High Renaissance

Question 1

New Italian Trio

Answer 1

Leonardo, Michelangelo, Raphael

Question 2

Leonardo

Answer 2

• Could paint the human face with exquisite subtlety
• Devoted to anatomy

Notebooks of meticulous drawings of muscles and bones of human and animal

Question 3

Answer 3

Leonardo

Madonna on the Rocks

Question 4

Answer 4

Leonardo

Mona Lisa

Question 5

Answer 5

Leonardo

Illustrating Proportions, 1485-90

Question 6

Michelangelo

Answer 6

preference was sculpting

• sculpture laid bare the inner form, the essence, of the human body by removing the inessential
• went back to the roots of Florentine art: Donatello, Masaccio, Giotto

concentrated on the nobility of the human body

-went back to Pollaiuolo to picture the body and face contorted with effort and emotion

marble sculpture of david: ultimate expression of the human body with its nobility and grace, charged with energy

Question 7

Answer 7

Michelangelo

Last Judgment (1536-41): human body possessed by profound emotion

Question 8

Raphael

Answer 8

Raphael was graceful, gentle, considerate of everyone

-Age 26, summoned by Pope Julius II, who had Michelangelo working on the Sistine Chapel at the time

From then, lived like a prince, complained the ascetic Michelangelo

Question 9

Answer 9

Raphael

Madonna del Granduca, 1505

Question 10

Answer 10

Raphael

-The School of Athens

Epitomizes abundance and assurance, technical and philosophical, which characterized the art of the short period 1500-1520

Reflects the humanist scholars’ fascination with the classical philosophy they had rescued from medieval oblivion, and their belief that Plato and Aristotle had discovered the same truths later revealed by Christ

Sums up all attempts to create monumental but completely lucid pictures

The vast, vaulted background derives from the classically inspired structures of Renaissance architecture

Shows a majestic confidence in a universal order, in the dignity of man and his thought

Question 11

Tiziano Vecellio (Titian)

Answer 11

• another, arguably the fourth addition to the towering artists of the high renaissance
• his painting was not like the high renaissance trio

he did not search for truth, he was simply a painter

-set the tone of Venetian art for the next 200 years

cared little for bones and sinew, and focused on glowing brushfuls of paint

famous for rich textures

instead of pursuing classical ideas like those in Florence and Rome, Venetian art lavished their skills on sensual objects and bright hues

their painting prepared the way for the Baroque period

period in which the sensuous, emotional and dramatic, dominated painting and architecture

Question 12

Answer 12

Titian

-Bacchus and Ariadne, 1522

Bacchus and his attendant satyrs fill the scene with energetic movement and color

Question 13

Answer 13

Michelangelo

• seems to have been tormented by this doubt that divine order actually existed

In The Last Judgment, a nude and muscular St Bartholomew looks upward with grim approval at an avenging Christ who condemns sinners to hell.

Michelangelo added a sardonic note by painting a portrait of himself on the limp skin—St Bartholomew had been flayed alive—that the saint holds in his left hand