Leonardo Michelangelo Bramante Tintoretto Pontormo

1. HIGH ITALIAN RENAISSANCE Know Your ItalianHigh Renaissance Artists… Leonardo Michelangelo Bramante Tintoretto Pontormo Palladio Raphael Titian Mannerist Artists…

2. HIGH ITALIAN RENAISSANCE Leonardo da Vinci • Leonardo was the quintessential “Renaissance Man”, studying all types of subjects. He was an Artist, Sculptor, Architect, Scientist, Engineer and Inventor. • Worked as an apprentice to Verrocchio Self-Portrait drawing, c1512.

3. HIGH ITALIAN RENAISSANCE Triangular Composition Leonardo Da Vinci, “Virgin of the Rocks” 1485. Oil on wood (transferred to canvas), approx. 6’3” x 3’7”. Louvre Paris.

4. HIGH ITALIAN RENAISSANCE Excerpts from da Vinci’s Notebook

5. HIGH ITALIAN RENAISSANCE Excerpts from da Vinci’s Notebook

6. HIGH ITALIAN RENAISSANCE Excerpts from da Vinci’s Notebook

7. HIGH ITALIAN RENAISSANCE Excerpts from da Vinci’s Notebook

8. HIGH ITALIAN RENAISSANCE Excerpts from da Vinci’s Notebook

9. HIGH ITALIAN RENAISSANCE Excerpts from da Vinci’s Notebook

10. HIGH ITALIAN RENAISSANCE Leonardo Da Vinci.“Last Supper” ca. 1495-1498. Fresco. Despite it’s ruined state and its restorations, this piece is by far the most impressive of Leonardo’s works. Christ and his 12 disciples are seated at a long table set parallel to the picture plan in a simple, spacious room. Leonardo amplified the painting’s highly dramatic action by placing the group in an austere setting. Christ appears isolated from the disciples, framed by the window behind him. It serves as a halo. The artist took people out of his real life and used them as figures for his painting, but had problems with Judas because he couldn’t find a significant figure for him. When he did finally paint him, he portrayed him with his hand over a dish because of Christ’s foretelling that “he that dippeth his hand with me into the dish, he shall betray me” refering to Judas’ betrayal. He is also leaning back from Christ and in a shadow. Christ was the last to be painted.

11. HIGH ITALIAN RENAISSANCE Leonardo Da Vinci.“Last Supper” ca. 1495-1498. Fresco. Divine THREEs: Trinity & Theological Virtues Earthly FOURs: Elements & Cardinal Virtues

12. HIGH ITALIAN RENAISSANCE Other Last Supper renditions

13. HIGH ITALIAN RENAISSANCE Other Last Supper renditions

14. HIGH ITALIAN RENAISSANCE Other Last Supper renditions

15. HIGH ITALIAN RENAISSANCE Other Last Supper renditions

16. HIGH ITALIAN RENAISSANCE Other Last Supper renditions

17. HIGH ITALIAN RENAISSANCE World’s most famous portrait. Leonardo took three years to finish the portrait and it is said to be of Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. It was his favorite piece – so much so that Leonardo kept it for years. Leonardo Da Vinci, “Mona Lisa” ca. 1503-1505. Oil on wood, approx 2’6” x 1’9”. Louvre, Paris.

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20. HIGH ITALIAN RENAISSANCE Portrait of Mona Lisa Giaconda OR Self-Portrait of da Vinci?

21. HIGH ITALIAN RENAISSANCE Other Important works by da Vinci “Portrait of Ginerva Benci”,Oil on Wood, 1474-76. “Virgin of the Rocks”, 1485. Oil on wood..

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23. HIGH ITALIAN RENAISSANCE Michelangelo, David 1501-1504. In 1501, the city of Florence asked Michelangelo to work a great block of marble, called “The Giant,” left over from an earlier aborted mission. From this stone, David was sculpted, the defiant hero of the Florentine republic and, in so doing, assured his reputation then and now as an extraordinary talent. David’s formal references to classical antiquity appealed to Julius II, who associated himself with humanists and with Roman emperors. Thus, this sculpture and the fame that accrued to Michelangelo on its completion called the artist to the pope’s attention, leading to major papal commissions. The artist chose to depict David not after victory, but turning his head to his left, sternly watchful of the approaching foe. His whole muscular body, as well as his face, is tense with gathering power.

24. HIGH ITALIAN RENAISSANCE Michelangelo, David 1501-1504. Michelangelo worked for the Medici family in Florence Claimed to have taught himself to carve marble by studying the Medici collection of classical statues Michelangelo,David Galleria dell’Academia, Florence, Italy 1501-1504

25. HIGH ITALIAN RENAISSANCE Michelangelo, David 1501-1504. It’s a larger than life sculpture, the height of David reaches over 13 feet tall. It’s also sculpted in perspective (top heavy), so if viewed from below the figure looks proportional. Contrappostoor a weight shift is also apparent in this sculpture.

26. HIGH ITALIAN RENAISSANCE Exterior of Sistene Chapel

27. HIGH ITALIAN RENAISSANCE Michelangelo, Ceiling of the Sistine Chapel, 1508-12 Pope Julius II gave the reluctant Michelangelo the commission to paint the ceiling of the Sistene Chapel. Michelangelo faced enormous difficulties: relative inexperience in fresco technique, large dimensions, height above pavement, and perspective. Depicting the most august themes of all, the Creation, Fall, and Redemption of humanity, Michelangelo spread a colossal decorative theme with over 300 figures. A long sequence of narrative panels describing the creation, as recorded in the biblical book Genesis, runs along the crown of the vault. The hebrew prophets who foretold the coming of Christ appear seated in large thrones on both sides of the central row.

28. HIGH ITALIAN RENAISSANCE Michelangelo, Ceiling of the Sistine Chapel, Rome, 1508-1512

29. HIGH ITALIAN RENAISSANCE Michelangelo, Ceiling of the Sistine Chapel, Rome, 1508-1512

30. HIGH ITALIAN RENAISSANCE Michelangelo, Ceiling of the Sistine Chapel, Rome, 1508-1512

31. HIGH ITALIAN RENAISSANCE MichelangeloCeiling of the Sistine Chapel Rome, Italy 1508-1512

32. HIGH ITALIAN RENAISSANCE MichelangeloThe Last JudgmentFresco Sistine Chapel, Italy1541.

33. HIGH ITALIAN RENAISSANCE When the Pope's own Master of Ceremonies Biagio da Cesena said "it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns,“Michelangelo worked da Cesena's semblance into the scene as Minos, judge of the underworld. It is said that when he complained to the Pope, the pontiff responded that his jurisdiction did not extend to hell, so the portrait would have to remain. Biago da Cesena(the Pope’s Master of Ceremonies) painted as Minos, Ruler of Hell

34. HIGH ITALIAN RENAISSANCE Tomb of Pope Julius II

35. HIGH ITALIAN RENAISSANCE Michelangelo,Moses 1513-1515 Commissioned by Pope Julius II as part of his immense tomb, (which was never completed as planned… Julius used more funds to the building of St. Peter’s) Horns on head were traditionally meant to be divine, but scripture may have meant that Moses was “radiant”, not “horned”. Inspired by Greek Hellenistic sculpture Laocoon & Sons

36. HIGH ITALIAN RENAISSANCE Michelangelo, Pietà, c1500, Marble, 5’8.5”. A Pietà is the Virgin Mary holding and mourning dead Christ Italian for “compassion” Popular in Northern Europe, but rare in Italy Made by Michelangelo when he was 24 Only major work that has Michelangelo’s signature on it (on the strap across her chest)

37. HIGH ITALIAN RENAISSANCE Rogier Van Der Weyden,Pieta, 1450, Oil on Panel.

38. HIGH ITALIAN RENAISSANCE Latin for “Michelangelo Buonarroti Made This”

39. HIGH ITALIAN RENAISSANCE The marble sculpture is encased in bullet-proof glass inside St. Peter’s in Rome.

40. HIGH ITALIAN RENAISSANCE “An American Pietà”

41. HIGH ITALIAN RENAISSANCE Shortly after Bramante left Milan for Rome, he received a commission fro King Ferdinand and Queen Isabella of Spain to build a small shrine to mark the site of St. Peter’s crucifixion. Bramante chose to design a circular temple. The Tempietto (or “little temple”) captures Classical Roman ideals: a circular cella and simple mathematical ratios. Bramante,Tempietto, 1505. HIGH ITALIAN RENAISSANCE

42. HIGH ITALIAN RENAISSANCE Layout of Bramante’s Tempietto Sixteen Doric columns surround the cella. The distance between the columns is four times their diameter. Bramante,Tempietto, 1505. HIGH ITALIAN RENAISSANCE

43. HIGH ITALIAN RENAISSANCE Sixteen Doric columns surround the cella. The distance between the columns is four times their diameter. Bramante,Tempietto, 1505. HIGH ITALIAN RENAISSANCE

44. HIGH ITALIAN RENAISSANCE A Brief History ofSt. Peter’s in Rome… 1506 1514 1546 Bramante designs a Greek-Cross plan for a new St. Peter’s to replace the old church. Bramante dies, and the building of the church is put on hold for over 30 years. Michelangelo becomes Chief Architect for the building of St. Peter’s… built up to the dome.

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49. HIGH ITALIAN RENAISSANCE 1630 Painting of St. Peter’s

50. HIGH ITALIAN RENAISSANCE St. Peter’s at Night