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.