MAPEH Renaissance - [PDF Document] (2024)

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Leonardo Da Vinci

Raphael Sanzio

Michelangelo

Submitted by: Lorraine L.

Lacuesta

Submitted to: Mr. Julius H.Ramon

Subject: M. A. P. E. H.

Date: February 5,2013

I. Introduction

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"The Ghent Altarpiece: The Adoration of the Lamb" (interiorview) painted 1432 by Jan van Eyck.

The Renaissance marks the period of European history at theclose of the Middle Ages and the

rise of the Modern world. It represents a cultural rebirth fromthe 14th through the middle of the 17th

centuries. Early Renaissance, mostly in Italy, bridges the artperiod during the fifteenth century,

between the Middle Ages and the High Renaissance in Italy. It isgenerally known that Renaissance

matured in Northern Europe later, in 16th century. One of thedistinguishing features of Renaissance art

was its development of highly realistic linear perspective.Giotto di Bondone (12671337) is credited

with first treating a painting as a window into space, but itwas not until the demonstrations of architect

Filippo Brunelleschi (13771446) and the subsequent writings ofLeon Battista Alberti (14041472)that perspective was formalized asan artistic technique. The development of perspective was part ofa

wider trend towards realism in the arts. To that end, paintersalso developed other techniques, studying

light, shadow, and, famously in the case of Leonardo da Vinci,human anatomy. Underlying these

changes in artistic method, was a renewed desire to depict thebeauty of nature, and to unravel the

axioms of aesthetics, with the works of Leonardo, Michelangeloand Raphael representing artistic

pinnacles that were to be much imitated by other artists. Othernotable artists include Sandro Botticelli,

working for the Medici in Florence, Donatello another Florentineand Titian in Venice, among others.

In architecture, Filippo Brunelleschi was foremost in studyingthe remains of ancient classical

buildings, and with rediscovered knowledge from the 1st-centurywriter Vitruvius and the flourishingdiscipline of mathematics,formulated the Renaissance style which emulated and improved onclassical

forms. Brunelleschi's major feat of engineering was the buildingof the dome of Florence Cathedral.

The first building to demonstrate this is claimed to be thechurch of St. Andrew built by Alberti in

Mantua. The outstanding architectural work of the HighRenaissance was the rebuilding of St. Peter's

Basilica, combining the skills of Bramante, Michelangelo,Raphael, Sangallo and Maderno. The

Roman orders types of columns are used: Tuscan, Doric, Ionic,Corinthian and Composite. These can

either be structural, supporting an arcade or architrave, orpurely decorative, set against a wall in the

form of pilasters. During the Renaissance, architects aimed touse columns, pilasters, and entablatures

as an integrated system. One of the first buildings to usepilasters as an integrated system was in theOld Sacristy (14211440)by Filippo Brunelleschi.Arches, semi-circular or (in the Manneriststyle)

segmental, are often used in arcades, supported on piers orcolumns with capitals. There may be a

section of entablature between the capital and the springing ofthe arch. Alberti was one of the first to

use the arch on a monumental. Renaissance vaults do not haveribs. They are semi-circular or

segmental and on a square plan, unlike the Gothic vault which isfrequently rectangular. Nicola Pisano

(c. 1220c. 1278) imitated classical forms by portraying scenesfrom the Bible. The Annunciation by

Nicola Pisano, from the Baptistry at Pisa, demonstrates thatclassical models influenced Italian art

before the Renaissance took root as a literary movement.

II. Renaissance Art

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Leonardo Da VinciLeonardo di ser Piero da Vinci was born onApril 15, 1452, in the town of Vinci. His father

was Ser Piero, a notary; his mother, Caterina, came of a peasantfamily. They were not married. The

boy's uncle Francesco may have had more of a hand in hisupbringing than by either of his parents.

When Leonardo was about 15, he moved to the nearby city ofFlorence and became an apprentice to

the artist Andrea del Verrocchio. He was already a promisingtalent. While at the studio, he aided his

master with his Baptism of Christ, and eventually painted hisown Annunciation. Around the age of 30,

Leonardo began his own practice, starting work on the Adorationof the Magi; however, he soon

abandoned it and moved to Milan in 1482. In Milan, Leonardosought and gained the patronage of

Ludovico Sforza, and soon began work on the painting Virgin ofthe Rocks. After some years, he

began work on a giant bronze horse, a monument to Sforza'sfather. Leonardo's design is grand, but the

statue was never completed. Meanwhile, he was keeping scrupulousnotebooks on a number of studies,

including artistic drawings but also depictions of scientificsubjects ranging from anatomy to

hydraulics. In 1490, he took a young boy, Salai, into hishousehold, and in 1493 a woman named

Caterina (most likely his mother) also came to live with him;she died a few years later. Around 1495,

Leonardo began his painting The Last Supper, which achievedimmense success but began to

deteriorate physically almost immediately upon completion.Around this same time, Fra Luca Pacioli,

the famous mathematician, moved to Milan, befriended Leonardo,and taught him higher math. In

1499, when the French conquered Lombard and Milan, the two leftthe city together, heading for

Mantua.

In 1500, Leonardo arrived in Florence, where he painted theVirgin and Child with Saint Anne.

He was very interested in mathematics at this time. In 1502, hewent to work as chief military engineer

to Cesare Borgia, and also became acquainted with NiccoloMachiavelli. After a year he returned to

Florence, where he contributed to the huge engineering projectof diverting the course of the River

Arno, and also painted a giant war mural, the Battle ofAnghiari, which was never completed, largely

due to problems with the paints. In 1505 Leonardo probably madehis first sketches for the Mona

Lisa,but it is not known when he completed the painting.

In 1506, Leonardo traveled to Milan at the summons of Charlesd'Amboise, the French

governor. He became court painter and engineer to Louis XII andworked on a second version of the

Virgin of the Rocks. In 1507, he returned to Florence to engagein a legal battle against his brothers for

their uncle Francesco's inheritance. In this same year, he tookthe young aristocratic Melzi as an

assistant, and for the rest of the decade he intensified hisstudies of anatomy and hydraulics. In 1513, he

moved to Rome, where Leo X reigned as pope. There, he worked onmirrors, and probably the above

self- portrait. In 1516, he left Italy for France, joining KingFrancis I in Amboise, whom he served as a

wise philosopher for three years before his death in 1519. Oneof da Vinci's last commissioned workswas a mechanical lion thatcould walk and open its chest to reveal a bouquet of lilies. Thefamous artist

died in Amboise, France, on May 2, 1519. Da Vinci's assistantand perhaps his lover, Francesco Melzi,

became the principal heir and executor of his estate.

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Leonardos Artworks:

Mona LisaThe Mona Lisa also known as La Gioconda or

La Joconde, or Portrait of Lisa Gherardini, wife of

Francesco del Giocondo is a half-length portrait of a

woman by the Italian artist Leonardo da Vinci, which has

been acclaimed as "the best known, the most visited,the mostwritten about, the most sung about, the most

parodied work of art in the world." This figure of a

woman, dressed in the Florentine fashion of her day and

seated in a visionary, mountainous landscape, is a

remarkable instance of Leonardo's sfumato technique of

soft, heavily shaded modeling. The Mona Lisa's

enigmatic expression, which seems both alluring and

aloof, has given the portrait universal fame.

The painting, who was confirmed to be a portrait

of Lisa Gherardini, the wife of Francesco del Giocondo,

is in oil on a poplar panel, and is believed to have been

painted between 1503 and 1506. It was acquired by King

Francis I of France and is now the property of the French

Republic, on permanent display at the Muse du Louvre

in Paris.

The Last Supper

Leonardo da Vinci's The Last Supper is one of the artist's mostwell-known works and,

together with theMona Lisa, was one of the two paintings thathelped establish Leonardo's fame as a

painter. The work was commissioned by the Duke Lodovico Sforza,Leonardo's patron, for the

refectory (dining hall) of the convent of Santa Maria delleGrazie, in Milan, Italy.The wall painting,

which Leonardo worked on between 1495 and 1498, is not a truefresco. The painter chose not to paint

the piece on wet plaster, since that would severely limit theamount of time he could spend on the

work. Instead he sealed the stone wall with a layer of resin andchalk, and then painted over the sealinglayer with tempera.Unfortunately, though this technique allowed him to depict thescene in exquisite

detail, it did not prove very durable. The piece begandeteriorating within only a few years after it was

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finished.

The AnnunciationThe Annunciation (14721475) is a painting byLeonardo da Vinci in the Uffizi Gallery in

Florence. It depicts the annunciation by the Archangel Gabrielto the Virgin Mary that she will

conceive Jesus Christ and is set in the enclosed courtyard ardenof a Florentine villa.The angel holds a

Madonna lily, a symbol of Mary's virginity and of the city ofFlorence. It is supposed that Leonardo

originally copied the wings from those of a bird in flight, butthey have since been lengthened by a later

artist.

The marble table in front of the Virgin probably quotes the tombof Piero and Giovanni de'

Medici in the Basilica of San Lorenzo, Florence that Verrocchiosculpted in this same period. When

Annunciation came to the Uffizi in 1867 from the monastery ofSan Bartolomeo of Monteoliveto, near

Florence, it was ascribed to Domenico Ghirlandaio, who was, likeLeonardo, an apprentice in the

workshop of Andrea del Verrocchio. In 1869, some criticsrecognized it as a youthful work by

Leonardo.

The Holy Infants Embracing

The Holy Infants Embracing is a painting ascribed to Leonardo daVinci, housed in the

Capodimonte Gallery in Naples, southern Italy. It is thought torepresent the infant Christ embracing

his cousin John the Baptist. The subject matter relates to thetwo paintings of the Virgin of the Rocks

by Leonardo and numerous other Renaissance works by Raphael andothers of the meeting of the two

children on the road to Egypt while escaping the Massacre of theInnocents.The subject of two Infants

kissing was an inspirational source of quite a few (aboutthirty) copies of pupils and followers of

Leonardo da Vinci. An early sketch of the subject by da Vincihimself is held at Windsor collection.

The sheet shows various studies of Madonna and Baby playing withthe cat, while at the very bottomwe see two infants kissing andembracing each other. The sketch is quite different from theversion

presented at numerous compositions, while the baby on the rightis shown in a very same pose as Jesus

in Virgin of the Rocks. The connection between those paintingsis evident in two copies made by Marco

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d'Oggiono (one of them - the Thuelin Madonna)and copy made byBernardino dei Conti (lost during

World War II). Madonna, very much like as the one depicted inVirgin of the Rocks is seen blessing

two kissing children, representing Jesus and St John theBaptist.

Virgin of the Rocks

The Virgin of the Rocks(sometimes the Madonna of the Rocks) isthe name used fortwo paintings by Leonardo da Vinci, of the samesubject, and of a composition which is

identical except for several significant details. The versiongenerally considered the earlier of

the two hangs in the Muse du Louvre in Paris and the other inthe National Gallery, London.

The paintings are both nearly 2 metres (over 6 feet) high andare painted in oils. Both were

painted on wooden panel; that in the Louvre has been transferredto canvas.

Both paintings show the Madonna and Christ Child with the infantJohn the Baptist and

an angel, in a rocky setting which gives the paintings theirusual name. The significant

compositional differences are in the gaze and right hand of theangel. There are many minorways in which the works differ,including the colours, the lighting, the flora, and the way in

which sfumato has been used. Although the date of an associatedcommission is documented,

the complete histories of the two paintings are unknown, andlead to speculation about which of

the two is earlier.

Two further paintings are associated with the commission: sidepanels each containing an

angel playing a musical instrument and completed by associatesof Leonardo. These are both in

the National Gallery, London.

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Raphael

Raffaello Sanzio da Urbino was a painter and architect from theHigh Renaissance. Partof a trinity of great Italian masters,Raphael was perhaps the most productive of them all!. He

was born in 1483 and living just 37 years, Apostolic Palace ofthe Vatican, house some of themost magnificent fresco artworkanywhere in the world.

Running a hugely successful workshop, Raphael generated moreartists than any other.His team included established masters, youngpupils and journeymen who were all diffused

across Italy after the Sack of Rome in 1527; Raphaels moreserene and harmonious qualitieshave always been regarded as thehighest models by art historians.

Contemporary biographer Giorgio Vasari said: Those who are thepossessors of such

rare and numerous gifts as were seen in the Raffaello da Urbinoare not merely men, but mortal

gods.Raphael mixed easily in the highest circles because he hadexcellent manners and social skills

due to his knowledge of music and literary culture, though henever got on with his great rivalsLeonardo and Michelangelo duringthe Florentine sojourn.

Assimilating the influence of Florentine art (such as thepyramidal composition of da

Vinci) with his own style, Raphael reached the epitome of theclassical spirit, thus, The School

of Athens is a masterpiece without question in the Stanza dellaSegnatura; Raphael became thefather of history painting - thehighest in the hierarchy of genres.

Scuola di Atene is a painting which depicts branches ofknowledge: philosophy, poetry,music, theology and law. The title ofRaphaels best-known fresco from 1511 refers to

Aristotles emphasis on wisdom, thus Aristotle and his teacherPlato appear right in the centre

with Plato holding a book in his left hand.

Just a third of this school are Athenians and the architecturecontains many Roman elements;Plato and Aristotle are pointingtowards heaven and earth which reflects Timaeus - a bible of

mathematics, time and space by Plato and a copy of which is thebook he is holding.Remaining in Rome until the end of his life,Raffaello Sanzio da Urbinos work has since

been admired for its ease of composition, its clarity of formand how it achieved visually theideal of human grandeur. Raphaelspremature death on Good Friday was possibly his 37th

birthday and after an extremely grand funeral, he was buried inthe Pantheon.

Raphaels Artworks:

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The Marriage of the VirginThe Marriage of the Virgin is part ofan

altarpiece created for a church at Citta di Castello,

Italy and shows the marriage of the Virgin Mary and

St. Joseph. The painting, an oil on panel, was

completed in 1504 and is an example of Raphaels

increasing maturity and confidence as an artist. Hiscolors hereare vibrant, and the faces of his

characters are specific and full of calm. In this

painting, Raphael shows off his mastery of

perspective, for the painting is dominated by a

distinctly Italian Renaissance (as opposed to Roman

occupied Palestinian) round temple in the

background, in the frieze of which the painter has

cleverly painted his name and, below it, the date.

The front and back doors of this temple are open,and through itthe viewer can see a bit of the hazy,

sfumato painted background of hills and sky. The

temple sits on a cascade of steps that lead down to a

plaza with walkways that are picked out in a reddish

stone. People in Renaissance garb gather in small

groups, seemingly oblivious to the rather

momentous marriage thats happening in the

foreground.

St. MichaelSt. Michaelis an oil painting by Italian artistRaphael. Also called the Little St. Michael

to distinguish it from a larger, later treatment of the sametheme, St. Michael Vanquishing

Satan, it is housed in the Louvre in Paris. The work depicts theArchangel Michael in combat

with the demons of Hell, while the damned

suffer behind him. Along with St. George, it

represents the first of Raphael's works on

martial subjects.

An early work of the artist, thepainting was executed forGuidobaldo da

Montefeltro, Duke of Urbino, in 1504 or1505 on the back of adraughtboard,

possibly commissioned to expressappreciation to Louis XII ofFrance for

conferring the Order of Saint Michael onFrancesco Maria I dellaRovere, Urbino's

nephew and heir. Whatever the impetus forits creation, by 1548it hung in the collection

at the Palace of Fontainebleau.

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Pope Julius IIPortrait of Pope Julius IIis an

oil painting attributed to Italian

painter Raphael. This painting ofPope Julius II, who was apopular

subject for Raphael and his students,

was unusual for its time and wouldcarry a long influence onpapal

portraiture. From its beginning, it was

specially hung at the pillars of SantaMaria del Popolo, at thegates to

Rome, for feast and high holy days.For many years, a versionof

the painting which now hangs in the

Uffizi Gallery was believed to be the

original, but in 1970 opinion shifted.

The original is currently believed tobe the version hanging inthe NationalGallery, London.

Sistine Madonna

S

isti

ne Madonna, also called La Madonna diSan Sisto, is an oilpainting by the Italian

artist Raphael. Finished a few years beforehis death, ca.15131514, as a commissioned

altarpiece, it was the last of the painter's

Madonnas and the last painting he completed

with his own hands. Relocated to Dresdenfrom 1754, thewell-known painting has been

particularly influential in Germany. AfterWorld War II, it wasrelocated to Moscow for

a decade before it was returned to Germany.There, it resides asone of the central pieces

in the Gemldegalerie Alte Meister. Thepainting has been highlypraised by many

notable critics, and Giorgio Vasari called it a"a truly rare andextraordinary work".In the

painting, the Madonna, holding the ChristChild and flanked bySaint Sixtus and Saint

Barbara, stands on clouds before dozens of

obscured cherubs, while two distinctivewinged cherubs rest ontheir elbows beneathher. The American travel guide Rick Steves

suggests that the unusual worried expressionon Mary's facereflects her original placement

beside a painting of the Crucifixion

The School of Athens

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School of Athens, or Scuola di Atenein Italian, is one of themost famous frescoes by

the Italian Renaissance artist Raphael. It was painted between1510 and 1511 as a part of

Raphael's commission to decorate with frescoes the rooms nowknown as the Stanze di

Raffaello, in the Apostolic Palace in the Vatican. The Stanzadella Segnatura was the first of the

rooms to be decorated, and The School of Athens the secondpainting to be finished there, after

La Disputa, on the opposite wall. The picture has long been seenas "Raphael's masterpiece and

the perfect embodiment of the classical spirit of the HighRenaissance."

Michelangelo

MichelangeloBuonarroti was born on March 6, 1475, in Caprese,Italy, a small Italian village

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near Arezzo, Tuscany. For several generations, his family hadworked as bankers in Florence. His

father, Lodovico di Leonardo di Buonarroti di Simoni, also heldoccasional government positions. At

the time of Michelangelo's birth, his father was serving as aFlorentine government agent in Caprese

and his mother was in failing health. His parents decided toentrust the care of Michelangelo to the wife

of a stonecutter who lived in the town of Settignano where hisfather owned a marble quarry and a

small farm. Michelangelo's mother died when he was 6 yearsold.

From childhood Michelangelo was drawn to the arts. However, hisfather considered this pursuitbelow the family's social status andtried to discourage him. Michelangelo's father recognized his

intellectual potential and enrolled him in the school of masterlinguist, Francesco Galeota, to prepare

young Michelangelo for a career in business. Michelangelo,however, showed no interest in his

schooling. He preferred to copy paintings from churches and seekthe company of painters. Through

the course of his studies, Michelangelo met a student of painterDomenico Ghirlandaio, one of the most

fashionable painters in Florence.

In 1488, at age thirteen, Michelangelo followed his interest inthe arts, and became an apprentice

in Domenico's workshop. Michelangelo's decision to defy hisfather and risk his family's social

standing in Florence created a distance between them that wouldhaunt Michelangelo throughout hislife.

In 1489 Michelangelo left his apprenticeship after one year andexcepted an invitation from

Lorenzo de' Medici, the Magnificent, a retired sculptor andruler of Florence. There he studied

sculpture and anatomy at the school in the Medici gardens.During his studies, he was introduced to

important scientists, and poets. Though their radical ideas wereoften at odds with the artist's strong

religious beliefs, these men intrigued him. Their impact isevident even in his earliest works. His most

important works during this time include the Madonna of theSteps (1490-1492) and Battle of the

Centaurs(1491-1492).

Lorenzo de' Medici died in 1492, and the Medici family fell frompower. As aresult,Michelangelo decided to return to Florence for ashort time prior to moving to Rome. It was there

that he carved hisPieta, a sculpture of Mary supporting thecrucified Christ across her knees.

In 1501 Michelangelo returned to Florence. Recognized, as themost talented sculptor of central Italy,

he was commissioned to carve the Biblical hero "David" for theFlorence Cathedral. Seven years later

he received one of his most important commissions when PopeJulius II asked him to paint the 12,000

square foot ceiling of the Sistine Chapel.

Michelangelo died on February 18, 1564. He excelled in poetry,sculpture, painting, and

architecture, and his idealized and expressive works haveencouraged many to regard him as one of the

greatest masters of European art.

Michelangelos

Artworks:

La Pieta

The Piet (1498

1499) is a masterpiece of

Renaissance sculpture byMichelangelo Buonarroti,

housed in St. Peter's Basilica in

Vatican City. It is the first of a

number of works of the same

theme by the artist. The statue

was commissioned for the

French cardinal Jean de

Billheres, who was a

representative in Rome. Thesculpture, in Carrara marble,

was made for the cardinal's

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funeral monument, but was

moved to its current location, the

first chapel on the right as one

enters the basilica, in the 18th

century. It is the only piece

Michelangelo ever signed.

The Creation of Adam

The Creation of Adam is arguably the most famous section ofMichelangelo's fresco Sistine

Chapel ceiling painted circa 1512. It is traditionally thoughtto illustrate the Biblical creation narrative

from the Book of Genesis in which God breathes life into Adam,the first man. Chronologically the

fourth in the series of panels depicting episodes from Genesison the Sistine ceiling, it was among the

last to be completed. It is the most well-known of the SistineChapel fresco panels, and its fame as a

piece of art is rivaled only by the Mona Lisa by Leonardo daVinci. The image of the near-touchinghands of God and Adam hasbecome one of the single most iconic images of humanity and hasbeen

reproduced in countless imitations and parodies. Along withLeonardo da Vinci's The Last Supper, The

Creation of Adam and the other Sistine Chapel panels are themost replicated religious paintings of all

time.

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The Conversion

of SaulThis is the first of

two large frescoes

Michelangelo made in

Paul's Chapel (Cappella

Paolina) in the Vatican.

The other one shows The

Crucifixion of Peter. The

chapel was built as a

private chapel for pope

Paul III. The frescoes were

painted opposite each other

on the long walls of the

chapel. Michelangelo

started working on this

fresco in 1542. The

depiction of the figures inthe sky shows strong

resemblance to his

previous project: The Last

Judgement in the Sistine

Chapel, which he finished

in 1541. The fresco shows

the moment that Saul, a

fanatical persecutor of

christians, is hit by a divine

beam of light, which leaveshim lying on the ground,

blinded. A voice tells him

to continue his journey to

Damascus. There a

christian called Ananias

makes him see again. Now named

Paul, he joins the apostles.

Last JudgementThe Last Judgment is a

canonical fresco by the Italian

Renaissance master Michelangelo

executed on the altar wall of the Sistine

Chapel in Vatican City. The work took

four years to complete and was done

between 1536 and 1541 (preparation of

the altar wall began in 1535.)

Michelangelo began working on it some

twenty years after having finished the

Sistine Chapel ceiling.

The work is massive and spans

the entire wall behind the altar of the

Sistine Chapel. It is a depiction of the

Second Coming of Christ and the final

and eternal judgment by God of all

humanity. The souls of humans rise and

descend to their fates, as judged by

Christ surrounded by prominent saints

including Saints Catherine of

Alexandria, Peter, Lawrence,

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Bartholomew, Paul, Peter Simon, Sebastian, John the Baptist, andothers.

The Crucifixion of St. Peter

The Crucifixion of St. Peter is a fresco painting by the ItalianRenaissance master

Michelangelo Buonarroti (c. 15461550). It is housed in theCappella Paolina, Vatican Palace, in the

Vatican City, Rome. It is the last fresco executed byMichelangelo. The artist portrayed St. Peter in the

moment in which he was raised by the Roman soldiers to thecross. Michelangelo concentrated the

attention on the depiction of pain and suffering. The faces ofthe people present are contracted in a

horrified grim, and several of the observers seem going to die.Pope Paul commissioned this fresco by

Michelangelo in 1541 and unveiled it in his CappellaPaolina.

Restoration of the fresco completed in 2009 revealed an imagebelieved to be a self-portrait ofMichelangelo himself. The figureis standing in the upper left corner of the figure, wearing a redtunic

and a blue turban. Blue turbans were often worn by Renaissancesculptors to keep the dust out of their

hair.