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