The High Renaissance in Italy 1495 1520 Ch 16 Artists become widely celebrated beginning in the early 16th century 16th c artists used 15th c works as foundation inspiration Artists achieved noble status regardless of background due to genius Ex Michelangelo 1475 1564 Titian c 1488 1576 Leonardo da Vinci 1452 1519 Idea vs Nature should the ideal or the natural be portrayed in art Nature comes to be seen as flawed with the artist having the task of recovering its perfect forms in the process of removing ugliness Enormous social political and religious change Paintings characterized by idealized forms of nature though at the same time meant to imitate nature understanding and usage of antique forms balance and clarity of composition emotional power Leonardo Da Vinci claimed the art of painting is superior to poetry and sculpture a painter s most difficult task is to depict the intention of man s soul introduced notion of stability through the stable pyramid arrangement the pyramid represented the element of fire regarded as the most pure an powerful element by Plato pyramid is the building block of the universe first painter to combine perfect human proportion with oil paint shadowing master of light and shadow techniques interested not only in structure but function of human body as well wrote Trattato della Pittura a collection of manuscripts about the art of painting discusses anatomy perspective and argues that painting is a science popularized pose for portraits previously in profile Leonardo da Vinci Portrait of Ginevra de Benci c 1474 1478 pose characteristically Flemish oil medium diminished contours atmospheric perspective sfumato in background Leonardo da Vinci The Virgin of the Rocks 1483 1486 made in Milan features the Virgin the infant Jesus St John the Baptist and an angel figures in pyramidal form with the Virgin at the apex structure has 3D effect sfumato quiet dreamlike quality created by delicate gestures and selective lighting black added to shadowing to smooth the color of shadows despite varying the colors of the figures robes appearance more consistent with nature translucent oil paint applied in layers Leonardo da Vinci The Virgin and Child with St Anne c 1508 depicts St Anne the Virgin Mary and the infant Jesus spiraling motion of figures pyramidal arrangement of figures conceit infant Jesus is trying to climb the lamb which symbolizes the offering of Jesus but Mary is holding the child back unfinished Leonardo da Vinci The Last Supper 1494 1498 vanishing point behind the head of Jesus natural light frames the figure of Jesus note no disk or flashy patterns instead light composition colors and setting all put focus on Jesus intentions of disciples revealed through their poses and expressions Leonardo da Vinci The Mona Lisa c 1503 1506 3 4 pose balanced composition stable pyramid focus on natural features no adornments jewels sfumato background Donato Bramante 1444 1515 Montorio perfect geometrical forms built martyrium called the Tempietto on the Janiculum next to church of San Pietro in central plan circular temple inside square courtyard these were considered the sphere also considered perfect dome and concentric structure symbolizes the universe original plan had extra ring of columns surrounded by circular colonnaded courtyard columns support entablature Tuscan Doric Order columns used in the structure were from actual ancient buildings spolia non decorative capitals the frieze has triglyphs fa ade recalls architecture of Roman temples structure based on module of its columns sculptured wall inside and in courtyard built in honor of St Peter the model of the pope effectively proclaimed popes as direct heirs of Rome Bramante s Basilica of St Peter plan c 1505 plan ONLY round huge dome like the Pantheon based on the circle and the square classical forms domes half domes colonnades and pediments Old St Peter s Basilica Constantinian Basilica c 333 390 narfex porch screened by archave series of columns transept latin cross Michelangelo primarily a sculptor and painter also an architect more focused than Leonardo educated in grammar school had great talent for drawing and was adopted into the social circle of the Medici family along with other humanists and scholars master of marble sculpture believed that the soul is imprisoned within the body sculptures reveal dualism of body and spirit Sextants of the eye by observing marble block could create a vision of future work and hold it static even for years until completion revered the human image and form Michelangelo new St Peter s plan 1546 builds most of the structure using altered plan following Bramante s death not a basilica Greek cross inscribed in square colonnade in front huge dome small semi domes on sides piers enlarged to support larger dome welcoming stairs Michelangelo Piet 1498 1499 balances Renaissance ideals with style of naturalism figure of Mary is oversized Mary portrayed as youthful innocent stable composition serene contemplative theme of Madonna and Child Michelangelo The Doni Tondo c 1507 the Virgin portrayed as heroic vs innocent sweet in Raphael s The Alba Madonna figures of the Virgin and even the infant Jesus are muscular the Madonna sits in uncomfortable pose and appears to hoist the infant with huge effort nude youths lounging horizontal stripe division between world after Christ and before Christ pagan St Joseph resembles St Peter compare to The Alba Madonna much more abstract Michelangelo David 1501 1504 first in duomo of Florence Cathedral now resides in Accademia Gallery Florence vigilant guardian vs Donatello s version playful muscular solid form vs Donatello s version wiry and slender youth inspired by muscular and emotionally powerful Hellenistic forms 17 feet tall dwarfs Donatello s figure both in size and power holds slingshot on left which is considered the side of evil artist erases time ambiguous at which point in the story leonine physiognomy curly haired flared nostrils personality brave strong wise Michelangelo Moses c 1513 1515 exhibits terrifying force terribilit horns as a symbol of divine favor Ten Commandments under arm Michelangelo Awakening Slave 1525 1530 marble statue unfinished for tomb of Pope Julius II reveals artist s characteristic technique of imagining forms within the marble itself for signs of life every gesture shows struggle for liberation Michelangelo The Sistine Chapel paintings 1508 1512 ceiling paintings chapel named after Pope Sixtus IV