THE HIGH RENAISSANCE AND MANNERISM
Presented By:
Anthony John M. Dagelet
BEED 2B – BEP
Prof: Sir Andy Glova
CONCEPTS CLASSICISM
• Renaissance had a high regard for classical antiquity in setting its formal
standards.
• Renaissance Classicism was a form of art that removed emotional details and
showed an idealized world. From Classicism sprang two movements:
• Mannerism: a countermovement that was extremely anti-classicist,
• Baroque: a sort of exaggerated Classicism on a grand scale portraying power
and authority
THE HIGH RENAISSANCE(1495-1527)
• In the 16th Century the Papal authority reestablished and artists called to Rome.
• Renaissance began earlier in Florence with the work of Leonardo da Vinci. It also
involved other locations. The renaissance introduces the concept of genius.
• The two major artists of the high renaissance are: Michelangelo Buonarroti in
Rome Leonardo da Vinci in Florence By 1500 Italian princes become
significant art patrons; their courts become cultural centers.
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Rome becomes the center of patronage.
Church’s patronage affects the style of art produced.
Ancient Roman sculptural and architectural style is revived.
Artist of this period were conscious of their position as continuators of Early
renaissance. They were also aware of their mission to develop art further.
• As a result they considered themselves equal to the artists of antiquity.
• The art they produced is different from that of antiquity in that it had a different
historic and cultural background
MANNERISM
• Mannerism emerged in Florence and Rome as a new style in art in 1520, following
the death of Raphael Sanzio.
• It focused on the human figure, and depicted forms in contorted poses with evident
emotional content. Mannerism rejected the stability of the High Renaissance, and
reflected the general turmoil in Europe at the time of the sack of Rome in 1527, the
Reformation, and new outbreaks of plague.
• Mannerism in art, gained popularity in much of Europe and northern Italy, through
the use of distorted figures in complex compositions, and strange artificial colors.
• Mannerism bridged the gap between the High Renaissance Art and the
Baroque Art of the 17th century.
MANNERISM
Characteristics:
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Affected appearance of subjects in paintings,
Works are formal and inward looking,
Oddly proportioned forms,
Icy stares,
Subjective viewpoint.
The form represents a sensitive and emotional content of a naturalistic representation. Mannerism can be
compared with expressionism, in that the form reflects a state of mind.
• Mannerism has an intellectual component that distorts reality, alters space, and makes cultural allusions.
THE ARTS OF THE HIGH RENAISSSANCE
AND MANERISM
• The art of High Renaissance was highly influenced by Greek Classical Art. The
artists sought to capture the essence of classical art. The figures become types
rather than individuals. High Renaissance idealizes all forms.
• The artists of High Renaissance developed a system of mathematically defined proportion
and composition based on the harmony of the parts.
• High Renaissance was very concerned with composition, which was based almost
exclusively on geometric devices. Compositions were closed (line, color and form
kept the viewer’s eye redirected into the canvas; moving around without leaving the
canvas).
• The organizing principle of High Renaissance painting was usually a geometric shape
(triangle, or oval).
THE RENAISSANCE IN ROME
Renaissance in Florence met the end of its Renaissance heyday in the 1490s for several
reasons:
• Lorenzo de Medici, the greatest of the Medici, died in 1492. This brought the end
to the "Laurentian Age" in Florence.
• A monk named Savonarola, in Florence decried the decadence of art which, in his
opinion, caused moral decay and would, bring the Apocalypse upon the Florentines.
Many were willing to listen to Savonarola.
• Inspired by Savonarola the townspeople organized the first "bonfire of the
vanities", wherein "sacrilegious" items were burned in public. The damage to
Florence's profile in the arts had been irreparably done.
LEONARDO DA VINCI (1452-1519)
• Philosophically da Vinci was a skeptic. He was fascinated by science and natural objects, and
art.
• In painting he is known for using a technique called sfumato. The technique
consists of blending light and shadow (the name comes from Italian sfumare, “to
tone down” or “to evaporate like smoke”). That makes one form disappearing into
another, only highlighted areas are emerging.
• The sfumato technique, in painting or drawing, produces soft, imperceptible
transitions between colors and tones, subtle gradations, without lines or borders,
from light to dark areas.
• The technique was used for a highly illusionistic rendering of facial features and for
atmospheric effects. It is also referred to as chiaroscuro.
The Madonna of the Rocks
• Has a an Ethereal quality resulted from the use of sfumato.
• The painting interprets the doctrine of the Immaculate Conception: Mary was freed
from the original sin in order to be worthy of becoming the vehicle that brought
Christ into this world.
• Mary sits in a dark world and she protects Infant Christ who blesses John the
Baptist to whom the angel points.
• The implied lines create movement around the perimeter, the depth of the triangle
makes it a pyramid.
• The lights and shadows are not consistent with a light source.
Leonardo da Vinci The Madonna on the Rocks
c. 1485. Oil on panel
The Last Supper
• Depicts the moment at which the apostles are responding with disbelief to
Christ’s prophecy that one of them would betray him.
• Christ’s face is the focal point. Most compositional (implied) lines
converge on his face. Christ dominates the center.
• The composition is symmetric. The symmetry is slightly interrupted by
the various positions of the apostles. The visibly geometric composition
emphasizes the psychological drama.
Leonardo da Vinci The Last Supper, c. 14951508. Mural painting
Mona Lisa
• Was painted at the same time with Virgin and Child with St. Ann. Both
paintings have a very similar background (dramatic peaks, winding roads, and
other natural forms receding into the mists)
• Sitter identified as Lisa Gherardini del Giocondo, wife of a Florentine
merchant. Da Vinci used a stable triangular composition.
• The light suggest evening da Vinci thought that people looked their best in
the mellow light of evening. He used atmospheric perspective in the
background and the sfumato technique on the figure.
Leonardo da Vinci Mona Lisa. c. 1503-1505.
Oil on panel
MICHELANGELO (1475-1564)
• His full name is MICHELANGELO DI LODOVICO BUONARROTI
SIMONI (b. March 6, 1475, Caprese, Republic of Florence [Italy] d. Feb. 18,
1564, Rome).
• Known as the Italian Renaissance sculptor, painter, architect, and poet who
exerted an unparalleled influence on the development of Western art.
• Throughout his life he was interested mostly in the human form.
• Known for creating the Sistine Chapel ceiling
Michelangelo The Sistine Chapel ceiling. 15081512. Fresco. Vatican
Michelangelo. Diagram of scenes from the
Sistine Chapel ceiling. 1508-1512. Fresco.
Vatican
The Creation of Adam
(Detail from the Sistine Chapel)
• Chronologically, this is the fourth in the series of panels depicting episodes from
Genesis on the Sistine ceiling. God stretches outward to reach Adam. Adam is in a
reclining position waiting for the spark of the soul from God’s finger. Although
reclining Adam seem dynamic (position of his limbs)
• The composition is based on a rectangular layout, which can he roughly divided into
two squares. The right square is dedicated to the God, and the left to Adam.
• The name Adam means "ground“ in Hebrew, which is symbolic of the figure
resting on an area of barren earth. God, in the other section, is flying accompanied
by angels.
Michelangelo The Creation of Adam, detail
from the Sistine Chapel ceiling. 1508-1512.
Fresco. Vatican
Important Note
• The empty sky in the center of the composition forms a diagonal band that
brings dynamism to the composition, and it is important because provides
the background to the joining of the two hands, the point of communication
and the focal point of the painting.
RAPHAEL SANZIO da URBINO(1483-1520)
• Raphael is considered on the three great master of the Renaissance.
• Although he is an important High Renaissance artist he is not considered on the
same level with da Vinci or Michelangelo. He was enormously productive.
• He had a very large workshop referred to as Raphael's studio or school. He died at
37, but he left behind a large body of work.
• Raphael received many important commissions which were designed by him and
executed by his workshop. The result sometimes the loss of quality.
• His work is recognized for clarity of form and ease of composition.
The Alba Madonna
• Although painted in a tondo format, circular shape, the composition is triangular.
• The circular shape’s tendency to visually roll is counteracted by the horizontal line of the
horizon and landscape and the horizontal line of the triangle formed by figures.
• The implied lines in the composition form the sides of the triangle, visually have a
stabilizing effect, that counteract the rolling tendency of the circle. The modeling is very
subtle. The light in the foreground and background is equal. Light is not used to create a
focal point.
• The focal point is not strong. The focal point is Christ Child. His almost standing position
makes him the focal point as the other figures seat. Atmospheric perspective and
overlapping are used to achieve depth.
Raphael, The Alba Madonna c. 1510, oil on
canvas (originally oil on panel) 37” diameter.
The Deliverance of St. Peter
• Like Masaccio in the Tribute Money, Raphael paints the three phases of the miracle almost
like a cartoon technique. The composition of this fresco is affected by the shape of the wall
• The fresco depicts the miracle of St. Peter’s escape from prison. It shows three scenes in
symmetrical balance. The scenes are shaped by the architecture.
• In the center the angel wakes Peter, and on the right guides him past the sleeping guards. On
the left scene one guard has noticed the light emanated by the angel and wakes a another
soldier, pointing up to the miraculously illumined cell. This creates tension to the last scene
on the right which depicts the exit of Peter.
• Raphael uses light to establish the importance of the scenes. The most important scene has
the brightest light.
Raphael, The Deliverance of St. Peter. 15121514. Fresco
THE HIGH RENAISSANCE IN VENICE
TITIANO VECELLI (1488-1576)
• Titian’s (as his known) major contribution to the history of art is the use of
color for he direct perception of light.
• He Introduced the technique of building up pigment from a reddish ground
through many layers of glaze (paint thinned with oil).
• The use of glazes created depth and richness to the painted surfaces and
make shadows seem three dimensional. Some painting have 30-40 layers of
glaze.
Assumption of the Virgin
• God is at the top of the painting, and the encircling of angels at the feet of
the Virgin separate her in a circle from the scene at the bottom of the
painting.
• The intense activity at the bottom almost penetrate to the upper realms
through the stretched arms of the figure on the left.
Titian, Assumption of the Virgin. 1516-1518.
Oil on panel.
ANOLO BRONZINO
• Italian Renaissance artist Agnolo Bronzino was court painter to Cosimo I de'
Medici, Grand Duke of Tuscany.
Portrait of a Young Man
• Bronzino painted the figure in a stiff pose still using organic shapes. The
painting has a strong triangular composition.
• Incongruous geometric shapes in the background fragment the composition.
The lack of perspective flattens the picture.
• The color scheme makes the painting seem cold and uncomfortable. The
pose and affected stare are typical of this movement.
• The human form is disproportionate: the head is too small, the hands too
large.
Bronzino (Agnolo di Cosimo di Mariano),
Portrait of a Young Man. 1535-1540
PARMIGIANINO
The Madonna with Long Neck (1534)
• The painting was commissioned for the Church of the Servi in Bologna but it was
never delivered. It is typical of the artist’s late work.
• The painting’s title is Madonna and Child with Angels and St Jerome but acquired
the name Madonna with the Long Neck because of the curious length of the
Madonna's swan-like neck.
• The painting displays a lack of proportion due to elongation is associated with
Mannerism, the style of this painting. The simplicity of composition is replaced by
numerous details.
• The composition has a slight hint of a triangle. In typical mannerist style this is a
painting for the sake of painting.
Parmigianino. Madonna with the long Neck, c.
1534. Oil on canvas.
SCULPTURE
• 16th Century produced little sculpture of major significance. The sculpture produced is
mostly on a grand scale. Sculpture during the Renaissance is characterized by an "ideal"
balance between stillness and movement.
• During this period sculpture was normally commissioned by the wealthy and the state to
decorate or embellish architecture,. normally within courtyards where others were able to
admire the commissioned art work.
• Pope Julius II also patronized many artists. During the High Renaissance there was the
development of small scale statuettes for private patrons mostly for funerary purposes.
• The subject matter related to sculpture was mostly religious but also with a significant
classical influences
MICHELANGELO (1475-1564)
• Michelangelo di Lodovico Buonarroti Simoni (his full name, is the
uncontested master of High Renaissance sculpture. Michelangelo's career
lasted into the Late Renaissance, but most of his sculpture dates to the High
Renaissance. He devoted his later years to painting and architecture.
• The Pieta is the greatest of his early works, while David, is considered the
greatest sculpture of all time. He ignored previously established rules and
took perception into consideration.
Michelangelo, Pieta. 1498-1499 Marble.
David
• The of marble from which Michelangelo carved David was not fresh out of the quarry. It
sat in the courtyard of the Overseers of the Office of Works of the Duomo (Operai) for
years, and several artists attempted to carve the representation of David.
• It took Michelangelo more than two years to complete. The sculpture was intended for the
roof of the cathedral of Santa Maria Del Fiore. Shortly before completion, while planning
the move, the authorities realized that they couldn’t raise the six ton sculpture on the roof
of the cathedral.
• In June, 1504, after consulting other artists and prominent members of the city, the
authorities decided David was to be installed next to the entrance to the Palazzo Vecchio.
• In 1873 the statue of David was removed from the piazza, to protect it from
damage, and displayed in the Academia Gallery, Florence. A replica was placed in
the Piazza Della Signoria in 1910.
• The sculpture is 14 ft. 3” tall and it is displayed at 18ft above the floor. The figure
has bulging muscles, exaggerated ribcage, heavy hair, undercut eyes, and seems out
of proportions because was meant to be placed high above the ground.
• The classical Greek sculptures have a calm even vacant expression on the face.
David has an angry expression. He was angry at the forces of evil represented by
Goliath.
Michelangelo, David 1501-1504 Marble, 14 ft
3” high.
GIOVANNI DA BOLOGNA (1529-1608)
• He was a Flemish sculptor and architect, active in Italy. He received his early training
in the shop of Jacques Du Broeucq, a Flemish sculptor, engineer, and architect.
• He traveled around 1551 to Rome, where he made sketches after the city's best
artworks. Around 1553, while passing through Florence, he met the banker
Bernardo Vecchietti, who became his patron.
• Through Vecchietti's connections, Giambologna began around 1558 to receive
Medici commissions. By 1561, he was the court artist.
• Giambologna's success and productivity depended in part on his flexibility as an
artist, his wide ranging talent, and on the talents of the other major sculptors who
worked in his shop.
Mercury
• Giovanni da Bologna was a master of small bronzes. This sculpture is a tour de
force of bronze casting. In typical mannerist style, he was uninterested in subject
matter or content. The style is important.
• Mercury is depicted wearing a winged helmet and winged sandals which give him
speed in flight. He carries the magic wand given to him by Apollo that symbolizes
the practice of medicine. A bronze column of breath from Aeolus, the wind god,
serves as a pedestal to propel Mercury upward and forward.
• Mercury points upward towards Jupiter in a contraposto (twist of the body) pose.
This mannerist sculpture displays an affected pose, a linear emphasis, and an
upward-striving line,
Giovani da Bologna Mercury, 1567 Bronze
RENAISSANCE ARCHITECTURE
• Is the architecture of the period between the early 15th and early 17th centuries in different
regions of Europe,
• It demonstrates a conscious revival and development of certain elements of ancient Greek
and Roman thought and material culture.
• The Renaissance style places emphasis on symmetry, proportion, geometry and the
regularity of parts, and is highly influenced by the many examples of the architecture of
classical antiquity (in particular ancient Roman architecture), of which many examples
remained.
• Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular
arches, hemispherical domes, and niches replaced the more complex and irregular plans of
medieval buildings.
The Tempietto
• One of the most harmonious buildings of the Renaissance, was designed by
Bramante and it was built in the courtyard of San Pietro in Montorio, which is
believed to be the site of St Peter's martyrdom.
• The architect worked from a historical typology: individual architectural elements
such as columns, entablature, and vault acknowledge a debt to classical structures.
• The resulting centralized building represented a new type of Christian architecture.
• Despite its small scale, the building has all the rigorous proportions and symmetry
of Classical structures, surrounded by Doric columns, and topped with a dome.
Donato Bramante The Tempietto 1511. Rome
Saint Peter Basilica
• Is the culmination of Bramante’s design. He and then Michelangelo created the
revolutionary plan of the new construction.
• Bramante built the immense central body in the form of a Greek cross held up by four
gigantic pillars.
• Michelangelo was the designer of the dome and he was also responsible for the simple, yet
majestic exterior with its gigantic columns crowned by a very evident horizontal fascia.
• In the end, it was Carlo Maderno who lengthened the central nave of the church and
erected the monumental façade. An imposing construction that was as big as a football field
and as high as a thirteen-story building, crowned with the colossal statues of Jesus, Giovanni
Battista and the apostles.
• Originally designed by Donato Bramante and continued by Antonio da
Sangallo the Younger, Michelangelo took over the redesign of St. Peter's.
Many of his changes were never realized, however; the Dome was being
worked on at the time of his death.
Bramante’s design for Saint Peter Basilica, 1506
Michelangelo. St. Peter’s Rome, Plan, first
version, 1546
Michelangelo's plan, extended with Maderno's
nave and facade
Maderno’s façade,
with the statues of Saints Peter (left) and Paul
(right) flanking the entrance stairs
Additional Information on the Saint Peter Basilica
• Michelangelo did not simply dismiss the ideas of the previous architects. He drew on them in
developing a grand vision.
• Michelangelo recognized the essential quality of Bramante's original design.
• Michelangelo made the external masonry of massive proportions. The effect created is of a
continuous wall-surface. His design lacks the right-angles which usually define change of
direction at the corners of a building.
• This exterior is surrounded by Corinthian pilasters all set at slightly different angles to each other,
following the ever-changing angles of the wall's surface.
• The work of Michelangelo is best appreciated from a distance, because the projection of the nave
designed by Maderno obstructs the dome when the building is approached from the square in
front of it
Palladio
• The villa employs a systematic methodology underlying the designs as a whole. Harmonic
proportions, ideal geometries, virtual movements, and computational algorythims have all
been used to “explain” Palladio’s strategy.
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The Villa presents the following characteristics:
It has a cubic form
It is frontally oriented
It contains a hierarchal gradient of spaces: in the main residential building, a large
central hall serves as the focus of the composition, with major grouping near the hall
and diminish into smaller y spaces as one progresses away from the center.
Paladio. Vila Rotonda. Vocenza, Italy. Begun
1567-1569
That’s all!
THANK YOU!
References
• 16thehighrenaissanceandmannerism-180610214414.pdf