Leonardo da Vinci

Vitruvian Man, Leonardo da Vinci

Plato believed the circle was the perfect geometric form, associating it with divinity. Illustrates the observation made by Vitruvius that, when a man extends his 4 limbs so that hands and feet touch the circumference of the circle, his navel will correspond to the center of the circle.

Embryo in the womb, Leonardo da Vinci

The Last Supper, Leonardo da Vinci, oil and tempera on plaster, 1498

Oil and tempera-deterioration. 3 windows Christ is the “light of the world” Mathematically precise use of linear perspective

Grouping of the twelve apostles Jesus forms a triangle as he extends his arms forward Importance of the pyramid Judas falls back, clutching his bag of coins

Cartoons Full scale drawing of future painting. Cartoons are drawn on regular paper with a dry medium Final rendition of the composition, light, shadow, details of the future painting Perforation around forms to transfer

Virgin and Child with St. Anne and St. John the Baptist, Leonardo da Vinci charcoal with white on brown paper, Example of Cartoon

Mona Lisa, Leonardo da Vinci, oil on wood, c

Took 3 years to complete Pyramidal composition ¾ view Atmospheric perspective in background

Rocky background is imaginary and mysterious- no crisp areas- (sfumato) Psychological intensity, enigmatic smile expresses the character of the sitter Background pattern repeated in drapery

Bramante

Bramante’s plan for St. Peter’s

Pope Julius II’s decision Greek cross Emulate EC central plan tombs

Tempietto, Church of San Pietro in Montorio, Bramante,

Martyrium-building that commemorates place where saint was crucified Saint Peter’s crucifixion site Commissioned by King Ferdinand and Queen Isabella of Spain Circular shrine similar to Greek tholos tombs

Peristyle structure with cylindrical cella topped by dome Bramante believed in the circle as the perfect form

Michelangelo

Pieta, Michelangelo, marble, 1500

Michelangelo’s first masterpiece-23 yrs old Originally intended as a funerary monument Christ and the Virgin in a pyramidal arrangement, little negative space; compact. Classic composure of the Virgin’s face reflects the calm idealized expressions of Greek sculpture.

Portrays strength of a mother’s love-size difference-Jesus weightless Age Changes context to more humanist than religious Only work he ever signed

David, Michelangelo, , marble

17’ high from one block of marble Worked on previously M commissioned to make sculpture for the east roofline of FC 3yrs, 6 tons later-no way

David-hero symbolic of Florence- embraced by them Smaller city state surrounded by more powerful rival states High Classical Greek stance/expression Hellenistic proportion

Sistine Chapel Ceiling Vatican, Rome, End wall,

Sistine Chapel erected in 1472, painted by many masters of 15 th c. Function of Chapel-where new popes are elected Complicated arrangement of Old Testament figures and first few chapters of Genesis

131’ x 43’ 5,000 sq. feet of fresco Curved surfaces seen 60’ below Mold, damp weather, scaffolding

The Creation of Adam, Sistine Chapel, Michelangelo, ceiling fresco, 1512

God flying through sky, Adam bound to earth God makes Adam in his likeness Brain? Pre-birth? Sculptural quality Greek influence

Michelangelo Last Judgment, end wall of Sistine Chapel

One large space on wall (not ceiling) behind altar Mannerism influence-distortion, elongation, crowded Four horizontal registers: –Hell –Ascending and descending –Rising to heaven –Angels carrying cross

Capitoline Hill, Michelangelo,

-the first great civic center aka Campidoglio -The hill had been the symbolic heart of ancient Rome, and the pope wanted to restore it to its ancient grandeur. -Two existing buildings already abutted each other at an awkward 80 degree angle. He added another building at the same angle to flank the central Palace of Senators.

redesigned the façade of the lateral buildings so they would be identical and left the fourth side open, with a panoramic view of the Vatican. –Trapezoidal plan Unifying the whole was a statue of Marcus Aurelius on a patterned oval pavement. measure and proportions “kept in the eyes.”

Michelangelo, St. Peter’s,

Michelangelo’s plan for St. Peter’s

Became the official architect well into construction Respected Bramante’s Greek Cross design Designed round dome like Pantheon but died before it could be complete Changed shape after his death-Giacomo della Porta completed dome

Alternate window designs Double dome-Brunelleschi influence