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— ART HISTORY & IMAGE STUDIES —
ARTH341  SCHEDULE
REQUIREMENTS ART HISTORY GUIDE
Fall 2015 |
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Early to High Renaissance
three periods or epochs:
Giorgio Vasari
Truly great was the advancement conferred on the arts of architecture, painting, and sculpture by those excellent masters of whom we have written hitherto, in the Second Part of these Lives,for to the achievements of the early masters they added rule, order, proportion, draughtsmanship, and manner; not, indeed, in complete perfection, but with so near an approach to the truth that the masters of the third age, of whom we are henceforward to speak, were enabled, by means of their light, to aspire still higher and attain to that supreme perfection which we see in the most highly prized and most celebrated of our modern works.
But to the end that the nature of the improvement brought about by the aforesaid craftsmen may be even more clearly understood, it will certainly not be out of place to explain in a few words the five additions that I have named, and to give a succinct account of the origin of that true excellence which, having surpassed the age of the ancients, makes the modern so glorious.
Rule, then, in architecture, was the process of taking measurements from antiquities and studying the ground-plans of ancient edifices for the construction of modern buildings.
Order was the separating of one style from another, so that each body should receive its proper members, with no more interchanging between Doric, Ionic, Corinthian, and Tuscan.
Proportion was the universal law applying both to architecture and to sculpture, that all bodies should be made correct and true, with the members in proper harmony; and so, also, in painting.
Draughtsmanship was the imitation of the most beautiful parts of nature in all figures, whether in sculpture or in painting; and for this it is necessary to have a hand and a brain able to reproduce with absolute accuracy and precision, on a level surface-whether by drawing on paper, or on panel, or on some other level surface - everything that the eye sees; and the same is true of relief in sculpture.
Manner then attained to the greatest beauty from the practice which arose of constantly copying the most beautiful objects, and joining together these most beautiful things, hands, heads, bodies, and legs, so as to make a figure of the greatest possible beauty. This practice was carried out in every work for all figures, and for that reason it is called the beautiful manner.
These things had not been done by Giotto or by the other early craftsmen, although they had discovered the rudiments - of all these difficulties, and had touched them on the surface; as in their drawing, which was sounder and more true to nature than it had been before, and likewise in harmony of colouring and in the grouping of figures in scenes, and in many other respects of which enough has been said.
Now although the masters of the second age improved our arts greatly with regard to all the qualities mentioned above, yet these were not made by them so perfect as to succeed in attaining to complete perfection, for there was wanting in their rule a certain freedom which, without being of the rule, might be directed by the rule and might be able to exist without causing confusion or spoiling the order; which order had need of an invention abundant in every respect, and of a certain beauty maintained in every least detail, so as to reveal all that order with more adornment.
In proportion there was wanting a certain correctness of judgment, by means of which their figures, without having been measured, might have, in due relation to their dimensions, a grace exceeding measurement. In their drawing there was not the perfection of finish, because, although they made an arm round and a leg straight, the muscles in these were not revealed with that sweet and facile grace which hovers midway between the seen and the unseen, as is the case with the flesh of living figures; nay, they were crude and excoriated, which made them displeasing to the eye and gave hardness to the manner.
This last [i.e. manner] was wanting in the delicacy that comes from making all figures light and graceful, particularly those of women and children, with the limbs true to nature, as in the case of men, but veiled with a plumpness and fleshiness that should not be awkward, as they are in nature, but refined by draughtsmanship and judgment.
They also lacked our abundance of beautiful costumes, our great number and variety of bizarre fancies, loveliness of colouring, wide knowledge of buildings, and distance and variety in landscapes.
And although many of them, such as Andrea Verrocchio and Antonio del Pollaiuolo, and many others more modern, began to seek to make their figures with more study, so as to reveal in them better draughtsmanship, with a degree of imitation more correct and truer to nature, nevertheless the whole was not yet there, even though they had one very certain assurance - namely, that they were advancing towards the good, and their figures were thus approved according to the standard of the works of the ancients, as was seen when Andrea Verrocchio restored in marble the legs and arms of the Marsyas in the house of the Medici in Florence.
But they lacked a certain finish and finality of perfection in the feet, hands, hair, and beards, although the limbs as a whole are in accordance with the antique and have a certain correct harmony in the proportions.
Now if they had had that minuteness of finish which is the perfection and bloom of art, they would also have had a resolute boldness in their works; and from this there would have followed delicacy, refinement, and supreme grace, which are the qualities produced by the perfection of art in beautiful figures, whether in relief or in painting; but these qualities they did not have, although they give proof of diligent striving.
That finish, and that certain something that they lacked, they could not achieve so readily, seeing that study, when it is used in that way to obtain finish, gives dryness to the manner.
After them, indeed, their successors were enabled to attain to it through seeing excavated out of the earth certain antiquities cited by Pliny [i.e. Pliny the Elder, 23-79 CE, author of the celebrated Natural History] as amongst the most famous, such as the Laocoon, the Hercules, the Great Torso of the Belvedere, and likewise the Venus, the Cleopatra ["Sleeping Ariadne"], the Apollo, and an endless number of others, which, both with their sweetness and their severity, with their fleshy roundness copied from the greatest beauties of nature, and with certain attitudes which involve no distortion of the whole figure but only a movement of certain parts, and are revealed with a most perfect grace, brought about the disappearance of a certain dryness, hardness, and sharpness of manner, which had been left to our art by the excessive study of Piero della Francesca, Lazzaro Vasari, Alesso Baldovinetti, Andrea dal Castagno, Pesello, Ercole Ferrarese, Giovanni Bellini, Cosimo Rosselli, the Abbot of S. Clemente, Domenico del Ghirlandajo, Sandro Botticelli, Andrea Mantegna, Filippo, and Luca Signorelli.
These masters sought with great efforts to do the impossible in art by means of labour, particularly in foreshortenings and in things unpleasant to the eye, which were as painful to see as they were difficult for them to execute. And although their works were for the most part well drawn and free from errors, yet there was wanting a certain resolute spirit which was never seen in them, and that sweet harmony of colouring which the Bolognese Francia and Pietro Perugino first began to show in their works; at the sight of which people ran like madmen to this new and more lifelike beauty, for it seemed to them quite certain that nothing better could ever be done.
But their error was afterwards clearly proved by the works of Leonardo da Vinci, who, giving a beginning to that third manner which we propose to call the modern-besides the force and boldness of his drawing, and the extreme subtlety wherewith he counterfeited all the minutenesses of nature exactly as they are-with good rule, better order, right proportion, perfect drawing, and divine grace, abounding in resources and having a most profound knowledge of art, may be truly said to have endowed his figures with motion and breath.
There followed after him, although at some distance, Giorgione da Castelfranco, who obtained a beautiful gradation of colour in his pictures, and gave a sublime movement to his works by means of a certain darkness of shadow, very well conceived; and not inferior to him in giving force, relief, sweetness, and grace to his pictures, with his colouring, was Fra Bartolommeo di San Marco.
But more than all did the most gracious Raffaello da Urbino, who, studying the labours of the old masters and those of the modern, took the best from them, and, having gathered it together, enriched the art of painting with that complete perfection which was shown in ancient times by the figures of Apelles and Zeuxis; nay, even more, if we may make bold to say it, as might be proved if he could compare their works with his.
Wherefore nature was left vanquished by his colours; and his invention was facile and peculiar to himself, as may be perceived by all who see his painted stories, which are as vivid as writings, for in them he showed us places and buildings true to reality, and the features and costumes both of our own people and of strangers, according to his pleasure; not to mention his gift of imparting grace to the heads of young men, old men, and women, reserving modesty for the modest, wantonness for the wanton, and for children now mischief in their eyes, now playfulness in their attitudes; and the folds of his draperies, also, are neither too simple nor too intricate, but of such a kind that they appear real.
The same did Francesco Mazzuoli of Parma, who excelled him in many respects in grace, adornment, and beauty of manner, as may be seen in many of his pictures, which smile on whoever beholds them; and even as there is a perfect illusion of sight in the eyes, so there is perceived the beating of the pulse, according as it best pleased his brush.
And how many there are who, having given life to their figures with their colours, are now dead, such as Il Rosso, Fra Sebastiano, Giulio Romano, and Perino del Vaga.
For of the living, who are known to all through their own efforts, there is no need to speak here. But what most concerns the whole world of art is that they have now brought it to such perfection, and made it so easy for him who possesses draughtsmanship, invention, and colouring, that, whereas those early masters took six years to paint one panel, our modern masters can paint six in one year, as I can testify with the greatest confidence both from seeing and from doing; and our pictures are clearly much more highly finished and perfect than those executed in former times by masters of account.
But he who bears the palm from both the living and the dead, transcending and eclipsing all others, is the divine Michelagnolo Buonarroti, who holds the sovereignty not merely of one of these arts, but of all three together.
This master surpasses and excels not only all those moderns who have almost vanquished nature, but even those most famous ancients who without a doubt did so gloriously surpass her; and in his own self he triumphs over moderns, ancients, and nature, who could scarcely conceive anything so strange and so difficult that he should not be able, by the force of his most divine intellect and by means of his industry, draughtsmanship, art, judgment, and grace, to excel it by a great measure; and that not only in painting and in the use of colour, under which title are comprised all forms, and all bodies upright or not upright, palpable or impalpable, visible or invisible, but also in the highest perfection of bodies in the round, with the point of his chisel.
And from a plant so beautiful and so fruitful, through his labours, there have already spread branches so many and so noble, that, besides having filled the world in such unwonted profusion with the most luscious fruits, they have also given the final form to these three most noble arts.
And so great and so marvellous is his perfection, that it may be safely and surely said that his statues are in all their parts much more beautiful than the ancient; for if we compare the heads, hands, arms, and feet shaped by the one with those of the others, we see in his a greater depth and solidity, a grace more completely graceful, and a much more absolute perfection, accomplished with a manner so facile in the overcoming of difficulties, that it is not possible ever to see anything better.
And the same may be believed of his pictures, which, if we chanced to have some by the most famous Greeks and Romans, so that we might compare them face to face, would prove to be as much higher in value and more noble as his sculptures are clearly superior to all those of the ancients.
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Giorgio Vasari