INTRODUCTION TO THE ITALIAN HIGH RENAISSANCE

1495-1520

What is the “High Renaissance?”

High point, mastery or culmination of 15th century innovations.

Higher prestige of artists Men no longer made

things, they created like God did.

Wrote books on their ideas, thoughts.

How was man “elevated” during the High Renaissance?

Elevated status of artists through patronage , even if from poor background, cult of celebrity Biographies - Vasari

Scientific thought, inventions

Exploration outward, upward

Humanism placed man as equal to God.

Moving Away from Manual Labor

Painting, sculpture, architecture became viewed as a “liberal” (intellectual) art, not solely manual labor.

Education was needed to do the job well. Mathematics (triangular composition) Technique Classical culture, literature, philosophy etc.

Artists were seen as geniuses, inspired by divine intervention.

The Classics Continue in Italy

Nude heroes in marble

Perspective Mythological

applications Architectural

elements (arches, domes, Classical buildings as inspiration)

Going Beyond the Greeks High Renaissance

artists wanted to advance beyond the Classical artists/architects. Excel beyond what

had been done Build on earlier

achievements.

Saying Farewell to Florence

High Renaissance art moved away from Florence because…. Other city states wanted to compete

with Medici’s, lured artists to them. Monk Savonarola preached

immorality against art in Florence, threatened the apocalypse. Encouraged bonfire of the vanities Medici’s fled Florence Later, Savonarola was burned at the

stake by Pope Rodrigo Borgia (Alexander VI)

Relocating to Rome The High Renaissance took

place mainly in Rome and partly in Venice. Inspiration from Classical

antiquity. Availability of Classical texts. Stability from Italian wars Protection, patronage by the

Popes.

Papal Patronage 16th century Popes

came from wealthy families. Continued amassing art

as a status symbol. Employed private artists Used art as propaganda

for papal authority. Competed to leave a

visual mark from their papacy.

A Pretty Papal Penny Popes frequently requested

money to rebuild/revamp/redecorate St. Peter’s. Lavish sculpture Chapel paintings Papal tombs Renewed visual power of church

from time of Constantine. Spending and greed later led

to the Protestant Reformation.

The Italian High Renaissance

Cinquecento: 1500’s

Heavily inspired by work of Masaccio

Began in Florence All 3 great masters

began there: Da Vinci Michelangelo Raphael (not Donatello!)

Leonardo Da Vinci Apprentice to Verrochio in

Florence (Gattamelata) True Renaissance man-

multitalented Loved heights and birds,

obsessed with flight. Very short attention span,

rarely finished anything before moving on to something else. Frustrated his hands could not

match what his mind saw Less than 20 works actually

survive Encouraged view of artists as

geniuses.

An Obsession with Science Da Vinci believed art was

impossible without studying the sciences.

Unquenchable thirst for knowledge, understanding which he believed made him a better painter. Human anatomy, especially optics Geometry Physics Zoology Botany Mathematics

Giving Man Wings, Closer to God

Reviving Vitruvius Vitruvius: Ancient Roman architect, engineer Equated ideal man with geometric proportions

(circles and squares) “For if a man be placed flat on his back, with his

hands and feet extended, and a pair of compasses centered at his navel, the fingers and toes of his two hands and feet will touch the circumference….and just as the human body yields a circular outline, so too a square figure may be found…For if we measure the distance from the soles to the top of the head, the breadth of the arms will be the same measurement as the height.

The Vitruvian Man

A Preference for Painting Da Vinci’s studies gave

him a passion for painting. Geometric, triangular

composition of perfect proportions

Implementation of perspective

Humanistic principals Not as interested in

mythology or archaeology as others.

The Painter’s Purpose “A good painter has two chief objects to

paint-man and the intention of his soul”. The former is easy, the latter is hard, for it must be expressed by gestures and the movement of the limbs….a painting will only be wonderful for the beholder by making that which is not so appear raised and detached from the wall.”

Da Vinci first introduced the idea of the sitter’s psychology within the work.

Look for this in Da Vinci’s paintings!

Da Vinci’s Developments Aerial Perspective:

Based on optical studies Gave a more realistic appearance to depth Uses the color blue to show depth

Sfumato: “Smokey” Using smoky grays to blur edges between objects Lines disappear, view is “misty” Less noticeable transition between light and dark

Chiaroscuro: “Light to Dark” Invented by Ancient Greeks, brought back by

Masaccio Light to dark shadowing gives realism Spotlights important figures in the painting.

Sfumato & Chiaroscuro

Moving on to Milan 1481: Da Vinci left

instability of Florence to work for the Sforza family of Milan. Created urban design

for the city Engineered walls,

reinforcements. Was commissioned by

churches, families to do work while in Florence.

Madonna of the Rocks, 1483

*Immaculate Conception monastery

Contracted to be Virgin and child with angles, Da Vinci added John the Baptist for balance.

*Pyramidal figure group: becomes standard of High Renaissance painting.

*Influence of Masacccio Chiaroscuro Sfumato

Last Supper, 1495-1498 *Refectory (eating hall) of

Santa Maria della Grazie (an abbey) Modern setting, past event

Commissioned by Duke Sforza

Captures human behavior and emotion of the moment.

Multiple pyramid configurations Judas on the same side of table as

Jesus holding bag of coins with John and Peter.

Fresco Wasn’t His Favorite Fresco required too much

quick movement for Da Vinci.

Not enough time for shading. Attempted to use a new

type of paint blending oil and tempera which didn’t stay.

Restored in 1999 after the building was used as a stable and destroyed partially in WWII.

Secretive Symbolism Da Vinci uses

symbolism in a secretive way, appearing as part of the natural setting. For example… Why 3 windows in the

picture? Is John really Mary

Magdalene? Where does the

perspective really point to?

From Milan to Mona Lisa 1500: Da Vinci returned to

Florence Began the Mona (Italian

contraction for ‘my lady’) Lisa No one special, probably

Lisa Gherardini del Giocondo No display of wealth, even

jewelry Techniques characteristic of

Da Vinci (pyramidal shape, sfumato, chiaroscuro, etc)

The Psychology Behind the Smile: What questions come into your

head?

The Mysterious Mona Lisa Da Vinci brings

psychology into art through this painting. What is she smiling

about? Wait…..is she smiling? What is she looking at? Is she looking at me? Is she judging me? Why is she smiling?!

Michelangelo Born to a poor family that

claimed nobility in Florence. Berated by his parents for

wanting to be an artist. Apprenticed by Ghirlandaio “Discovered” by the Medici,

inspired by their love of Classical mythology. Child prodigy at age 13.

Michelangelo and Mythology

Based many religious figures on mythological sculpture.

Highly influenced by Hellenistic sculpture. Figures appear heroically

muscular, even women Strong energy and

emotion.

Michelangelo’s Method “The greatest artist has no

conception that a single block of marble does not potentially contain within its mass, but only a hand obedient to the mind can penetrate this image.” Preferred sculpture to painting. Trusted the instinct of the artists Sculpture existed within the

rock, he just needed to use the right tools to “free it”, making him like God. Michelangelo liked to be called

the “Divine” because of his creations.

The Pieta, 1498 (age 23) Tomb monument for a

Cardinal in St. Peter’s Basilica.

Not a popular subject for Italian artists.

Sculpted for light to appear radiating from the body. Meant for a frontal view to see

the expressions, tensions, sweetness.

Signed by Michelangelo across the strap of her dress (he snuck in at night to do it).

What tensions/contrasts do you see?

Tense muscles vs. serene faces

From womb to tomb

Life and death

The David, 1501-1504 Commissioned for

Florence Cathedral, later moved to city square.

Meant to represent little Florence fighting against bigger enemies (France, Spain)

Classical Greek influence Tension: Relaxed face,

muscles poised for fight. Preparing for fight as

opposed to victory afterwards. (Like Donatello)

Pope Julius II (1503-1513)“The Warrior Pope”

Used military strength like Julius Caesar to expand Papal realm.

Great enemy of Rodrigo Borgia (Pope Alexander VI)

Helped France to invade Italy to depose the Pope.

Employed art as propaganda Enforce Papal authority Display power of the Church Redo Rome and the Vatican to

the glory of Constantine’s days.

Moses for Julius II1513-1515

Commissioned for Pope Julius II’s tomb, but never fully completed due to lack of funding after 40 years.

Originally planned to include over 40 statues. Moses is central figure Highly influenced by Hellenistic

Greece Architecture and sculpture

combined for the first time. Plans not used for the sculpture

were later used on the Sistine Chapel ceiling.

The Sistine Chapel Ceiling Commissioned by Julius II,

initially for tromp l’oeil coffers, later adding 12 apostles. Chapel walls already

contained work by Botticelli, Perugino, Ghirlandaio, Signorelli. (Quatrecento artists)

Took Michelangelo 4 years to complete in the room where new Popes are elected.

The Majesty of Michelangelo

After arguing over the design, M’ received permission to paint what he wanted. Tromp l’oiel marble, including a

cornice, like a classical temple. Grisaille statues of heroic, nude

young men called Ignudi. Nine compartments contain

scenes from Genesis, from creation to the flood beginning at the alter.

8 triangular spandrels over windows have paintings of ancestors of Jesus.

Paranoia Over the Papal Project?

Rumor has it that Bramante and Raphael encouraged Michelangelo to do the ceiling, knowing fresco wasn’t his specialty, thinking he would fail and be disgraced. Is this true? Did Raphael and

Bramante fail to sabotage Michelangelo?

Or…. Was this all in the manic-

depressive mind of Michelangelo?

Acorns? That’s just nuts! 300 figures are

on the ceiling, none in the same position or expression.

Acorns often appear, the symbol of the della Rovere family (“of the oak”)

Michelangelo’s Poetry I've already grown a goiter from this torture,

hunched up here like a cat in Lombardy(or anywhere else where the stagnant water's poison). My stomach's squashed under my chin, my beard's pointing at heaven, my brain's crushed in a casket, my breast twists like a harpy's. My brush,above me all the time, dribbles paintso my face makes a fine floor for droppings!

My haunches are grinding into my guts,my poor *** (donkey) strains to work as a counterweight, every gesture I make is blind and aimless. My skin hangs loose below me, my spine's all knotted from folding over itself.I'm bent taut as a Syrian bow.

Because I'm stuck like this, my thoughts are crazy, perfidious tripe:anyone shoots badly through a crooked blowpipe.

My painting is dead.Defend it for me, Giovanni, protect my honor. I am not in the right place—I am not a painter.

The Creation of Adam First moment of human

consciousness Eve appears under the

arm of God Strongly shows

humanism of Renaissance Adam is on equal plane

with God Adam is childlike,

innocent in expression

Consider This…. “It is scarcely possible, even with hard work, to

imitate what Michelangelo accomplished. This ceiling is a true beacon of our art, and it has brought such enlightenment to painting that it illuminated a world which for hundreds of years had been in the state of darkness.” ---Georgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects (1550, 1568)

Consider: What does Georgio mean by this statement? How did Michelangelo “Enlighten” painting from darkness with this piece?

Michelangelo and the Medici

1512: The Medici regained power in Florence, commissioned Mike to design a tomb at San Lorenzo (designed by Brunelleschi). Lorenzo the Magnificent, his

brother, family relatives. Idealized portraits of the

deceased, classical armor. Classical sarcophagi Classical figures of night and

day Pilasters surround the room.

Romantic Raphael Raphael Santi or Sanzio (1483-

1520) Studied with Perugino (Christ

Presenting the Keys to St. Peter). Master of painting, especially

frescoes at age 17. Commissioned Pope Julius II to

paint the Vatican rooms. Adored animals, babies, angels. Very loved, popular ladies man

Died at age 37 from a fever.

Raphael’s Influences Raphael borrowed High

Renaissance qualities from other masters. Leonardo: Pyramidal

Composition, chiaroscuro Geometry, mathematical

harmony Michelangelo: Classical,

dynamic bodies and contrapposto.

Combine them: Equilibrium plus idealism (Classical + Renaissance)

“He (Raphael) learned everything from me…”-Michelangelo

Learning from Leonardo: Multiple figure interactions

Julius II by Raphael

The Madonna of Raphael Raphael specialized in

portraits of the Holy Family, especially with Mary.

Calm, serene, sweet depiction

Mary, John the Baptist, Jesus Madonna and the

Goldfinch, 1506, oil, Florence

The School of Athens Commissioned for

Julius II’s library, above philosophy books.

Background resembles new design for St. Peter’s (at the time). “Thinkers” from Ancient

Greece represented as noble, majestic, great size to match great minds.

Layout based on Da Vinci’s last supper.

Bramante as Euclid, founder of Geometry

Plato and Aristotle(Plato with features of Da Vinci)

Michelangelo, moping, solving a problem? Writing a letter?

Analyzing the School of Athens

Classical Elements Renaissance Elements

• Barrel Vaults• Coffers• Contrapposto• Nude statues• Classical

philosophers

• Equilibrium of figures (balance)

• Linear Perspective• Vanishing Point• Features of

Renaissance artists (Leonardo = Plato)

• Even light source

Important to Remember Early Renaissance was the

“rebirth” of classical ideas, designs, styles, techniques.

High Renaissance was the mastery and surpassing of classical techniques.

Artists had elevated status and were chronicled in biographies, autobiographies. Personalities, patrons,

philosophies were documented.