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Extra articles week 4, Witteker - Coggle Diagram
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Witteker
most of the artists working roughly between 1550 and 1590 practised:
- formalistic anti-classical, and anti-naturalistic style
- a style sterotpyed formulas
For which
- the Italians coined the word Maniera and which we now call Mannerism without attaching a dergatory meaning to the term
Virtuosity of execution and highly decorative surface go with compostional decentralization and spatial and colouristic complexities
Many pictures and Fresco cyclees of the period are obscure and esoteric, possibly not in spite of but because of the close collaboration between painter and priest
Mannerism as it was practised during the later sixteenth century was
not an answer
to the
- artistic requirements of the counter-reformatory Church
it lacked;
- clarity, realism and emotinal intensity
It has long been a matter ofdiscussion among
art historians to what extent the art of the later
sixteenth century expressed the exigencies of
the reformed Catholic Church.
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Sixtus V 1585-1590
*he transformed Rome more radically than any single pope before him
- after the Sack of Rome a proper Roman school had ceased to exist and most of the artist working for Sixtus were either foreigners or took their cue from development outside rome
Style Sixtus developedThis style may be characterised as an:
- academic ultima maniera , a amanner which is not anti-mannerist and revolutionary in the sense of the new art of Caravaggio and the Carracci
but tends
towards dissolving Mannerist complexities abandoning Mannerist for manilsm*
It was Sixtus V who with his multicoloured began a fashion which remained in vogue far into the eighteenth century
- Much of the coloured marble was taken from ancient buildings. this was an important part of Sixtus V's counter-reformatory programme of systematically transforming pagan into Christian Rome
Before the end of the century four principal tendencies may be differentiated in Rome itself, each having its roots far back and each having much wider all-italian Implications
- first the facile decorative manner of t he arch-mannerist Federico Zuccari 1542-1609
- he combined in his art elemens from the latest Raphael and ffrom Tuscan and Flemish mannerism with impressions which had come to him from Veronese and the Venetians
- had a great influence on the painters working for sixtus V and Clement VIII
- A second trend was that of the Florentines who had considerable share in mid-sixteenth century fresco-painting in Rome
- Their complex mannerism tied to the old Florentine emphasis on rhytmic design followed the general development and gave way towards the end of the century to a more simplified and solic academic manner
- Mainly represent by; Bernardino Pocetti
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While Annibale's Bolognese followers entrenched themselves firmly in Rome during the first two decades of the seventeeth century and public taste shifted decisively in their favour away from the older Mannerists
Caravaggism remained almost entirely an affair for eccentrics, connoisseurs and artists and had run its cours as far as Rome was concerned by the time Paul V died
Summary
The document you provided is Chapter 1 of Art and Architecture in Italy, 1600-1750, by Rudolf Wittkower. It outlines the transformation of Rome and its art scene from the late 16th to early 17th centuries, covering major developments from the reign of Pope Sixtus V (1585-1590) to Pope Paul V (1605-1621). The key points in this chapter include:
- The Impact of the Council of Trent: The Council of Trent (1545-1563)
- sought to use art as a tool for the Catholic Reformation.
- Religious images were encouraged to inspire devotion, requiring clarity, realism, and emotional engagement from the viewer.
- Artists were instructed to depict religious figures in a more realistic and emotionally evocative manner, even showing suffering or martyrdom with graphic accuracy.
- Artistic Responses to the Counter-Reformation: * After the Council of Trent, artistic style shifted to meet the church's demands.
- Art was required to be instructive and supportive of Catholic orthodoxy, especially with more dramatic depictions of Christian narratives.
This led to
- the development of a Baroque style
, which
- emphasized clarity, emotional impact, and realism
- . However, it took about 20 years after the Council for these artistic changes to become prominent.
- Patronage of Popes Sixtus V to Paul V:
- The chapter explores how these popes influenced Rome’s architectural landscape.
- Sixtus V, for instance, initiated extensive urban planning, creating new roads, squares, and public fountains that shaped the city’s Baroque identity
- . He also commissioned works from Domenico Fontana, his chief architect,
but
- the artistic output was often criticized for lacking inspiration, described as “academic and blunt.
- Influence of Religious Orders:
- Movements like the Oratory of St. Philip Neri and the Society of Jesus (Jesuits)
played a
- significant role in shaping religious and cultural life.
- The Jesuits, known for their militant devotion, were important patrons of the arts
and built
- the influential Church of the Gesù, a model for future Baroque churches.
- Key Artistic Figures: The chapter discusses major artists like
- Caravaggio, who introduced a more dramatic and realistic style
and
- Annibale Carracci, whose work emphasized classical ideals
. It also mentions architects like
- Carlo Maderno, who played a pivotal role in shaping Baroque architecture, notably through his work on St. Peter’s Basilica.
- Transition to Baroque
- : The artistic period from 1600 to 1625 is seen as
- a transition between Mannerism and the Baroque,
- where traditional methods gave way to more dynamic, emotional, and monumental forms of expression.
The chapter highlights the gradual shift towards
- the exuberant Baroque style, which would dominate Rome in the following decades.
This chapter offers a thorough overview of how art and architecture in Rome evolved under the pressures of the Counter-Reformation, papal patronage, and the rise of religious orders, setting the stage for the Baroque era.
The recommendations of such writers as St. Charles Borremeo, Cardinal Gabriele, Paletotti, the Fleming Molanus, Gilio da Fabriano, Raffaello Borghini, Romano Alberti, Gregorío Comanini and possevion May be summarzied under three headings
- Clarity, simplicity and intelligibility
- Realistic interpretation
- Emotional stimulus to piety
-
-
compared with the second and third quartes of the sixteenth century it last decades saw an immense extension of artistic activity
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The main glory of the place is the Cappella dell'Annunciata which was decorated between 1609 and 1613** by Guido Reni Assisted by Lanfranco, Francesco Albani, Antonio Carracci and the less distininguished Tommaso Campana
It is often said a significant step in the slow and persistent shift from primarily religious art of the middle ages to the primarly secular art of modern times was accomplished during the seventeeth century