High+Renaissance

High Renaissance 16th Century Rome

Style HIGH RENAISSANCE style is based on Idealisation which derives from Classical Antiquity: - Harmony - Order - Balance - Unity


 * Jansen:** The High Renaissance was a culmination and departure of Early Renaissance art.

The idea of an artist as a sovereign genius rather than devoted craftsman developed. Plato’s concept of a genius – ‘the spirit entering into the poet that causes him to compose in a ‘divine frenzy.’ Genius’ = set a part from ordinary mortals by the divine inspiration guarding their efforts = called ‘divine,’ ‘immortal,’ ‘creative’ (before 1500 creativity was for God alone). The **Neo-Platonic** movement developed and spurred the HR artists to vast ambitious goals, patrons moved to support such enterprises.

Art began to rely on subjective rather than objective standards of truth and beauty, unlike the Early Renaissance artists who felt bound by universal valid rules (e.g. perspective). High Renaissance artists were less concerned with rational order, rather visual effectiveness. Artists look to the classics (antiquity) and evolved a heighted Naturalism and Renaissance style based on idealised stylistic characteristics.

Unlike Early Renaissance, the High Renaissance artists didn’t set a pace for a broadly based ‘personal style’ that could be practiced on every level. The High Renaissance produced astonishingly few masters – IT DIED WITH THE MEN WHO CREATED IT (or even before). If anything, the High Renaissance deserves to be called a period because its main works were all produced between 1495 and 1520 and culminates a subordination of detail to total effect: order, balance, harmony, unity. Involvement of every part of the design in the meaning of the whole is used triumphantly.


 * High Renaissance Stylistic features: Idealisation**

//Commissioned by:// Commissioned by the [|Benedictine] monks of the Monastery of San Sisto in [|Piacenza] An altar piece Location: [|emäldegalerie Alte Meister], Dresde (Germany)
 * Raphael “__Sistine Madonna__” (1512-13)**

**//Resources: (Readings) //**

On bottom left: St Sixtus II – early Pope and Martyr 1st della Rovere to be Pope and Julius’ Uncle). His cloak has acorns and oak leaves on it – connecting to family emblem of patron of painting. Centre: Madonnna and Jesus, bottom right: St Barbara

The gestures and gazes connect the figures and form the narrative Mary tenderly holding child, she stands barefoot on holy ground, Sixtus looks up at Mary gesturing to Christ (suggesting that he is prophesising or paving the way for him) St Barbara is who Mary consults in the Bible when she learns she is Pregnant with the Son of God. Barbara prays against sudden death and for deliverance. The Curtain stresses the visionary aspect

The figures are stable, weighty with foreshortening. The **open curtains help define the space (i.e. foreground and mid-ground)** Strong vertical central axis
 * Key stylistic characteristics:**
 * Symmetrical**
 * Pyramid** **= balance**
 * Contrapposto = defines space**
 * Mary does not walk on the clouds, but**
 * wafts forward with her cloak and veil billowing**
 * Natural** and **bright** colour
 * Even** and **natural** light.

Oil on canvas Commissioned by [|Paolo Giovio] (Itlian Physitian, historian and biographer) Location: National Gallery of Art, Washington DC.
 * Raphael “__Alba Madonna__” (c.1511)**

Mary sits on ground on tree trunk, Christ’s legs pushed up, receives out stretched cross from John the Baptist who kneels and worships. (Story of a tender moment between Virgin, Christ, and St John the Baptist). Mary is recognisable for her blue dress and St John the Baptist is recognisable for his bare skin and cross (paving the way for Jesus). Mary is human (humanist) sitting in an open, naturalist environment with no halo, embracing mother and child moment.

Simple geometric arrangement in tondo – this was new and daring; combining stability of triangular shape with perfection of circle
 * Key stylistic Characteristics:**
 * Horizontal line creates an ordered** composition that is **unified** with the centred 3 figures positioned as a **triangular pyramid (balance, solidity).** Plants in foreground accentuate the tondo curve, strong diagonal pressures from glances of Mary to cross and Christ and Saint John help define the mid-ground and lead the viewer’s eye throughout the composition.
 * Timeless beauty / restrained Expression.**
 * Harmonious colouring / even treatment of light and Chiaroscuro. [[file:Raphael - Alba Madonna.zip]]**

//The Sistine Chapel in the Vatican Palace was built by Pope Sixtus IV around 1475.// //Commissioned by Pope Julius II, completed between 1508 and 1511.//
 * Sistine Ceiling – Michelangelo**
 * The ceiling is divided by painted Classical architecture to separate each scene of Genesis.**
 * 130 feet long**

http://mv.vatican.va/3_EN/pages/CSN/CSN_Main
 * There is no point you can stand in which you can see everything.**


 * The Sistine Chapel ceiling demonstrates the scope and power of Michelangelo’s genius. Michelangelo gave visual expression to the Neo Platonic notion popular in the Renaissance – that life should be a journey from the slavery of the body to the liberation of the soul in God. Working out this theme in paint, he become increasingly inspired, increasingly sure of himself and the size of his figures began to increase dramatically. He allowed the sibyls and prophets to grow so big that he was forced to lower their pedestals to make room for them, and he gave such energy to the nude medallion-bearers that they had soon twisted out of their corners and were overlapping the Genesis scenes. In the final phase, it is though that he required only about 100 working days to complete a section of the ceiling almost a big as the part he had already taken three years to do. [[file:Michelangelo - Sistine Ceiling.zip]]**


 * Michelangelo “__The Fall of Man / Temptation and Expulsion__” (1509-10)**

The whole story is shown in one scene (compare to Renaissance / Naturalism artist: Masuccio). Genesis story: Adam and Eve have been tempted to eat the fruit from the tree of knowledge and are sent from the Garden of Eden by God. This is seen in the gestures of the figures as Adam stretches out for the fruit on the left, and then both Adam and Eve cover their bodies out of shame on the right. The Angle in the centre gestures for them to leave the garden, pointing the way.


 * Key stylistic Characteristics:**


 * The composition is split in two making it appear symmetrical. The Narrative is read from left to right, the serpent spirals up the tree and out across the branches, leading us to the figures on the left. The angle, also in the tree gestures our attention to the right.**
 * The figures on the right form a pyramid = balance**
 * Open space in background.**
 * Monumental**
 * Muscular / Sculptural**
 * Colour: Naturalistic**
 * Light: Logical, clear, and darker in foreground, receding into light in background.**


 * Michelangelo “__The Creation of Adam__” (1511)**


 * 3rd section, painted in 100 frantic days.**

The narrative is clear, plain, direct, timeless. Genesis story of the creation of Adam. God stretches out his right hand to send divine life to Adam who is reclined and relaxed. Adam’s left hand is about to touch (eminent motion / movement). Adam with love and longing is on barren soil.

God with wide cloak attended by wingless angles forms convex explosion (paternal shape) and Adam is concave, receptive. Together this forms a dynamic relationship through a diagonal line of ground and curved lines of movement. God and Adam appear equal

MANNERIST style is a cultivation of High Renaissance stylistic ideals. c. 1520-1580

Artists began to take painting further than HR unity and sought to paint with more significance and wisdom even if obscure to most (pp276 -277). Artists attracted attention by painting less naturally, less obvious, less simply and un-harmoniously. Perfection once achieved fails to excite, therefore, artists aimed for the unexpected and the unheard of (pp278).
 * Gombrich**: identifies the peak of perfection as 1520 (that is, HR idealism and Naturalism). Gombrich identifies Michelangelo as the most admired, therefore his figures ‘muscley / athletic’ were copied. Artists ‘imitated the manner” rather than the spirit = Mannerism.

Mannerist artists wanted to push the limitations of naturalism (as they had mastered it in HR) by revealing the virtues of a figure in a realistic, exaggerated manner (often Mannerist works were artificial, and therefore not profound or serious). The Mannerist paintings look removed from nature because they idealize the forms to a point of almost abstraction. Mannerism relied on dreams and visions. The aim was to enhance the illusion of uncertainty to baffle the viewer or to startle.
 * Mannerism, unlike most other art styles, was not so much a rebellion against older styles as a deliberate cultivation, almost to excess, of a previous maniera (Italian, ‘style’). While the preceding High Renaissance and Early Renaissance period looked to nature to define their style, the Mannerists looked to the styles of the High Renaissance and Roman sculpture to find their manner of working.**

Mannerists developed as style that is characterised by its artificiality and ‘artiness.’ This means the artists self-consciously worked to show elegance and technical tricks with a sophisticated (not simple) indulgence of the bizarre e.g. elongated limbs, small head, stylized facial features, lineal perspective of HR removed so figures appear flattened and almost decorative. Mannerists continued always to refine 3D form using contrast of space, colour, proportion, perspective, scale and negative and positive space.

//Commissioned by: Angelo Doni// //To celebrate the wedding of Michelangelo’s friend Angelo Doni (a prosperous weaver (merchant) to Maddalena Strozzi (a famous banking family) (see Raphael’s portraits) – an elaborate frame around the painting carries the arms of the Strozzi family.// //This painting is the only surviving panel picture painted entirely by Michelangelo.// Location: Uffizzi, Florence Tempera and oil on Wood
 * Michelangelo “__Doni Tondo / The Holy Family__” (1514)**


 * Michelangelo’s paintings often show figures with a hard edge to them and a very sculptural feel. Michelangelo considered light and shade to be more important than colour. “I affirm that painting is the better the more it tends towards relief and the relief is the worse the more it tends towards painting.” Figures in Michelangelo’s works tend to not blend into the background (e.g. like Leonardo’s) but how strong outlines and strong colours creating a sculptural feel.**


 * This piece (Doni Tondo) is unusual because it shows both HR and Mannerist stylistic tendencies. This is especially peculiar when you consider the date it was made, far too early for Mannerism. It could be suggested this supports the idea that Michelangelo developed his own style in the manner of classical sculpture, rather than follow the more popular Naturalism derived from Leonardo da Vinci that was more evident in works by Raphael.**

Mary, Jesus and Joseph in foreground, John the Baptist with bear skin in mid-ground. Nude figures in back ground = pagan past. The painting is a celebration of marriage - Tondo (circular form) associated with marriage.

The virgin and St Joseph represent the old order while the new child represents the enlightenment world of HR, the nudes in the background the pagan past are distracted, only John the Baptist in the mid-ground recognises the significance of the 3 central figures, adoringly gazes across the barrier.

The composition is the same as Leonardo da Vinci’s cartoon for ‘Virgin of St Anne” in that the figures are group closely = powerful
 * Key stylistic Characteristics:**
 * Horizontal** line creates **Harmony** and **Order**. **Balanced** by people on each side in the background, (**circle = unity**), (**pyramid in group unit of 3 main religious figures in foreground = balance**)
 * Distinctive foreground, mid-ground and background** defined by placement of figures and strong horizontal band.
 * Feels cramped, although not chaotic**
 * Muscular figures, Contrapposto, Chiaroscuro, hard edges, vibrant colouring. [[file:Michelangelo - Toni Dondo.zip]]**

//Commissioned: Later became part of Medici collection// //Location: Palazzo Pitti, Florence//
 * Raphael “__Madonna Della Sedia__” (1518-20)**
 * //Shows both HR and Mannerist characteristics//**

Mother and child, close relationship (Mary and Jesus) John the Baptist is symbolised by cross on right hand side. He gazes up at Jesus, paving the way for him (Praying? Guardianship? Relation / Protection?)

All subjects appear very close to the **foreground**, **slight cropping**, **no background** The side of the chair **(arm rest) defines the space (foreground and background)** Jesus is **disproportion** – fat fingers, very plump, Classical, **restrained**.
 * Key stylistic Characteristics:**
 * Vibrant colouring, figures on right in shadow, spot lighting from artificial light source. [[file:Rapahel - Madonna of the Chair.zip]]**

It was commissioned by Cardinal Giulio de Medici who was made arch bishop of Narbon and became Pope Clement VII. //Location:// Pinacoteca Vaticana, Vatican City
 * Raphael “__Transfiguration of Christ__” (1518-20)**



Jesus transfigures (reveals himself as divine) with Moses on the left and Elijah on the right and watched by Peter, James and John on Mount Tabor – light over whelms them. In the lower section apostles and crowd with a lunatic child they have failed to heal, point to Jesus hoping or pleading he will come down and heal the child. On the sides two saints of Narbonne Cathedral climb the mountain.

in harmonious, asymmetrical, complex figure grouping made confusing though frantic action / strong diagonals into space / lead viewers into confusion.
 * Key stylistic characteristics:**
 * Open space in top half (HR style)**
 * Little space in lower part, crowded, disorderly, chaotic.**
 * Main event happens in background.**
 * Composition divided into two sections, top 1/3 divine, bottom 2/3 earthly.**
 * Scene above = orderly, symmetrical. Pyramid composition: balanced.**
 * The strong diagonals in the pyramid and** **strong vertical axes dividing the composition join each section. A circle created by the John, Peter and James on the mount also helps join the bottom and top sections as the vertical axes moves through it.**


 * Un classical, elongated, instable, exaggerated figures**


 * Garish theatrical, clashing light to heighten emotion for dramatic effect) = dark**
 * The apostles are lit from behind. Jesus’s face is illuminated.**
 * Harsh, acid, brilliant colours – prove it was all by Raphael, though previously thought to be by pupil Giulio Romano.**

//Commissioned by: originally by Pope Celement VII (who died in 1532), Pope Celement VII’s successor Pope Paul III held Michelangelo to the contract.//
 * Michelangelo “__The Last Judgement__” (1536-41)**


 * A significant shift in style is seen between the Last Judgement and the Sistine ceiling. Completed last, very mannerist in style, reflecting the time between when the ceiling was finished and the time it took to complete the back wall of the chapel.**


 * Key changes are:**
 * **Sistine Ceiling:**
 * -spacious design,**
 * -sense of security, unity and harmony**
 * -overall effect is simple yet complex**
 * -naturalist and humanist figures portray perfection and control**
 * -strong classical and sculptural references** || **Last Judgement:**
 * -compact and cramped**
 * -sense of turmoil and chaos**
 * -overall effect is confusing and over abundant**
 * -almost stylised and exaggerated figures (nudes are idealised to point of distortion).** ||


 * The Last Judgement is very busy, show Christ without a beard, saints with gestures of violence, and therefore was considered sacra religious.**


 * HR harmony etc. not as important as it no longer conveyed desired or true feelings – people’s attitudes towards art, church and society had changed.**


 * It is Michelangelo’s final condemnation of the World The power of this painting comes from the artists tragic despairs, Michelangelo painted himself into the judgement, not as an integral person but as a flawed, skinned man, an empty envelop of dead surface, drained by artistic and political pressure.**


 * There is one point when viewing the painting where the whole composition can be taken in one go, it is mostly seen at an angle due to its high position; when seen straight on the figures appear even more exaggerated. Michelangelo painted the figures in this way so when they are seen from an angle they appear real (illusion of real).**

The central theme = drama of human life, man’s destiny to be every further from God, sinful yet meant for eventual salvation. The artist is going through a spiritual and religious crisis, the painting a vision of the painters own suffering and pessimism. The content of the painting is abnormal the painting exploits the strangeness of the subject, is, bizarre and highly emotional.

//Christ is at the centre with his right arm (a gesture) that sets everything in motion. Christ embodies a powerful combination of human and Devine struggle. Christ shows outward beauty and fear. His gestures could be judgmental of a blessing.//

//In contrast Mary (Madonna) is on her knees a symbol of piety and mercy.//

//Michelangelo’s own portrait is painted into the composition as a skinned man / artist (sinful and mortal).//

In the lowest level = Charon (Devil’s ferryman) and on the left, dead are resurrected – above them a group rises to heaven.

Inharmonious, asymmetrical, complex figure groupings make confusing and frantic action.
 * Key stylistic Characteristics:**
 * Discrepancies in scale. Each group has its own perspective, there is about 400 figures.**
 * The painting is held together by a complicated structure of horizontal and vertical lines.**
 * (Horizontals = bands of people)**
 * (verticals = emphasis on left in ascent to heaven and right descent to destruction)**
 * The rotating movement links both ascent and fall to central figure (Christ) who directs the movement.**
 * 2 groups connect the resurrected and those rising to Heaven. [[file:Michelangelo- The Last Judgement.zip]]**


 * Pontormo** **real name Jacopo Carucci (1494-1557) was an Italian painter born in Pontormo and worked mainly in Florence. [[file:Pontormo.zip]]**

//Location:// Church of Santa Felicita, Florence
 * Pontormo “__Entombment / Deposition__” (1515-18)**

Jesus (dead) is taken down from the cross and carried to the tomb (no tomb, no crosses). Mary is in blue and is the largest women, slightly off centre to the right.


 * Key Stylistic Characteristics:**
 * Figures are generally in proportion (in proportion with each other) and show believable solidity / mass (HR), however have elongated necks, twisted poses, are un-classical, less restrained.**
 * Cramped, awkward poses, crowded figures, saddened expressions, unrealistic poses.**
 * Mary is bigger than the other figures.**
 * All figures in foreground,**
 * Disproportionate foreshortening.**
 * Clashing colour, main subject (Jesus and Mary) are in shadow), spotlighting effect.**

//Location: National Gallery, London//
 * Pontormo “__Joseph in Egypt__” (1515-18)**

Joseph in Egypt, Pharoahs dream Centre= discovery of cup in sack of grain Bottom left= reconciliation.


 * Key Stylistic Features:**
 * Disproportionate scale between groups of figures**
 * Unbalanced, no unity**
 * Action is on extreme left rather than central**
 * Bright colours, Evocative and beautiful in themselves. Irrational light, on upper platform and lower statues, Right side in deep shadow.**