Leonardo da Vinci, Raphael, Michelangelo, El Greco

Apprenticed to Verrocchio Focused time in Milan on military and civil engineering projects Worked for Sforza family in Milan Insisted painting was best way of creating artistic illusion of real world (Michelangelo argued sculpture) Vitruvian Man seeks precise anatomy and perfect portortions Died in France in 1519 advising architecture for king Francis I

Coffered ceilings (recessed to lighten the ceiling) in linear perspective to depict a realistic form of space. Figures are parallel with picture plane (surface of depicted artwork) in pyramidal groups of three. Judas is not isolated across table such as from Castagno’s Last Supper. Da Vinci eliminates symbolic halos but uses the light from the three (symbolic number) windows.

Full-scale drawing (cartoon) done in charcoal in Florence in 1500 Illusion of high relief created with chiaroscuro (high value, dark-light) Highlights placed in circular composition to put importance on all figures and their interactions

Pyramidal composition from elbows to head Atmospheric landscape to heighten mystery of setting Possibly Lisa Gherardini del Giocondo, wife of prominent merchant Enigmatic smile/emotions Sfumato (hazy appearance caused by layering varnish) echoes early evening, dusk.

Studied in Umbria with Perugino before moving to Florence in 1505 Became instantly famous with several paintings of Virgin and Child Figures echo da Vinci’s in terms of monumental shapes, idealized faces, and rich colors. Worked in Rome 1508 in Vatican for Pope Julius II and later, Pope Leo X Died at 37 from illness

1505, oil on wood panel Figures are solid juxtaposed against soft light of landscape Dome in background is from Urbino, Raphael’s hometown Atmospheric perspective with pyramidal figural composition.

Located in Stanza della Segnatura in Vatican under Pope Julius II’s tenure. Archway depicts tromp l’oeil with Greek philosophers symbolizing the ideals of the Renaissance papacy (Julius II) Plato and Aristotle in middle silhouetted by sky (remind you of a previous painting?) Interior barrel vaulted arches possibly inspired by Saint Peter’s Basilica with clear, even light from a single light source.

Pope Leo was interested in success of Medici family Highly rendered textures and surfaces, chiaroscuro, and monochromatic color scheme Reflection of artist working in brass knob of chair, echoes Jan van Eyck’s Arnolfini Portrait

At 13, apprenticed with Domenico Ghirlandaio, learned about frescos Like Bottecelli, Michelangelo fell under the spell of Savonarola, and was greatly affected by execution in 1498

Marble, pietá is the Madonna mourning death of Christ Sense of agelessness, sculpture is meant to seen only from front From single slab of marble, Michelangelo said, “The greatest artist has no conception which a single block of marble does not potentially contain within its mass, but only a hand obedient to the mind can penetrate to this image.” -Sonnet 15 Take 5 minutes, and in your notes, write what you think Michelangelo meant by this.

1501-4, echoes classical nude with contrapposto stance Emotional, determined gaze is unique to Michelangelo This David, differing from Donatello’s David, is the pre- battle against Goliath. The stare symbolizes right over might, not having the power or strength but the will and drive to conquer.

Moses, marble Tomb of Julius II After Leo X succeeded Julius II, Medici family regained power in Florence

Last Judgment Sistine, end wall 1 st major commission of Pope Paul III Cleaning finished in 1994 revealing incredible colors.

Rondanini Pietá Worked on sculpture 6 days before death Nonfinito work (unfinished) depicts struggle between artist and medium.

Apprenticed with Gentile and Giovanni Bellini before working with Giorgione Pesaro Madonna, 1519 Official painter of Venice Commemorates Venetian victory over Turks in 1502 Venus of Urbino, below, 1538 Oil on canvas, developed w/ layers, Titian (and Michelangelo) outlived “classical” part of Renaissance

Pietá, , oil on canvas Like Michelangelo, Titian’s final unfinished piece was a pietá piece. Highly emotional with sharp chiaroscuro and looser brushwork. Put himself in painting as St. Gerome kneeling

Last Supper, , oil on canvas. Highly influenced by Titian, chiaroscuro, two light sources: 1) illuminating from Christ, 2) Lamp Tintoretto worked vigorously fast, and produced work quickly

Painted in Spain, before - studied in Titian’s shop in Venice, studying Tintoretto’s work too Lived in Toledo, received large commissions. Burial of Count Orgaz View of Toledo

Tromp l’oeil Coffering Linear perspective Michelangelo Medici Family

Atmospheric Perspective Vitruvian Man Pope Paul III Cowper Madonna and Child sfumato

Chiaroscuro Cartoon Mona Lisa Michelangelo’s David Pope Julius II

View of Toledo Tintoretto’s Last Supper Venus of Urbino Birth of Venus (Bottecelli) Pope Leo X