Leonardo da Vinci, Raphael, Michelangelo, El Greco

Apprenticed to VerrocchioFocused time in Milan on military and civil

engineering projectsWorked for Sforza family in MilanInsisted painting was best way of creating

artistic illusion of real world (Michelangelo argued sculpture)

Vitruvian Man seeks precise anatomy and perfect portortions

Died in France in 1519 advising architecture for king Francis I

Coffered ceilings (recessed to lighten the ceiling) in linear perspective to depict a realistic form of space.

Figures are parallel with picture plane (surface of depicted artwork) in pyramidal groups of three.

Judas is not isolated across table such as from Castagno’s Last Supper.

Da Vinci eliminates symbolic halos but uses the light from the three (symbolic number) windows.

Full-scale drawing (cartoon) done in charcoal in Florence in 1500

Illusion of high relief created with chiaroscuro (high value, dark-light)

Highlights placed in circular composition to put importance on all figures and their interactions

Pyramidal composition from elbows to head

Atmospheric landscape to heighten mystery of setting

Possibly Lisa Gherardini del Giocondo, wife of prominent merchant

Enigmatic smile/emotions Sfumato (hazy

appearance caused by layering varnish) echoes early evening, dusk.

Studied in Umbria with Perugino before moving to Florence in 1505

Became instantly famous with several paintings of Virgin and Child

Figures echo da Vinci’s in terms of monumental shapes, idealized faces, and rich colors.

Worked in Rome 1508 in Vatican for Pope Julius II and later, Pope Leo X

Died at 37 from illness

1505, oil on wood panel Figures are solid juxtaposed

against soft light of landscape

Dome in background is from Urbino, Raphael’s hometown

Atmospheric perspective with pyramidal figural composition.

Located in Stanza della Segnatura in Vatican under Pope Julius II’s tenure.

Archway depicts tromp l’oeil with Greek philosophers symbolizing the ideals of the Renaissance papacy (Julius II)

Plato and Aristotle in middle silhouetted by sky (remind you of a previous painting?)

Interior barrel vaulted arches possibly inspired by Saint Peter’s Basilica with clear, even light from a single light source.

Pope Leo was interested in success of Medici family

Highly rendered textures and surfaces, chiaroscuro, and monochromatic color scheme

Reflection of artist working in brass knob of chair, echoes Jan van Eyck’s Arnolfini Portrait

At 13, apprenticed with Domenico Ghirlandaio, learned about frescos

Like Bottecelli, Michelangelo fell under the spell of Savonarola, and was greatly affected by execution in 1498

Marble, pietá is the Madonna mourning death of Christ

Sense of agelessness, sculpture is meant to seen only from front

From single slab of marble, Michelangelo said, “The greatest artist has no conception which a single block of marble does not potentially contain within its mass, but only a hand obedient to the mind can penetrate to this image.” -Sonnet 15

Take 5 minutes, and in your notes, write what you think Michelangelo meant by this.

1501-4, echoes classical nude with contrapposto stance

Emotional, determined gaze is unique to Michelangelo

This David, differing from Donatello’s David, is the pre-battle against Goliath.

The stare symbolizes right over might, not having the power or strength but the will and drive to conquer.

Moses, marbleTomb of Julius IIAfter Leo X

succeeded Julius II, Medici family regained power in Florence.

1513-16

Last JudgmentSistine, end wall1st major

commission of Pope Paul III

1536-41Cleaning finished in

1994 revealing incredible colors.

Rondanini PietáWorked on sculpture

6 days before deathNonfinito work

(unfinished) depicts struggle between artist and medium.

Apprenticed with Gentile and Giovanni Bellini before working with Giorgione

Pesaro Madonna, 1519 Official painter of Venice Commemorates Venetian victory

over Turks in 1502 Venus of Urbino, below, 1538 Oil on canvas, developed w/

layers, Titian (and Michelangelo) outlived “classical” part of Renaissance

Pietá, 1570-76, oil on canvas

Like Michelangelo, Titian’s final unfinished piece was a pietá piece.

Highly emotional with sharp chiaroscuro and looser brushwork.

Put himself in painting as St. Gerome kneeling

Last Supper, 1592-92, oil on canvas. Highly influenced by Titian, chiaroscuro, two light sources: 1) illuminating from Christ, 2) Lamp

Tintoretto worked vigorously fast, and produced work quickly

Painted in Spain, before - studied in Titian’s shop in Venice, studying Tintoretto’s work too

Lived in Toledo, received large commissions.Burial of Count OrgazView of Toledo

Tromp l’oeilCoffering

Linear perspectiveMichelangeloMedici Family

Atmospheric PerspectiveVitruvian ManPope Paul III

Cowper Madonna and Childsfumato

ChiaroscuroCartoon

Mona LisaMichelangelo’s David

Pope Julius II

View of ToledoTintoretto’s Last Supper

Venus of UrbinoBirth of Venus (Bottecelli)

Pope Leo X