The Last Judgement- Discussion 6

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Last Judgement, Michelangelo, 1541, Sistine Chapel 

The three readings on Michelangelo's Last Judgement largely discussed the controversies surrounding its creation, unveiling, and interpretations. The first, entitled "Michelangelo's Last Judgement" discusses much of its creation.In order to prepare a surface, several pre-existing fresco's had to be destroyed, including those of Michelangelo himself and Perugino. The pigment, ultramarine, is also discussed for its expensive origins from the semi-precious stone lapis lazuli.  However the bulk of this article focuses on the choices that Michelangelo had to make when portraying this scene. From which passages would he chose? How would he depict those rising from the dead, versus angels, versus demons? It highlights that the figures were grouped, which was held together with the strength and cohesive use of the ultramarine blue, that the figures were all portrayed with extreme contraposto and as in their early thirties with strong physical qualities. There is little to differentiate angels from demons from saints from those rising from the dead.

This is where the second article entitled, "Reception of the Last Judgement", picks up. Largely focused on the controversy of the figures themselves, it focuses on the later revisions to the painting so make it "appropriate" enough to avoid destruction.

The next pope, and many other prominent religious figures thought that images such as this one entirely unsuitable for public eye. While this image was not covered with drapery, others, especially those of saints were covered and modified to fit what conservative images they where supposed to uphold for the average viewer's educational purposes. There is also the matter that Gilio, a  critic of the counter-reformation, argued that the figures where created with too much vigor and contortion. He argued that these graceful images might distract the viewer from the actual purpose of the painting, and lead them to only appreciate its aesthetic values. It was of his opinion that a figure should hold no more energy than the subject or action required, and that Michelangelo was simply showing off his artistic talents, and not focusing on the message at hand.

The third and final article, entitled "Michelangelo's Last Judgement as Merciful Heresy", focused on gleaning what beliefs Michelangelo possessed based on how he composed and executed the infamous fresco. For example, by looking at the indifferent face of Christ, as well as the somewhat ambiguous action his arm is making, it may be safe to assume that these gestures were meant to show that Christ was bringing both damnation and glory in the eyes of Michelangelo. That the event of the last judgement was to be both a celebration and the tragic end for those who walked the earth.

Late Titian

Self Portrait, 1565-1670, Titian

According to Peter Humfrey's Titian, by his late sixties Titian had experienced great success riding on the ends of the high renaissance. He had gained a prestigious position as a favorite court painter of Philip II, of Spain. Despite having the favoritism of Phil ip and painting many scenes including six mythological paintings, Titian had no permanent home during this time, and lived in various parts of Europe.  Of these mythological paintings I will be studying Diana and Actaeon, 1556-1559, and Diana and Callisto, 1556-1559.

           

Diana and Actaeon                                                    Diana and Callisto

These two paintings are a pair, portraying the goddess virgin goddess Diana, punishing those who committed crimes against her; a hunter stumbling upon her bathing, and one of her nymphs betraying her vow and becoming pregnant. Throughout his time painting for Philip II, and after Titian always worked from and kept meticulous sketches. Many copies were produced from these sketches, by his workshop which consisted of, Orazio, Girlamo Dente, Christoph Schwartz, and potentially El Greco. While his workshop was mostly in charge of completing copies, Titian did have a had in them, at times heavier than others.

In his own works near the end of his eighty some years, Titian was criticized for a change in style which included looser brush strokes, and a potential loss in vision. Vasari  described it as such, "These last works are executed with bold, sweeping strokes, and in patches of colour, with the result that they cannot be viewed from near by...". Of these later paintings I will be studying the Self-Portrait above, Pieta, and several others in depth, to analyze the change in technique over time.