HIGH RENAISSANCE
-1500'S
-NOT IN FLORENCE - 2 NEW ART CENTERS - MILAN & FLORENCE
-SFORZA = PATRON FAMILY IN MILAN
-POPE - PATRON IN ROME
LEONARDO DA VINCI
-BORN IN VINCI
-TRAINED IN FLORENCE WITH MASTER VERROCCHIO
-HELPED VERROCCHIO PAINT A BAPTISM PAINTING
-LEONARDO DID LEFT ANGEL AT 17 YRS. OLD
-TEACHER QUIT PAINTING B/C LEONARDO'S ANGEL WAS SO GOOD
-TEACHER ONLY DID SCULPTURE AFTER THAT
-LEONARDO COMBINES PERFECTION WITH REALISM
-LEFT VERROCCHIO WORKSHOP AT 25 YRS OLD
-WENT TO MILAN - WORKED FOR SFORZA AS WAR PLANNER
-WAS LEFT-HANDED, WROTE BACKWARDS
-ONLY ABOUT 15 PAINTINGS - SEVERAL NOT FINISHED
-DOESN'T ALWAYS FINISH WHAT HE STARTS
-ULTIMATE RENAISS. MAN - SCIENTIST, INVENTOR, MUSICIAN, WAR PLANNER
-KEPT JOURNALS
-STUDIED ANATOMY BY DOING HUMAN DISSECTIONS - MAKES HIM A BETTER
ARTIST B/C HE REALLY UNDERSTANDS HOW THE BODY WORKS
LEONARDO'S BELIEFS:
1. ART STARTS IN THE MIND - INVOLVES IMAGINATION
2. IMAGINATION COMES FROM GOOD
3. ART IS A SCIENCE - MUST BE ACCURATE/COPIED FROM NATURE
-SPECIAL SKILL TO COMBINE IMAGINATION & SCIENCE
4. PRACTICE
-PRACTICED FACIAL EXPRESSION BY FOLLOWING UNSUSPECTING
PEOPLE AROUND - THEREBY AVOIDS FAKE EXPRESSIONS
5. SOFT HAZY LIGHT
-MOST FLATTERING LIGHT - SUNSET OR STORMY WEATHER
-SOFTENS SKIN, CASTS A GOLDEN GLOW
6. WROTE "LINE IS THE ENEMY OF PAINTING"
-MAKES THINGS LOOK FLAT
7. SFUMATO = BROWN SMOKY COLORS
-A TRADEMARK
8. MYSTERY AN IMPORTANT ELEMENT OF ART
-GETS VIEWER INVOLVED - USES THEIR IMAGINATION TOO
-FACIAL EXPRESSIONS - HALF CALM, HALF SMILING - WHAT ARE THEY
THINKING?
9. PAINTING SUPERIOR TO SCULPTURE B/C MORE MENTAL
-SCULPTURE LIKE PHYSICAL LABOR
10. NOT VERY RELIGIOUS
TEST SLIDE, VIRGIN OF THE ROCKS, HIGH REN.
-DONE IN MILAN, FOR SFORZA
-SHOWS MIXING OF SCIENCE AND IMAGINATION
-ANATOMY, GEOMETRY OF TRIANGLE, TWISTING POSES, THICKNESS
OF THE ATMOSPHERE, BOTANY OF PLANTS, GEOLOGY OF THE CAVE,
NO HALOS
-SFUMATO, HAZY & SOFT, LINES MELTING AWAY, SOFT GLOWING SKIN,
MYSTERIES EXPRESSIONS, BROKEN TRIANGLE DIRECTS VIEWER FROM
FIGURE TO FIGURE, SUNSET LIGHTING
TEST SLIDE, LAST SUPPER, LEONARDO, HIGH REN.
-DONE IN MILAN
-FOR REFECTORY OF MONASTERY, REFECTORY = DINING HALL
-LARGE, 15'X29'
-FRESCO
-LEONARDO ADDED OIL TO TEMPERA AS EXPERIMENT
-PREVENTED PAINT FROM ADHERING PROPERLY TO PLASTER
-FUNDED BY SFORZA
-TOOK 3 YEARS
-LEO EXPLAINED IT TOOK SO LONG B/C HE HAD TO THINK THRU HIS IDEAS
-SHOWS MOMENT CHRIST ANNOUNCES ONE DISCIPLE WILL BETRAY HIM
-SHOWS HUMAN EMOTION
-CHRIST - ONLY ONE FRONTAL & CALM
- ISOLATED FROM OTHERS
- SYMBOLIC HALO VIA WINDOW ARCH & LIGHT
-JUDAS - ONLY ONE LEANING DOWN (IN SHAME & GUILT)
- ONLY ONE WHOSE FACE IS IN SHADOW
-USED GROUPINGS TO APPEAR LIVELY
- BASED ON NUMBERS 3 & 4 (SYMBOLIC OF TRINITY & GOSPELS)
- SAME NUMBERS USED IN BACKGROUND TO CREATE UNITY
-CONNECTS TO VIEWER BY MATCHING BACKGROUND TO THE REFECTORY
TEST SLIDE, MONA LISA, LEONARD, HIGH REN.
-PAINTED IN FLORENCE
-IN LOUVRE TODAY B/C LEONARDO TOOK IT TO FRANCE
-30X21" - PORTRAIT SIZE
-OIL ON PANEL (ONE OF 1ST OIL PAINTINGS IN ITALY)
-"MONA" MEANS LADY - ABBREVIATION OF MADONNA
-PROBABLY LADY LISA DEL GIOCONDA - WIFE OF FLORENCE CLOTH TRADER
-CANNOT BE PROVEN
-FAMOUS B/C
1) THE GENIUS OF LEONARDO HIMSELF
2) SHOWS HIS UNIQUE STYLE
-SCIENTIFIC WITH HANDS, TRIANGLE, GEOLOGY, ATMOSPHERE
-MYSTERIOUS - SFUMATO, IDENTITY, EXPRESSION 1/2 SMILING,
SOFT EDGES, SUNSET LIGHT
-POSSIBLY UNFINISHED - NO EYEBROWS
3) AHEAD OF ITS TIME
-MORE 3-D THAN ANYTHING BEFORE
-SHOWS A LIVING PERSONALITY
4) TURNS TABLE ON VIEWER
-NOT PROFILE - LOOKS AT VIEWER
-WHAT IS SHE THINKING
MICHELANGELO BUONAROTTI
-FROM FLORENCE
-MOST ADMIRED OF ALL REN. ARTISTS - CALLED "DIVINE"
-REN. MAN - DID ALL ARTS - PREFERRED SCULPTURE - MORE GOD-LIKE
-SELF TAUGHT IN SCULPTURE
-LIKED TO SAY "I AM NO PAINTER"
-SHORT BUT REALLY STRONG - LIVED TO 89 YRS - WORKED TO THE END
-LONER - REFUSED HELPERS
-VERY RELIGIOUS
-EARLY WORKS ARE SMOOTH & ABOUT BEAUTY
-LATE WORKS ARE ROUGH & ABOUT EMOTIONAL SUFFERING
-BELIEVED IN POTENTIALITY
-FIGURE WAS ALREADY IN THE MARBLE
-PUT THERE BY GOD
-BELIEVED BEAUTY WAS MORE IMPORTANT THAN SCIENCE
-BELIEVED ART WAS ABOUT THE HUMAN FORM
BATTLE OF CENTAURS
-DONE AT 13 YRS
-SHOWS TRADEMARKS - POWERFUL FIGURES, MUSCULAR (EVEN WOMEN)
- FOCUS ON BODY
- TURNING & TWISTING
TEST SLIDE, ST. PETER'S PIETA, MICHELANGELO, HIGH REN.
-"PIETA" = SUBJECT OF MARY HOLD CHRIST DEAD - MEANS PITY
-DONE IN ROME
-"MOST BEAUTIFUL WORK IN ALL OF ROME - SO PERFECT COULD NEVER BE BETTER
-ONLY WORK HE EVER SIGNED
-23 YRS OLD - MAKES HIM FAMOUS
-PERFECT BEAUTY ACHIEVED BY - SMOOTH, GLOSSY TEXTURE
- NO SUFFERING
- CHRIST SMOOTH & GRACEFUL
- PEACEFUL EXPRESSION
- MARY CALM AND YOUNG
- TRIANGLE TO BALANCE
(MARY HAD TO BE BIGGER)
-LOCATED AT ST PETER'S - VATICAN
TEST SLIDE, DAVID, MICHELANGELO, HIGH REN.
-IN FLORENCE, AFTER DEATH OF SAVONAROLA
-CONTEST TO COMMEMORATE 100 YR ANNIVERSARY OF DOOR CONTEST &
CREATE A SECOND RE-BIRTH
-REPRESENTS TRIUMPHAL SPIRIT OF THE NEW FLORENCE
-COMPARES TO DONATELLO'S BRONZE DAVID
-MORE MANLY AND MUSCULAR AND HEROIC
-BEFORE THE BATTLE - MOMENT OF DAVID'S DECISION TO FIGHT!
-RE-BIRTH OF CLASSICAL ART
-CONTRAPPOSTO, ANATOMY MASTERFUL, HUMANISM
-26 YRS OLD - TOOK 3 YRS - NOT AS GLOSSY AS PIETA
-VERY LARGE - 18' TALL
-DONE FROM FLAWED STONE - WEAK AT CENTER
- MICHELANGELO SAYS ITS POTENTIALITY
-CAME TO FEEL LIKE DAVID - "DAVID AND HIS SLING, LIKE ME & MY DRILL|"
-INTENDED TO BE PLACED HIGH ON BLDG - INSTEAD PLACED IN FRONT OF TOWN HALL
-CARVED THE BACK - B/C "GOD WOULD SEE THE BACK"
TOMB OF JULIUS II
-AFTER DAVID RETURNED TO ROME TO WORK FOR POPE JULIUS II
-SUPPOSED TO DESIGN POPE'S TOMB
-WANTED 40+ FIGURES AS BIG AS DAVID
-POPE ENDS UP TAKING PROJECT AWAY FROM MICHELANGELO FOR SOMEONE
ELSE TO DO INSTEAD
-ANGERED MICHELANGELO - FELT STRIPPED OF HIS LIFE'S GREATEST AMBITION
-WAS ORDERED TO INSTEAD PAINT CEILING OF SISTINE CHAPEL
-MOSES WAS ONLY FIGURE HE GOT TO DO FOR THE TOMB
-MOSES RECEIVED 10 COMMANDMENTS
-HAS HORNS B/C OF BIBLE MISTRANSLATION
-SUPPOSED TO BE RAYS OF LIGHT
-COMU VS CORNU
SISTINE CHAPEL
-AT VATICAN - USED FOR ELECTING OF POPES
-POPE JULIUS II IS PATRON
-MICHELANGELO DID NOT WANT TO DO THIS! - "I AM NO PAINTER"
-70' FROM FLOOR
-PHYSICALLY DIFFICULT - SAID HE COULD NEVER STAND UP STRAIGHT AGAIN
-TOO 4 YRS, WAS IN HIS 30'S
-FRESCO, 340 FIGURES
-NO ASSISTANTS ALLOWED TO PAINT - ONLY MIX COLORS & SET PLASTER
-STORY OF CREATION
-ORGANIZED BY PAINTED ARCHITECTURAL ELEMENTS
-SIMPLIFIED TO BE SEEN FROM FAR AWAY
TEST SLIDE, CREATION OF MAN, MICHELANGELO, HIGH REN.
-MOST HUMANISTIC OF SUBJECTS
-SHOWS "POTENTIAL" OF MAN - INNOCENT, PURE, BEFORE SIN
-SHOWS PARALLEL TO ARTISTIC CREATION
LAST JUDGMENT
-ALTAR WALL OF SISTINE CHAPEL
-DONE 30 YRS AFTER CEILING - IN HIS 60'S
-SHOWS AGONY & SUFFERING
-MISUNDERSTOOD BY MOST WHO CONSIDERED IT INDECENT IN ITS NUDITY
-FRIGHTENED THE POPE WHO FEARED FOR HIS OWN SOUL
-INCLUDES SELF-PORTRAIT OF MICHELANGELO
-WAS LATER OVER-PAINTED AFTER MICHELANGELO DIED
RONDANINI PIETA
-LAST WORK, 89 YRS OLD
-VERY ROUGH, INTENDED TO SHOW SUFFERING AND BOND OF MOTHER & CHILD
-LEAVES MORE TO VIEWER'S IMAGINE TO FEEL
-LAST WORDS "I REGRET THAT I AM DYING JUST AS I BEGIN TO UNDERSTAND ART"
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