Art History High Renaissance
High Renaissance Intense focus on anatomy and turn of head which is staple of Michelangelo
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High Renaissance Da Vinci's scientific investigation into anatomy
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Albrecht Altdorfer Battle of Issus Germany High Renaissance Political works Integrated landscape, politics, and history Bird's eye view Commissioned for the invasion of the Turks for Wilhelm the Fourth Took place in a town near Issus oil on wood
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Albrecht Durer Fall of Man (Adam and Eve) Germany High Renaissance References studies of Vitruvian Man (perfect proportions) Reminiscent of Apollo and Venus (classical references) Idealized figures Symbolism in animals - Cat and mouse mimic tension between Adam and Eve Animals represent four humors that were in balance prior to the fall of man - blood, yellow bile, black bile, phlegm Signed his name to the left of Adam's head Engraving
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Albrecht Durer Four Apostles Germany High Renaissance Focus on color, light, shading Documents support for politicians of the time (Martin Luther) Two panel produced without commission - presented to city fathers of Nuremberg to be hung in city hall St John and St Peter on left, St Mark and St Paul on right At bottom of panel in tiny writing is quotations from all the apostles books Oil (his most famous work in oil)
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Albrecht Durer Self Portrait Germany High Renaissance Fascinated with classical ideas of Italian Renaissance, met a lot of humanists in Italy and incorporated these principles into his work Religious references Focused on perspective, fortification, ideal human proportion Inscribed with monogram and date on left Four lines on right state that the painting is a self portrait of the artist at 28 Fur trimmed coat, dark background, short beard and long hair (medieval and devotional image of Christ), hand positioning mimics Christ's traditional pose, focus on hand is reference to artist's hand as a creative instrument Oil on wood
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Caterina van Hemessen Self Portrait The Netherlands High Renaissance Secular portraiture First known Northern European self portrait by a woman signed with name, date, and age She presented herself as a painter interrupted at work by a viewer Her left hand holds five different brushes, palate, and a stick used to keep the hand steady Painting with her right hand Learned from her father oil on wood
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Da Vinci Cartoon for Madonna and Child with Saint Anne and the Infant Saint John Italy High Renaissance The emergence of Da Vinci's style Infusions of principles of classic art Romanesque figures Charcoal heightened with white on brown paper Unfinished piece Figures of Mary, Jesus, Saint Anne, and Saint John
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Da Vinci Last Supper Italy - Santa Maria del Grazi High Renaissance Religious figures Used live models Christ forms an equilateral triangle Judas clutches a bag of money and his face is in a shadow which singles him out Formally and emotionally Da Vinci's best work Jesus telling his disciples one of them will betray him Oil and Tempera on plaster - he wanted the work to look like oil on wood, so this was a bold attempt and it's failed really badly bc now this is rotting away
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Da Vinci Madonna of the Rocks Italy - Milan High Renaissance Religious figures (Mary, Christ the Child, John the Baptist, an Angel) Technical use of light Mastery of oil paint Central panel of an altarpiece for the Chapel of Confraternity of the Immaculate Conception Angel points to John the Baptist who is praying to baby Christ Manifestatoin of scientific curiosity about the invisible substance surrounding things Oil on panel
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Da Vinci Mona Lisa Italy High Renaissance Composition recalls Early Renaissance paintings (Madonna and Child with Angels, Madonna of the Rocks) Secular portraiture Sfumato - haziness Went against Renaissance norms bc it didn't depict wealth and showed a woman directly making eye contact with the viewer Da Vinci's goal was to paint something that was a convincing depiction of appearance and personality The painting is daker today than it would've been years ago bc it has acquired grime Oil on wood
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Giorgione The Tempest Venice, Italy High Renaissance Personal style - focused on lyrical and sensual, ambiguous subjects due to lack of prep sketches, didn't worry so much about anatomical correctness or mathematical principles) Few human figures pushed to side Beautiful landscape piece lots of uncertainty about the purpose of this painting He and Titian learned from Bellini Oil on Canvas (frescos didn't set well in Venice bc it's so damp)
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Hieronymous Bosch Garden of Earthly Delight The Netherlands High Renaissance Puzzling, serious paintings - very visionary and wonderlandish Likely a secular piece Bright colors Some people think it's an altarpiece Themes of sex and procreation, many think it's to celebrate marriage (common theme in Netherlandish painting) Left panel is where God presents Eve to Adam - animals, fountain like structure Center is fantastical - exotic figures of African descent, prime of youth, fruits and birds symbolic of procreation and fertility, many figures in hovels Right panel is hell - lose theme of fertility, beastly creatures eating people, condemned souls that torture Either a warning for a sinner's fate or for those interested in alchemy and witchcraft oil on wood
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Lucas Cranach the Elder Judgement of Paris Germany High Renaissance Drawn from German landscape Classical references Depicted this image multiple times during his career German landscape with Saxon castle Mercury standing up, Paris sitting down, Juno wearing hat, Venus on left oil on wood
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Lucas Cranach the Elder Law and Gospel Germany High Renaissance Prints used to promote Lutheran Ideology Religious work Most closely associated with Martin Luther - provided illustrations for Luther's Bible The painting of the Reformation Contrasts the Catholic (good works lead to salvation, Christ showing damnation, skeletons and beasts) and Protestant (God's grace = redemption, crucifixion, Holy spirit coming down from clouds being transferred to us humans) methods of salvation Woodcut
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Matthias Grunewald Isenheim Altarpiece Germany High Renaissance Religious figures Reflects Catholic beliefs Incorporates Catholic doctrines Closed: Lamb as symbol of son of God, blood spurts into chalice Created for monastic chapel of Saint Anthony of Isenheim Open: God the Father, smaller statues of Christ, 12 Apostles St. Sebastian on left, St. Anthony Abbott on right Saints associated with miraculous cures for the plague, this was placedin a hospital so people would pray to it and look to it for hope Painted and gilt limewood - oil
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Michelangelo Creation of Adam Sistine Chapel - Vatican City, Rome, Italy High Renaissance Idealized forms, anatomical correctness Religious subject matter Focal point is in finger tips - off center Implied line - not really touching, meeting each others gaze God in Brain like shape, transcending Earth, wrapped in billowing cloud Meeting each other in unformed landscape Lotion goes from left to right and vice versa Communication sparked through lack of touch Bold new interpretation of the Creation of Man Combined Church doctrine with his own Fresco
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Michelangelo David Florence, Italy High Renaissance Religious figure Anatomical correctness (veins, tense jaw) Reminiscent of greco-roman statues 17 ft tall 12,000 pounds Depicting David before his victory Towering, pent up emotion Marble
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Michelangelo Interior of Sistine Chapel Vatican City, Rome High Renaissance Religious commissioning thus religious figures Intense anatomical correctness and idealization Bold interpretations of religious events He had to redo the first section because it was improperly done at first 9 central panels from Old Testament Triangles feature ancestors of Christ Fresco technique
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Michelangelo Moses Tomb of Pope Julius II - Rome, Italy High Renaissance Horns on head which were convention in Christian art - helped ppl identify it as Moses Religious figure Anatomical correctness (bulging muscles, swelling veins) Made alongside other figures Depicted with tablets under his arm Turning of head shows wrath and conveys emotion Marble
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Michelangelo The Fall and Expulsion from Paradise Sistine Chapel, Vatican City, Rome, Italy High Renaissance Religious figures Muscly anatomy Male models primarily used Eve takes fruit, serpent wraps around tree, expulsion from Eden Three part story in one piece Fresco
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Michelangelo The Last Judgement Sistine Chapel, Vatican City, Rome, Italy High Renaissance Religious subject matter Muscly figures and anatomy Inspired by Dante's Divine Comedy - from Early Renaissance Rich in emotion Christ is stern judge of the world (twisting, gigantic, raising hand in gesture of damnation, almost nude) Surrounded by choirs/occupants of heaven, demons and gargoyles, portrait of Michelangelo as a baggy of skin, Saint Batrholomew Fresco
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Michelangelo Pieta Vatican City, Rome, Italy High Renaissance Religious figures Bodies of Mary and Christ very classically inspired The human anatomy is a key part of this piece- Mary is supposed to be created larger than Christ Michelangelo's first masterpiece Emotion and mood Mary's ageless beauty is integral part of virginity and purity Christ drifting off to a deathly sleep - not focused on horrors of crucifixion Sensitivity to texture - folds in Mary's garment Marble
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Pieter Bruegel the Elder Hunters in the Snow Spain? High Renaissance Smooth transitions between grounds Supreme skill with line, shape, and harmony depicts one painting for every 2 months - this one is Dec and Jan Women create fires, skaters on pond, town and church people huddle in far middle ground viewer drawn diagonally oil on wood
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Pieter Bruegel the Elder Netherlandish Proverbs The Netherlands High Renaissance Landscape painter Chose not to incoporate classical elements Purpose and meanings of his anecdotals are clear Piece depicts a Netherlandish village that encompasses nobility, peasants, and clerics Almost seen from Bird's eye view People refer to him as second bosch Depicts over 100 croppers bc the Netherlandish ppl were obsessed w them Interested in human folly Proverbs illustrated: on the far left a man is gnawing on a pillar, man on right beats head into wall, on roof a man shoots one arrow after another but hits nothing, in far distance near sunlight the blind lead the blind oil on wood
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Raphael Galatea Rome, Italy High Renaissance Scene from classical mythology References to Botticelli's Birth of Venus Convergence between Michelangelo and Raphael (muscular figures and connection to greco roman world) Immensely wealthy banker, manager of Vatican's finances, commissioned to decorate his palace Galatea fleas on shell to escape her lover the cyclops - polyphemus The story praises human beauty and zestful love Fresco
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Raphael Madonna in the Meadow Painted in Florence - Italy High Renaissance Creation of his own style Pyramidal composition influenced by Da Vinci Moving away from Perugino's style, investigation of personal style Jesus playing with St John's cross shaped staff (sacrifice of Christ) Lighter tones in sky, grass, drapery Religious figures
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Raphael Marriage of the Virgin Italy - Chapel of Saint Joseph, Church of San Francesco High Renaissance Perspective system drawn from Perugino References to Early Italian Renaissance painting References to Early Italian Renaissance architecture (Temple in background is reminiscent of Brunelleschi) Oil on wood
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Raphael Philosophy (School of Athens) Vatican City, Rome - Italy (In room of the signature, Julius the Second's papal library) High Renaissance References to classical architecture References to contemporaries and important figures Mathematical depiction of people in a crowded, three dimensional room Painted images symbolize justice, theology, poetry, and philosophy Plato points to heaven with ancient philosophers on his side Aristotle gestures towards Earth where those concerned with practical matters rest Pythagoras holds up a board with his servant Reconciled classical humanism with christianity through plato and aristotle Fresco
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Raphael Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi Italy High Renaissance Dynastic portrait Pope's cloak reminiscent of Netherlandish Early Renaissance painting Important figures - Medici family members Portrait used to advance Medici family interests Pope has most of the composition with a 14th century illuminated manuscript, a maginfication glass for his impaired eyesight, depiction of Pope as educated collector of beautiful objects No one looks at each other, they're all absorbed in their own thoughts Oil on wood
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Titian Assumption of the Virgin Venice, Italy High Renaissance Religious figures Religious commission Rich colors, playing with light 20 ft tall - made for high altar of church Virgin entering heaven on a great white cloud golden clouds of heaven above in arch God the Father is slightly off center, welcomes Mary with open arms Apostles on bottom layer oil on wood
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Titian Isabella d'Este Venice, Italy High Renaissance Secular portraiture Titian's style present here (emphasis on head and hands) One of the most prominent women of the Renaissance (developed the Mantuan court into cultural center for Italy, patronage for art and music) Sharply highlighted face, dress blends into background, hands highlighted by intricate sleeves The actual woman was 60 when this was made, but Titian painted her as being 20 Oil on canvas
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Titian Meeting of Bacchus and Ariadne Venice, Italy High Renaissance Based on an ancient poem by Catullus Uses ultra marine - the most expensive oil paint - bright colors Sensuous appeal of painting (for commissioners... pleasure chamber...) Reminiscent of greco-roman sculpture bc that's where titian got inspo for his figures from 6 ft by 6 ft Bacchus on chariot led by leopard to the island of Naxos to save Ariadne
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Titian Pastoral Symphony Venice, Italy High Renaissance Masterful handling of light and color Inspiration drawn from music and poetry Supreme colorist and master of oil painting Long was attributed to Giorgione, now known as Titians Dense shadows emerge from soft forms of figures and landscape Mood of tranquility and dreaminess Scene evokes sense of lost but not forgotten paradise Two nude women occupy foreground, in middle there is shepherd and sheep, in distance is villa that crowns the hill Oil on canvas
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Titian Venus of Urbino Venice, Italy High Renaissance Title elevates status to classical mythology Based his version of the female nude on Giorgione's paintings Probably painted for Guidobaldo II Venus reclining on couch with servant in background and dog representing fidelity or Cupid Softness of couch contrasts with harsh line separating the rooms out the window is a landscape Color red consistent through couch, servants dress, red flowers Oil on canvas
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Titian and Palma il Giovane Pieta Venice, Italy High Renaissance Religious figures Bold diagonal line (one of Titian's favorite compositional devices) Broken brush strokes, rough and uneven, beginning of impasto painting Titian began to contemplate death, this was painted for his tomb but he died so his assistant completed it Virgin holds Christ, Mary Magdelene has arm up in sign of disbelief and stress, Figure of Saint Gerome reminiscent of Titian himself Moses statue on left, statue representing faith on the right Mysterious subject matter
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