Download HIGH RENAISSANCE in Italy and the

HIGH RENAISSANCE in Italy 2
1. Raphael (1483-1520)
1. Early life
1. Born in Urbino
2. Father was a court
painter
3. Quick learner
4. Dedicated student and
hard worker
5. Apprenticed to Perugia
6. Interested in archeology
1. Wanted to turn up
additional
information that
would help him in
understanding
classical art
2. Became an expert
in ancient Roman
art
7. Also an architect, poet, and philosopher
2. Combined techniques from other great artists (including da Vinci
and Michelangelo)
1. Used placement techniques, perspective and light shading
from da Vinci
2. Learned to paint the human figure from Michelangelo
3. Time in Rome
1. Commissioned to decorate the state rooms in the Vatican
2. Did this work at the same time that Michelangelo worked on
the Sistine ceiling
3. Raphael used assistants whereas Michelangelo worked
alone
4. Carried a sketch pad with him and he was always sketching
women and children which served as the basis of his many
Madonnas
5. Raphael was well liked, well mannered, and dressed well
1. On one occasion, when he passed Michelangelo on
the street, Michelangelo said that Raphael looked
more like a prince than a painter. Raphael replied that
Michelangelo looked more like an executioner.
2. Michelangelo once commented that Raphael learned
everything he knew about art from him
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6. Raphael was given the commission to be the architect for St.
Peter's when Bramante died (at Bramante's suggestion) but
didn't really get to implement much because Raphael died
soon after
7. Given the commission to draw the figures for tapestries to be
hung in the Sistine Chapel between the ceiling and the wall
paintings
8. Named as the first director of antiquities in Rome and he
caught a fever while out at a dig
9. Died when he was 37 and was buried in the Pantheon
4. Legacy
1. School of Athens
1. Tells stories in the painting (famous individuals have
characteristic gestures, etc. such as Plato pointing to
the sky and Aristotle gesturing to the ground)
2. Highly allegorical with figures representing: Apollo,
Alexander, Socrates, Plato (da Vinci), Aristotle,
Minerva, Ptolemy, Zoroaster, Euclid (Bramante),
Diogenes, Heraclitus (Michelangelo), Averrhoes,
Epicurus, and himself among others
3. In the Vatican in a room near the entrance to the
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Sistine Chapel
The parenthetical names are the contemporary characters from whom Raphael is thought
to have drawn his likenesses.
1: Zeno of Citium 2: Epicurus 3: unknown[14] 4: Boethius or Anaximander or
Empedocles? 5: Averroes 6: Pythagoras 7: Alcibiades or Alexander the Great?
8: Antisthenes or Xenophon or Timon? 9: unknown [15][14] (Fornarina as a
personification of Love) [16] or (Francesco Maria della Rovere?) 10: Aeschines or
Xenophon? 11: Parmenides? 12: Socrates 13: Heraclitus (Michelangelo) 14: Plato
(Leonardo da Vinci) 15: Aristotle 16: Diogenes 17: Plotinus (Donatello?) 18: Euclid or
Archimedes with students (Bramante?) 19: Zoroaster 20: Ptolemy? R: Apelles (Raphael)
21: Protogenes (Il Sodoma, Perugino, or Timoteo Viti)[17]
2. The building is in the shape of a Greek cross, which some have
suggested was intended to show a harmony between pagan
philosophy and Christian theology
3. Madonna paintings
1. Many of them are very sweet and loving
2. Typical example is the Madonna of the Meadow
a. This painting places the figures poised against a vast
landscape background, which supposedly should have
undermined and diminished the intimacy of the scene in the
foreground. But it is not so.
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b. The rather desolate meadows only emphasize the
isolated coziness of the unfolding interaction between the
three figures, as Madonna’s figure protects the holy babies
from the outer world, serving as a safety barrier.
c.The background, containing a depiction of a city, adds
tension, reminding the viewer of possible dangers, such as
those awaiting Christ and John in populated areas where
they would be tried in the future.
3.
4. Exhibited the ultimate refinement in the other styles that
were created
5. Raphael is referred to as the ultimate exemplar of
Renaissance painting
6. Expertise
1. Artist (paintings, tapestries, murals)
2. Archeologist (searched ruins to learn about the art
and became one of the world's experts in ancient
Greek and Roman civilizations)
3. Architect (St. Peter's and others)
4. Writer (poet) and historian (including Bible and
classical literature)
5. Philosopher
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6. Teacher
1. Used notebooks to sketch everyday scenes
(women and children, etc) which he then gave
to his students and they expanded to full size
2.
3. Kindly to students (as opposed to Leonardo
and Michelangelo)
2. Renaissance Music
1. Basic structure
1. The words of the music dominate and give structure to the
piece
2. The words are the way the composer communicates with the
listener
3. The music is merely accompaniment to the words
4. Tone painting is used to enhance the integration between
words and music
1. When the words imply going up, down, soft, loud, etc.
the music follows that lead
2. Example: When the words say "I will ascend to God"
the music goes up
2. Renaissance religious music
1. Natural sounding music was encouraged (no dissonance)
1. In very early music, the church had permitted only
unison, fourths, fifths, and octaves
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2. The English added thirds and sixths, especially in
secular music
3. Seconds, sevenths, augmented fourths and
diminished fifths were considered "devil music"
4. Eventually these restrictions were relaxed (keeping
most of the restrictions for the downbeat, but allowing
any notes to be played between the downbeats)
2. Some believed that polyphony obscured the words and was
therefore inferior to monophonic music, especially as a mass
3. Composers were required to submit their music to a
screening board before it could be performed in the
churches
Renaissance secular music
Introduction of several additional instruments (horns, trombones, organs)
http://www.youtube.com/watch?v=FicX1Si2oas
4. Chansons (songs) were the favored genre of the courts
1. Usually written for 3 voices
2. Subjects were usually courtly love
http://www.youtube.com/watch?v=XYQVwKp-900
Thou cannot be joyful anymore, a beautiful 15th Century
anonymous song from Portugal with Renaissance
paintings as the background. This version is performed by
a Brazilian ensemble.
5. Madrigals
1. A form of poetry and music, usually sung with great
emotion
2. Polyphonic
3. Humor, satire, and political themes could also be
used
4. Instruments were used as accompaniment as
substitutes for voices
5. http://www.youtube.com/watch?v=OYGP4sWK1ZY&f
eature=related
3. Dance
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4. http://www.youtube.com/watch?v=45PBlB-nrH4
1. Dance was an important part of much music, especially at
court
2. Dance was first considered a separate art form
3. Some courts had dance masters (the dances were called
balli)
4. http://www.youtube.com/watch?v=hVBlFUb0g60&feature=rel
ated Renaissance Dance, Pavane
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