16th c. high renaissance.

1. Warm-Up 1/11/12
• According to Jansen in the first two pages of
chapter 13, what is so important about this
time period in 16th c. Italy called the "High
Renaissance"? Specifically, what are three
aspects that make "creating" different than
"making", and what makes the movement a
departure from the previous century?

2. Free Response Analysis
1. The slide below shows a portal with a tympanum representing the
Last Judgment.
Name the art historical period of the portal. Discuss the relationship
between the placement of the tympanum and its iconography. (5
minutes)
1. The relationship between an artist or architect and a patron (the
person who commissions the work) very often shapes the form
and content of a work of art or architecture.
Identify two works, each from a different art historical period, and
name the specific persons who commissioned them. Discuss how the
specific interests and intentions of the particular patrons are revealed
in each work.

3. Review of 15 c. Renaissance
• Renaissance means ________
– Due to an increased awareness
and study of classical values,
economic ambition, and scientific
inquiry, the Artist emerges as a
distinct cultural entity.
– Patrons in Florence, particularly
the Medici family, contribute
greatly to the development of Art
and culture.
• Notable Artists: Name 2 and
why.

4. Review of Famous Families
1. Sforza
– Based in Milan, the Sforza take control after the
Medici defeat the Viscontis in the region.
– Francesco Sforza and Cosimo de Medici have an
alliance starting in 1450.
2. Pazzi
– Known for the “Pazzi Conspiracy” (1478) against
the Medici (killing Giuliano and Lorenzo). Exiled
and disavowed for 20 years.
3. Medici
– Important Florentine banking family and major
patron to the Renaissance.
– Cosimo and grandson, Lorenzo, are important in
understanding the Renaissance.
4. Borgia
– Most dishonorable of the families. Being deeply
connected to Rome and the Papacy (producing
two Popes and many Cardinals and Bishops). In
the 1490’s, strengthens ties to France against
Naples (the Pope’s former army state) using Pope’s
daugher as marriage bait.
– Rodrigo (Alexander the VI), Lucretia, and Cesare
are notable for scheming.

5. Italian
Renaissance
• 15 c. Naples, Papal
States, Florence and
Milan are your
areas of Interest.
• Papal States
become more
important during
the High
Renaissance.

6. Girolamo Savanrola
• Dominican Friar in the
1490’s who proclaims a
message of … purification.
• Is an artist and poet
during his early theology
studies.
• Becomes a Friar in 1475
• Starts off as a terrible
orator, gets no work first
time in Florence. Departs
in 1487

7. Savonarola …is on a roll-a 
• Returns to Florence as a
“master of studies”
• Changes his focus to ______?
• Medici is losing control
(Lorenzo is old and actually
likes Savonarola in his last
days) due to French-Italian
wars.
• Syphilis breaks out at the turn
of the century.
• 1497: Bonfire of the Vanities
• Eventually is excommunicated
and executed by Alexander VI

8. Rome and the Princely Courts
• The Papacy in Rome
and Courts in Mantua
are the upcoming
Renaissance scenes.
• Starting in the 15th c.
(overlapping with
Florence) and into the
16th c. (High
Renaissance.

9. It waza da Poppa
• Although not a secular
ruler, the pope in Rome
was the head of a court
with enormous wealth.
• Perugino is
commissioned by Pope
Sixtus IV (1481-1483) to
decorate the walls of
_____

10. Scaldarsi 1-12-12
• Describe what
“Sfumato” is and
why it characterizes
Leonardo’s work.
• What might be the
cause of Leonardo’s
use of Sfumato?

11. Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter,
Sistine Chapel, Vatican, Rome, Italy, 1481–1483. Fresco,
11 51–2 18 81–2 .

12. Luca Signorelli, Damned Cast into Hell, San Brizio Chapel,
Orvieto Cathedral, Orvieto, Italy, 1499–1504. Fresco,

13. Urbino: Montefeltro and
Francesca
• Fredico Montefeltro (1422-
1480) is a great patron of
the Arts (like the Medici)
• Renowned for military
expertise and was in high
demand of popes and kings
who wished to study under
his direction.
• Piero della Francesca (1420-
1497) is commissioned for
several paintings that help
further innovations of light
and depth.

14. Piero della Francesca,
Enthroned Madonna and Saints
Adored by Federico da Montefeltro
(Brera Altarpiece), ca. 1472–1474.
Oil on wood, 8 2 5 7.
Pinacoteca di Brera,Milan.
• Piero floods his pictures with
light, imparting a silver-blue
tonality.
• Wanted to avoid heavy
shadows (core-shadows)
through reflected light.
• Trying to disconnect the
subjects from the
background (unlike
Masaccio’s relieflike quality)
• Gains in spatial clarity

15. Piero della Francesca, Flagellation of Christ, ca. 1455–1465. Oil and tempera on wood, 1
111–8 2 81–4 . Galleria Nazionale delle Marche,
Urbino.

16. Mantua
• Sant’Andrea is a replacement
of an 11th c. church
• Combination of two Roman
arch. Motifs: the temple front
and the triumphal arch
• Equalized proporations
(square) at the expense of the
continuity of the body
• Early application of the
colossal order
Leon Battista Alberti, west
facade of Sant’Andrea,Mantua, Italy,
designed 1470, begun 1472.

17. Andrea Mantegna of Padua
Andrea Mantegna,
Foreshortened Christ, ca.
1500. Tempera on canvas,
2 23–4 2 77–8 .
Pinacoteca di
Brera,Milan.
“In this work of
overwhelming emotional
power, Mantegna
presented both a
harrowing study of a
strongly foreshortened
cadaver
and an intensely poignant
depiction of a biblical
tragedy.”

19. e. 16th c. Italy: High
Renaissance
• Anchor dates from the century
1. 1492: Age of discovery. Columbus
lands in America while Spain has
“reconqured” al-andulus from the
Moorish Islamic kingdom. Jews are
expelled under the Inquisition
2. 1494-1559: Italian city states fight
with eachother, the turks, western
Europe, and the Papacy for control of
strategic military terrorities.
3. 1504: Michelangelo’s David
4. 1513: Machiavelli writes “The Prince”
5. 1517: Martin Luther’s 95 Theses in
Saxony

20. • tch.cart01.10@leusd.k12.ca.us
•Leusdtch1

21. The Three Turtles of the
High Renaissance
• Leonardo da Vinci (1452-1519)
– Polymath, painter,
engineer/inventor
– Modonna on the Rocks, Mona
Lisa, Last Supper, and Journals
• Raphael (1483-1520)
– Painter and Architect
– Marriage of the Virgin, Madonna
in the Meadow, School of Athens
• Michelangelo (1475-1564)
– Painter, Architect and Sculptor
– Pieta, David, Moses, Sistine
Chapel Frescoes,

22. Leonardo da Vinci
• Early Life and Training
– Born in Vinci, near Florence in 1452 to unwed
parens of different social classes
– Trained in the studio of Andrea del Verrocchio at 17
– Began taking commissions at 20
– Was incredibly versatile as a scientist and painter.
• Voluminous notes intersperesd with sketches dealing
with botany, geology, geography, cartography, zoology,
miltary engineering, animal lore, and anatomy
• Physical science of hydraulics and mechanics of
transport machines and weaponry
• Career in Florence
– Established patrons and artists made it difficult for
Leonardo early on.
• Many of his early commissions go unfinished.
• Leonardo is looked over for commissions for the Sistine
chapel. Given to the established Perugino after a
commissioning of the big three (Perugino, Boticelli,
Ghirlandaio)
– Influenced by new techniques in painting from the
Northern Renaissance, including oil painting.

23. Leonardo Leaves Florence
• Leonardo abruptly leaves
Florence
– Is ingratiated into the Medici
household through the elder
Alberti.
• Later, Leo will write “the Medici
created me and the Medici
destroyed me”
– Is accused of Sodomy along with 4
other young men.
• Homosexuality is tolerated under
Medici Florence, but Sodomy is a
capital offense…go figure.

24. Leo in Milan with the Sforza
• Leonardo appeals to the
ruler of Milan (Ludovico
Sforza) for employment
– Brags about his military
engineering skills
– Barely mentions his painting
and sculpting abilities.
– Underscores the period’s
instability
• Remains in Milan 20 years.

25. Describe three key features of
Leo’s work:
1. Pyramidal construction
based on the gestures of
the figures.
1. This creates a metaphor for
the family “uniting” in Mary.
2. A visionary and enigmatic
landscape that is purely
imaginative. Rocky and
surreal.
3. Characters that seem to
emerge slowly through
thick atmosphere.
1. Employment of the Sfumato
technique in oil paint.
2. Origins of HDR
Leonardo da Vinci,Madonna of the Rocks, from
San Francesco
Grande,Milan, Italy, begun 1483. Oil on wood
(transferred to canvas),
6 61–2 4. Louvre, Paris.

26. A comparison of the standard fixed-aperture rendering (left) with the
HDR rendering (right) in the video game Half-Life 2: Lost Coast

27. Scaldarsi 1/17/12
• What various
conspiracies have
you heard regarding
the Last Supper?
• Describe your own
analysis based on
the reading.

28. Leonardo da Vinci, Last Supper, ca. 1495–1498. Oil and tempera on plaster,
13 9 29 10. Refectory, Santa Maria delle Grazie,Milan.

29. History
• Completed 1503-
1519
• Vasari says she is Lisa
di Antonio Maria
Gherardini
– Wife of a Florentine
banker
– Mona Lisa means “my
lady’ Lisa”
Leonardo da Vinci,Mona Lisa, ca. 1503–1505.
Oil on wood,
2 61–4 1 9. Louvre, Paris.

30. Analysis
• Gesture and Pose:
• Very individualized
• No jewelry or
adornments of wealth
• Sits quiety, her hands
folded with a gentle
smile.
• Gaze directly at the
viewer which is piercing
etiquette
• Painting Technique
• Sfumato oil painting blurs
planes of color around
her contours to reveal the
natural light source
• Strong use of
atmospheric perspective
and Chiaroscuro

31. Analysis
• Composition
• Pyramidal
construction
• Fantasy background
• Originally had
columns on either
side (see them?)
which were trimmed
to fit a frame

32. MARCS
• M: Gentle Focus of
Renaissance Woman
• A: Sfumato oil portrait. ¾
view. Pyram. Con. Fantasy
landscape.
• R: Dark tones contrast
with highlights creating
natural light illusion
• C: Patron in Renaissance
where women were
submissive
• S: Enigmatic smile recalls
confidence with an idyllic
quality (see archaic smile)

34. • Leonardo only completed 30
paintings in his life.
– His diffused interests made it difficult
to be prolific in any subject.
• Anatomical studies reveal the
precision through which Leo
observed the world.
– Extensive notes, dissections, and
experiments contribute to the closest
proto-scientific methodology in
existence
– Excellent cutaway views that have
become a standard for medical
illustration predating x-rays
• Some of the underlying biases still
show through his observations
– The uterus is regularized to a sphere
– The character of the lining is incorrect
Leonardo da Vinci, The Fetus and Lining of the
Uterus,
ca. 1511–1513. Pen and ink with wash, over
red chalk and traces of
black chalk on paper, 1 85–8 . Royal
Library,Windsor Castle.

35. Scaldarsi 1/18/12
• Identify the artists.
Describe the
similarities and
differences. Consider
Color, content, and
composition.

37. Raphael

38. Patron: Julius II
• Succeeds after the death of
Alexander VI (aka orgy pope)
– Tries to mount a military
investigation of Rodrigo’s corrupt
practices, but is outsmarted
– Eventually garners the support of
Cesere before his death
• Great Patron to the Arts (1506)
– Established the first stone of the
New St. Peter’s Basilica
– Patron of Bramante, Raphael, and
Michelangelo.
– Sistine Chapel is painted FOR Julius

39. Turtle 3: Raphael’s Life
• Rafaello Sanzio da Urbino (1483-1520)
– Father (Giovanni Santi) is a court painter
in Urbino under Montefeltro
– Considered by Vasari as the most brilliant
of the smaller courts for music and VAPA.
– Gives Raphael excellent social
skills/etiquette
• Apprenticed under Perugino at the age
of 8
– Many works of Perugino detect the hand
of Raphael (as their styles become closely
linked)
– Becomes fully trained in 1501

40. Joseph’s Rod
• Taken from a 13th c.
story concerning
Joseph and Mary
– Joseph had to win the
virgin from the High
Priest by having a
“flowering rod” ;)
• Similar to which
Artist?
Raphael,Marriage of the Virgin, from the
Chapel of Saint
Joseph, San Francesco, Città di Castello, Italy,
1504. Oil on wood,
5 7 3 101–2 . Pinacoteca di Brera,Milan.

41. The Florentine Years
• Leading a nomadic life,
Raphael travels throughout the
North
• 1504-8 intermittent Florence
residence
– Becomes friends with many in
the Art scene
– Influence from Bartolomeo and
Leonardo develop a monumental
quality to Raph’s work.
• Perfects his style using Leo’s
pyramidal con., controposto,
and sfumato
– As seen in St. Catherine of
Alexandria, 1507

42. Raphael,Madonna in the Meadow, 1505–1506. Oil on wood,
3 81–2 2 101–4 . Kunsthistorisches Museum,Vienna.

43. The Roman Years
• Moved in 1508 for the
remainder of his life
– Invited by the new Pope
– Immediately
commssioned by Pope
to fresco his private
library
– Michalangelo, on the
other hand, was waiting
months for his
commission

44. Stanza della Segnatura
Disputation of the Holy Sacrament, 1509

45. Stanza della Segnatura
Rafael - El Parnaso, Estancia del Sello, Roma,
1511

46. Raphael, Philosophy (School of Athens),
Stanza della Segnatura,Vatican Palace, Rome,
Italy, 1509–1511. Fresco, 19 27.

47. Scaldarsi 1/19/12
Compare and Contrast for Style, Color, Composition, and
Theology

48. Raphael, Philosophy (School of Athens),
Stanza della Segnatura,Vatican Palace, Rome,
Italy, 1509–1511. Fresco, 19 27.

49. • 1: Zeno of
Citium 2: Epicurus 3: unknown 4: Boethius or Anaximander or Emp
edocles? 5: Averroes 6: Pythagoras 7: Alcibiades or Alexander the
Great? 8: Antisthenes or Xenophon? 9: unknown or the Fornarina
as a personification of Love or (Francesco Maria della Rovere?)
10: Aeschines or Xenophon? 11: Parmenides?
12: Socrates 13: Heraclitus(Michelangelo) 14: Plato (Leonardo da
Vinci) 15: Aristotle 16: Diogenes 17: Plotinus (Donatello?)
18: Euclid or Archimedes with students (Bramante?)
19: Zoroaster 20: Ptolemy? R: Apelles (Raphael) 21: Protogenes (Il
Sodoma, Perugino, or Timoteo Viti)

50. Michelangelo

51. Michelangelo: Early Life
• 1475 in Arezzo, Tuscany
– Small-scale bankers in
Florence
– Sent to school for
grammar, hated it.
– 13, apprenticed to
Ghirlandaio
– Attended schools in Neo-
Platonism
• 1489, Lorenzo recieves
Mikey and Granacci

52. Michelangelo: Travels
• Returned to his father’s
house after Lorenzo’s
death
• Moved to Venice when the
rise of Savonarola, then
back to Florence under
Lorenzo the lesser
• Is discovered in Rome
through a forgery scam.
– Beginning the illustrious
career in the Vatican

53. Michelangelo: Philosophy
• Art as taking away, not adding to
– Sees himself as a sculptor first
– Sculpture is better than painting
(more creating than making)
• Did not see beauty as contingent
upon mathematical absolutes
– Worked more intuitively, and with
an eye towards emotive form.
– “It was necessary to have the
compasses in the eyes and not the
hand, because the hands work and
the eye judges”

54. • In every block of marble I see
a statue as plain as though it
stood before me, shaped and
perfect in attitude and action.
I have only to hew away the
rough walls that imprison the
lovely apparition to reveal it
to the other eyes as mine see
it.
– What does this quote say
about Michelangelo’s Neo-
Platonic philosophy?
– What does it say about
how his art is created?

55. Leonardo on Painting
Painting is a matter of greater mental analysis, of greater skill, and
more marvelous than sculpture, since necessity compels the mind
of the painter to transform itself into the very mind of nature, to
become an interpreter between nature and art. Painting justifies by
reference to nature the reasons of the pictures which follow its laws:
in what ways the images of objects before the eye come together in
the pupil of the eye; which, among objects equal in size, looks larger
to the eye; which, among equal colors, will look more or less dark or
more or less bright; which, among things at the same depth, looks
more or less low; which, among those objects placed at equal height,
will look more or less high, and why, among objects placed at various
distances, one will appear less clear than the other.

56. Michelangelo in Response
I believe that painting is considered excellent in proportion as it
approaches the effect of relief, while relief is considered bad in
proportion as it approaches the effect of painting.
I used to consider that sculpture was the lantern of painting and
that between the two things there was the same difference as that
between the sun and the moon. But . . . I now consider that painting
and sculpture are one and the same thing.
Suffice that, since one and the other (that is to say, both painting
and sculpture) proceed from the same faculty, it would be an easy
matter to establish harmony between them and to let such disputes
alone, for they occupy more time than the execution of the figures
themselves. As to that man [Leonardo] who wrote saying that
painting
was more noble than sculpture, if he had known as much about
the other subjects on which he has written, why,my serving-maid
would have written better!

57. Michelangelo
Buonarroti, Pietà, ca.
1498–1500.
Marble, 5 81–2 high.
Saint Peter’s,
Vatican City, Rome.

59. • Commissioned by the
French cardinal Jean de
Biheres Lagraulas
– For his tomb at the old St.
Peter’s
– Making the subject matter
sensible
• The sensitivity for texture
and luminosity of the
surface reveals HIGH
detail and polished
completeness.
• Historians note that Mary
is much younger than
Jesus
– What does this suggest about
the doctrine of Mary? The
devotion of Mike

61. • In every block of
marble I see a statue
as plain as though it
stood before me,
shaped and perfect in
attitude and action. I
have only to hew away
the rough walls that
imprison the lovely
apparition to reveal it
to the other eyes as
mine see it.

62. History
• Florence in 1501 after the exile
of the Medici
– Savanarola and the Borgia Pope
• Florentine Republic was
collecting and displaying
David’s (Donatello and
Verochio)
• From an unhewn rock from an
abandoned project, Mike was
commissioned.
• Florentines refered to it simply
as “the Giant” why?
• Let’s describe the artwork

63. Analysis
• David is associated with what?
– Heroism, strength, courage,
fortitude
– Reliance on God, weakness,
humility
• Contrasting with other Davids?
How?
– Sternly watchful of the
approaching foe.
– Represents potential strength,
and exerted
• Describing the form
– Subtle musculature
– Perfect Peracletan canon
– Calls to mind the Lysipian
Athletes

64. Analysis
• Some areas are purposely
exaggerated, where?
– Why is this important to
Michelangelo?
– What does this say about his
faith andaesthetic?
• Ultimately, what is the
meaning of the work?
– Theologically:
– Contextually:
– Aesthetically:

66. Compare and Contrast
Consider MARCS

68. Michelangelo Buonarroti,Moses, from the
tomb of Pope
Julius II, Rome, Italy, ca. 1513–1515.Marble, 7
81–2 high. San Pietro in
Vincoli, Rome.
Not since Hellenistic times had a
sculptor captured as much pent-up
energy, both emotional and
physical, in a seated statue as
Michelangelo
did in the over-life-size Moses he
carved for Julius II’s tomb.

69. Warm-Up 1/26/12
• Divide your square into 16, 2x2
squares.
• Measure every two inches on the
width and height on all four
sides.
• Draw a line through each
measurement to create a grid
• On your warm-up, practice
sketching your scene. Consider
light and darks and group the
dark areas.
• If yours is very blank, consider
adding your own symbols inside.

70. Sistine Chapel

71. Cangiante
• When the correct hue
is unavailable for a
darker or lighter area
of the form, an entire
color substitute may
be available
• Protects against
dullness of shadows
• Develops an overall
brightness
• Notice the yellow to
green in Daniel’s Robe

72. Sistine Chapel
• Only assented to the project
in hopes of reviving the
Moses tomb (completed
later)
• 5,800 square feet of ceiling
space
– 70 feet high
– Creates all sorts of
perspective design
challenges
• Original designs were simple
and abstract
• Michelangelo had another
idea….

73. Michelangelo Buonarroti, Creation of Adam, detail of the ceiling (FIG.
17-1) of the Sistine Chapel, Vatican City, Rome, Italy, 1511–1512.
Fresco, 9 2 18 8.

75. www.vatican.va/various/cappelle/sistina_v
r/index.html

79. Warm-Up 1/27
• If you brought a poster board
(as required!):
–Measure 2 feet by 2 feet and
cut out
–Share the left over with a
neighbor (if there is enough).
–If a team has their powerpoint
for non-western art, your
TIME HAS COME!

80. Warm-Up 1/30
• If you brought a poster board
(as required!):
–Measure 2 feet by 2 feet and
cut out
–Share the left over with a
neighbor (if there is enough).
–Begin sketching your design
transfer when finished cutting.

81. Late Renaissance
1530-1600

82. Titian
• 1488-1576
• Greatest of the Venetian
artists
• Trained under Belinni and
Giogione
• Famous for the “tonal
approach” to painting
landscapes
• Characteristics:
– pastoral landscapes
– Rich, tonal and golden quality
– Untamed beauty contrasting
with carefully balanced
arrangements

83. Titian [employed] a great mass of colors, which served . . . as a base
for the compositions. . . . I too have seen some of these, formed with
bold strokes made with brushes laden with colors, sometimes of a
pure red earth, which he used, so to speak, for a middle tone, and at
other times of white lead; and with the same brush tinted with red,
black and yellow he formed a highlight; and observing these principles
he made the promise of an exceptional figure appear in four
brushstrokes. . . . Having constructed these precious foundations he
used to turn his pictures to the wall and leave them there without
looking at them, sometimes for several months. When he wanted to
apply his brush again he would examine them with the utmost rigor
. . . to see if he could find any faults. . . . In this way, working on the
figures and revising them, he brought them to the most perfect
symmetry
that the beauty of art and nature can reveal. . . . [T]hus he
gradually covered those quintessential forms with living flesh, bringing
them by many stages to a state in which they lacked only the
breath of life. He never painted a figure all at once and . . . in the last
stages he painted more with his fingers than his brushes.
Titian. Christ Crowned with Thorns. C. 1570. Oil
on canvas, 9’2”x6”. Alte Pinakothek, Munich

84. Titian. Bacchanal. C. 1518. Oil on canvas. Museo del Prado, Madrid

85. Ah…Venice

112. Counter-Reformation
• Council of Trent (1543-
1565)
• Attempts to address the
Reformation (1517-1648)
– Ecclesiastical reconfiguration
– Religious orders (such as the
newly created cuppuchin
orders)
– Spiritual Movements
– Political reform
• Works in the Papal States
are commissioned to
combat the iconoclasm and
growing protestant
movements in the North.

113. Protestant Reformation
(Summary)
• Great Schism (1378-1416)
• Reformation predeccors
– John Wycliffe at Oxford
– Jan Hus in Prague
• Council of Constance
(1414) and the death of
Jan Hus
• An Augustinian monk
travels to Rome in 1510
hoping to find spiritual
enlightenment

114. Warm-Up 1-31/12
• Continue to draw your
shapes onto your tile
• Consider different texture
techniques/media
– Sfumato (paint or pencil)
– Cangiante (paint, colored
pencil, oil pastel)
– Graphical (bold outlines in
sharpie and markers)
– Impressioninistic (acrylic paint,
bold strokes)
– Fresco (tempera paint)
– Watercolor

115. Martin Luther
• German Priest (1483-1546)
• Realizes several corruptions in
Rome:
– Selling of indulgences (Johann
Tetzel)
– Critic of Sixtus IV (Pazzi Conspiracy)
and Alexander VI (Orgy Pope)
• Utilized the newly invented
printing press (Gutenberg) to
bring the message to the
populace
• Ultimately reforms the system by
which people receive salvation
• Translates the Bible into German

117. Michelangelo. The
Last Judgment.
1534-1541

119. Mannerism
• Maniera (Style) refering
to the characteristic or
representative mode
– It’s style is represented by
its style
• Elegance of pose
• Tension of natural and
“stylized” or
representative
• Exaggerated body types
• Imbalanced compositions
• Ambigious space

120. Jacopo da Pontormo,
Entombment of Christ, Capponi
Chapel, Santa Felicità,
Florence, Italy, 1525–1528. Oil
on wood, 10 3 6 4.

121. Fiorentino. The Descent from
the Cross. 1521. Oil on panel.

122. Parmigianino,Madonna with the Long Neck, from
the Baiardi
Chapel, Santa Maria dei Servi, Parma, Italy, 1534–
1540. Oil on wood,
7 1 4 4. Galleria degli Uffizi, Florence.

124. North Italian Realism
• Mannerism does not
dominate beyond Florence
and Rome
• In the North, many continue
to develop the style of Titian
• Characteristics:
– Titian Sfumato with a stronger
emphasis on charioscurro
– Vibrant and vivacious human
content
– Emphasis on everday life

125. Correggio. The Assumption of the Virgin.
Dome, Parma Cathedral, Italy

126. Correggio. Jupiter and Io. C.
1532. Oil on canvas,

127. Jacopo Tintoretto. Christ Before Pilate.
1566-67. Scuola di San Rocco, Venice

128. Jacopo Tintoretto. The Last Supper. 1592-1594. Oil on Canvas, S. Giorgio Maggiore, Venice

129. El Greco, Burial of Count Orgaz,
1586. Oil on canvas, 16 12. Santo
Tomé,
Toledo.

130. El Greco. The Agony in the Garden. 1597-1600. The Toledo Museum of Art, Toledo, Ohio