High Renaissance

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Bramante, Design for New St. Peter’s, 1506, High Renaissance
-greek cross plan
-burial site of St. Peter
-a lot of symmetry
-a bunch of little tempieto
-lots of pediments with domes
-reminiscent of St. Mark’s with the use of multiple domes
-not practical to have centralized plan as the seat of the pope

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Bramante, Tempietto, 1500, High Renaissance
- Commissioned by Pope J. II
- On the site of St. Peter’s martyrdom
- Sculptural approach to architecture
- Built up with small decorative elements as opposed to featuring a large architectural structure
- Very regularized

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Genevra de Benci
-sfumato

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The Last Supper
-language of gesture

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Leonardo, Madonna and Child with St. Anne, 1508-13, High Renaissance
-Interest in anatomy and in detail of the body
-St. Anne is looking at her daughter with love
-Mary is looking a Jesus
-pyramidal format
-cartoon – prepatroy drawing
-use of pyramid united the figures
- here jesus is separate from the lamb and plays with it, as opposed being a shepherd or lamb
-misty foggy feel

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Madonna of the Rocks
-gesture

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Leonardo da Vinci, The Mona Lisa, 1503, high Renaissance
-not the full piece
-there were two columns on each side
-unfinished
-two different horizon lines
-if it was for a commission, why did he never give it
-he had it at his death in 1517
-kept going back to it
-alter ego perhaps

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Leonardo Da Vinci, Sketchbook, 1500, High Renaissance
-involved in a lot more than art
-invented a lot of stuff
-dissected a bunch of humans to get perfect anatomy
-architect
-invented a ton
-dedication to observation
-“a comparison of the arts”
-painting is purely creative

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Creation of Adam Michelangelo, Sistine Ceiling, 1508-12

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Michelangelo, David, 1501-04, High Renaissance
-studies the male anatomy
-super idealized
-his hands and head are larger – intellectual and strong
-to be placed at the base of the dome of the Florence cathedral
-bring attention to the source
-application of classical ideas to biblical stories

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Deluge Michelangelo, Sistine Ceiling, 1508-12
- the flood, noah and his arc
- starts with the story of Noah then Adam and even then creation
- very dense, heavy and muscular bodies
- you can see the influence of his sculpting background
- more fluid and movement towards the end
- makes it a more and more focused image
- aaron
- while he is working in Rome, there are tons of excavations around the city – gives him a dynamic, Hellenistic sense of movement

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Michelangelo, Sistine Ceiling, 1508-12
-hit the pope
- had assitants
-worked with advisors to come up with the iconograhic scheme of ceiling
-there are neoplatonic element because there are sibyls
-old testament figures
-old profits
-book of genisis
-all leads up to the last judgment

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-pope Julius started planning his tomb and asked Michelangelo to do it
- wanted a big tomb with hella sculptures
-only sculpture from tomb
-moses when he comes down from the mountain to see the adoration of the golden calf
-sad moses sitting about to get up
-similar form to the large profit portraits in the chapel

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Michelangelo, Pieta, 1498-99
-goes to Rome and looks at all the antiquity
-big push to honor late classical/Hellenistic values
-idealized face but body is realistic and sad
-integrated pyramidal form
-hella drapery
-jesus is smaller than mary
-drapery gives mary more volume
-contentedness and complacency
-it was meant to be

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Michelangelo, Laurentine Library, 1524, High Renaissance
-vestibule, reading room and rare books room
- stairway -- Brings in a much more DYNAMIC sense
- commissioned by the medicis -throws off the visitor
- fans of humanism –staircase takes up the whole vestibule
-this is later Michelangelo (think about later vs earlier Michelangelo) -very classical elements of decoration in an unconventional way. – set in engaged columns on the walls with pedement that extends over the columns
- focuses on movement and gesture, more focused on the form
-curved stairs and linear stairs – the sides seem more stable, regularized -you don’t feel secure on the sides because there is no banister -shows his interest in movement, comes from study of Hellenistic pieces

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Raphael Philosophy (School of Athens), Raphael, 1509-11, High renaissance
-almost neoplatonic to have philosophy across from religion
-raphael puts himself in the painting as a student

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Rafael, Madonna and Child (of the land), 1500s, High Renaissance
-Raphael is a social climber
-Perugino was his teacher
-atmospheric perspective perfected
-parsley sprigs
-uses sfumato on the faces
-pyramidal composition

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Raphael, Galatea, 1513, high renaissance
-secular mythological fresco
-in villa for the pope’s banker
-sea nymph
-light playful and relaxed tone, fluid
-she was considered to be the ideal woman
-sensual tone even in the large amount of movement

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Raphael, Sistine Madonna, High Renaissance 1513
-sistine Madonna
-pope julius’s accention to heaven
-saint Barbra- hour of death saint
-puti lleaning on his tomb