$THE HIGH RENAISSANCE The High Renaissance is a period of art characterized by: · the summation of the experimentation of the Quattrocento · a new style · a new image of man. And by the works of Leonardo da Vinci, Raphael and Michelangelo in Florence and Giorgione, and Titian in Venice. · The High Renaissance confirmed and reinforced the techniques learnt by the artists of the Quattrocento: the handling of colour, space, perspective, unity of composition, and the expression of naturalism, science, and humanism. · The High Renaissance created a new Image of Man: Man is seen as a Hero, god-like, universal, and in the image of God. Man is believed to have monumental importance, larger than life. Inside the flesh of mortal man a divine man is trying to get out. This image of Man is different from the rational Republican Florentine Man of the 1400s. In the 1500s Man is not just noble but divine, modelled on Classical gods. · The High Renaissance created a new style in painting. Paintings are larger in scale and in subject matter. They have more breadth, monumental in size and reveal softer modelling of edges and shapes. There is a smoothness about them. Idealized subjects are portrayed in a soft glow; a blending of forms and colour. Artists try to capture the essence of life. The human form is modelled both on the Christian beliefs about man's potential divinity and on the Greek images of the gods. The composition of the works aims at unifying all the parts to a whole. Structure is unified by overlaying a series of pyramids one on the other creating three-dimensional planes for the eye to wander over the work without any sense of break. Portraits aim to reveal the inner soul or essence of subject. This Grand Style or Grand Manner is identified with the rebuilding of Rome in the early 16th Century under the influence of Pope Julius II. The High Renaissance style and Rome are intertwined. Julius II aimed at bringing all art, all science, all history, all scholarship, past and present into union with Christianity in one set of buildings. This grand aim required grand sums of money, and grand artists prepared to make a grand style. In the atmosphere of Michelangelo working on the Sistine Chapel ceiling, of scholars instructing artists on how to unite all past history and learning with the present, of archaeological research rediscovering ancient statues, of redecorating, renovating Rome, of Raphael synthesizing all the ideas into a new whole: is created the High Renaissance Grand Style. · Mannerism · Mannerism is a term developed to describe a style in Italian art chiefly in Rome between 1520 to 1590. Mannerism describes work based on intellectual ideals rather than visual perceptions. The principal characteristics of Mannerist works include groups of figures set in strained poses, exaggerated use of contrapposto, and deliberately elongated proportions. The compositions are often set off-centre, with the principal subject set in a corner or background often with a discrepancy of scale between figures and background. The narrative is often elaborate and perspective is often deliberately unrelated to the subject or is made to create an exaggerated sense of great depth. The treatment of colour is harsh and made to emphasize the emotional effect. Such exaggerations reflect the uncertain political conditions pervading Europe at this time: the uncertainties about the religious Reformation, the French invasion and sacking of Rome in 1527, and the Counter Reformation. The main Mannerists were Bronzino, Pontormo, Rosso, Corregio and Parmigianino in Florence as well as Veronese and Tintoretto in Venice. · Venetian Art · Venice was cosmopolitan, a meeting place of East and West; republican, but ruled by a rich oligarchy. The richness of Venetian life was accompanied by a love of colour and sensual experiences - reflected in Venetian paintings. Thus the works by Giorgione, Titian, Veronese and Tintoretto, while reflecting the developments of the period, are richer and more colourful than their Roman and Florentine contemporaries. #LEONARDO DA VINCI 1452-1519 Leonardo da Vinci was the scientific genius and High Renaissance artist from Florence. Ahead of his time in painting and in scientific research, he singlehandedly broke in the groundwork of the new style. After working in Florence he secured patronage under the Duke of Milan, where he designed military and engineering equipment, and then in later life he secured patronage under Francis I. Leonardo did not produce many paintings, his energies focussing on experimentation, scientific drawings and plans. However, his Mona Lisa and Madonna and St Anne, were studied with awe by the young Michelangelo and Raphael. Leonardo made much use of · dynamic pyramidal structure · soft-focus view, as if through a veil, called sfumato · close-up monumental composition · modelling of light on surfaces with exact scientific observation · capturing of life and character in animated situations. However, he differs from the main High Renaissance trends because Leonardo did not consider Man a god. Nature dominates his paintings. His landscapes create a disturbing tension with subjects. His use of light makes Man intangible, lacking in substance, and more angelic. He avoids the Grand Statement and makes caricatures of mankind. *401 Leonardo GINEVRA 1474 Panel, National Gallery, Washington, D.C. The strong contrast between light and dark in this early portrait shows the beginning of Leonardo's modelling of light. Leonardo's scientific observation of nature is clearly shown in the little curls of hair. The misty background is typical of Leonardo's works. *402 Leonardo LADY WITH ERMINE 1488 Oil, Czartorski Museum, Cracow. This idealized portrait of Cecilia Gallerani reveals Leonardo's fine detailing of the fur and scientific observation of nature. *404 Leonardo LAST SUPPER 1497 Fresco, St Maria delle Grazie, Milan. This famous painting was commissioned by monks to be placed in their dining room. Leonardo experimented with painting oil directly onto plaster. The experiment unfortunately failed, the painting falling apart even in his own lifetime. Note how each apostle is grouped in threes to represent different characterizations of their personalities; and the careful unity and construction of composition in space. Many preparatory drawings were made to capture the character of groups of men. Here Leonardo chooses the dramatic point of betrayal: "one of you will betray me!" to create the dramatic tension of the scene. *405 Leonardo MADONNA OF THE ROCKS 1483 Panel, Louvre, Paris. Mary's arm protectively embraces Jesus, her left hand blesses St John. John and the angel direct our attention back to Jesus. This is a key work as it heralds in the new High Renaissance style. He composed the group within a dynamic pyramid placing each component of bodies, arms, fingers, and clothing to create a balanced living unit, later perfected in Madonna and St Anne. Note also the harsh background of rocks contrasting with the most delicate Virgin; and also the care for each detail of rocks, plants as for the figures. This is typical of Leonardo's scientific curiosity about nature. *406 Leonardo MONA LISA 1503 Panel, Louvre, Paris. This famous portrait is the first in the new High Renaissance style. The implied grace and living inner spirit of the subject is placed within a pyramidal structure which creates a sense of life. This painting as well as his last works was studied by the famous painters of his time, such as Michelangelo and Raphael. Note the disdainful and proud smile; the three-quarter length view allowing the full swing of the body round its axis. The twist of body at arms and shoulders and the turned head creates depth. The lack of decoration is also typical of the High Renaissance style However, the heavy chiaroscuro or sfumato or smoky veil between the subject and the viewer, is Leonardo's unique way of implying a hidden reality. The background again is in complete contrast to delicacy of subject, creating a romantic fantasy. *407 Leonardo MADONNA AND ST ANNE 1508 Panel, Louvre, Paris. St Anne, the mother of Mary, Mary herself, and her son, form a unique kind of compositional group. This painting became an object lesson for Michelangelo and Raphael in their search for a new style. Note the strange placing of bodies, a way of expressing three life-sized figures in a pyramid so that interest is created by the sweep of the different structures. Different pyramids intertwine to create an asymmetric composition. Again note the contrast of the landscape to the delicacy of the soft-toned skin and the understated drama of the Christ Child gently pulling away from lamb, which represents Death. Typical of Leonardo's works are the enigmatic, mysterious, and secretive expressions of the figures. *408 Leonardo CATS Leonardo made many drawings of animals and plants, both in preparation for paintings, but more so for scientific curiosity. His drawings are part of his inquiry into the nature of every object that took his fancy. Leonardo sought for patterns in nature; in natural movement and structure. *409 Leonardo UNIVERSAL MAN This most famous of Leonardo's drawings has come to be a symbol of the European Renaissance in learning as well as art. The Universal Man or l'umo universale, was learned in the arts and sciences, and noble in relation to others. This ideal about man became the basis of Western educational theory. Here is Leonardo's mathematical anatomical structure of man; he is examining the correct proportions of the parts to the whole, the underlying ideal within nature. Renaissance artists worked to reveal the ideal in depicting man. The study of geometry and mathematical numbers such as 'pi' and the 'golden ratio' all play their part in Renaissance paintings, architecture and sculpture. *410 Leonardo BARTOLOMEO COLLEONI 1490 This drawing reveals Leonardo's imaginative flair in caricaturing by contrast the hard brutal face of this famous mercenary with the flowery patterned helmet. Compare this work with Verrochio's sculpture of the same subject. Leonardo saw man as an integral part of nature: the hair, veins, and muscular structure being reflected in water flows, clouds, and growing plants. #RAPHAEL 1483-1520 Raphael was a High Renaissance painter from Perugia. He gained his first formative commissions in Florence and then later in Rome under the patronage of both Julius II and Leo X. He is considered the master of High Renaissance painting, synthesizing Leonardo's techniques with Michelangelo's energy, and adding to both his own stable, understated, harmonious style. Western artists until the 20th Century followed the Raphaelesque style. Raphael idealized his subject matter but his subjects remain approachable or 'user-friendly', unlike the superhumans of Michelangelo. In Florence, his art was greatly influenced by Leonardo, but in Rome, he was influenced by Michelangelo. By the time of his death Raphael was considered the artist to follow, with a huge number of assistants and imitators. He was made master of whole painting and architectural projects in the Vatican, creating High Renaissance art at its greatest. Raphael's particular style is noted for the: · ovoid construction of figures · harmonious interrelation of parts to the whole · warm reds and blues predominate, with other colours added to create interest · serenity of mood · gentle human relationships are dwelled upon · spiralling dynamic pyramids giving life to the composition. Raphael creates powerful movement without distortion, balancing decoration with subject, and has full control of Classical models both in anatomy and architecture. His works are intellectually satisfying, while his portraits reveal the inner character of subject without distractions. He idealizes the subject without the exaggerations of Michelangelo or the fantasies of Leonardo. *411 Raphael ANGELO DONI 1505 Oil, Pitti Gallery, Florence. This portrait was one of a pair commissioned by the Doni family to celebrate the marriage of Angelo and his wife, Maddelena. The Doni Madonna by Michelangelo was also commissioned by the same family. Here Raphael builds on Leonardo's portrait techniques but integrates landscape with subject. The pyramidal modelling of the Mona Lisa is used. Raphael idealizes the subject without making a personal comment on the personality as did Leonardo. *412 Raphael MADDELENA DONI 1505 Oil, Pitti Gallery, Florence. This portrait was one of a pair commissioned by the Doni family to celebrate the marriage of Angelo and his wife, Maddelena. The Doni Madonna by Michelangelo was also commissioned by the same family. Note the twist in her torso, and the spiralling pyramidal structure, all directly modelled on Mona Lisa. Raphael has here made an objective, finely-detailed study, truthful to subject. The oval shape of the subject's face is reinforced in the jewellery and the overall figure. The gentle background creates a soft mood, typical of Raphael's art. *413 Raphael GRANDUCA MADONNA 1505 Oil, Pitti Gallery, Florence. This is one of the first among many Madonnas by Raphael. Leonardo's influence is strong in the sfumato veiled view. However, note the use of ovoid shapes in the faces, the red and blue clothing, against a neutral background, typical of Raphael's budding style. *414 Raphael HOLY FAMILY 1506 Oil, Alte Pinakothek, Munich. Commissioned by the Canigiani family, Raphael adds Elizabeth and John to the traditional group. Influenced by Leonardo's Madonna and St Anne, Raphael sets himself a problem: How to balance the four figures in a composition. He solves the problem by using two pyramids in counterbalance with interlocking glances by subjects. *415 Raphael MADONNA OF THE GOLDFINCH 1506 Oil, Uffizi, Florence. This is another of Raphael's numerous Madonnas, a subject which he used to examine the problems of interlocking physical and emotional relationships in the figures of Mary, Jesus and John. Here Jesus is embraced by Mary's knees suggesting the close mother-son relationship. *416 Raphael MADONNA OF THE GARDEN 1507 Oil, Louvre, Paris. This is another of Raphael's numerous Madonnas, a subject which he used to examine the problems of interlocking physical and emotional relationships in his figures. Here Raphael uses the pyramid of figures, the twisting of Mary's body is balanced with St John. The arch unites the figures. Note also the detailed soft background to echo the human relationships. *417 Raphael GARVAGH MADONNA 1510 Oil, National Gallery, London. Here Raphael experiments with the pyramid structure created by the contrast between Mary's head and John, the clutched robe extending the scope of the subject as well as suggesting relationship with child. *418 Raphael ALBA MADONNA 1511 Oil, National Gallery, Washington, D.C. This tondo or circular form of the Madonna theme created a problem in composition solved later in the Madonna Sedata painting. The horizontal landscape conflicts with the circle. By extending the posture and garments of Mary, he creates a large base line for the pyramid. The unusual blue colour creates an interesting asymmetrical mass. Note the change in style of this Madonna with his Florentine works. The High Renaissance style is now maturing. *419 Raphael SISTINE MADONNA 1512 Oil, Gemaldegalerie, Dresden. This famous work, monumental in size and meaning, shows the dramatic appearance of Mary and Child through heavenly clouds, made up of thousands of cherubs. Pope Julius II directs our attention outwards to us as does St Barbara. The Putti, or cherubs, continue Raphael's whimsical approachability of High Art. Raphael's use of putti becomes a standard motif in religious works in the future. *420 Raphael SCHOOL OF ATHENS 1510 Fresco, Stanze della Segnatura, Vatican. This painting forms one of the main works in the Stanze d'Segnatura or signing room, of the Vatican. Julius required each of the redecorated rooms to symbolize the unity of all thought, beliefs, art, and literature. Athens symbolized the wisdom of the Greeks and linked strongly with the Renaissance style. Here all the great philosophers are represented centred on Plato and Aristotle in a perfectly constructed Classical World. On the other walls are Christian theologians and poets and artists. This work in combination with the other Stanzas is considered one of the main achievements of the High Renaissance, equal in importance to the Sistine Chapel. *421 Raphael SCHOOL OF ATHENS (Detail) 1510 Fresco, Stanze della Segnatura, Vatican. This detail of the right front depicts the Greek geographers, mathematicians and geometricians discussing the nature of the world. Geography by 1500 had become of great interest through the recent discoveries of Columbus and the Spanish and Portuguese explorers. *422 Raphael GALATEA 1513 Fresco, Villa Farnesina, Rome. Galatea is a nymph whose Nereid maidens are being taken off by the Titans. This was commissioned by the Chigi Family for their Villa or Salon. A secular work, it reflects the growing trendiness of Renaissance ideas among the rich and famous. Raphael here sums up the Florentine attempts at similar subjects by Botticelli, Donatello, Mantegna, and his own early works of the Three Graces. Galatea is Raphael's Venus. All parts work together: Perfect Woman, muscular Titans, dynamic action, and the vitality of myth. It parallels the heroism depicted in Michelangelo's Sistine Chapel paintings. *423 Raphael CARDINAL 1510 Oil, Prado, Madrid. This early Roman portrait in the objective Netherlands style lets art reflect the reality of the subject without comment. However, there is a gentleness and serenity in the handling even of this portrait and also a faint mysteriousness of expression as in Leonardo's portraits. *424 Raphael DONNA VELATA 1514 Oil, Pitti, Florence. This portrait reveals the remarkable evolution in portraiture in four years, the result of the pressure of a large number of commissions in Rome, and increasing artistic interchange of ideas. Note how the lack of background throws the subject into relief, the paintwork dominating pure composition techniques. Grace and dignity rule. The lack of range of colour creates an assured sombreness. Details draw attention to the series of ovals linking the necklace, head, bust, and sleeve. However, the whole is more important than technical details. Her soft glowing skin echo through all the range of tones in the garments. The space created by her sleeve moves the eye back into the subject without any abrupt break. *425 Raphael MADONNA SEDATA 1514 Oil, Pitti, Florence. This last Madonna of Raphael is the final experiment in the Tondo or circular, form. Monumentality is created by closing up all unnecessary space without crowding the figures, very difficult to do. The idealized subjects of Mary and Christ Child are made human by having Mary dressed as a contemporary Roman. By looking past the viewer we feel more comfortable. Raphael here has reached the epitome of the High Renaissance style. *426 Raphael BALDASSARE CASTIGLIONE 1515 Oil on Canvas, Louvre, Paris. This is Raphael's final portrait of the man who best sums up the spirit of the Renaissance and Portraiture. Castiglione's book, The Courtier, was a textbook for every gentleman for 100s of years. His book demands of every man to become the Universal Man and to acquire a Universal education. He sponsored Raphael's entry to Florence. This portrait captures the essence not only of the man but his ideas: courtly, dignified, at ease with life, intellectual, refined, serious, interesting ... Raphael's portraiture here defined the standard of this kind of painting. *427 Raphael POPE LEO X 1517 Oil on panel, Uffizi, Florence. This is a group portrait of Raphael's last patron, Pope Leo X, and two cardinals, relations of the Pope. Leo was a Medici, the family who ruled Florence for over a century and now had reached the Papacy. The Medicis sponsored the ideas of the Renaissance both in Florence and Rome. This is a study in shades of red, of cloth, of detail, of family and power relationships, within a balanced triple portrait. *429 Raphael TRANSFIGURATION (Detail) 1518 Oil on panel, Pinocoteca, Vatican. This is detail from one of the final paintings by Raphael, he died in his mid-thirties. Christ appears in glory with Moses and Elijah on Mt Tabor to Peter, James and John. However, after this story the apostles have to deal with a possessed child, who is healed by Jesus, the apostles failing to do so. Raphael combines both scenes for contrast: the light of the Transfiguration and the dark of the demonic possession. The spiritual event is in the background and the earthly events at viewer's level; peace above, chaos below. Two great spirals of people create the overall scene. This painting reveals the changing of art styles from the High Renaissance assured Classicism to the insecure intensity of Mannerism with its emotional priorities of bright intense colours, exaggerated gestures, and stark contrasts of mood and light. #MICHELANGELO 1475-1564 Michelangelo Buonarroti was a High Renaissance Florentine painter and sculptor, trained by Ghirlandaio, and who gained his first commissions in Florence. He attracted the attention of the pope, Julius II, who commissioned many painting, sculptural and architectural works for the rebuilding of Rome. Michelangelo lived the High Renaissance ideal as well as created it. He acted as a hero as well as created the heroic view of Man. Michelangelo was committed religiously to the full statement of masculine Christianity; as well as the freedom of republican Florence. Full of artistic energy and determination, Michelangelo revealed the Christian spirit of Man in marble and paint. Michelangelo believed in the indwelling of the Holy Spirit in Man and that Flesh was the sign of this Spirit. This idea impelled him to paint the dynamic idealized figures on the Sistine Chapel ceiling and to study every part of muscular and skeletal construction of the human body. Michelangelo desired to sculpt rather than paint, which created great contests of will between him and Julius II who wanted him to paint first. *430 Michelangelo DONI MADONNA 1503 Panel, Uffizi, Florence. The Doni family commissioned this work of The Holy Family of Mary, Joseph and Child, to commemorate their children, four sons of which had died. The nude sons are represented as resurrected from the dead, the beginning of Michelangelo's studies of nude male bodies to express the fleshiness of his religious beliefs. Note also the dynamic pyramidal structure which Michelangelo would have observed in Leonardo's Madonna and St Anne. The popular tondo or circular form of painting was difficult to compose a balance between the circle and pyramid of figures. *431 Michelangelo SISTINE CEILING 1508-12 Fresco, Sistine Chapel, Vatican. The painting of the ceiling of the chapel was commissioned by Pope Julius II in 1508. The story of Creation is the main theme of nine scenes, and the secondary theme of the history of salvation echoed in both pagan and religious literature: prophets of the Old testament paralleled by the Sibyls, or prophets, of Ancient Greek beliefs. This work is often seen as the beginning statement of the High Renaissance style: monumental, dynamic, idealistic, humanistic, divine. Art on grand style. *432 Michelangelo CREATION OF ADAM 1508-12 Fresco, Sistine Chapel, Vatican. This scene, from Genesis where God creates Adam in his own image, is a perfect example of Michelangelo's expression of the classical forms both for Adam and of God, the energetic Creator. He literally interprets God's image as the most heroic man, which consequently dignifies mankind and creates a truly monumental reinterpretation of the role of the artist, the role of paintings and sculpture and the place of art in the development of man's intellectual life. *433 Michelangelo AZOR & SADOC 1508-12 Fresco, Sistine Chapel, Vatican. These are Old Testament Prophets: Sadoc on the right is the self-portrait of Michelangelo. After cleaning these works reveal greater use of bright conflicting colours than was thought possible. *434 Michelangelo ELEAZAR & NATHAN 1508-12 Fresco, Sistine Chapel, Vatican. These are Old Testament Prophets. The works have been recently cleaned revealing greater use of bright conflicting colours than was thought. Much debate in 1980s occurred about the cleaning methods used and whether the methods reveal the originals or distorted them. *435 Michelangelo JOEL 1508-12 Fresco, Sistine Chapel, Vatican. These prophets were painted later in the work and show greater monumentality. Drapery and subject show the strength of Michelangelo's sculptural skills. *436 Michelangelo JONAH 1508-12 Fresco, Sistine Chapel, Vatican. Jonah is depicted with the dynamic twist of body which is used right through the High Renaissance paintings of Raphael and Michelangelo. This technique creates a sense of inward energy, idealizing the subject so that we feel the hidden almost superhuman potential of mankind. *437 Michelangelo LIBYAN SIBYL 1508-12 Fresco, Sistine Chapel, Vatican. The sibyls were spirits from Ancient Roman legends, here included in the Chapel to signify the importance of secular historical ideas within the Christian message. This very popular painting reveals the effect of contrapposto or twist of body at its best. The book she is reading imposes great weight on the arms, body, hands, and feet to the very toes. She is created full of life and moving energy. Again he reveals his aim at creating almost superhuman beings. *438 Michelangelo DELPHIC SIBYL 1508-12 Fresco, Sistine Chapel, Vatican. The sibyls were spirits from Ancient Roman legends, here included in the Chapel to signify the importance of secular historical ideas within the Christian message. Here Michelangelo is trying to unite all history of belief into one painting. The female prophet is modelled on the nude male body, the painter softening the features. *439 Michelangelo LAST JUDGEMENT 1536-41 Fresco, Sistine Chapel Altar, Vatican. This work is totally different in time, style, and themes from the Sistine Chapel ceiling. Michelangelo is 30 years older. The painting was commissioned by Pope Paul III for the Sistine Chapel altar wall. By the 1530s Michelangelo's art is more emotional, expressive, and disturbing in its intensity. The figures are deliberately distorted, and great contrasts of light and dark characterize this new style, called Mannerism to distinguish it from the cool firmness of the High Renaissance. Christ appears at the end of the world which is violently disappearing. Nature is being replaced by the new Nature of the resurrected Christ. Christ is made to appear with such light and presence, to overcome the viewer. His body is foreshortened so that he appears a Superman with a torso of such size to reflect the amount of divinity present. His mother clutches him for protection at this awesome moment at the end of history. The saved rise on the right while Christ sweeps away the damned on his right, where they descend into hell. In hell we see the effects of sin on the flesh of the body: distorted, darkened, horror. A violent and not very comfortable painting. *440 Michelangelo CHRIST 1536-41 Fresco, Sistine Chapel Altar, Vatican. Christ appears with such light and presence, to overpower the viewer from above, his body foreshortened and a torso made monumental to express his divinity by sheer size alone. His mother clutches him for protection at this awesome moment at the end of history. Note the twisted torso, the classical proportions exaggerated out of shape for emotional and religious effect. *441 Michelangelo CONDEMNED SOUL 1536-41 Fresco, Sistine Chapel Altar, Vatican. This detail from the Last Judgement reveals the awful nakedness and shamefulness of the condemned soul. Many of the nudes in this work were deliberately dressed more modestly after Michelangelo's death. To the painter, unashamed nudity was a sign of salvation. *442 Michelangelo CENTAURS AND LAPITHS 1492 Marble relief, Casa Buonarroti, Florence. In this Greek legend, a battle is fought between a tribe of Lapiths and the Centaurs. This early work by Michelangelo reveals his efforts in releasing the human spirit from stone. Michelangelo believed that man's flesh is divine and that therefore in carving away the marble the true man is revealed as seen by the divine eye. This type of sculpture differs markedly from the sculptures of the 1400s. Donatello and Verrochio were modellers of light; Michelangelo was seeking to reveal the hidden nature of man. *443 Michelangelo PIETA 1500 Marble, St Peter's, Rome. In the Gospels the body of Jesus was held by Mary after it was taken down from the cross. This scene was popular in Christian art. This is one of Michelangelo's most famous works, yet one of his first at 23 years old. Note the massiveness of the group, the highly polished and finely incised finish and clear compositional lines. The body of Christ lies relaxed across the lap of Mary similar to Botticelli's version. Michelangelo has made Mary seem more massive to carry the weight of the body without strain, and he has given Mary a youthful face, in keeping with the concept of grace. The spirituality of Motherhood is clearly portrayed in this moving study. *445 Michelangelo DAVID 1504 Marble, Florence. This colossal statue, of over 14 ft, was intended to stand from the buttress above the cathedral, thus Michelangelo has extended the legs and right arm allowing for the foreshortening effect on the viewer. The blatant nakedness remained a theme in Michelangelo's works, man's naked body as the image of God. This work shows Michelangelo's extensive research into Classical models. This monumental work marked the beginning of the High Renaissance sculpture, the superhuman potentiality of mankind coincides with art in the Grand Style or Manner. *446 Michelangelo MOSES 1516 Marble, Rome. The Biblical Moses holds the Book of Mosaic law in his right hand, the horns from his head being a common mistranslation of the Biblical text for light. Moses here resembles the powerful prophets and Sibyls painted on the Sistine ceiling. Originally this statue was intended as the main one of a group for Pope Julius II's tomb. By the time of completion Michelangelo had completed the Sistine Chapel frescoes. During his period in Rome, Michelangelo had developed the full High Renaissance style: monumental heroic figures, larger than life, a sense of power and purpose in man's progress on earth. *447 Michelangelo GUILIANO D'MEDICI 1530 Marble, San Lorenzo d'Medici Chapel, Florence. The allegorical ideas of Night and Dawn rest below a Classical style interpretation of Duke of Florence. This set of sculptures for the tomb of Guiliano d'Medici is part of a total environment including buildings and sculptures for the Medici Family. The Medici family were not just powerful rulers in Florence and Rome, but also powerful influences in the trends of art. Lorenzo d'Medici established the first academy of art in Europe since classical times, the Academy of Plato, a school of art combining learning about classical literature, art, theory, architecture and mythology. The artists and scholars were imbued with Humanist ideals, values and principles. However, by 1530, the Republic of Florence was ending, this sculptural group reflecting that death. The confident mood of the David has changed to one of uncertainty. The unreal disturbing quality about this group, and the brooding emotions heralds the Mannerist style. *448 Michelangelo GUILIANO D'MEDICI (Detail) 1530 Marble, San Lorenzo d'Medici Chapel, Florence. This detail of the head of Guiliano d'Medici in the combined sculptural set reveals the beginning of the Mannerist style: the artist slightly distorts the proportions of the neck to gain effect. *449 Michelangelo CAPTIVES I 1520s Marble, Accademia, Florence. These unfinished sculptures were intended as part of the Medici Chapel. They reveal Michelangelo's techniques in releasing the hidden ideal of the dynamic potential of human spirit from the stone. *450 Michelangelo CAPTIVES II 1520s Marble, Accademia, Florence. These unfinished sculptures were intended as part of the Medici Chapel. They reveal Michelangelo's techniques in releasing the hidden ideal of the dynamic potential of human spirit from the stone. #CORREGIO 1494-1534 Corregio was a High Renaissance painter from Parma who was a linking artist between the High Renaissance of Michelangelo and the Mannerist movement of the mid-16th Century. He was influenced by Mantegna, Titian and Michelangelo. *454 Corregio MARTYRDOM SS PLACIDAS AND FLAVIA 1530 National Gallery, Parma. Strong colour, expressive poses, and religious emotion are highlights of this Mannerist work. This is a study of religious ecstasy in contrast with the violence of the martyrdom. #PONTORMO 1494-1556 Jacopo Pontormo, a High Renaissance Florentine painter, was influenced by Leonardo, Piero di Cosimo and Albertinelli and was an assistant to Andrea del Sarto. He was a deeply religious painter, his work conveying a mood of nervous energy. Pontormo is one of the first painters to depart from the assured High Renaissance style for the Mannerist style. *451 Pontormo THE ENTOMBMENT 1528 Panel, St Felicita, Florence. The poignancy and anguish of suffering is based in the spiritual quality of grace within the principals of classicism: Harmonious relations among the large parts of form, clearly defined outline and modelling, the cursive connection of shapes, where the entwined bodies relate not only to the present classicism of the current Michelangelo but to the past art of Raphael and Leonardo. The narrative reads in an anti-clockwise fashion and Jacopo has inserted himself as one of the characters in a self-portrait at the right rear of the group. #ROSSO 1495-1540 Rosso Fiorentino, a High Renaissance painter, worked with Pontormo in Florence. He is one of the Mannerist painters who turn away from the assured and confident High Renaissance style. *479 Rosso DESCENT FROM THE CROSS 1521 Panel, Pinacoteca, Volterra. This elegant Deposition is an early Mannerist painting. The figures have substance from the cool light rather than volume. The figures are interlocked by geometric lines, and have a forced expressiveness. #PARMIGIANINO 1503-1540 Parmigianino was High Renaissance Italian artist, who strongly followed the Mannerist trends in art at the time. He was influenced by Romano and by the works of Raphael. However, he wished to deliberately elongate and experimentally distort his figures in order to capture the spiritual grace within. There is a Raphaelesque sweetness about the subjects in his works. *452 Parmigianino SELF PORTRAIT 1524 Vienna Museum Francesco Mozzola Parmigianino has used a convex mirror to paint the distorted face. A carpenter turned a wooden sphere on a lathe and then one section was sawn as a base for his painting. *453 Parmigianino THE MADONNA WITH THE LONG NECK Panel, Uffizi, Florence. Here we see the elongated proportions of the Virgin, her body and neck impossibly exaggerated looking at a bald Christ Child. In the background is an incomplete temple in a line of unfinished columns and a solitary figure of Isaiah. No 16th Century work of art goes further than this in its image or artificial grace and improbable beauty. #BRONZINO 1503-1572 Agnolo Bronzino was a High Renaissance artist from Florence and a pupil of Pontormo. His main artistic flair was in portraiture, especially of the Medici court. He was strongly influenced by the grandeur of Michelangelo's Last Judgment and the Mannerist trends of the mid-16th Century. *455 Bronzino MIA DI COSIMO D'MEDICI 1542 Uffizi, Florence. This portrait of Cosimo's daughter reveals Bronzino's courtly clear polished style of the late Renaissance period. *456 Bronzino VENUS DISARMING CUPID 1545 National Gallery, London. The goddess, Venus, has won first prize of an apple in the beauty contest between herself, Hera and Athene. Cupid steals a kiss, but his piercing arrow of love is taken by Venus. He is rewarded with the painful sting of love by Pleasure. Envy is in agony while Fraud is revealed by Father Time. This sensual allegory of love is one of Bronzino's most powerful paintings. The contrasts of white skin and colour, the deliberate distortions of the anatomy and striking diagonals are typical of the Mannerist style. *457 Bronzino PORTRAIT OF YOUNG MAN 1540 Metropolitan Museum of Art, New York. This finely balanced portrait which could be the artist, shows the influence of Caravaggio's art on the painter, and depicts the artist in courtly style. #GIORGIONE 1477-1510 Giorgione was a High Renaissance Venetian painter, trained by Giovanni Bellini. Giorgione died in his youth, but stylistically is a very important artist leading directly to the fully-developed High Renaissance style of Titian. Giorgione is famous for his atmospheric landscapes, the poetic effects and mood being more important than the narrative. He could be considered one of the first 'romantics'. He idealizes nature, giving his paintings a sensuality and pleasure in the image itself. *458 Giorgione TEMPEST 1510 Oil on canvas, Accademia, Venice. This work is unusual for the times, a Nature Allegory more common to art of the 17th Century. However, Giorgione here demonstrates his understanding of the Classical allusions in Renaissance poetry and literature, a popular idea among his contemporaries. This poetic scene, featuring lightning and a storm, creates a mood of violence in contrast to gentle woman nursing a child. This is one of the first expressive landscapes in Western Art since Classical times. *459 Giorgione FETE CHAMPETRE 1510 Oil on canvas, Louvre, Paris. In this Garden Party, Giorgione here demonstrates his understanding of the Classical allusions in Renaissance poetry and literature, a popular idea among his contemporaries. This poetic allegory reveals the softness of Nature and Woman linking both ideas. Note how the edges are all softened, and smoothed, this blending being typical of High Renaissance art. *460 Giorgione VENUS 1510 Oil on canvas, Gemaldegalerie, Dresden. This remarkable Venus reclining nude is the very first of many such themes in art, especially in Venice. Titian was to elaborate on this theme. Venus, or womankind, art and nature are united in a sensual, soft and warm atmosphere. Here is an example of the predominating sensuality of Venetian art. #TITIAN 1485-1576 Titian was a High Renaissance painter from Venice and who dominates Venetian art through to the 1570s. He masters every subject from religious paintings, portraits, to narratives and allegories. He was the professional artist, spanning the century and gaining numerous commissions, especially from the Emperor Charles V. Because he lived through the 16th Century to old age, Titian worked in many styles: High Renaissance, Mannerist and Baroque. *461 Titian BEARDED MAN 1511 Oil, National Gallery, London. Titian was a great portraitist. In this early work Titian creates a sense of luxurious sensuality about the sleeve which dominates the image. A spiralling triangle gives life to the subject. This work is part of the beginning of High Renaissance style in Venice. *462 Titian THREE AGES OF MAN 1513 National Gallery, Edinburgh. Titian depicts the three ages of man: childhood, the pleasures of youth and in the distance, old age. Allegory was a popular subject for artists from the late 15th Century onwards. Here Titian creates a sweet, dreamy mood in a typical Venetian landscape full of soft tranquillity. *463 Titian SACRED AND PROFANE LOVE 1515 Oil, Borghese Gallery, Rome. Here Titian reveals the influence of Giorgione on his art, this allegory of love bearing strong similarities to the Fete Champetre. Titian contrasts spiritual and physical love, the latter beckoning to the other. The warm glow of the scene, harmony and simplicity of composition are typical of Venetian art. Here literary fashions of the time are made visible in paintings. *464 Titian PITTA BELLA 1540 Oil, Kunsthistorisches Museum, Vienna. Titian took pleasure in the luxuriousness of clothes. He captures the beauty of youth in this subject thought to be his daughter. *466 Titian CHARLES V 1548 Oil, Prado, Madrid. This equestrian portrait of Charles V, the Holy Roman Emperor, reveals the subject's determination, pride and character. Titian was commissioned to paint the portraits of the rulers of Europe. He creates a sense of monumental importance in his subjects. *468 Titian DANAE II 1550 Scala, Milan. Commissioned for King Philip II, this is one of many reclining, voluminous nudes by Titian. Here mortal woman, Danae, receives Jupiter's love in form of a shower of gold coins. The blatant sexuality of the scene was a popular subject in art as was the use of classical stories. *469 Titian SELF PORTRAIT 1560 Oil, State Museum, Berlin. This is one of Titian's self-portraits painted in later life. As a portraitist, Titian had few peers. He brought the full powers of the High Renaissance sense of grandeur to his subjects. #VERONESE 1528-1588 A Mannerist Venetian artist during the High Renaissance, little is known of Paolo Veronese's private life other than he was the son of a stonemason in Verona, as is indicated by his name. Though his paintings may never arouse great emotion, his frescos in particular were amazing, even daring, in their complexity and blatant illusionism. Using deep perspective, and architectural elements, Veronese made it difficult to separate reality with the painted surface. His early work was influenced by Titian, Michelangelo and Parmigianino, but once he was in Venice, where he remained until his death, his illusionism, anticipates the works of Rococo painters a half a century later. *470 Veronese VILLA BARBARO 1561 This villa designed by architect Palladio, Veronese was commissioned to decorate. In this particular panel, the ionic columns stand either side of what appears to be a curved panel. It is made all the more believable by the image of a small dog sitting below the painting. The identity of the sitters is not certain but probably were the wife of Marcantonio Barbaro, who commissioned Palladio to build the Villa. The woman stares out from the balcony at the viewer. *471 Veronese BEFORE ALEXANDER 1579 National Gallery, London. Alexander, the great general of late Greek history conquered the vast Persian empire. At the peak of his triumph after the Battle of Issus, he is petitioned by the family of the defeated emperor, Darius. Alexander takes the place of Hephaestion, a general, for himself, so as to lessen the humiliation of the defeat. This painting was completed for a member of the Pisani family in Venice. This richly painted work, is split by the strong diagonal created by the figures in the foreground. In the background, Veronese's grand architectural setting is softened by use of pale sketchy muted tones of white, creating a feeling of space and distance between the two grounds. The artist suggests the existence of more activity beyond the limitations of this rectangle in painting only half the figures to the left and part of the horse to the right. *472 Veronese SUPPER IN THE HOUSE OF LEVI 1573 Galleria dell Accademia, Venice. Originally intended to be the Last Supper, Veronese was challenged by the Inquisition as to the appropriateness of the secular details and genre scenes included in the work. The work was retitled. It was painted for the refectory of the monastery SS Giorgio & Paulo. The serious religious theme is all but lost in the magnificence of the architectural elements and the festive atmosphere. *473 Veronese VENUS AND ADONIS 1570 Prado, Madrid. This allegory of love conquering youth represented by a Venus tousling the hair of young Adonis, was a popular theme. Veronese contrasts the clothed with unclothed bodies. #TINTORETTO 1518-1594 Jacopo Tintoretto was a Mannerist painter during the High Renaissance. Born in Venice, where he remained his entire life, Tintoretto's painting was both innovative and controversial. His strength was in his challenge to traditional art. He was in Titian's studio for a very short time before embarking on his successful career in his own studio at the age of 21. The plague hit Venice in 1575 claiming 50,000 lives and Tintoretto had been working on paintings for the Doge's Palace which included the Paradise, the largest canvas in the world. Tintoretto's composition and colour effects were very complex. His figures were distorted or elongated to accentuate movements or form and shadows used to heighten contrasts and colour brightness. His free, rapid brushwork is unmistakable, some critics condemned his work as hasty and even sloppy. But this unfinished quality gives his painting freshness and spontaneity. His canvasses are of vast proportions painted with great rapidity. Tintoretto devised a system of execution whereby sketches of figures were applied to canvasses with dark under-priming, areas of highlight were painted in bright colours and finally tonal refinements were completed. Tintoretto even used a wide square-edged brush to increase the speed of execution, often a source of criticism amongst his contemporaries. *474 Tintoretto SUZANNA AND THE ELDERS 1557 Kunsthistorishes Museum, Vienna. Susannah is a Biblical person who is raped by elders after they observe her bathing. The clear division of spatial elements and unusual placement of figures are heightened by the vivid colouring of the elder to the left and the contrast of Suzanna's pale skin and the dark foliage surrounding his. Tintoretto's love for detail in the common place is shown in his careful rendering of her toiletries. *475 Tintoretto THE ORIGIN OF THE MILKY WAY 1580 Hercules, the son of Jupiter was abandoned by his earthly mother. But the goddess Minerva persuaded Juno, Jupiter's wife, to suckle the baby. This rouses Juno so the milk from her breasts turns to stone above her in the heavens. When Tintoretto changed from Christian themes to legends from mythology, his colour scheme became more radiant and his surface design much smoother. This painting was commissioned by Emperor Rudolph II. This is certainly one of the artist's most vivid and rich works. The primaries of red, yellow-gold and blue remain crisp and distinct. The whole composition is directed towards Hercules. *476 Tintoretto ST MARK FREEING A CHRISTIAN SLAVE 1548 Academia, Venice. This painting illustrates the legend of a slave that ran away to see the relics of St Mark in Alexandria. He was severely punished by his master on returning, his eyes gouged out and his legs broken with hammers. Tintoretto paints the moment when St Mark comes down from heaven to liberate the slave, ending the torture. St Mark sweeps down from heaven, the slave lying on the ground surrounded by astonished servants, executioners and bystanders. On the right the knight is about to fall off his throne he is so shocked. The twisting turning vortex created by the figure of St Mark reappears as the basic form of many of Tintoretto's dramatic compositions. *477 Tintoretto THE LAST SUPPER 1592 S.Giorgio Maggiore, Venice. Christ sits with the Apostles at the long table, set on a diagonal which divides the spiritual from the material. The light of the Holy Spirit lights the heads of the Apostles from the head of Christ. Light also is continued in the wispy shapes of angels, the heavenly ministers, whose form contrasts with the worldly servants. Tintoretto uses light as an interpreter of meaning more than just illustrating the Eucharist: the light turns substance and appearance into spirit. *478 Tintoretto CRUCIFIXION 1565 Scuola di San Rocco, Venice. This is a magnificent painting even if only for its sheer size: 40 feet wide. The drama of the Crucifixion takes place among the events of everyday life: the sheer variety of groups demands attention.