Download Leonardo Michelangelo Raphael Titian Palladio Bramante Know

16th Century High Italian Renaissance
Know Your Italian
High Renaissance Artists…
Leonardo
Michelangelo
Raphael
Titian
Palladio
Bramante
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
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.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Leonardo Da Vinci, “Virgin of the Rocks”
1485. Oil on wood (transferred to canvas),
approx. 6’3” x 3’7”. Louvre Paris.
HIGH ITALIAN RENAISSANCE
Triangular Composition
16th Century High Italian Renaissance
Leonardo Da Vinci, “Virgin of the Rocks”
1485. Oil on wood (transferred to canvas),
approx. 6’3” x 3’7”. Louvre Paris.
HIGH ITALIAN RENAISSANCE
Triangular Composition
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Excerpts from da Vinci’s Notebook
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Excerpts from da Vinci’s Notebook
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Excerpts from da Vinci’s Notebook
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Excerpts from da Vinci’s Notebook
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Excerpts from da Vinci’s Notebook
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Excerpts from da Vinci’s Notebook
16th Century High Italian Renaissance
Leonardo Da Vinci
The 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.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Leonardo Da Vinci. The Last Supper.
Divine THREEs: Trinity & Theological Virtues
Earthly FOURs: Elements & Cardinal Virtues
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Other Last Supper renditions
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Other Last Supper renditions
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Other Last Supper renditions
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Other Last Supper renditions
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Other Last Supper renditions
16th Century 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.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
“Portrait of Ginerva Benci”, Oil on Wood, 1474-76.
Other important works by da Vinci
“Virgin of the Rocks”, 1485. Oil on wood..
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
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.
HIGH ITALIAN RENAISSANCE
Michelangelo, David 1501-1504.
16th Century 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
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
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. Contrapposto or a
weight shift is also apparent in this sculpture.
HIGH ITALIAN RENAISSANCE
Michelangelo, David 1501-1504.
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Exterior of Sistine Chapel
16th Century 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 Sistine 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.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo, Ceiling of the Sistine Chapel, Rome, 1508-1512.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo, The Creation of Man (Adam),
Ceiling of the Sistine Chapel, Rome, 1508-1512.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo, Adam and Even Expelled from Eden,
Ceiling of the Sistine Chapel, Rome, 1508-1512.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo, The Flood,
Ceiling of the Sistine Chapel, Rome, 1508-1512.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo
Ceiling of the
Sistine Chapel
Rome, Italy 1508-1512
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo
The Last Judgment Fresco
Sistine Chapel, Italy
1541.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo
The Delphic Sibyl
Ceiling of the Sistine Chapel, Italy
1508-1512.
Michelangelo's Delphic Sibyl (1508-12) is
the most beautiful and youthful of the five
sibyls depicted on the Sistine ceiling.
The sibyls were female seers from
antiquity who were thought to have
predicted the coming of Christ, and this
sibyl appears startled as she turns her
head away from her prophetic scroll and
gazes into the future.
The Delphic Sibyl was the voice of
Apollo, the greek god of music, poetry,
prophecy, and medicine, and it has been
suggested that the four colors in her
garments represent Earth, Water, Fire,
and Air -- the basic elements of life.
HIGH ITALIAN RENAISSANCE
16th Century 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
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo, Tomb of Pope Julius II
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Michelangelo, Tomb of Pope Julius II
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
HIGH ITALIAN RENAISSANCE
16th Century 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)
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Latin for “Michelangelo Buonarroti Made This”
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
The marble sculpture is encased
in bullet-proof glass inside St.
Peter’s in Rome.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Shortly after Bramante left Milan for
Rome, he received a commission from
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
HIGH ITALIAN RENAISSANCE
16th Century 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
HIGH ITALIAN RENAISSANCE
Layout of Bramante’s Tempietto
16th Century 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
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
A Brief History of
St. Peter’s in Rome…
1506
Bramante designs a
Greek-Cross plan for a
new St. Peter’s to
replace the old church.
1514
Bramante dies, and the
building of the church is
put on hold for over 30
years.
1546
Michelangelo becomes
Chief Architect for the
building of St. Peter’s…
built up to the dome.
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Doors into St. Peter’s
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
Inside St. Peter’s of Rome
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
1630 Painting of St. Peter’s
16th Century High Italian Renaissance
HIGH ITALIAN RENAISSANCE
St. Peter’s at Night
16th Century High Italian Renaissance
Vatican guards at St. Peter’s
are always Swiss and still
wear the traditional uniforms
originally designed by
Michelangelo!
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
Palladio, Villa Rotunda, 1566, HIGH ITALIAN RENAISSANCE
HIGH ITALIAN RENAISSANCE
16th Century High Italian Renaissance
From Palladio’s
Four Books of Architecture
HIGH ITALIAN RENAISSANCE