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The High Renaissance in Italy

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Title: The High Renaissance in Italy


1
The High Renaissance in Italy
  • Da Vinci,
  • Michelangelo
  • Raphael

2
Leonardo da Vinci the Renaissance Man
3
  • The term renaissance man is used to describe
    someone who has a wide variety of interests, and
    expertise in many fields.
  • Leonardo da Vinci was the quintessential
    renaissance man. He was a painter, sculptor,
    inventor, architect, musician, engineer, and
    scientist.
  • He is widely recognized as a genius of the
    highest level.
  • Historians tell us that he was not only
    intellectually gifted, but that he was noble in
    appearance and manners as well.

4
Leonardo da VinciThe Last Supper 1495 - 1498
5
  • Thank you Samantha and Lauren for introducing
    this work to us.

6
  • The Last Supper was painted on the wall of the
    refectory (dining hall) in the monastery of Santa
    Maria delle Grazie in Milan, Italy
  • The Last Supper measures 450 870 centimeters
    (15 feet 29 ft)

7
  • Christ is depicted here with his disciples at the
    last meal he shared with them before his
    crucifixion. We are shown the moment after Jesus
    has announced that one of the disciples will
    betray him.
  • The disciples react with dismay, and their
    gestures show their disbelief and concern.

8
  • Notice how effectively Da Vinci leads the
    viewers eye to Jesus
  • By centering Jesus
  • By using the lines of perspective in the walls
    and ceiling
  • By framing Jesus head in the window
  • By isolating Jesus, while all other figures are
    grouped and overlapping
  • By following the gazes and gestures of the
    disciples
  • By contrasting Jesus stillness with the
    agitation of the other figures

9
Disasters plague The Last Supper
  • The Last Supper is one of the most famous
    paintings in the world, but it has not been well
    preserved.
  • Shortly after Da Vinci finished the painting it
    began to peel off the wall. (Da Vinci did not use
    the fresco technique instead, he sealed the
    surface of the wall and painted on top of it.)
  • Several attempts by lesser artists were made to
    restore it, and parts of it were painted over
    with oil paints.
  • At one point a door was cut into the wall below
    the picture, partly cutting off the bottom of the
    painting.
  • During the Napoleonic wars, when the monastery
    was used as an armory, soldiers threw their boots
    at Judas.
  • During WWII, the dining hall suffered a direct
    hit in a Nazi bombing raid.
  • The painting was covered by a canvas, but trapped
    moisture caused fungus to grow on the surface of
    the painting.

10
Leonardo da Vinci Mona Lisa (La Giaconda) 1503
11
  • Mona was an abbreviation of madonna, meaning my
    lady, the equivalent of Madame, or Signora. So
    the title means Madame Lisa.
  • Lisa became the wife of a Florentine silk
    merchant at the age of 16. She was 24 years old
    when the portrait was completed.
  • Da Vinci worked on it for four years and kept it
    with him until he died at age 50.

12
  • The painting was stolen from the Louvre in 1911
    by a former Louvre employee and rediscovered in a
    hotel room in Florence 2 years later.

13
Mona Lisa, A Prototype for Renaissance Portraiture
  • The portrait is a prototype of the Renaissance
    portrait. In other words, Da Vinci introduced a
    new way of painting portraits.
  • He used both linear and aerial perspective in the
    background
  • He used a relaxed, natural, three-quarter pose
    which was a departure from the stiff profile head
    and shoulders portraits which had become the norm
    at that time.
  • He used a technique known as sfumato, (smoke)
    building the painting with layers of
    semi-transparent glazes, so the expression on the
    models face, especially her smile, is softly
    ambiguous, or mysterious.

14
Leonardo da VinciThe Madonna of the Rocks
15
  • There are 2 versions of this painting, one in the
    Louvre, in Paris, and one at the National
    Gallery, in London.
  • The scene refers to a legend that Jesus and John
    the Baptist met up as infants on the road to
    Egypt, fleeing Herods decree that all Jewish
    infants under the age of two years must be
    murdered.

16
  • The cross and halos that are absent in the first
    version (the Louvre version) were possibly added
    to the London version by another artist, to make
    identification of the two child figures easier.
  • The pool of water foreshadows Johns role as the
    one who will baptize Jesus.

17
Leonardo da VinciThe Virgin and St. Anne
  • Da Vinci shows us three generations of the Holy
    Family here in an intimate and relaxed moment.
    The Virgin Mary sits in her mothers lap (St.
    Anne), and reaches lovingly toward Jesus, who
    plays with a lamb. The lamb, of course,
    symbolizes Jesus future role as a sacrifice for
    all mankind.

18
Leonardo da VinciCecilia Gallerani 1489 - 1490
19
  • The Lady with the Ermine was painted in oils on
    wooden panel
  • Cecilia Gallerani was the mistress of Leonardo's
    employer, Lodovico Sforza
  • At the time of her portrait, Cecilia was about
    sixteen.
  • was renowned for her beauty, her scholarship, and
    her poetry. She was betrothed at the age of about
    ten years to a young nobleman of the house of
    Visconti but the marriage was called off. Cecilia
    became the mistress of the Duke and bore him a
    son, but he chose to marry a girl from a more
    noble family, Beatrice d'Este.3

20
  • Cecilia's dress is comparatively simple,
    revealing that she is not a noblewoman. Her
    coiffure, known as a "coazone", confines her hair
    smoothly to her head with two bands of hair bound
    on either side of her face and a long plait at
    the back. Her hair is held in place by a fine
    gauze veil with a woven border of gold-wound
    threads, a black band and a sheath over the plait.

21
Why an Ermine?
  • There are several interpretations of the
    significance of the ermine in her portrait. The
    ermine was a traditional symbol of purity because
    it was believed that an ermine would face death
    rather than soil its white coat by hiding in a
    muddy burrow.
  • For Ludovico il Moro the ermine had a further
    personal significance in that he had been in the
    Order of the Ermine in 1488 and used it as a
    personal symbol.
  • Given that Cecilia gave birth to a son
    acknowledged by Lodovico in May of 1491, and the
    association of weasels and pregnancy in Italian
    Renaissance culture, it is also possible that the
    animal was a symbol of Cecilia's pregnancy.

22
Leonardo da Vinci La Belle Ferroniere
23
  • This is one of only four portraits of women by
    Leonardo da Vinci.
  • It is thought by some art historians that this
    woman was another mistress of the Duke of Milan.

24
Leonardo da Vinci
  • Vitruvian Man 1487
  • The Vitruvian Man remains one of the most
    referenced and reproduced artistic images in the
    world today.

25
  • Vitruvian Man is a world-renowned drawing created
    by Leonardo da Vinci around the year 1487. It is
    accompanied by notes based on the work of the
    famed classical architect, Vitruvius, for which
    it is named.
  • The drawing and text are sometimes called the
    Canon of Proportions or, less often, Proportions
    of Man.

26
  • According to Leonardo's notes, (written in mirror
    writing), it was made as a study of the
    proportions of the (male) human body as described
    in Vitruvius. For example
  • the length of a man's outspread arms (arm span)
    is equal to his height
  • the distance from the top of the head to the
    bottom of the chin is one-eighth of a man's
    height etc. (ie. The figure is 8 heads high)

27
  • The Renaissance was a period in which the human
    form was recognized as noble, made in the image
    of God. Mankind was seen as the measure of all
    things, and human proportions were thought to
    correspond with measurements found in the natural
    world and in the structure of the universe

The Renaissance was a period in which the
28
Leonardo da Vincidrawing of a womans head
29
Da Vinci the medical researcher study of a fetus
30
Leonardo da Vincianatomical drawing human lungs
31
Da Vinci the inventor sketch design of a
helicopter
32
  • Michelangelo
  • Sculptor
  • Painter
  • Architect

33
  • "In every block of marble I see a statue as plain
    as though it stood before me, shaped and perfect
    in attitude and action. I have only to hew away
    the rough walls that imprison the lovely
    apparition to reveal it to the other eyes as mine
    see it."Michelangelo

34
  • Michelangelos David.
  • This statue is perhaps the most iconic image of
    the Renaissance period.
  • Michelangelos statue stands 17 feet high (about
    3 metres)

35
  • "In it may be seen most beautiful contours of
    legs, with attachments of limbs and slender
    outlines of flanks that are divine nor has there
    ever been seen a pose so easy, or any grace to
    equal that in this work, or feet, hands and head
    so well in accord, one member with another, in
    harmony, design, and excellence of artistry. And,
    of a truth, whoever has seen this work need not
    trouble to see any other work executed in
    sculpture, either in our own or in other times,
    by no matter what craftsman."Giorgio Vasari
    1550

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Michelangelos David
  • It was sculpted between1501 and 1504.
  • Michelangelo was only twenty-six years old, when
    he won the commission to complete the statue from
    a block of marble (the giant) that had been
    abandoned 30 years earlier by another artist.
  • When it was finished, David was placed in front
    of the entrance to the Palazzo Vecchio, the town
    hall. In 1873 the statue was moved from the
    piazza, to protect it from damage, and brought to
    its current location in the Academia Gallery, in
    Florence.

38
A Classic Pose
  • David is a Renaissance interpretation of a common
    ancient Greek theme of the standing heroic male
    nude.
  • In the High Renaissance, contrapposto poses were
    thought of as a distinctive feature of antique
    sculpture. In David, the figure stands with one
    leg holding its full weight and the other leg
    relaxed. This classic pose causes the figures
    hips and shoulders to rest at opposite angles,
    giving a slight s-curve to the entire torso. This
    curve gives the figure its classical grace.
  • Michelangelos David has become one of the most
    recognized pieces of Renaissance sculpture,
    becoming a symbol of both strength and youthful
    human beauty.

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  • Traditionally, David was portrayed after his
    victory, triumphant over the giant Goliath. Both
    Verrochios and Donatellos Davids are depicted
    standing over Goliath's severed head.
  • Michelangelo has depicted David before the
    battle. Davis is tense, but not so much in a
    physical as in a mental sense. The slingshot he
    carries over his shoulder is almost invisible,
    emphasizing that David's victory was one of
    cleverness, not sheer force.

41
  • The hand that holds the stone is larger than the
    other, drawing the viewers attention to the
    action that is about to unfold.

42
Facing down the enemy
  • Michelangelo was a citizen of the city state of
    Firenze (Florence), and Florence was surrounded
    by much more powerful enemy city states.
  • When the statue of David was placed on the square
    in front of the city hall, the people of Florence
    immediately identified with him as the cunning
    underdog triumphing over the big bad guy. David
    was positioned so that his glare was directed
    south, toward the rival city of Rome.

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Michelangelo - Moses
45
Michelangelos Moses
  • This statue was commissioned by Pope Julius II
    for Julius tomb.
  • It was one of 40 figures that were intended to
    adorn the tomb in St. Peters Basilica. The tomb
    ended up in a smaller church, with only a third
    of the originally planned figures.

46
Moses
  • Moses, sculpted in marble, has horns on his head,
    in the manner that was traditional in medieval
    depictions of Moses (tongs of fire according to
    the bible).
  • Horns were symbolic of authority in ancient Near
    Eastern culture, and the medieval depiction had
    the advantage of giving Moses a convenient
    attribute by which he could easily be recognized
    in crowded pictures.

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Michelangelo Pieta
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Pieta
  • Pieta means Pity, and this is certainly the
    emotion that this magnificent sculpture evokes.
  • We feel pity for Christs suffering, but also for
    his grieving mother, who holds her sons body in
    an attitude of quiet acceptance.

51
Michelangelos Pieta
  • The Pieta balances the Renaissance ideals of
    classical beauty with naturalism. The statue is
    one of the most highly finished works by
    Michelangelo.
  • The structure is pyramidal. The statue widens
    progressively down the drapery of Mary's dress,
    to the base. The figures are quite out of
    proportion, owing to the difficulty of depicting
    a fully-grown man cradled full-length in a
    woman's lap. By concealing much of Mary's body in
    her monumental drapery, Michelangelo made the
    relationship of the figures appear quite natural.

It is an important work as it balances
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  • Note that Michelangelo's sculpted a young and
    beautiful Mary rather than an older woman. One
    explanation for this is that her youth symbolizes
    her incorruptible purity. Another is that Mary is
    really seeing her child, the infant Jesus, while
    the viewer is seeing an image of the future.
  • The marks of the crucifixion are limited to very
    small nail marks and an indication of the wound
    in Jesus' side.

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Michelangelo as a PainterThe Sistine Chapel
  • The Sistine Chapel is located in the Vatican City
  • in Rome, attached to St. Peters Basilica,
    the papal apartments and the vast complex of
    buildings that make up the Vatican museums.
  • Michelangelo was commissioned by Pope Julius II
    to paint the ceiling of the chapel. He resisted,
    as he preferred sculpture to painting, but had to
    do as he was told.
  • The works are frescoes, (painted into fresh
    plaster) and they cover about 4,000 square metres
    of ceiling.
  • Michelangelo built scaffolding so that he could
    work on his back, and laboured over the frescoes
    from 1508 to1512.

57
MichelangeloThe Sistine Chapel
58
MichelangeloThe Creation of Adam (The Sistine
Chapel)
59
  • Thank you Jon, for introducing this work to us.

60
Interpretations of The Creation of Adam
  • It has been suggested that the background figures
    and shapes portrayed behind the figure of God
    bear a striking similarity to a cross section of
    the human brain, including the frontal lobe,
    optic chiasm, brain stem, pituitary gland, and
    the major sulci of the cerebrum.
  • Alternatively, it has been observed that the red
    cloth around God has the shape of a human uterus
    and that the scarf hanging out, colored green,
    could be a newly cut umbilical cord.

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  • Both of these interpretations suggest the mystery
    of creation in the mind, where ideas are born,
    and in the womb, where life originates.
  • The painting depicts the symbolic birth of the
    human race, as God reaches out to give the breath
    of life to Adam, the first man, reclining on the
    newly made earth.
  • Under Gods left arm is Eve, as yet unborn.
  • Michelangelos fascination with and his
    familiarity with human anatomy are in evidence
    here.

62
Sistine Chapel The Temptation of Adam and Eve
(The Sistine Chapel)
63
Michelangelo The Sistine ChapelThe Last
Judgment
64
  • The Last Judgment is on the altar wall of the
    Sistine Chapel. It took four years to
    complete(1537 to 1541). Michelangelo began
    working on it three decades after finishing the
    ceiling of the chapel.
  • The work is massive and spans the entire wall
    behind the altar of the Sistine Chapel. The Last
    Judgment is a depiction of the Second Coming of
    Christ and the apocalypse. The souls of humans
    rise and descend to their fates, as judged by
    Christ surrounded by his saints.

65
  • The Last Judgment was a source of conflict
    between Cardinal Carafa and Michelangelo the
    artist was accused of obscenity, having depicted
    naked figures, inside the most important church
    of Christianity,)
  • When the Pope's own Master of Ceremonies, Biagio
    da Cesena, said that it was no work for a papal
    chapel but rather "for the public baths and
    taverns," Michelangelo worked Cesena's face into
    the scene as Minos, judge of the underworld (far
    bottom-right corner of the painting) with Donkey
    ears i.e. foolishness while his nudity is
    covered by a coiled snake.
  • It is said that when Cesena complained to the
    Pope, the pontiff joked that his jurisdiction did
    not extend to hell, so the portrait would have to
    remain

66
Detail from The Last Judgement Minos
67
  • In the painting, Michelangelo does a self
    portrait depicting himself as St. Bartholomew
    after he had been flayed (skinned alive). This is
    reflective of the feelings of contempt
    Michelangelo had for being commissioned to paint
    The Last Judgement.

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Michelangelo as an Architect The dome of St.
Peters in Rome
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  • The dome of St. Peters Basilica, Rome

75
St Peters Square - Rome
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Raphael Sanzo
  • 8 years younger than Michelangelo
  • Interested in archeology, he became an expert in
    ancient Roman art.
  • Commissioned to decorate the state rooms in the
    Vatican at the same time that Michelangelo was
    working on the Sistine Chapel frescoes.

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  • Raphael, unlike Michelangelo, was well mannered,
    well dressed, well liked.
  • He always carried around a sketch book in which
    he constantly sketched women and children. These
    sketches formed the basis of his many Madonnas.
  • He was influenced by Perugino to use soft
    colours, simple circular forms, and gentle
    landscapes in his paintings.
  • He is best remembered for his madonnas, his
    portrayals of the Virgin with the infant Jesus.

78
The Sistine Madonna
79
Raphael The Sistine Madonna (detail of the
angels)
80
  • Raphaels madonnas seem simple and effortless,
    but their apparent simplicity is the fruit of
    deep thought, careful planning and immense
    artistic wisdom. A painting like Raphael's
    'Madonna dell Granduca', is truly 'classical' in
    the sense that it has served countless
    generations as a standard of perfection in the
    same way as the works of the classical sculptors
    Pheidias and Praxiteles.

, their apparent simplicity is the fruit of deep
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  • The Madonna del Granduca
  • The way the Virgin's face is modeled and recedes
    into the shade, the way Raphael makes us feel the
    volume of the body wrapped in the freely flowing
    mantle, the firm and tender way in which she
    holds and supports the Christ Child - all this
    contributes to the effect of perfect poiseto
    change the group ever so slightly would upset the
    whole harmony. Yet there is nothing strained or
    sophisticated in the composition. It looks as if
    it could not be otherwise, and as if it had so
    existed from the beginning of time.

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Raphael Madonna della Sedia - 1514
83
Raphael The Alba Madonna 1500
84
Raphael The Madonna of the Meadow 1505
85
  • Raphael The Cowper Madonna.
  • 1505

86
Raphael The School at Athens
87
  • Thank you Erica and Chiara for introducing us to
    this work.

88
Raphael The School at Athens. 1509-1510
  • Raphaels famous fresco decorates a wall in the
    papal palace at the Vatican, in Rome.
  • He depicts famous figures from various fields of
    knowledge, with the Greek philosophers, Plato and
    Aristotle at the centre of the composition. Plato
    is shown with Leonardo da Vincis features.
  • Also included in the painting are Socrates
    (another philosopher), Alexander the Great
    (military genius) and Pythagoras and Euclid
    (mathematicians).

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  • Raphael has also paid tribute to his fellow
    artist, Michelangelo, by placing him in the
    foreground.
  • The work is a brilliant demonstration of the
    technique of linear (line) perspective. The
    architectural space recedes infinitely through
    the arches of the marble hall to the open sky
    beyond.
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