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Week 9 March 3 Competition and the new cult of the artist in Rome.docx

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Betsy Bennett Purvis

Week 9 March 3 Competition and the new cult of the artist in Rome Readings: • Campbell & Cole, pp. 346-361 and 388-391. • Costanza Barbieri, “The competition between Raphael and Michelangelo and Sebastiano's role in it,” in The Cambridge Companion to Raphael, Cambridge, 2005, 141-64. [BB] Leonardo, Michelangelo, Raphael Leonardo wants to stick out his position as a painter, while Michelangelo promotes sculpture Raphael, portrait of Pope Julius II, 1512 Julius II is nephew of Sixtus the 4, member of the powerful Della Rovere family He is responsible for a huge renovation of artistic patronage and for bringing Michelangelo down to Rome for the Sixtine ceiling. He also brought Raphael to Rome Brought also the architect Bramante, who prepared the plans for the edification of St Pierre as we see it today. Julius II was a man of great ambition for the city of Rome, concerned about legacy he wanted to leave and his family Michelangelo was trained in Ghirlandaio’s (painter) workshop Painfully conscious as its persona as an artist The former Sixtine ceiling was blue with gold star= simple visual but expansive material But the pope gives great freedom in the iconographic program, which seems odd, Scholars questioned this. Complex forms of the vaulting The subject matters: there is a central narrative Stories are taken from the book of genesis: From the creating scenes to the fall Problem in the narrative scenes:After the fall, comes the flood, and Noah arch, sacrifice of Noah but the scenes are not in the right order Small narrative Panels are framed by nude figures and medallions featuring stories of the Maccabees and Prophets and Sibyls. While the Large narrative panels framed by fictive bronze statues and ancestors of Christ Last stories in the narrative Michelangelo is not used with the material of frescoes Everything is shallow and flat Shallow composition We see M painting with the mind of a sculptor Competition between Raphael and MichelAngelo and especially when it comes to the use of color ====Leonardo, was thinking of Tonal and chromatic unity, and how colors interact between each other. Leonardo breaks the way with what his master were doing But Michelangelo stays with the old technic, bright color Michelangelo, Fall and expulsion of Adam and Eve from Garden of Eden, colori cangianti (= changeable colors) Here M starts to use color to represent movements Michelangelo, the Creation of Adam He is becoming much more used to work on large scale frescos, use the space better, and makes figures more dynamic M is Becoming more and more dynamic, inventive and experimental The separation of Sun and Moon The Separation of Light from Dark – last painting Difference between older and newer frescos: Difference of scale, the latter are bigger, more dynamic=====How the robe turns yellow, larger sense of tri dimensionality in the figures Last prophets, Daniel and… Michelangelo, Delphic Sibyl and Libian Sibyl M is taking the lessons he learned from classical sculpture, taking musculature as a starting point, new ways of putting legs and arms Raphael will be close to Michelangelo of Rome; 1509 Raphael lands in Rome, (thanks to his connection (hometown Urbino) with the architect Bramante R will be influenced by the work of Michelangelo in the Sixtine Chapel Raphael, Disputation of the Holy Sacrament, 1508-1509 That is where he starts, painted from top to bottom; worked a year and half Figures at the bottom proves that he saw what Michelangelo was doing The Eucharist embodies Jesus Christ, and all the figure surrounding it, Ol
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