Rebuilding The Renaissance

Commissioned by Duke Cosimo I de' Medici for the marriage of his son Francesco to Johanna of Austria, the massive fountain occupies the northwestern corner of the Palazzo Vecchio. Portraying the duke as the god of the sea, the fountain imagery was intended to glorify the Medici dynasty, but was not well received by their subjects.

This painting is the last of six paintings that make up Titian's extraordinary "Poesie" series for King Philip II of Spain. Of all six, it is in the worst state of conservation and went through major compositional changes while it was being painted. Nevertheless, the "Perseus and Andromeda" is an important work of beauty, innovation, and visual interpretation of a classical literary source.

One of the greatest masterpieces of Italian Renaissance painting, Titian's painting depicts the abduction of the nymph Europa by Jupiter, who has disguised himself as a bull. Titian employs all of his painterly skill to create a dazzling array of textures, colors, and images that coalesce into a hypnotically beautiful work of art.

Part of Titian's magnificent "Poesie" series which he painted for King Philp II of Spain in the 1550s, the "Diana and Callisto" represents the exposure of the pregnancy of the nymph Callisto who had been loved by Jupiter.

The third of six paintings constituting Titian's famous "Poesie" series for King Philip II of Spain, "Diana and Acteon" represents a mythological account of divine punishment. A hapless hunter named Acteon stumbles upon Diana, goddess of chastity and of the hunt, and is punished for violating her decency by being transformed into a stag and killed by his own hounds.

Part of Titian's six mythological paintings for King Philip II of Spain known as the "Poesie," the innovative and sensual "Venus and Adonis" was the most popular. We know this because some 30 versions of the painting exist today, all of which can be traced back to 2 main prime types – the Prado and the Farnese versions – both of which are discussed in this episode.

In 1544, Titian produced the first of at least six versions of the Danaë subject for Cardinal Alessandro Farnese, nephew of Pope Paul III. Shortly thereafter, a second version was painted and sent to King Phillip II of Spain. The immense popularity of Titian's sensual painting style combined with the erotic nature of the subject made the "Danaë" one of the most famous paintings of Renaissance Europe.

Titian's six "poesie" – or "painted poems" – depict subjects from classical mythology and were painted for King Philip II of Spain. The paintings represent a landmark in the history of western art and exemplify the Venetian master's late style that was characterized by dramatic subjects, sensual forms, and loose, almost "impressionistic" brushwork.

Another of the great canvases for the Scuola Grande of San Marco dramatically depicts the episode where the body of the evangelist was discovered. The dark painting is dominated by theatrical chiaroscuro and showcases unconventional characters and gestures.

Fourteen years after exploding onto the art scene in Venice, Tintoretto produced another dramatic work for the Scuola Grande of San Marco. The intense painting depicts the legendary story of two Venetian merchants stealing the body of St. Mark away from Alexandria in the 9th century.

The Venetian painter Tintoretto exploded onto the art scene in his native city with this large canvas depicting St. Mark rescuing one of his devotees from a horrific death. With its dramatic proscenium characterized by strong foreshortening and dramatic spotlighting, as well as a surprising and daring representation of St. Mark, Tintoretto introduced a style of painting that Venice – or the world – had never seen.

Although he died in Rome, the nearly-89-year-old Michelangelo was buried in a tomb in the great Franciscan Basilica of Santa Croce in Florence, Italy. Discover the tomb monument that celebrates the genius of the divine artist in this episode.

Michelangelo worked on the unfinished "Rondanini Pietà" (1552-1564) until the last days of his life. Tragic and frail in appearance, the sculpture is often interpreted as reflecting the fragile state of mind of an extraordinary artist in the twilight of his life. The "Rondanini Pietà" is on display at Sforza Castle in Milan, Italy.

At about 75 years of age, Michelangelo began carving his second "Pietà" statue. Michelangelo was clearly trying to up his game by carving a group of four figures from a single block of marble. But the most intriguing aspect of this statue is that the extensive visible damage was inflicted by Michelangelo himself, allegedly for his dissatisfaction with the work. This episode unpacks the complex personal history behind this wounded sculpture.

At the ripe old age of 71, Michelangelo took over the direction of the most important building project in Europe – the Fabbrica of St. Peter's Basilica. Michelangelo redesigned the great building and saw construction through to the base of the cupola. This project would occupy the last 17 years of his life and consume nearly all his creative energies. This episode examines Michelangelo's role in the realization of the great basilica, as well as analyzing his revolutionary architectural style that paved the way for Baroque-style architecture in the next century.

Shortly after completing the "Conversion of St. Paul" fresco in the Pauline Chapel in the Apostolic Palace in the Vatican, the 70-year-old Michelangelo began his complimentary "Crucifixion of St. Peter." While the image of St. Peter crucified in an upside-down position was quite common in Rome, it was unusual to see him in process of being hoisted upwards as Michelangelo depicted. This episode analyzes this late painting of Michelangelo and the various interpretations associated with it.

Even before completing "The Last Judgment" in the Sistine Chapel, Pope Paul III had chosen Michelangelo to decorate the walls of his new namesake chapel – the Pauline Chapel. Used as an antechamber to the Sistine Chapel, the Pauline Chapel contains Michelangelo's last two paintings. This episode discusses the history and function of the chapel, as well as the first of the two frescoes executed by a 67-year-old Michelangelo.

In 1545, the goldsmith Benvenuto Cellini was commissioned by Duke Cosimo I de' Medici to create a large bronze statue of the Greek hero Perseus and Medusa. The resulting work was one of the most beautiful and famous of the Renaissance. This episode examines the history, style, and importance of Cellini's bronze masterpiece.

From the type of snake that appears in Michelangelo's "Last Judgment," to the suspected poisoning of Pico dell Mirandola and Angelo Poliziano, to Lorenzo Lotto's unorthodox "Annunciation," to Brunelleschi's role in the development of linear perspective, and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

This episode analyzes the extraordinary reading room of Michelangelo's Laurentian Library in Florence, Italy. Faced with having to reduce the weight of the building, Michelangelo designed a type of structural cage into which he inserted layered walls, elegant architectural elements, and handsome furniture. His creative wood ceiling and terracotta floor designs also are part of the overall decorative scheme of this beautiful building.

This episode analyzes Michelangelo's visionary architectural design for the vestibule - better known as the "Ricetto" – of the Laurentian Library. Dominated by the famous staircase which Michelangelo claimed appeared to him in a dream, the space perfectly expresses Michelangelo's radical new vision for Renaissance architecture.

In 1524, the Medici Pope Clement VII asked Michelangelo to design and build a new library to house the extraordinary collection of manuscripts and books owned by the family. The logical location was the Medici-sponsored complex of San Lorenzo. This episode analyzes the construction history of the library and how Michelangelo once again applied his innovative ideas to architecture.

Although the commission was originally given to Michelangelo in 1508, the eventual carving of the sculpture fell into the lesser hands of Baccio Bandinelli. Symbolic of the new authoritative Medici regime and rule over the city, the sculpture was a strong man image intended to warn Florentines of the consequences of revolt. It is also a prime example of the new Mannerist style which dominated Florentine art in the 16th century.

This final episode dedicated to Michelangelo's great fresco on the altar wall of the Sistine Chapel addresses the controversy surrounding the explicit nudity in the painting. When formal protests by high-ranking figures in the papal court were made, Michelangelo responded by including one of their portraits in hell. We also discuss the eventual alterations made to the painting after Michelangelo's death.

This episode analyzes the majestic composition and singular iconography of Michelangelo's fresco on the altar wall of the Sistine Chapel. From the lack of any architectural elements to the use of ambiguous saint imagery, Michelangelo introduced a revolutionary and surprisingly modern way to represent a popular biblical subject.

To create a suitable surface for Michelangelo's "Last Judgment," major alterations were made to the altar wall of the Sistine Chapel. This episode examines those physical preparations, as well as the art that was lost in order to make way for Michelangelo's great fresco. It also surveys earlier versions of the subject by artists such as Giotto and Pisano.

Twenty-four years after completing its ceiling, Michelangelo returned to the Sistine Chapel to paint its altar wall. His gigantic "Last Judgment" took five years to complete and scandalized Rome as many of its holy characters were depicted in the nude. This podcast examines the history of the commission of Michelangelo's great fresco.

In 1531, Titian painted the incredibly sensuous image of Mary Magdalene for Duke Federico II of Mantua who, in turn, gifted it to the celebrated poetess Vittoria Colonna. By combining the two best-known versions of Mary Magdalene – prostitute and penitent – Titian produced a profound image of spiritual sublimation of the physical.

Titian was the greatest Venetian painter of his age. His reputation and achievements in 16th-century Europe were rivaled only by Michelangelo. Venetian artists introduced their own particular style and vision into Renaissance art, as seen in the Venus of Urbino. Suddenly, female nudity and eroticism exploded onto the scene in a type of soft-core Renaissance pornography. This episode explores the unusual erotic iconography of the Venus of Urbino, and how it depicts a rather straight-forward visual voyeurism between subject and object.

From the accuracy of Vasari's "Lives," the dark skin tones of medieval paintings, why Last Suppers appear where they do, whether Caravaggio can be considered a Renaissance artist, and much, much more - this episode answers the very questions that you ask me about the great art, artists and history of the Italian Renaissance.

Giulio Romano's "Room of the Giants" in the Palazzo Te is one of the most dramatic and unique pictorial cycles in history. Depicting the fall of the Titans to the Olympian gods, the colossal-scale figures, rounded corners, and illusionistic architecture create a veritable sense of virtual reality. It is a painting cycle with no beginning or end, where the spectator becomes part of the action, and the traditional subject-object relationship is destroyed.

The Room of Psyche in the Palazzo Te in Mantua, Italy, is one of the most erotic pictorial cycles of the Renaissance. From the 9 ceiling paintings that depict the story of Cupid and Psyche, to the lunettes depicting the labors of Psyche, to the wall paintings depicting examples of divine and bestial love, as well as earthly and divine banquets celebrating the redemption of Psyche, the room is a veritable explosion of sensual and erotic imagery.

This milestone celebrates the production of the 200th episode of the Rebuilding the Renaissance podcast. Looking back at the approximately two millennia that we have covered thus far, the various special guests who have appeared in the series, and the particularly important specific episodes, this episode not only retraces our steps, but also maps out the future of the podcast series.

The pictorial decoration inside of the Palazzo Te in Mantua, Italy, is some of the most inventive and delightful imagery of the Italian Renaissance. From the Room of Ovid, with representations of episodes from the "Metamorphoses," to the Room of the Imprese, with its many coat of arms and playful supporting putti, to the Room of the Sun and Moon Chariots, with its exceptional "di sotto in sù" perspective, to the Hall of the Horses with its many equestrian portraits of Gonzaga prize-winning horses and accompanying images of the labors of Hercules, This episode will begin to unpack the extraordinary decoration inside of the Palazzo Te.

The Palazzo Te (1526-1535) was both designed and decorated by the great Mannerist artist and pupil of Raphael, Giulio Romano. Built for the Marquis-turned-Duke of Mantua, Federico II Gonzaga, every detail of the building was intended to delight the visitor. This episode explores the history and architecture of this extraordinary pleasure palace.

Located in the Borghese Gallery in Rome, Correggio's sensual painting of the amorous relationship between Jupiter and the daughter of the King of Argos is sublime. Based on the account in Ovid's "Metamorphoses,'' Correggio is able to transform a literary metaphor into an equally powerful and erotic visual metaphor. In 1827, the painting was acquired by Cammillo IV Borghese, husband of Paulina Bonaparte, during one of his many trips to Paris, and installed into the family's extraordinary art collection.

Correggio's breath-taking dome fresco in the dome of Parma cathedral depicts the Assumption of the Virgin (1526). Gigantic painted figures of the apostles stand below an explosion of heavenly clouds and hundreds of angels that create a celestial architecture upon which the Virgin Mary is assumed into heaven. The dramatic energy of the painting is a clear harbinger of the great Baroque paintings of the following century.

Parma's National Gallery of Painting houses one of Italy's most important collections of medieval and Renaissance paintings. Amongst its treasures are several altarpieces by the great Correggio. This episode examines these extraordinary paintings and their expressive emotional power, which has inspired some to describe Correggio's work as "proto-Baroque."

After decorating the apartment of a Benedictine abbess, Correggio was called by the nearby Benedictine monks of Parma to decorate their church of San Giovanni Evangelista. The most spectacular of the paintings is the illusionist dome fresco depicting Jesus and the Apostles in dramatic di sotto in sù perspective.

The Camera di San Paolo (1519) was Correggio's first major commission in Parma. In the private quarters of a Benedictine abbess named Giovanna Piacenza, he executed a decorative fresco program filled with mythological and festive motifs. The particularly beautiful illusionistic ceiling decoration was a sort of a warm-up for the stunning domes he would paint in the following years.

From medieval graffiti, Raphael suffering medical malpractice, Siena's many contrade, the damaged part of the Sistine Chapel ceiling, the four biblical rivers as symbols of the Evangelists, anatomical dissection in the ancient world - and much, much more - this episode answers the very questions that you asked me about the great art, artists and history of the Italian Renaissance.

Jacopo Pontormo's altarpiece for the Capponi Chapel in the church of Santa Felicità in Florence, Italy, is one of the most beautiful paintings of the Italian Renaissance. Yet, the subject matter of painting still confuses art historians as it does not fit in any traditional iconographic parameters. This episode unpacks Pontormo's great painting and the various theories that surround it.

In 1525, Jacopo Pontormo, one of the greatest Mannerist painters of Florence, was commissioned to decorate the family chapel of Ludovico Capponi in the church of Santa Felicità. While the altarpiece is the chapel's most celebrated work, Pontormo also decorated its dome, pendentives and window wall with beautiful paintings. This episode examines the history of the chapel and reconstructs its original decorative scheme.

The art produced in Italy in the first half of the 16th century seemed to intentionally reject the principles of Renaissance art. Artists such as Pontormo, Rosso Fiorentino, Giulio Romano, Parmigianino, and Bronzino introduced their own particular styles to their works, creating what later art historians would term "Mannerism." This episode will unpack this controversial and often confusing movement, and explore its various expressions.

With the death of Pope Leo X in 1521, Michelangelo was forced to abandon his work on the New Sacristy and to return to the unfinished tomb of Pope Julius II. It was, in fact, for the tomb that Michelangelo began work on the so-called "Slaves" today in the Accademia Gallery in Florence, Italy. Often incorrectly described as being intentionally unfinished, the sculptures reveal the artist's unique vision of the human form as well as his absolute mastery of the art of carving marble.

This episode examines the extraordinary tomb of Lorenzo de' Medici in the New Sacristy. The allegorical figures of "Dawn" and "Dusk" are two of Michelangelo's most elegant statues, while the "Effigy of Lorenzo de' Medici" is a clear allusion to the Classical "thinker" pose. We also analyze how the sculptural groups interact with the general architectural program of the room.

This episode examines the extraordinary tomb of Giuliano de' Medici in the New Sacristy. The allegorical figures of "Day" and "Night" are two of Michelangelo's most beautiful statues, while the "Effigy of Giuliano de' Medici" is a revolution in funerary statuary.

While working on the facade project of San Lorenzo, Michelangelo undertook another architectural project for Medici Pope Leo X. Known as the New Sacristy, and located in the Medici Chapels in Florence, Italy, the space was intended to serve as a royal funerary space for the Pope's brother and nephew. This episode addresses the history of the space as well as the visionary architectural design conceived by Michelangelo as a type of stage for his extraordinary sculptures.

In 1515, Michelangelo undertook his first architectural commission for the facade of the Medici church of San Lorenzo in Florence. For the project, he produced a large wooden model of the facade, today located in the Casa Buonarroti Museum in Florence, Italy. This episode examines the history around the commission as well as Michelangelo's extraordinary model and architectural vision.

Although Leonardo's Virgin, Child and St. Anne may have been commissioned as early as 1503, it was still in the artist's studio in 1517 - two years before the artist died. The painting of St. John the Baptist is instead considered the master's last known painting. This episode not only examines Leonardo's final years and those few works that were produced during this period, but also the best-known controversial works attributed to him. There are, in fact, almost as many contested paintings attributed to Leonardo as there are certain attributions.