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High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
High Renaissance
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High Renaissance

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  • 1. The High Renaissance in Italy
  • 2. “ Vitruvian Man” by Leonardo da Vinci. C 1485-90. Pen and Ink. -Circle was synthesis of Classical with Christian thought. Related to new interest in direct observation of nature
  • 3. “ Tempietto, San Pietro in Montorio, Rome” by Donato Bramante
  • 4. St. Peter’s, Vatican, Rome
  • 5.  
  • 6. “ Embryo in the Womb” by Leonardo da Vinci. C. 1510 Pen and Ink -Planned to collect his anatomical drawings into a treatise, but never completed project
  • 7. “ The Last Supper” by Leonardo da Vinci. C. 1495-98. Fresco and oil and Tempera on plaster. 15 ft 1 1/4 in x 28 ft. 10 1/2 in.
  • 8. “ Madonna and Child with St. Anne” by Leonardo da Vinci. 1503-06. Oil on Wood. 5 ft. 6 1/8 in. x 3 ft. 8 in.
  • 9. “ Mona Lisa” by Leonardo da Vinci 1503-05. Oil on wood. 30 1/4 in. x 21 in. mona lisa- why so famous
  • 10. “ Pieta” by Michelangelo. 1498-1500. Marble 5 ft. 8 1/2 in high. Michelangelo’s only signed work.
  • 11. “ David” by Michelangelo. 1501-04. Marble. Approx. 13 ft. 5 in. high
  • 12. Michelangelo wrote in his diaries: "When I returned to Florence, I found myself famous. The City Council asked me to carve a colossal David from a nineteen-foot block of marble -- and damaged to boot! I locked myself away in a workshop behind the cathedral, hammered and chiseled at the towering block for three long years. In spite of the opposition of a committee of fellow artists, I insisted that the figure should stand before the Palazzo Vecchio, as a symbol of our Republic. I had my way. Archways were torn down, narrow streets widened... it took forty men five days to move it. Once in place, all Florence was astounded. A civic hero, he was a warning...whoever governed Florence should govern justly and defend it bravely. Eyes watchful...the neck of a bull...hands of a killer...the body, a reservoir of energy. He stands Poised to strike."
  • 13. Palazzo Vecchio with copy of “David” where the original once stood
  • 14. Ceiling of “Sistine Chapel” by Michelangelo, 1508-12. Fresco, 5,800 sq. ft. Pope Julius II asked him to paint 12 apostles and some decorations on the Ceiling of the chapel. Ended up painting over 400 life sized figures. Project took over 4 years.
  • 15. “ Creation of Adam” from Sistine Chapel
  • 16. “ Last Judgment” from Sistine Chapel.1490-94
  • 17. Detail of Last Judgment Saint Bartholomew with flayed skin
  • 18. Tomb of Julius II by Michelangelo
  • 19. “ Moses” from Tomb of Julius II
  • 20. “ Rondanini Pieta” by Michelangelo -Began when he was in his eighties. Died before finished.
  • 21. “ I live alone and miserable, trapped as marrow under the bark of the tree. My voice is like a wasp caught in a bag of skin and bones. My teeth shake and rattle like the keys of a musical instrument. My face is a scarecrow. My ears never cease to buzz. In one of them, a spider weaves its web, in the other one, a cricket sings all night long. My rattling catarrh won't let me sleep. This is the state where art has led me, after granting me glory. Poor, old, beaten, I will be reduced to nothing, if death does not come swiftly to my rescue. Pains have quartered me, torn me, broken me and death is the only inn awaiting me." -Michelangelo
  • 22. “ Madonna of the Meadow” by Raphael, 1505, Oil on panel. -Raphael’s style was calm, harmonious, and restrained
  • 23. “ Pope Julius II” by Raphael, 1511-12 -First known independent portrait of an individual pope
  • 24. “ School of Athens” by Raphael, 1509-11. Fresco. 26 x 18 ft Covered one entire wall of the private library of Julius II
  • 25.  
  • 26. 1:  Zeno of Citium 2:  Epicurus 3: ( Federico II of Mantua ?) 4:  Boethius or Anaximander or Empedocles ? 5:  Averroes 6:  Pythagoras 7:  Alcibiades or Alexander the Great ? 8:  Antisthenes or Xenophon ? 9:  Hypatia ( Francesco Maria della Rovere ?) 10:  Aeschines or Xenophon ? 11:  Parmenides ? 12:  Socrates 13:  Heraclitus ( Michelangelo ) 14:  Plato ( Leonardo da Vinci ) 15:  Aristotle 16:  Diogenes 17:  Plotinus ( Donatello ?) 18:  Euclid or Archimedes with students ( Bramante )? 19:  Zoroaster 20:  Ptolemy ? R:  Apelles ( Raphael ) 21:  Protogenes ( Il Sodoma , Perugino , or Timoteo Viti ) [12]
  • 27. “ Sultan Mehmet II” by Gentile Bellini. c. 1480. Oil on canvas. 27 3/4” x 20 5/8”
  • 28. Giovanni Bellini “San Giobbe Altarpiece.” 1480s. Oil on wood, 15 ft. 4 in. x 8 ft. 4 in. -Bellini was most instrumental in Bringing Renaissance style to Venice. -This work is first surviving Example of “Sacra Conversazione” (holy conversation) In Venetian art
  • 29. Giovanni Bellini, “Doge Leonardo Loredan”- soon after 1501. Oil on wood, 24 1/4 x 17 3/4 in.
  • 30. Giorgione, “Tempest” c. 1505-12 Oil on canvas 31 1/4 x 28 3/4 in. -Giorgione died at 32 or 33 -Created stylistic link Between Giovanni Bellini and Titian
  • 31. Giorgione, “Sleeping Venus”, c. 1509. Oil on canvas. 3 ft 6 3/4 in. x 5 ft. 9 in. -Was identified as Venus because Cupid was at her feet, then painted Over. Visible with x-ray analysis. -Unfinished at his death, but finished by Titian. -Woman is metaphor for the landscape.
  • 32. Giorgione, “Fete Champetre”, c. 1510. Oil on canvas. 43 1/4 x 54 3/8 in. -Has been attributed to both Giorgione and Titian
  • 33. Titian, “Pesaro Madonnna”, 1519-26. Oil on canvas, 16 ft. x 8 ft. 10 in. -Titian had softly textured, rich material In his work.
  • 34. Titian, “Venus of Urbino” c. 1538. Oil on canvas, 3 ft. 11 in. x 5 ft. 5 in.
  • 35. Titian, “Rape of Europa” 159-62. Oil on canvas, 73 x 81 in. -One of a series of mythological scenes he painted from 1550 to 1560 For Philip II of Spain.

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