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It is centered in ROME 1495-1527. The Renaissance combines the arts with the sciences for the first time.

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Presentation on theme: "It is centered in ROME 1495-1527. The Renaissance combines the arts with the sciences for the first time."— Presentation transcript:

1 It is centered in ROME

2 The Renaissance combines the arts with the sciences for the first time

3 Leonardo da Vinci MichelangeloRaphael Are the superstars

4 Leonardo da Vinci MichelangeloRaphael Were geniuses who broke through medieval limitations and elevated man with their pens, brushes, and chisels

5 During the Renaissance, people learned to value life on earth as more that a stop on the way to the afterlife.

6 Artists began to celebrate man, not only God Humanism flourishes

7  Leonardo was the quintessential “Renaissance Man”  Worked as an apprentice to Verrocchio Self-Portrait drawing, c. 1512

8 He was a Painter Sculptor Architect Scientist Engineer Inventor

9 He made far more drawings than paintings

10 He kept hundreds of notebooks…

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14 Pen and ink; 14”x 10”c Leonardo da Vinci illustrates Vitruvius’ observations about man/ circle

15 As an apprentice, Leonardo painted the angel on the left… Andrea Verrocchio, Baptism of Christ, 1470, 70”x 60”

16 This angel drove Verrocchio to stick with sculpture Andrea Verrocchio, Baptism of Christ, 1470, 70”x 60”

17 Aerial Perspective ; objects off in the distance appear bluish. They are lighter blue, the farther away Madonna of the Rocks, Oil on wood.. Pyramidal form

18  World’s most famous portrait.  It took 3 years to finish it is said to be of Lisa di Antonio Maria Gherardini, the wife of a wealthy Florentine. Mona Lisa, c Oil on wood, approx 2’6” x 1’9”.

19  It was his favorite piece – Masterpiece so much so that Leonardo kept it for years.

20 Sfumato : Sfumato : Means “ toned down ” or “ vanished in smoke”. It helps blend the figures into the background so they don’t look like cut outs. It helps blend the figures into the background so they don’t look like cut outs. Mona Lisa, c Oil on wood, approx 2’6” x 1’9”.

21  Sfumato : It creates a misty dreamlike effect…

22 Portrait of Ginerva Benci, Oil on Wood, 1475  chiaroscuro : Means light-dark. It has to do with the gentle shading that makes his figures look so real so real

23 Last Supper c oil and tempera on plaster. 15’x30’

24 One of the most widely recognized images in Western art

25 Milan Can be found on the wall of a refectory in Milan Last Supper

26  most impressive of his works. Subjects seated at table parallel to the picture plan.  Simple setting- not to distract from the story Leonardo Da Vinci. “Last Supper” ca Fresco

27  window behind Christ serves as a halo.  people from real life used as figures for his painting

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29  Raffaello Sanzio, born in Urbino, Italy  1483 – 1520  Died of a fever at 37  Supported by The Medici Family and Pope Leo X

30 In contrast to Leonardo and Michelangelo, Raphael’s style is calm and restrained Madonna of the Meadow, Oil on panel; $’x3”

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32 Madonna dell Granduca c. 1505Oil on wood. At the beginning of his career in Florence, he painted many versions of Madonnas

33 Madonna della Sedia

34 A Madonna “specialist” Sistine Madonna, c.1514

35  Canagiani Madonna, 1507 He uses the pyramidal form (like da Vinci), but does not use sfumato- mysterious background

36 At 25, he moves to Rome where he paints more religious pictures and Portraits

37 Portrait of Baldassare Castiglione, c Oil on canvas He puts personality in his portraits

38 Pope Julius II commissioned Raphael (25 in 1508) to paint the frescos in his four room apartment. They became known as " The Raphael Stanze " Pope Julius II commissioned Raphael (25 in 1508) to paint the frescos in his four room apartment. They became known as " The Raphael Stanze ".

39 The School of Athens, 1511, Fresco

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41 Da Vinci as PLATO- he looks to the heavens ARISTOTLE- looks to this earth [the here and now]

42 Michelangelo is shown as a great Greek philosopher. He painted him in a pose that Michelangelo has used in his work. Michelangelo is shown as a great Greek philosopher. He painted him in a pose that Michelangelo has used in his work. Strong, powerful… Strong, powerful…

43 David, Florence, Italy, 1504 Huge block of marble, called “The Giant” It assured his reputation as an extraordinary talent.

44 Pope Julius II’s Caught Pope Julius II’s attention and it lead to major papal commissions. tense He chose to depict David sternly watching for his approaching foe. He is tense with gathering power

45 He worked for the Medici family in Florence Taught himself to carve by studying the Medici collection of classical statues

46 Larger than life David. Over 13 feet tall. perspective Sculpted in perspective (top heavy), so if viewed from below the figure looks proportional. Contrapposto…

47 Pope Julius II Sistene Chapel Pope Julius II gave the reluctant artist the commission to paint the ceiling of the Sistene Chapel. inexperience sizeheight Faced enormous difficulties: relative inexperience in fresco, size, height Rome,

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49 Over 300 images

50 Old Testament figures 4 years It took 4 years to complete

51 Creation of Man

52 The Last Judgment Fresco Sistine Chapel, Italy years after he finished the ceiling Painted in 1541, almost 30 years after he finished the ceiling

53 The Last Judgment DETAIL, Fresco Sistine Chapel, Italy 1541

54 , Pietà, from Old St. Peter’s c. 1500, Marble, height 6’

55 , Pietà, from Old St. Peter’s c. 1500, Marble, height 6’ Pietà = Mary holding and mourning dead Christ Italian for “compassion” (think pity) Made when he was 24

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57 , Pietà, from Old St. Peter’s c. 1500, Marble, height 6’ Only major work that has Michelangelo’s signature on it (on the strap across her chest)

58 Architecture Centrally planned churches= ideal. Comes from ancient notion that the circle is the ideal shape- associated with divinity.

59 Architecture Centrally planned churches= ideal. Tempietto, Tempietto, by Bromante Rome

60 Architecture a small shrine to mark the site of St. Peter’s crucifixion. Bramante chose to design a circular temple. Tempietto = “little temple”

61 Saint Peter’s, Rome

62  Bramante = leading architect in Rome  He was Raphael’s mentor

63  St. Peter’s was over 1,000 years old and need to be rebuilt.  In 1506, Bramante was in charge, but he died early on.  He chose Raphael to be his successor- but he died shortly after…  Michelangelo takes over in 1546 and simplified Bramante’s complex design.

64 Saint Peter’s, Rome

65 Interior- Saint Peter’s, Rome

66  St. Peter’s has a central Greek cross plan, but a long nave was added to form a Latin cross.

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68 Venetian artists were all about COLORTEXTUREMOOD

69 BelliniGiorgioneTitian

70 Bellini had a great influence on GiorgioneTitian

71 St. Francis in Ecstasy, Panel; 48”x 55” His work is influenced by work from the Northern Renaissance, centered in Flanders

72 Doge Leonardo Loredan, oil on wood; 24”x 18” His portraits also share the strict attention to surface detail (texture)found in the Netherlands

73 Doge Leonardo Loredan, oil on wood; 24”x 18” surface detail- Texture of clothing

74 Tempest, c oil on canvas; 31” x 28” His work is like a link between Bellini and Titian He liked to paint soft muted landscapes

75 Old Woman, early 1500’s. Oil on canvas; 26”x 23 ” He died young- not many works… This is a study in the ravishes of time and its psychological effect “col Tempo” (with time)

76 Penitent Mary Magdalen 1560s, Oil on canvas. religious mythological portrait had a creative career during which he produced religious, mythological, and portrait paintings, in an original way vivid color movement He used vivid color and movement

77 Assumption of the Virgin 1516, oil on panel. 22’x 12’ RED Titian is famous for his intense colors- especially RED

78 He started by painting his canvas with red Then figures and background with vivid Then tone down with at least 30 layers of glazes

79 Assumption of the Virgin 1516, oil on panel. 22’x 12’ Titian is famous for his use of light and dark His work is filled with energy

80  Off center, asymmetrical  Off center, asymmetrical architecture- more daring composition than artists in Rome The Pesaro Altarpiece, 1525, canvas, 16’x9’. Venice

81 Rape of Europa, Oil on canvas; 73”x81” He is interested in mythological subject matter

82 Rape of Europa, Oil on canvas; 73”x81” He is interested in mythological subject matter

83 He was responsible for making the use of canvas more popular than painting on wood panel

84 The High Renaissance had reached the peak of perfection and harmony. What next?

85 …a new effort for artists to be original, because no one could top the Renaissance Men

86 In the next chapter, the Mannerists will exaggerate ideal beauty and will seek instability instead of equilibrium


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