1. Lesson 3 New Levels of Excellence Leonardo, Michelangelo, Raphael

2. Leonardo da Vinci A true “Renaissance Man” A sculptor, painter, architect, scientist, inventor. He dissected cadavers at a time when this practice was outlawed. Through this he learned how the muscles shift as the body moves

4. Leonardo da Vinci. The Last Supper.1495–1498. Fesco. Santa Maria delle Grazie, Milan

5. There are very few works of Leonardo’s He considered many works unfinished and continued to work on the Mona Lisa until his death Leonardo experimented with many techniques The last supper was a “failure” in that it began to flake shortly after he finished

6. Note how all Christ is at the center of the composition and all the perspective line lead towards him. He is the vanishing point

7. This painting captures the moment that Christ tells his apostles that one of them will betray him. All the apostles grouped in 3s are shocked and look on in disbelief Except for Judas (3 rd figure on Christ’s left) who looks at Christ in anger and defiance His face is the only one in shadow

8. The curved line crowns Christ’s head

9. All the figures are seated at one side of the table. This is not natural, but was a strong compositional choice for Leonardo Leonardo included Judas (whom most artists excluded from this painting). Through the dark shadow on his face he emphasized Judas’ spiritual darkness and separation from Christ and the other apostles. He draws a distinction between spiritual and physical separation.

10. Leonardo spent long periods of time looking at the painting rather than “working” “men of genius sometimes produce the most when they do not seem to be working at all” Other artists tried to repair it but, used the wrong colours A monk ordered a door to be placed at the bottom of the painting Napoleon’s army used it as a barracks WWII-bombed, covered in canvass, then mold, then 2 years spent trying to repair it

11. Madonna of the Rocks Louvre version

14. Michelangelo Michelangelo. Pieta. C 1500. Marble. St. Peter’s, Rome

15. It is a little less than life-size, carved out of a single block of marble. Michelangelo made it when he was only 23 for a French cardinal living in Rome. Now it is in St. Peter’s Basilica. It is the only statue Michelangelo ever put his name on. he happened to hear some men from Milan telling each other it was the work of one of their sculptors. So that night he went into the church with his hammer and chisels and candles and carved his name in big letters on the Virgin.

16. A pieta is a work showing Mary mourning over the body of Christ Small face when compared to her huge body Mary is huge and powerful because this would be necessary for her to physically support the body of her son in this sculpture

17. Michelangelo did not want to sculpt a face for Christ that showed his pain and suffering. He chose instead to give him a serene, calm face. The Christ in this sculpture consequently is not a symbol of death and sorrow, but of hope for mankind, gained through sacrifice.

18. Mary’s face is also different from the way many artists chose to portray her at the time. a symbol of incorruptible and eternal beauty highlighted the triumph of the Son over age and death, which he extends to all who live righteously. minimizes the sorrow expressed in her face— she is not worn down with care and age. people believe that Mary is supposed to represent the entire human race.

19. Sistine Chapel before Michelangelo’s paintings

20. Sistine Chapel Pope Julius II assigned him the task of painting the ceiling of this chapel in the Vatican Ceiling paintings were considered less important than wall paintings—hurt his pride (walls already painted by Botticelli) Michelangelo. Ceiling of the Sistine Capel. 1508-12. Fresco. Vatican, Rome, Italy.

21. He also thought of himself as a sculptor not a painter It is now the most famous ceiling painting in the world

22. Before he could begin he had to build a huge scaffold. He applied the plaster and paint lying on his back.

23. He divided the ceiling into 9 sections telling the biblical stories of humanity from creation to the flood

24. The Creation of Adam, detail from the Sistine Chapel ceiling

25. Figures are highly modeled with chiaroscuro They are shown in violent action-twisting and turning Worked on the paining for 4 years Food was sent up to him and he only came down to sleep He claimed that after working on the ceiling he was never able to walk upright again He painted over 145 pictures with over 300 figures, many of which were 10 feet high. Super human strength and determination

26. 1. Separation of Light from Darkness

27. Creation of the sun and the moon

28. Separation of land and water

29. Creation of Adam

30. Creation of Eve

31. Original Sin and Expulsion

32. The sacrifice of Noah

33. Flood

34. Drunkeness of Noah

35. Moses

36. David

37. Raphael Raphael. The Alba Madonna. C1510. Oil on wood. National gallery of Art, Washington, D.C. Andrew W. Mellon Collection

38. Round solid lifelike figures as a result of Raphael’s shading technique Halos and cross suggest a religious theme Madonna, Christ and John the Baptist No sign of joy or happiness on the faces St. John holds the cross the symbol of salvation made possible by Christ’s death Christ twist around as though requesting him to follow Undercurrent of tension All 3 figures stare at the cross