[image]

LEONARDO DA VINCI

Last Supper

1495-1498

High Renaissance Italian

• part bon fresco, part dry fresco
• first monumental painting of the High Renaissance
• most iconic Last Supper; moment when Christ says someone will betray him
• disciples: shocked, stunned, gesturing
• one point linear perspective; mathematics utilized
• Christ isolated; figures in groups of 3=trinity

[image]

LEONARDO DA VINCI

Mona Lisa

1503-1505

High Renaissance Italian

• her facial experession-ambigious (similar to archaic greek smile)
• eyes follow you; engages the viewer
• skill with chiaroscuro and atmospheric perspective evident
• very famous;stolen twice
• sfumato-hazy appereance of background

[image]

RAPHAEL

School of Athens

1509-1511

High Renaissance Italian

• reconcilied and harmonized humanism and Chritianity
• focuses attention on rediscovery of philosophy-congregation of great philosphers and scientest of the ancient world
• beginning of linear one-point perspective
• eloquent poses and gestures-symbolize thier doctorine

[image]

MICHELANGELO

Pieta

1498-1500

High Renaissance Italian

• first major commission-25 yrs old
• excellent rendering, marble luminates, sensitivity to texture, emotion
• scene where Mary is holding Jesus (her son) after being taken off cross
• Mary-larger than life scale to accommodate Jesus; ageless beauty represents her purity and virginity
• Christ- beautiful, wounds barely visible, seems to be in a peaceful sleep instead of having just suffered a martyr's death
• Pieta- meaning religous, devoted

[image]

MICHELANGELO

David

1501-1504

High Renaissance Italian

• immense, beautiful, contrapposto, tree trunk(Greco-Roman), classical nude, powerful, large hands, rugged torso, more like Old Testament description
• poised and ready for action, moment before he fights Goliath, High Renaissance contemplative man
• portrayed with towering, pent-up emotion

MICHELANGELO

The Sistine Chapel-ceiling; Creation of Adam

1508-1512;1511-1512

High Renaissance Italian

LEFT:

• first fresco painting; more than 300 figures; 5800 sq feet
• the creation, fall and redemption of humanity
• incorporates his patron's agenda, Church doctrine and his own interest: conflict b/w good and evil, energy of youth and wisdom of age
• long sequence of narrative panels; superhuman achievement
• utilized grisaille technique 

MICHELANGELO 

Last Judgement

1536-1541

High Renaissance Italian

• commissioned by Pope Paul III; controversial b/c of nudity
• shows Christ's wrath on judgement day and hope 
• terrifying and amazing; choirs of Heaven pulse w/ anxiety, violent fate that awaits the sinners

BRAMANTE

Tiempietto

1502

High Renaissance Italian

• his most important work; commissioned by Ferdinand and Isabella
• small, classical elements, became model for 16th century architecture and an example of what Renaissance art should be
• true Renaissance structure-initiated High Ren era in architecture; balance and harmony; rythmical;

PALLADIO

Villa Rotonda

1550-1570

High Reniassance Venice

• most famous work
• 4 entrances, central plan, harmony & balance, facades resemble Roman Iconic temple, logically and mathematically functional
• traditional temple porch-emulates Pantheon

[image]

BELLINI AND TITAN

Feast of the Gods

1529

High Renaissance (Venetian Painting)

• brighter colors, more emphasis on color
• re-emphasizes on mythological themes
• Archadian landscape-painted in later; harmonious quality
• themes of love-represented by human figures and actions

TITAN

Venus of Urbino

1536-1538

High Renissance (Venetian Painting)

• he established oil color on canvas as perferred medium in Western art
• set the standard of reclining female nude
• Manet created Olmpyia based on this image
• girl doesn't care we are looking at her nude; she is coy
• brilliant/vibrant colors; color used to organize forms and record surface apperance

PONTORMO

Entombment of Christ

1525-1528

Italian Mannerism

• artificial style in contrast to naturalism in High Ren.
• elongated figures, twisted, unusual lighting effects, less emphasis on balance, symmetry and rational composition
• distorted colors, not much depth or sense of space
• ambiguity- emptiness, facial expressions, figure rendering

PARMIGIANINO

Madonna with the Long Neck

1534-1540

Italian Mannerism

• stylish elegance, elongated figures, less emphasis on balance and symmetry
• ambiguity-cluster of figures, background has strange man and multiple columns that look like one
• bright, vibrant colors in clothing

TINTORETTO

Last Supper

1594

Italian Mannerism

• dramatic lighting, deep off-center perspective, very dark colors
• heavenly presence in light, halos created by light
• lots of people- servants, angels, perople talking and having a good time, a lot of action
• impression complete opposite of Da Vinci's Last Supper

GRUNEWALD

Isenheim Altarpiece

1510-1515

High Reniassance and Mannerism (Holy Roman Empire)

• shows suffering and disease but also healing, hope and salvation
• made to contemplate while in hospital
• gruesome portrayal of crucifixion
• 3 levels; complicated; incorporates Catholic doctrine and beliefs
• Temptation of St. Anthony depicted
• brilliant color, some painted some carved

DURER

Self-Portrait

1500

High Renaissance and Mannerism (Holy Roman Empire)

• naturalistic, depicted self as a Christlike figure-even hand resembles Christ's gesture of blessing(Byzantine)
• first artist to synthesize Norther European stylistic features
• shows humanistic view
• influenced by Martin Luther

DURER

Fall of Man

1504

High Renaissance and Mannerism (Holy Roman Empire)

• influenced by Italian art-contrapposto, elongated
• idealized figures of Adam and Eve-his concept of "perfect figures"
• animals symbolic of different aspects: cat and mouse symbolizes the relation b/w Adam and Eve at the cruical moment of the fall of man
• print 

HOLBEIN

The French Ambassadors

1533

High Renaissance and Mannerism (Holy Roman Empire)

• anamorphic image-distorted skull: mortality
• lute broken string- discord in Europe (reformation)
• sensitivity to color, technique and portriture are fantastic, perfect perspective
• a supreme artistic achievement

BOSCH

Garden of Earthly Delights

1505-1510

High Renaissance and Mannerism (The Netherlands)

• most enigmatic painting of its time; triptych;questions about true meaning
• LEFT: garden of eden; adam and eve
• CENTER: people in diff. positions, masses of ppl (new); black and white people-opposites attract in alchemy and w/ ppl; paradise
• RIGHT: hell; gruesome imagery, sins represented w/ appropriate punishments; consequences of actions