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1 Italian High Renaissance: Leonardo: Michelangelo: Raphael: The Virgin of the Rocks Painting as an instrument of knowledge relationship human-nature Monalisa David Classicism and politics Sistine Chapel the artist as genius - the artwork as divine creation the School of Athens the history of knowledge a rational choice

2 Leonardo is a significant figure of his time, representative of the new High- Renaissance concept of artist-genius Far from the medieval concept of artist = artisan, Art was but one of Leonardo s innumerable interests documented by his voluminous notes and sketches dealing with: botany, geology, geography, cartography, zoology, military engeneering, animal lore, anatomy, and aspect of physical science, including hydraulics and mechanics Leonardo da Vinci, Virgin of the Rocks, ca. 1485, oil on wood

3 Leonardo da Vinci, Virgin of the Rocks, ca. 1485, oil on wood Within this complete intellectual research, painting was for Leonardo the most effective way to try to understand the world (an instrument of knowledge) He believed that reality was a totality continuously changing Leonardo s great ambition both in his scientific research and, above all, in his painting, was to discover the laws underlying the processes and flux of nature

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5 In stead of the architectures that framed early Renaissance sacred scenes here the Virgin, Christ Child, infant John and an angel are painted in a natural context Not only are natural details extremely carefully painted, with scientific, rigorous approach But also, figures are now part of it! Leonardo da Vinci, Virgin of the Rocks, ca. 1485, oil on wood

6 Early R. artists had focused on the point of view, the geometry of their images Leonardo is mainly interested in representing figures relationship with nature Leonardo for the first time in the history of art, represents the atmosphere and light as physical, touchable presences

7 Leonardo paints the invisible substance surrounding things by means of his unique way of using oil paints and sfumato technique Sfumato: the technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms

8 Atmospheric Perspective involves an optical rather than mathematical approach. 2 principles: 1) the farther back the object is in space, the blurrier, less detailed, and bluer it appears; 2) color saturation and value contrast diminish as the image recedes into the distance The soft passages made possible by oil painting are used here in order to obtain a new method of spatial representation

9 Leonardo da Vinci, Virgin of the Rocks, ca. 1485, oil on wood The figures are composed in a pyramidal grouping as Masaccio s Holy Trinity and are sharing the same environment The unity among figures is also psychological : figures acts and gestures visually unite them A mood of tenderness keeps together the entire composition A major novelty in Leonardo s representation of human figures is his will of portraying the movements of the soul or soul s intentions (moti dell anima)

10 Leonardo da Vinci, Mona Lisa, ca , oil on wood Leonardo had learned 3 things from Rogier van der Weiden: -The Flemish technique of oil painting -The possibilities of soft color and light/dark passages that this technique permits - The interest for psychological portraiture However, Leonardo made a significant step further:

11 Leonardo da Vinci, Mona Lisa, ca , oil on wood Even if Rogier s model is repeated here, there is a substantial difference: While the Flemish lady s psychology is related to a status (aristocratic, modest and devout as every upper-class lady was supposed to be considered), Mona Lisa is portrayed as an individual, with all her complex and unique personality

12 Leonardo da Vinci, Mona Lisa, ca , oil on wood Her gaze, directed to the observers, engages them psychologically Her famous smile is actually not a smile, but rather an ambiguous expression that better corresponds to the complex dynamics of reciprocal gazes Everyone who has ever tried to draw a face knows that its expression rests mainly in two features: the corner of the mouth and the corners of the eyes Now it is precisely these parts which Leonardo has left deliberately indistinct By letting them merge into a soft shadow

13 As the atmospheric quality of Leonardo s landscapes, also Mona Lisa s expression is a way to disguise rather than reveal her psyche Leonardo is more interested in catching the passage between different stages (movements of the soul) rather than representing a defined, immutable (therefore simplistic) expression Moreover, there is a mutual mirroring of nature and psyche: the mysteriousness of Mona Lisa s psyche is mirrored by the smoky, uninhabited landscape in the background

14 One of you is about to betray me Leonardo da Vinci, Last Supper, ca , fresco (oil and tempera on plaster), Refectory, Santa Maria delle Grazie, Milan Here Leonardo portrais a collective psychological reaction A storm of movements of the souls Which moment does he represent?

15 Michelangelo Buonarroti, David, , marble, 17 Michelangelo Sculptor Even if Michelangelo, like Leonardo, had several intellectual and practical activities (he was an architect, sculptor, painter, poet, and engineer) he thought of himself foremost as a sculptor In 1501 the city of Florence commissioned him a David statue from a colossal block of marble the Biblical fight between David and the giant Goliath was political symbol of the city of Florence (surrounded by powerful kingdoms and proud of its independence)

16 placed at the entrance of Palazzo della Signoria, the center of Florence government It had a further political significance: after the expulsion of the Medici family, former ruler of the city, David was seen as the symbol of liberty of the Florentine republic that had defied tyranny

17 Michelangelo Buonarroti, David, , marble, 17 Donatello, David, ca. 1440, bronze, 5 21/4 Theme already represented by Donatello However, instead of the elegant adolescent of Donatello Ththis is solid and muscular

18 Michelangelo Buonarroti, David, , marble M. goes back to Nicola Pisano And to the expressive effect of his medieval exaggeration of head and hands/feet

19 Michelangelo Buonarroti, David, , marble Moreover, Michelangelo represents an unusual moment: Not the victorious and arrogant David, after having killed Goliath But rather he shows the moment just before the fight When his whole body, as well as his face, is tense with gathering power:

20 Michelangelo Buonarroti, David, , marble this strategy of representation can remind us of Myron, but there is here something completely new: The real subject of Michelangelo s sculpture is not the body of David itself, but rather a powerful psychological tension That is expressed by means of the whole body

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22 Michelangelo s approach to art making is the opposite than Leonardo s (2 main differences): 1) For L. man was only one of the many fascinating aspects of nature - M. is obsessed with the human figure 2) L. s aim was to understand the universe by means of observation According to M., truth is already in the artist s mind: the image produced by the artist s hand must come from the artist s idea

23 How to structure an Art-historical paper: 1) identification Michelangelo Buonarroti, Creation of Adam, detail from the ceiling of the Sistine Chapel, Rome,

24 How to structure an Art-historical paper: 2) Subject matter - description Adam is lying in a barren landscape From the other side the Creator is approaching wrapped in a mantle blown by the wind like a sail the creation of Adam (humanity) Adam is so powerfully muscled that even in repose we sense the energy that will be released once God touches him

25 The Creator stretches out His hand not even touching Adam s finger 2 interpretations about the figures surrounding Him: -angels -souls waiting for their creation (Eve/Virgin)

26 How to structure an Art-historical paper: 3) Formal analysis

27 How to structure an Art-historical paper: 4) Context - commission In 1508, following his success with the David, Michelangelo receives the commission by the Pope Julius II to paint the ceiling of the Sistine Chapel The largest pictorial decoration ever realized before 1) Michelangelo s inexperience with the technique of fresco 2) The ceiling s dimensions (ca. 5,800 square feet) 3 problems: 3) Perspective problems presented by the vault s height (70 feet) and curve

28 Michelangelo Buonarroti, ceiling of the Sistine Chapel, Rome, M. shut himself in the chapel, let no one come near him, and worked alone for 4 years (technical problem: on the scaffolding he had to lie on the back and paint looking upwards) Subject matter: the Creation, Fall, and Redemption of humanity

29 How to structure an Art-historical paper: 5) Comparison 1 Unlike Mantegna and Leonardo (other Renaissance frescoes), M. does not break the wall/ceiling: there is no illusionistic representation of space

30 How to structure an Art-historical paper: 5) Comparison 2 Unlike Leonardo (contemporary, from the same city, well known to Michelangelo), M. is not interested in the relationship humans-nature

31 How to structure an Art-historical paper: 6)context - within the artist s oeuvre Rather Michelangelo s whole oeuvre concentrates itself on the HUMAN BODY: naked, muscular figures are THE manifestation of human soul (there is no separation body/soul in his world view) Figures are not placed in a spatial setting (linear nor atmospheric perspective) But rather, it is their sculptural presence that build the composition/space

32 How to structure an Art-historical paper: 7)interpretation the power of this gesture of creation corresponds to the act of art-making Adam is like a block of marble waiting to receive life from the artist s hand: The creation is reinterpreted as the powerful dialogue between artist and artwork

33 Raphael, Philosophy (School of Athens), Vatican Palace, Rome, , Fresco While M. was working at the Sistine Chapel, the younger Raphael was painting the pope s apartments This is the papal library Raphael painted on the four walls Theology, Law, Poetry, and Philosophy the image that the pope Julius II wanted to give of himself: as both a cultured individual (Classical themes) and a religious authority (Christian themes)

34 Raphael, Philosophy (School of Athens), Vatican Palace, Rome, , Fresco Scientific perspective directs our attention to the 2 central figures: ideas Plato and Aristotle shown as the forefathers of 2 main approaches to knowledge On the left side those concerned with mysteries and trascendental ideas On the right side those concerned with nature and human affairs Knowledge comes from the world of Subject: Raphael represents here a congregation of great philosophers and scientists of the ancient world They are conversing and explaining their ideas No, it can be reached only by studying this world The massive architectural context are Roman vaults

35 3 main points: 1) Raphael portrays himself among the mathematicians and scientist around Euclid: Acknowledges the importance of the rational-mathematical approach of scientific perspective

36 Raphael, Philosophy (School of Athens), Vatican Palace, Rome, , Fresco 2) characters communicate a diversity of moods and personalities The artists represents the person behind each of these great philosophers the strictly symmetrical and rational composition is made dynamic and diverse by the characters

37 Raphael, Philosophy (School of Athens), Vatican Palace, Rome, , Fresco 3) Raphael s bodies have the powerful structural value of Michelangelo s heroic figures Portrait of Michelangelo as the philosopher Heraclitus

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