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The Virgin of the Rocks. Leonardo da Vinci. 1485. Commission: Confraternity of the Immaculate Conception. San Francesco Grande, Milan, Italy. Now in the Louvre.
St. John the Baptist kneeling in front of Christ.
Mary apex of pyramid. John and Jesus at other points.
Dynamic. Movement. Pointing.
Triangle standard formula of High Renaissance.
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| one of the four canonical techniques of the Renaissance. the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition |
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| "rebirth" classical learning, literature and art |
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| "Lives of the Artists" (1550) first modern art historian. Argued that new art rivaled, if not surpassed, accomplishments of antique art. Improve on nature, that is idealize, rather than imitate nature. Artists as creator |
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| one of four canonical painting modes during the Renaissance. "smoky" delicate, almost imperceptible transitions between light and shading in modeling of figures |
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| slightly turned pose of the body, like in Michelangelo's David. Takes dynamic angle. |
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| (1503-1510) Named himself after the great Roman Emperor Julius Caesar. Envisioned himself inheritor of the Roman Empire. Commissioned works such as Raphael's Stanza della Segnatura and Michelangelo's Sistine Chapel. |
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Pietà. Michelangelo. 1498-1500. Marble. St. Peter, Vatican City, Rome.
Mary lamenting Jesus' death,
Idealized young Mary. Serenity in her mourning.
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David. Michelangelo. (1501-1504)
Marble. Moment before David vs Goliath.
Piazza della Signoria, Florence, Italy.
Galleria dell'Academia 17' high.
Ambitious
Contrapposto
Michelangelo looking back to ancient times
(Hermes and the infant Dionysus, Temple of Hera, Greece. Praxiteles. 340 BCE) |
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Creation of Adam. Michelangelo. 1511-12.
Sistine Chapel ceiling
Vatican City, Rome.
male body was vision of God.
Virgin Mary or Eve
VM- God is touching baby, Christ? |
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Sistine Chapel. Michelangelo.
1508-1512.
Great struggle, preferred sculpture. |
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The School of Athens. Raphael.
fresco in the Stanza della Segnatura, Vatican, Rome
1510-11
Philosophy
gathering of the moderns and the ancients
CENTER: Plato pointing up, thoughts celestial
Aristotle pointing down, earth, empirical
LOWER R: grey Euclid, father of geommetry bent over slate teaching
1.learning 2. comprehending 3. anticipation of outcome 4. assisting the teacher
Above right: Raphael self portrait, with geographer Ptolemy and Zoroaster
Heraditus brooding philosopher but also Michelangelo who was working at same time as Raphael
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Raphael. Stanza della Segnatura.
1510-11.
Vatican, Rome.
Commissioned by Pope Julius II.
Pope signed official documents in the room.
Painting allude to branches of learning
theology, philosophy, jurisprudence, and the poetic arts |
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Venus of Urbino. Titian. 1538
Galleria degli Uffizi, Florence
alludes to Greek Aphrodite for Duke of Urbino
Not a classical deity, but in 16th century Italian household
"Modest Venus" pose
lookback to Praxiteles, Aphrodite of Knidos)
chaste but sensual
references to matrimony:
Cassone (wooden chest) storing clothes in couples bedroom
Myrtle, roses and dog: symbols of loyalty and matrimony
creating a modern image of ideal beauty |
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(1452-1519)
scientist, painter, sculptor, musician, architect, and engineer
Renaissance man
known for his work Virgin of the Rocks
believed painting was the superior art form
"Painting is a matter of greater mental analysis" |
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1475-1564
sculptor, painter, architect, poet
believed sculpture was the superior art form
Pieta and David |
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| Raphael (Rafaello Sanzio) |
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1483-1520
slightly younger Renaissance
Stanza della Segnatura
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