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High Renaissance
Italy - 1500-1524
Sandrine Le Bail AP Art History
Context
• 1494 – Savonarola – Medici expelled from Florence = end of Early Renaissance
• 1498 – Dead of Savonarola: Florence lost its status as the center of the Art.
• Revitalization of the city of Rome (Julius II)
Italy - 1500
• French invasion Northern Italy
• Importance of Rome thanks to Julius II
• Venice remained independent
• Cultivated courts of Prince, doges and popes
• 1527 – Sack of Rome
Important artists for High Renaissance
• Leonardo da Vinci
• Bramante
• Michelangelo
• Raphael
• Bellini
• Giorgione
• Titian
Leonardo da Vinci (1452-1519)
The Renaissance Man:Painter, sculptor, architect, musician, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist and writer. (Wikipedia)
Leonardo da Vinci (1452-1519)
10 years old – Apprentice at Verrocchio’s workshop (Florence)
Worked for the duke of Milan
Worked for the King of France
Scientific Drawings
Andrea Verrocchio, Baptism of Christ, c.1470
Leonardo da Vinci, Last Supper, Refectory of Santa Maria delle Grazie,
Milan, c.1495-1498
Linear perspective:orthogonals of ceiling and floor point to Jesus
Leonardo da Vinci, Last Supper, Refectory of Santa Maria delle Grazie,
Milan, c.1495-1498• Experimental
combination of painting : the paint began to peel off
• Dramatic tension• Real human
emotions• Unified
architectural setting
• Illusionistic room• Icon
Andy Warhold, The Last Supper, 1986.
Leonardo da Vinci, Mona Lisa, c.1503-1505.
15th century against 16th century
Leonardo da Vinci, Mona Lisa, c.1503-1505.
Oil on wood
Sfumato: a smoke-light or hazy effect that distances the viewer from the subject of a painting.
Chiaroscuro: Gradual transition from light to dark in a painting. Forms are not determined by sharp outlines, but by the meeting of lighter and darker areas
Aerial perspective
Marcel Duchamp
Fernando Botero
Andy Warhold
Leonardo da Vinci,
Virgin and Child with saint Anne,
1503-1506
Unfinished
Donato Bramante (1444-1514)
From Milan
Centrally-Planned churches
- Ideal shape, divine perfection
- Direct observation of nature
- Harmony to human symmetry
Vitruvian Man
Donato Bramante, Tempietto,
Rome c.1502-1502
Donato Bramante, Tempietto,
Rome c.1502-1502
San Pietro in Montorio, RomePatrons: King Ferdinand and Queen Isabella of Spain
Traditional site of Saint Peter’s crucifixion
Martyrium: a shrine build over a place of martyrdom or a grave of a martyred Christian saint
16 Doric columns
Doric Frieze
Balustrade
Drum
Ribbed dome
Sculptured-wall motiveLight and shadowConcentric formHarmonious proportion
Dominance of classical orderCombination of pagan architecture and a Christian theme
Vitruvius
Old Saint Peter
Donato Bramante, plan for the new Saint Peter’s, Vatican, Rome, c.1505
Patron: Julius II
Saint Peter’s Architect
• Donato Bramante (1503-1514)
• Raphael (1514-1520)
• Michelangelo (1546-1564)
• Maderno
Michelangelo, plan for the new Saint Peter ,c.1546
Bramante, 1505
Maderno, façade of Saint Peter, 1615.
Michelangelo Buonarrotti (1475-1564)
ArchitectPainterSculptorArchitect Poet
Michelangelo Pietà, 1498
Michelangelo, Pietà, 1498
• For a French cardinal
• Frontal /one point of view
• Pyramidal shape on an oval base
• Pietà: Northern theme
• Disproportion Mary/ Jesus
• Strong bond between the
two.
Robert Hupka(1919-2001)
Michelangelo, David, 1501-
1504
Commissioned by the city of Florence
1st colossal nude since Antiquity
David: Symbol of Florence
Michelangelo, David, 1501-1504
• Represent the courage and fortitude of the Florentine
• Michelangelo used a 40-year-old abandoned block of marble
• Pose and nudity influenced by Classical sculptures
• David = Biblical hero
Sistine Chapel (1477-1482)
Pope’s personal Chapel - Built for Sixtus IV
Sistine Chapel
• Built by Sixtus IV in 1477-1482
• Frescoes of the wall by Botticelli, Perugino, Pinturicchio, Ghirlandaio, Roselli
Lives of Jesus and Moses
• Ceiling by Michelangelo in 1508-1512 under the patronage of Julius II
• Last Judgment by Michelangelo in 1534-1541 for Clement VII and Paul III
Same proportions
than the Temple of Salomon:Length = 2 X heightLength = 3X width
Michelangelo, Sistine Chapel Ceiling, 1508-1512
Creation of the WorldAdam and EveNoah and the Flood
Ignudi
Spandrels : scene from Old Testament
Ancestors of the Christ and SibylsThey foretold the coming of Christ a
300 figures on ceilingNo two in the same pose
Michelangelo, The Creation of Adam, 1511-1512
Torso del Belvedere
Michelangelo, Fall of man
Masaccio, Brancacci Chapel, 1420
Libyan Sibyl
Delphic Sibyl
ProphetJoel
ErythreanSibyl
Ignudi
Michelangelo, Monument for Julius II
Michelangelo, Tomb of Julius II
Michelangelo, Moses, 1513-
1515
Michelangelo, Last Judgment, Sistine Chapel,
1534-1541
Commissioned by Clement VII
Realized for Paul III
Heaven : Angels with the symbol of the Passion
Christ, Virgin and Saints
Last Trump
Damned souls fall
Saved souls raise
No cornice divisions
Crowded groups
Distortions of the bodyElongation
Against the High Renaissance harmony of
the Sistine Chapel- Reflects the disunity of
Christendom caused by the Reformatiom
Distortion of the body –will become typical of mannerism
Raphael (Raffaello Sanzio) 1483-1520
Born in Urbino
Grew up at the Humanist Court of Urbino
Apprentice of Perugino
Worked in Florence
1511- Moved to Rome for the Pope
Embodies the Classical Character of High Renaissance
Raphael, Madonna
of the Meadow,
1505
La Belle Jardinière (Louvre) 1505-1508
Madonna del Granduca (Palazzo Pitti) 1506
Small Madonna Cowpeer, (Washington), 1504-1505
Raphael, Galatea, Villa
dellaFarnesina,
Rome, c.1512
For the banker AgostinoChigi
Polyphemos by Sebastiano del Piombo
Galatea
Raphael, Le Stanze, 1508
Commissioned by Julius II for his appartment
Sala della Segnatura
Private Library of Julius IIComplex synthesis of the Christian world and its thought with Classical antiquity and its philosophy.
4 branches of human
knowledge
Theology
Philosophy
Poetry
Judisprudence
Disputation of the Saint Sacrament= Theology
Virtues necessary for the administration of Justice = Jurisprudence
Lunettes
The School of Athens =Philosophy and sciencesParnassus = Poetry
Raphael, Disputation over the Sacrament, Stanza della Segnatura, Vatican, 1509-1511
Theologians discoursing on the validity of the Transubstantiation (literal transformation of the wine and wafer into the blood and body of Christ)
Raphael, the School of Athens, Stanza dellaSegnatura, Vatican, Rome, 1509-1511
Plato (Portrait of Leonardo)
Aristotle
Raphael
Euclid (Portrait of Bramante)
Diogen = Michelangelo
The School of Athens, 1509-1511
• Commissioned by Julius II
• Complex program of works that embodies the Humanist ideals
• Open, clear light uniformly spread yjroughoutcomposition
• Nobility and monumentality
Renaissance in Venice
Venice
Venice
• “The Queen of the Adriatic”
• One of the Maritime Republic
• Port
• Center of trade
• Ruled by a doge
Art in Venice
• Still rooted in Byzantine and Gothic tradition
• Training of the artists in family-run workshops
• Art considered a manual craft
Saint Mark, 13th century
Innovation of the Venetian painting
Because of the damp weather:
• Use of oil
• Use of canvas (and not wood)
Bellini Family: the Father
• Father: Jacopo – 1400-1470 (studied with Gentile da Fabriano)
• Sons: Gentile (1425?-1516) and Giovanni (1428-1507)
• Brother in-Law: Mantegna (1431-1506)
Jacopo Bellini, The
death of the Virgin, Louvre
sketchbook
- Knowledge of linear perspective
-Interest for Antiquity
- Christian theme with a pagan iconography
Gentile Bellini, Procession to the Reliquary of the Cross in Piazza San
Marco, 1496
Giovanni Bellini,San Giobbe
Altarpiece, 1480s
Giovanni Bellini, San ZaccariaAltarpiece,
1505
- Sacra Conversazione- Linear Perspective- Byzantine Flavor- Classical background- Soft, yellow light- Sensual flesh (chiaroscuro)- Cohesive group-Parallel positions of the saints
Giorgione (1477-1510)
Giorgione, The
Tempest, 1505-1510
Oil painting
Giorgione, Sleeping Venus, 1509
Titian (Tiziano Vecellio) – 1488-1576
Trained under Bellini
Titian, Assumption of
the Virgin, 1516-1518
Church of Santa Maria Gloriosa deiFrari, Venice
Over life size
Titian, Venus of Urbino, 1538
Standard for future reclining
nudes
Titian
• Warm colors
• Many layers of glazes
• Soft, textured and richly material
• Loose brushwork
Characteristics of Venetian Painting
• Use of translucent glazes
• Intense colors
• Soft, sensuous forms
• subject matter: religious (Sacra Conversazione), mythological, and often enigmatic
• Composition is based by color rather than by design
High Renaissance
• Main centers: Rome and Venice
• Combination of pagan architecture and Christian theme
• Awe-inspiring projects, emulated by Roman grandeur
• Characteristics: balance, symmetry and ideal proportions
• Triangular composition favored