High Renaissance
Leonardo da Vinci.
Virgin of the Rocks,
c. 1485, oil on wood
Leonardo da
Vinci/ the
“Renaissance”
man/ pyramidal
configuration/
interlocking
gestures/
chiaroscuro
and sfumato/
atmospheric
perspective
Leonardo da Vinci.
Cartoon for the
Virgin and Child with
St. Anne and the
Infant St. John,
1498, charcoal
heightened with
white on brown
paper
cartoon/ stable
without being static
Leonardo da Vinci.
Embryo in the Womb,
c. 1510, pen and ink on
paper
Leonardo da Vinci.
Anatomical Studies
(larynx and leg), 1510,
pen, brown ink and wash
over black chalk on paper
Leonardo da Vinci. Last Supper from the refectory
of Santa Maria delle Grazie (Milan), c. 1495-98,
fresco (oil and tempera on plaster)
depiction of a dramatic movement/ groupings of
disciples/ Judas Iscariot/ isolation of Christ/ use of
linear perspective/ poor condition of the work
Leonardo da Vinci. Mona
Lisa, c. 1503-1505, oil on
wood
“the world’s most famous
painting”/ sfumato
combined with warm
flesh tones/ potential of
the use of oil paint
revealed/ use of
ambiguity and mystery/
sprezzatura
Left: Leonardo da Vinci.
Vitruvian Man, c. 14851490, pen and ink
Below: Leonardo da Vinci.
Study for the monument
to Francesco Sforza,
c. 1488-1490
Donato D’Angelo
Bramante. Tempietto
(Rome), 1502
Bramante/ the location of
St. Peter’s crucifixion/
emphasis on architectural
mass vs. flat, linear
planes/ elevated from its
surroundings/
harmonious proportions of
the drum, dome, and the
base/ use of the Doric
order
Michelangelo Buonarroti.
Pieta, 1498-1500, marble
Michelangelo
Buonarroti/ faithful
adherence to “rules”
resisted/ terribilita/
pieta emphasizing
beauty, not horror/
agelessness of Mary/
altered proportion and
scale/ signature of the
artist/ a tree stump
Michelangelo Buonarroti. David, 15011504, marble
the “Giant”/ compositionally and
emotionally connected to an unseen
presence/ pent-up passion vs. classical
calm/ reinterpretation of classical
antiquity/ emphasis on the hands
Michelangelo Buonarroti.
Moses (San Pietro in
Vincoli, Rome),
c. 1513-1515, marble
Michelangelo’s tomb for
Julius II/ expression of
wrath building up/ a head
with horns
Right: Michelangelo
Buonarroti. Bound
Slave, 1513-1516,
marble
Left: Michelangelo
Buonarroti. Dying
Slave,
c. 1513, marble
liberating the figure
from a block of stone/
references to a
tortured soul/
influence of the
Laocoon group
Michelangelo Buonarroti.
Ceiling of the Sistine
Chapel (Vatican City,
Rome), 1508-12, fresco
Plan of the Sistine Ceiling
Humanistic interpretation of the story of Creation