors and geography contribute to Venetian art during the contribute to Venetian art during the Renaissance? Consider both visual and aural arts Renaissance? Consider both visual and aural arts in your discussion.in your discussion.