1. Chapter 14: The High Renaissance in Italy
Late 15th century and first half of the 16th century
Rome succeeded Florence as the artistic center of Italy
Important people: Pope Julius II, Pope Leo X, Leonardo, Bramante, Michelangelo, Raphael in Rome vs. Giorgione and Titian in Venice
1527 Rome is sacked by Holy Roman Emperor Charles V

2. Giorgio Vasari, self-portrait
*Often called "the first art historian”
*Invented the genre of the encyclopedia of artistic biographies with his Lives of the Most Eminent Painters, Sculptors, and Architects
*Lives published 1550 was dedicated to Grand Duke Cosimo I de' Medici
*First to use the term "Renaissance” in print, though an awareness of the ongoing "rebirth" in the arts had been in the air since the time of Alberti
*Was responsible for our use of the term Gothic Art, though he only used the word Goth which he associated with the "barbaric" German style.
*BIG Florentine, esp. Michelangelo, bias.
*First edition didn’t mention Venetian artists

3. Sandro Botticelli, The Mystic Nativity, 1500. Oil on canvas.
It combines Christ's birth as told in the New Testament with a vision of his Second Coming as promised in the Book of Revelation. The Second Coming - Christ's return to earth - would herald the end of the world and the reconciliation of devout Christians with God.
“Bonfires of the Vanities,” Savonarola executed, French invasion of Northern Italy, Medici expelled (later restored), Florence under Hapsburgs

4. Leonardo da Vinci’s Vitruvian Man
Vitruvius lived 1st century BC.
Wrote De Architectura, the only complete work on architecture to survive from classical antiquity. Mathematics, astronomy, meteorology and even medicine are all discussed alongside the expected descriptions of construction and building materials.
In Book 3 of De Architectura, he sets down his canone – or system – for understanding human proportion, complete with precise measurements and elaborate geometrical relationships.
Vitruvius believed architecture is essentially an imitation of nature.
He believed that understanding the proportions of the body leads to a better grasp of desirable proportion in buildings.
Leonardo da Vinci, Vitruvian Man,
c Pen and Ink, 13 ½ X 9 5/8 in.

5. Architecture Symbolism of the Circle
Site of St. Peter’s Crucifixion; Martyrium
Commissioned by Ferdinand and Isabella
Leonardo influenced; drew but never built centrally planned church
Doric Order for active male gods
Sculptured-wall motif
Symmetry & proportion of building modeled on the relation between parts in a well-shaped man
Donato Bramante, Tempietto, c San Peitro in Montorio, Rome.

6. Hemispherical dome
Drum
Balustrade—pillars supporting a rail
Frieze—center of entablature; decorative band triglyphs and metopes
Tuscan Doric peristyle—colonnade around a periptal building; around the perimeter
Stylobate—mass supporting the building
Donato Bramante, Tempietto, c San Peitro in Montorio, Rome.

7. Chapel
Cella
Columns of the peristyle
Plan of Bramante’s Tempietto

8. Bramante is famous. Julius hires him for St
Bramante is famous! Julius hires him for St. Peter’s, which was in need of repair. Going for glory of imperial Rome.
As planned it would be largest church in history (550 feet long)
Julius dies. Bramante dies. Raphael dies 1520.
1546 Michelangelo takes over. Dies 1564.
New St. Peter’s, Vatican, Rome

9. Bramante’s Sculptured wall Plan
Michelangelo’s Plan
reduced interior space by thickening walls and piers; added pilasters and entablature
Bramante’s Greek Cross/Central Plan
As built to Michelangelo’s design w addition of nave by Carlo Maderno.

10. According to Vasari, “Michelangelo had succeeded in breathing life into the building.” (p. 393 Lives, trans. George Bull)
Dome is slightly pointed; ribs emphasize verticality; double columns soften buttresses; lantern increases verticality; compare to Bramante

11. Leonardo da Vinci b. 1452- 1519 uomo universale
Apprenticed to sculptor and painter, Andrea del Verrocchio
Influenced Bramante, Raphael, and Michelangelo
Synthesis of art and science

12. From Realism to Idealism From Aristotle to Plato
Empiricism to Theory of Forms
From our ability to know through our senses
To a split existence: the material realm and the transcendent realm of forms. Humans have access to the realm of forms through the mind, through reason, given Plato's theory of the subdivisions of the human soul.
Baptism of Christ (by John the Baptist), Andrea del Verrocchio, Oil on panel. 69 ½” X 59 ½”. Galleria degli Uffizi, Florence.

13. Cimabue, Madonna Enthroned, c. 1280. Tempera.
Fra Filippo Lippi, Madonna and Child with Two Angels, tempera on wood, ca

14. Return to transcendent spiritual figures
Without sacrificing physical reality/return to Nature

16. Trompe l’oeil and above eye level
Trompe l’oeil and above eye level. Character, dramatic tension, architectural setting. Crucifixion on opposite wall. The two frescos create a direct connection between Eucharist and Passion. Linear perspective
The Last Supper, Leonardo da Vinci, refectory of Santa Maria delle Grazie, Milan. Dining room where Dominican monks ate. Fresco secco (oil and tempera on dry plaster). 15 ft. X 28 ft. c Commissioned by Duke Lodvico Sforza and his bride Beatrice d’Este whose arms are represented in the lunettes above. (shown in book)

17. Architectural setting Linear perspective Istoria Light and theology
Character
Dramatic tension
Balance of opposites
Architectural setting
Linear perspective
Istoria
Light and theology
Trompe l’oeil and above eye level. Character, dramatic tension, architectural setting. Crucifixion on opposite wall. The two frescos create a direct connection between Eucharist and Passion.

18. Pyramidal/Triangular composition Chiaroscuro—light/dark
Sfumato—”vanished in smoke” refers to subtle gradations of value
Landscape
Atmospheric/aerial perspective
Anne connected to landscape and to foundation of Mary and Christ
Symbolism of lamb and the tree
Madonna and Child with St. Anne, Leonardo da Vinci, Oil on wood. 5’6” X 3’8”. Louvre, Paris.

19. La Gioconda, “the cheerful one” wife of Francesco Giocondo
Small painting
La Gioconda, “the cheerful one” wife of Francesco Giocondo
Synthesis of nature, architecture, human form, geometry and character
Pyramidal composition
¾ view
Loggia has been cut off
Sfumato figure and hazy background
Contrasting viewpoints distinguish figure and ground
Even so Mona Lisa is tied to the background
Human body as metaphor for the earth—flesh and soil; bones and rocks; blood and waterways
Vasari says Leonardo hired entertainers to keep the smile on her face
Leonardo could not part with the painting; took it with him to France where he died
Mona Lisa, Leonardo da Vinci,
Oil on wood. 30 ¼ X 21 inches. Louvre, Paris.

20. Raphael Raphael is famous for his paintings of Madonnas.
Here, she is shown seated surrounded by a landscape as is typical for Raphael
The composition is pyramidal as is typical of the Renaissance and specifically Leonardo
Sfumato is absent
The composition is calm, harmonious and restrained.
Raphael, Madonna of the Meadow, Oil on panel; 3’ 8 ½ X 2’ 10 ¼ inches.

23. Raphael, Disputation Over the Sacrament, Stanza della Segnatura, Vatican, Rome 1509-11

25. 1: Zeno of Citium 2: Epicurus Possibly, the image of two philosophers, who were typically shown in pairs during the Renaissance: Heraclitus, the "weeping" philosopher, and Democritus, the "laughing" philosopher. 3: unknown (believed to be Raphael)[14] 4: Boethius or Anaximander or Empedocles? 5: Averroes 6: Pythagoras 7: Alcibiades or Alexander the Great? 8: Antisthenes or Xenophon or Timon? 9: Raphael,[14][15][16] Fornarina as a personification of Love[17] or Francesco Maria della Rovere? 10: Aeschines or Xenophon? 11: Parmenides? (Leonardo da Vinci) 12: Socrates 13: Heraclitus (Michelangelo) 14: Plato (Leonardo da Vinci) 15: Aristotle (Giuliano da Sangallo) 16: Diogenes of Sinope 17: Plotinus (Donatello?) 18: Euclid or Archimedes with students (Bramante?) 19: Strabo or Zoroaster? (Baldassare Castiglione) 20: Ptolemy? R: Apelles (Raphael) 21: Protogenes (Il Sodoma, Perugino, or Timoteo Viti)[18]

26. Raphael, Pope Julius II, 1511-1512, Oil on panel, 3’6” X 2’ 7 ½” .
Khan academy 4:10.
Raphael, Pope Julius II, , Oil on panel, 3’6” X 2’ 7 ½” .

27. Donatello, David, Bronze, lifesize. 14401460.

28. Raphael, Galatea, Villa Farnesina, Rome, c. 1512
Raphael, Galatea, Villa Farnesina, Rome, c Fresco, 9’ 8 ½” X 7’ 4”
Sculptural figures
Contour through use of light and dark
Mythical subject matter
Coordination of subject matter with location contributes to meaning

29. Raphael’s tomb in the Pantheon (Roman, round) not the Parthenon

30. Michelangelo, sculptor
Vasari’s climax
Patronized by Medici of Florence
Apprenticed to Domenico Ghirlandiao
Style formed in Florence
Worked for Pope Julius II in Rome
Visited Brancacci Chapel where he drew from Masaccio’s frescos

32. David fought the giant, Goliath without armour
Biblical story from OT
David fought the giant, Goliath without armour
Relaxed moment; moment of potential
Contrapposto
Just caught sight of enemy
Idealized body vs. Nature
Human body, muscles and structure of body
3X the size of an ordinary human
Michelangelo is very young at this time
Commissioned in 1501 by City of Florence
To be seen from below in Cathedral of Florence
Put in front of government of Florence rolled on 14 greased logs over 4 days
Symbol of republic
In opposition of tyranny
in spite of Medici
Hearkens to Hercules, also symbol of Florence
Surpassing Athens with a colossal male nude
David, Michelangelo, Marble, 14ft high. Galleria dell’Academia, Florence.

33. Idealized image that departs from Nature
Northern Iconography
Idealized image that departs from Nature
Formal relationships
Transformation of marble to flesh….and
Pieta, Michelangelo Buonarroti, 1498/ Marble 5’ 8 ½” high. St. Peter’s Vatican, Rome.

34. Michelangelo, Sistine Chapel Ceiling, Vatican, Rome. 1508-1512. Fresco.
Pope’s personal chapel
Where new Pope is elected
Proportions of the chapel echo those of the Temple of Solomon as recorded in the bible.
2X long as high, 3X long as wide
Built 1470 by Sixtus IV (uncle of Julius II)
Julius II commissioned
Bramante, Michelangelo, Raphael rivalry
Side walls already painted typological pairing of Old and New Testament stories
Like Brunelleschi’s dome at Florence Cathedral, Michelangelo had to also design scaffolding to allow him to work

35. Michelangelo, Sistine Chapel Ceiling, Vatican, Rome. 1508-1512. Fresco.
Ceiling and window lunettes
ignudi—each small OT scene is surrounded by these nude figures
Spandrels—curved triangular sections are filled with OT scenes deal with the salvation of the Jews
Spandrels and lunettes contain the ancestors of Christ
Alternating with lunettes are prophets and sibyls (Greek prophetesses)
Read from opposite end of chapel looking towards the altar wall
Altar wall mural of the Last Judgment also by Michelangelo in 1534
Huge shift in style that is caused in part by the turmoil of the Reformation and Counter Reformation.

36. Sistine Chapel Ceiling Diagram

38. Michelangelo, Sistine Chapel Ceiling, Scene of the Deluge, 1508-1512
Michelangelo, Sistine Chapel Ceiling, Scene of the Deluge, Fresco. Sistine Chapel, Vatican City, Rome.
This was painted before the creation of Adam.
In 1510 Michelangelo takes a break.
Paintings after that year break are typical of what we consider to be the Michelangelo’s Sistine style.

39. Michelangelo, Creation of Adam from the Sistine Chapel Ceiling, Fresco. Sistine Chapel, Vatican City, Rome.

40. Prophet Jeremiah from Michelangelo’s Sistine Chapel Ceiling, after 1510.

41. Libyan Sibyl, Michelangelo, Sistine Chapel, after 1510.

42. Separation of Light from Darkness, late 1512.

43. Fall of Man, Michelangelo, Sistine Chapel ceiling.