« Quattrocento. Early Renaissance"– a presentation that will introduce the main achievements of the Early Renaissance in Italy. It talks about three outstanding artists who are called the fathers of the Renaissance. These are the architect Brunelleschi, the sculptor Donatello and the painter Masaccio.
Quattrocento. Early Renaissance
Quattrocento. Early Renaissance
The year one thousand four hundred in Italy is called the Quattrocento. This is a very special time when the most powerful and richest people competed for possession the best works art. The popes and dukes of the Italian city-republics sought to invite to their court best artists and poets. Cradle Italian Renaissance Florence is rightfully considered. The rulers of this city, the richest bankers in Europe, the Medici, became patrons of the arts, gathering the most famous artists at their court.
The uniqueness of the Quattrocento era lies in the fact that art at this time became a universal means of knowledge. Discoveries were made with the goal of bringing the image of objects closer to what is reflected in the mirror. It is the sculptor and architect Filippo Brunelleschi who has the glory of discovering the laws of perspective, which were theoretically substantiated by the architect, mathematician, writer, philosopher Leon Batista Alberti, and used in practice by Brunelleschi's friends, the painter Masaccio and the sculptor Donatello.
Filippo Brunelleschi
After unsuccessfully participating in a competition to decorate the doors of the Florentine Baptistery, in which Lorenzo Ghiberti was the winner, Filippo Brunelleschi decided to go to Rome, where, together with his friend the sculptor Donatello, he enthusiastically studied ancient monuments. Admiration antique sculpture and architecture did not prevent Brunelleschi from creatively using his observations, which he embodied in a truly Renaissance building. The arcade of the Orphanage on Piazza Annunziata in Florence combined a Roman arch and a Greek column; this arcade looks light and very harmonious. Usually during the lesson I asked the children to compare appearance Gothic Cathedral and Brunelleschi's Orphanage in relation to human proportions. This helped demonstrate the embodiment of the idea of humanism in architecture.
But this film has not been translated into Russian, but this does not prevent us from understanding what a wonderful masterpiece Filippo Brunelleschi created.
Donatello
Brunelleschi's discovery of linear perspective was put into practice by his friend Donatello, creating his beautiful Renaissance sculptures. Donatello creates his own David for the first time after a thousand-year medieval ban on the depiction of nudity. He revives round sculpture, casts an equestrian monument to the condottiere Gattamelata in bronze, and uses linear perspective to create numerous reliefs. On the site you will find material about Donatello with lots of illustrations
Masaccio
A young friend of Donatello and Brunelleschi, the artist Masaccio, became a revolutionary in painting. Without even living thirty years, this painter picked up and developed what Giotto had started back in the Proto-Renaissance era. Using the discovery of his comrade Brunelleschi, Masaccio creates the image of the “Trinity” in perspective, so masterfully that those looking at this work had the illusion of real space. Masaccio uses portrait features for the first time real people when depicting saints and biblical characters. The figures in the frescoes in the Brancacci Chapel in Florence are voluminous, thanks to the artist’s masterful use of chiaroscuro.
The continuation of the story about the Early Renaissance in Italy can be found in the presentation
The presentation will introduce you to art greatest era in the history of art not only Italian, but world.
At the end of his short story about outstanding artists Quattrocento I want to offer a small list of books in art:
- Argan J.K. Story Italian art. – M.: OJSC Publishing House “Raduga”, 2000
- Beckett V. History of painting. – M.: Astrel Publishing House LLC: AST Publishing House LLC, 2003
- Whipper B.R. Italian Renaissance 13th – 16th centuries. – M.: Art, 1977
- Dmitrieva N.A. A Brief History of Art. From ancient times to the 16th century. Essays. – M.: Art, 1988
- Emokhonova L.G. World artistic culture. Tutorial for students Avg. Ped. Textbook Establishments. – M.: Publishing Center “Academy”, 1988
- Muratov P.P. Images of Italy. – M.: Republic, 1994
I will be glad if my work is in demand!
All the best!
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RENAISSANCE
Michelangelo. Creation of Adam. OK. 1511, fresco, Sistine Chapel, Vatican.
The presentation was prepared by Olga Valerievna Uleva, teacher of history and social studies, Secondary School No. 1353
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PLAN:
1 BACKGROUND AND FEATURES OF REVIVAL
2 PERIODIZATION OF THE RENAISSANCE
3 DEVELOPMENT OF SCIENCE IN THE RENAISSANCE ERA: - humanism - natural science knowledge
4 HIGH RENAISSANCE PAINTING: - Florentine school - Venetian school- Northern Renaissance
5 RENAISSANCE ARCHITECTURE
6 THE SIGNIFICANCE OF THE RENAISSANCE
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REVIVAL - an era in history spiritual development European peoples in the 14th – 16th centuries, associated with the rise of secular content in art, literature, and science. RENAISSANCE (French Renaissance, Italian Rinascimento; from “ri” - “again” or “born again”) is the second name of the Renaissance.
FEATURES OF THE REVIVAL: huge interest in human personality, her limitless creative possibilities; humanism is a system of views that proclaims highest value man and his public good; huge interest in ancient (ancient Greek and Roman) culture, its revival and study.
REMEMBER how they treated the human personality and ancient culture in the Middle Ages?
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BACKGROUND OF THE RENAISSANCE
GREAT GEOGRAPHICAL DISCOVERIES
CRISIS OF FEUDALISM (old feudal relations were in decline)
STRENGTHENING THE INFLUENCE OF ENTREPRENEURSHIP (merchants, bankers)
SUPPORT FROM THE STATE AUTHORITY (centralized state)
DEVELOPMENT OF URBAN CULTURE (the city is not a center of crafts and trade, but also a cultural center)
INTEREST IN THE ANCIENT HERITAGE ON THE PART OF THE CATHOLIC CHURCH (Renaissance popes of the XV-XVI centuries)
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THINK, in which country and why did the REVIVAL begin?
Italy has many rich and independent cities; Italy is located on the “ruins” of ancient Rome; support for the Renaissance by the Catholic Church (Renaissance popes).
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PROTO-RENAISSANCE (PRE-BIRTH) second half of the XIII-XIV centuries.
MIDDLE AGES V-XV centuries.
REVIVAL XV-XVI centuries.
HUMANISM
EARLY RENAISSANCE (Quattrocento) XV century.
HIGH RENAISSANCE (cinquecento) late 15th - early 16th centuries.
LATE RENAISSANCE mid and second half of the 16th century.
PERIODIZATION OF THE RENAISSANCE
NORTHERN RENAISSANCE (XV-XVI centuries) – Netherlands, France, Germany, England.
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HUMANISM is a system of views that proclaims the highest value of man and his public good.
COMPLETE THE TABLE (page 41 of the textbook)
ERASM OF ROTTERDAM THOMAS MORE NICCOLO MACHIAVELLI FRANCOIS RABELAIS MIGUEL CERVANTES WILLIAM SHAKESPEARE
Erasmus of Rotterdam (1469-1536)
Thomas More (1478-1535)
William Shakespeare (1564-1616)
Niccolò Machiavelli (1469-1527)
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NATURAL SCIENTIFIC KNOWLEDGE
Ambroise Pare (1509-1590). French surgeon, considered one of the fathers of modern medicine.
ANATOMICAL STUDIES (in the Middle Ages the church prohibited) DEVELOPMENT OF SURGERY
MEDICINE
John Banister lectures on anatomy in London. 1581
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NATURAL SCIENTIFIC KNOWLEDGE
Nicolaus Copernicus (1473-1543). Creator of the heliocentric system of the world.
HELIOCENTRIC SYSTEM OF THE WORLD (geocentric in the Middle Ages)
ASTRONOMY
Celestial spheres in the Copernicus manuscript.
Helios - Sun (Greek)
Geo - Earth (Greek)
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NATURAL SCIENTIFIC KNOWLEDGE
Projects of Leonardo da Vinci.
I came close to creating a science based on EXPERIMENT.
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NATURAL SCIENTIFIC KNOWLEDGE
Michel Nostradamus (1503-1566). French astrologer.
ASTROLOGY ALCHEMY
Alchemist in search of the philosopher's stone.
PHILOSOPHER'S STONE - a substance necessary to transform metals into gold, as well as to create the elixir of life.
THINK: did the research of astrologers and alchemists help in the development of natural science knowledge?
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HIGH RENAISSANCE ART
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COMPARE THE ART OF THE MIDDLE AGES AND THE RENAISSANCE.
QUESTIONS FOR COMPARISON ART OF THE MIDDLE AGES ART OF THE RENAISSANCE
IS THE PERSONALITY OF THE AUTHOR VISIBLE IN THE WORKS?
THE PURPOSE OF ART
CHARACTER OF ART
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FLORENTINE SCHOOL OF PAINTING
Leonardo da Vinci (1452-1519). Self-portrait.
Raphael Santi (1483-1520). Self-portrait.
Michelangelo Buonarroti (1475-1564).
RENAISSANCE TITANS
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Leonardo da Vinci. Mona Lisa (La Gioconda). 1503 – 1505, Louvre, Paris.
LEONARDO DA VINCI (1452-1519)
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Rafael Santi. Sistine Madonna. 1513 – 1514, Picture gallery, Dresden.
RAFAEL SANTI (1483-1520)
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Rafael Santi. Athens School. 1509 – 1510, Vatican (Papal) Palace.
PLATO (Leonardo da Vinci)
ARISTOTLE
HERACLITUS (Michelangelo)
APELLES (Raphael)
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MICHELANGELO BUONARROTI (1475-1564).
MICHELANGELO. David. 1501-1504, marble. Florence, Academy of Fine Arts.
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VENICE SCHOOL OF PAINTING
Titian Vecellio (c. 1488-1576). Self-portrait.
WERE CONCERNED LESS WITH WORLD VIEW PROBLEMS (unlike the Florentine school) FOCUSED ON SOLVING ARTISTIC PROBLEMS OF CREATION ARE MUCH MORE PAINTERS THAN THINKERS AND SCIENTISTS
RENAISSANCE TITANS
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TITIAN Penitent Magdalene 1560 St. Petersburg, Hermitage.
TITIAN VECELLIO (c.1488-1576)
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NORTHERN REVIVAL
Albrecht Durer (1471-1528). Self-portrait.
Pieter Bruegel the Elder (c. 1525-1520).
Hans Holbein the Younger (1497-1543). Self-portrait.
RENAISSANCE TITANS
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NORTHERN REVIVAL
LESS SUBJECT TO THE INFLUENCE OF ANCIENT ART THEY GRATIFIED THE ORDINARY (IMPERFECT) PERSON REPRESENTATION OF EVERYDAY DETAILS, ORDINARY LIFE
HANS HOLBEIN THE YOUNGER Portrait of the merchant Georg Gisze. 1532 Berlin, art gallery.
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ALBRECHT DURER The Four Horsemen (from the Apocalypse series). 1498 Wood engraving Kunstmuseum, Karlsruhe, Germany.
ALBRECHT DURER (1471-1528)
MOP (plague, disease)
WAR
HUNGER
DEATH
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RENAISSANCE ARCHITECTURE
CATHEDRAL OF SANTA MARIA DEL FIORE (Florence, Italy). XIV-XV centuries
The center of the Renaissance is the northern Italian city of Florence.
The revival began in the second half of the 15th century -XVI centuries.
Later spread to other European
countries.
During the Renaissance, new genres of painting appeared, such as portraiture.
It arose on the basis of humanism.Humanism declared the highest value
man and his good. Humanists believed that
Every person has the right to develop freely
as an individual, realizing his abilities.
Stages
Proto-RenaissanceEarly Renaissance
High Renaissance
Late Renaissance
Proto-Renaissance
LiteratureDante Alighieri.
"Divine Comedy".
Written in Italian
language, not Latin.
(Latin is the language of learning).
Painting
Giotto conveyed volume
figures and chiaroscuro. Technique
mosaics were replaced with frescoes.
(Fresco - painting on raw
plaster).
Early Renaissance
ArchitectureFilippo Brunelleschi - founder
Renaissance architecture, one of the
creators of the theory of scientific perspective.
After him main feature in architecture
almost all churches in Europe became the central
dome. Without the dome there would be no Brunelleschi
Michelangelo's main creation - the dome
over St. Peter's Basilica in Rome.
Brunelleschi initiated the creation
domed temple based on an antique
warrants.
An order is a system of measures. Architecture
Creating a new type
city palaces –
palazzo,
served
model for
public buildings
later times. Sculpture
Donatello -
greatest sculptor
XV century. First with
Roman times
created empires
sculpture
naked
human body and
the first equestrian statue
condottiere
Gattamelata. Painting
Sandro Botticelli
Was close to the Medici court and
humanistic circles in Florence.
Works on religious and
mythological themes noted
spiritual poetry, play
linear rhythms, subtle coloring.
Under the influence of social upheaval
1490s art by Botticelli
becomes intensely dramatic.
High Renaissance painting
Leonardo da VinciThe universal genius of the Renaissance
"La Gioconda"
"The Last Supper" Raphael
Master of Madonnas. Created a picture
"Sistine Madonna"
Fresco "School of Athens". Michelangelo
He considered sculpture to be the main art.
Painted the ceiling and altar
Sistine wall
chapels. (Rome. Vatican).
Designed the dome of St. Peter's Basilica
in Rome.
Giorgione Titian
Late Renaissance
In the second half of the 16th century, there was an increase indecline of economy and trade, Catholicism
entered into a struggle with humanistic culture,
art was experiencing a deep crisis.
Mannerism is a movement in Western European
second art half XVI century. Was
a kind of transitional style between
the art of the Renaissance and Baroque.
Northern Renaissance
CountriesGermany;
Netherlands;
France;
England;
Spain New genres of painting are emerging: landscape,
portrait, everyday painting. Netherlands
Jan Van Eyck -
improved the technique
oil painting, which
replaced tempera. Tempera –
painting with paints,
the binder of which
serve as emulsions: natural
(whole egg, plant juice)
or artificial (water
glue solution with oil).
The Ghent Altarpiece consists of
three parts - triptych. Pieter Bruegel the Elder (Muzhitsky).
"Blind." Germany
Dürer is the first of
artists of the Northern
revival mastered the technique
engravings on copper.
Was engaged in printing
graphics.
Italy late 13th century. – 16th century
Slide 2: Periods of development of Renaissance art
Pre-Renaissance of the 13th – 14th centuries. Early Renaissance 15th century. High Renaissance of the 15th – 16th centuries. Late Renaissance to the 16th century.
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to. 13th -14th centuries. Pre-Renaissance Proto-Renaissance Trecento
Slide 4: Pre-Renaissance Art, 13th – 14th centuries
Giotto "Kiss of Judas" "Lamentation" Bell tower of the Cathedral of Santa Maria del Fiore
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Early Renaissance Art 15th century Botticelli “Spring” “Birth of Venus” “Venus and Mars” “Annunciation” “Abandoned”
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Early Renaissance Art 15th century Donatello "David" "Condottierre Gattamelata"
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Art High Renaissance 16th century Leonardo da Vinci “Madonna Benois” “Madonna Litta” “La Gioconda” “Lady with an ermine” “Self-portrait” (etching) “The Last Supper” (fresco)
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High Renaissance Art 16th century Raphael “Madonna Conestabile” “The Beautiful Gardener” “Sistine Madonna” “Betrothal of Mary” “School of Athens” (fresco)
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High Renaissance art 16th century Michelangelo “David” “Pieta” Ceiling painting of the Sistine Chapel (frescoes) Dome of St. Petra in Rome
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Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance, Leonardo da Vinci developed as a master, studying in 1467-1472 in Florence with A. del Verrocchio. The methods of work in Verrocchio's workshop, where artistic practice was combined with technical experimentation, as well as the rapprochement with the astronomer P. Toscanelli contributed to the emergence of the scientific interests of the young Leonardo da Vinci. In early works (the head of an angel in Verrocchio’s “Baptism”, after 1470, “The Annunciation”, around 1474, both in the Uffizi; the so-called “Benois Madonna”, around 1478, State Hermitage Museum, St. Petersburg) the artist, developing the traditions of the art of the Early Renaissance, emphasized the smooth volume of forms with soft chiaroscuro, sometimes enlivening faces with a subtle smile, using it to achieve the transmission of subtle emotional states. Recording the results of countless observations in sketches, sketches and full-scale studies performed in various techniques(Italian and silver pencils, sanguine, pen, etc.), Leonardo da Vinci, sometimes resorting to almost caricatured grotesque, achieved acuteness in conveying facial expressions, and brought the physical features and movement of the human body into perfect harmony with the spiritual atmosphere of the composition.
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In 1481 or 1482 Leonardo da Vinci entered the service of the ruler of Milan, Lodovico Moro, and served as a military engineer, hydraulic engineer, and organizer of court holidays. For over 10 years he worked on the equestrian monument of Francesco Sforza, the father of Lodovico Moro (the life-size clay model of the monument was destroyed when the French captured Milan in 1500). During the Milanese period, Leonardo da Vinci created “Madonna of the Rocks” (1483-1494, Louvre, Paris; 2nd version - around 1497-1511, National Gallery, London), where the characters are presented surrounded by a bizarre rocky landscape, and the finest chiaroscuro ( sfumato) plays the role of a spiritually connecting principle, emphasizing the warmth of human relationships. In the refectory of the monastery of Santa Maria delle Grazie, he completed the wall painting “The Last Supper” (1495-1497; due to the peculiarities of the technique used by Leonardo da Vinci - oil with tempera - it was preserved in a badly damaged form; it was restored in the 20th century), marking one from the peaks of European painting; its high ethical and spiritual content is expressed in the mathematical regularity of the composition, which logically continues the real architectural space, in a clear, strictly developed system of gestures and facial expressions of the characters, in the harmonious balance of forms. While studying architecture, Leonardo da Vinci developed various options the “ideal” city and the projects of the central-domed temple, which had a great influence on the contemporary architecture of Italy.
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After the fall of Milan, Leonardo da Vinci's life was spent in constant travel (1500-1502, 1503-1506, 1507 - Florence; 1500 - Mantua and Venice; 1506, 1507-1513 - Milan; 1513-1516 - Rome; 1517-1519 - France) . In Florence, he worked on the painting of the Great Council Hall in the Palazzo Vecchio “The Battle of Anghiari” (1503-1506, unfinished, known from copies from cardboard), which stood at the origins of the European battle genre of modern times. In the portrait of Monna Lisa or Gioconda (circa 1503, Louvre, Paris) he embodied the sublime ideal of eternal femininity and human charm; An important element of the composition was the cosmically vast landscape, melting into a cold blue haze. The late works of Leonardo da Vinci include projects for the monument to Marshal Trivulzio (1508-1512), the altar image “St. Anne with Mary and the Child Christ” (circa 1500-1507, Louvre, Paris), completing the master’s search in the field light-air perspective and the harmonious pyramidal structure of the composition, and “John the Baptist” (circa 1513-1517, Louvre, Paris), where the somewhat sweet ambiguity of the image indicates an increase in crisis moments in the artist’s work. In a series of drawings depicting a universal catastrophe (the so-called “Flood” cycle, Italian pencil and pen, circa 1514-1516, Royal Library, Windsor), thoughts about the insignificance of man before the power of the elements are combined with rationalistic ideas about the cyclical nature of natural processes. The most important source to study the views of Leonardo da Vinci are his notebooks and manuscripts (about 7 thousand sheets), excerpts from which were included in the “Treatise on Painting,” compiled after the master’s death by his student F. Melzi and which had a huge influence on European theoretical thought and artistic practice.
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In the “dispute of the arts,” Leonardo da Vinci gave the first place to painting, understanding it as a universal language (similar to mathematics in the field of science), capable of embodying all the diverse manifestations of intelligence in nature. As a scientist and engineer, he enriched almost all areas of science of his time. A prominent representative of the new, experiment-based natural science of Leonardo da Vinci special attention paid attention to mechanics, seeing in it the main key to the secrets of the universe; his brilliant constructive guesses were far ahead of his contemporary era (projects of rolling mills, earth-moving machines, submarines, aircraft). The observations he collected on the influence of transparent and translucent media on the coloring of objects led to the establishment of scientifically based principles of aerial perspective in the art of the High Renaissance. While studying the structure of the eye, Leonardo da Vinci made correct guesses about the nature of binocular vision. In anatomical drawings, he laid the foundations of modern scientific illustration; he also studied botany and biology. Tireless experimental scientist and genius artist, Leonardo da Vinci became a universally recognized symbol of the Renaissance.
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Raphael (actually Raffaello Santi or Sanzio, Raffaello Santi, Sanzio) (1483-1520), Italian painter and architect. His work most clearly embodied the humanistic ideas of the High Renaissance about a beautiful and perfect person living in harmony with the world, and the ideals of life-affirming beauty characteristic of the era. Raphael, son of the painter Giovanni Santi, early years spent in Urbino, in 1500-1504 he studied with Perugino in Perugia. Works of this period are marked by subtle poetry and soft lyricism of landscape backgrounds (“The Dream of a Knight”, National Gallery, London; “The Three Graces”, Conde Museum, Chantilly; “Madonna Conestabile”, State Hermitage Museum, St. Petersburg; all around 1500-1502 ). Close in composition and spatial solution to Perugino’s fresco “Transfer of the Keys to St. Peter” in the Sistine Chapel of the Vatican is Raphael’s altar image “The Betrothal of Mary” (1504, Brera Gallery, Milan). From 1504, Raphael worked in Florence, where he became acquainted with the works of Leonardo da Vinci and Fra Bartolommeo, and studied anatomy and scientific perspective. The numerous images of Madonnas he created in Florence (“Madonna Granduca”, 1505, Pitti Gallery, Florence; “Madonna with the Child Christ and John the Baptist” or “The Beautiful Gardener”, 1507, Louvre, Paris; “Madonna with the Goldfinch”, Uffizi) were brought All-Italian glory to the artist.
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In 1508, Raphael received an invitation from Pope Julius II to Rome, where he was able to become more familiar with ancient monuments and took part in archaeological excavations. Fulfilling the pope's order, Raphael created paintings in the halls (stanzas) of the Vatican, glorifying the ideals of freedom and earthly happiness of man, the limitlessness of his physical and spiritual capabilities. In the calm grandeur, harmoniously harmonious composition of the paintings, a large role is played by architectural backgrounds, which innovatively developed the trends of Italian architecture contemporary to Raphael. In Stanza della Segnatura (1509-1511), the artist presented the main areas of spiritual activity in his era: theology (“Disputa”), philosophy (“School of Athens”), poetry (“Parnassus”), jurisprudence (“Wisdom, Measure, Power” ), as well as allegorical, biblical and mythological scenes on the ceiling corresponding to the main compositions. In Stanza d'Eliodoro with frescoes on legendary historical subjects (“Exile of Eliodorus”, “Meeting of Pope Leo I with Atilla”, “Mass in Bolsena”, “Release of the Apostle”
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Peter from Prison”), Raphael’s talent as a master of chiaroscuro and harmonious, soft and light coloring was demonstrated with particular force. The increasing drama in these frescoes takes on a tinge of theatrical pathos in the paintings of the Stanza del Incendio (1514-1517), which Raphael performed with numerous assistants and students. Close to the Vatican frescoes are Raphael's cardboards for a series of tapestries for decorating the walls of the Sistine Chapel (1515-1516, Italian pencil, brush painting, Victoria and Albert Museum, London, and other collections). The fresco “The Triumph of Galatea” at the Villa Farnesina in Rome (1514) is imbued with the spirit of ancient classics with its cult of sensual beauty. In Rome, Raphael’s brilliant talent as a portrait painter reached maturity (“Portrait of a Cardinal,” circa 1512, Prado, Madrid; “Woman in White” or “Donna Velata,” circa 1513, Galleria Palatina, Florence; portrait of B. Castiglione, 1515-1516, Louvre, Paris, etc.). In Raphael’s “Madonnas” of the Roman period, the idyllic mood of his early works is replaced by a recreation of deeper human, maternal feelings (“Madonna Alba”, circa 1510-1511, National Gallery, Washington; “Madonna di Foligno”, circa 1511-1512, Vatican Pinacoteca) ; Mary appears as the intercessor of humanity, full of dignity and spiritual purity, in Raphael’s most famous work - “ Sistine Madonna” (1515-1519, Picture Gallery, Dresden).
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In the last years of his life, Raphael was so overloaded with orders that he entrusted the execution of many of them to his students and assistants (Giulio Romano, J.F. Penney, etc.), usually limiting himself to general supervision of the work. In these works (frescoes of the “Loggia of the Psyche of the Villa Farnesina”, 1514-1518; frescoes and stucco in the Loggias of the Vatican, 1519; unfinished altarpiece “Transfiguration”, 1519-1520, Vatican Pinakothek) the features of the crisis of the Renaissance and a tendency toward mannerism were clearly evident. Raphael's activity as an architect was of exceptional importance for the development of Italian architecture, representing, as it were, a connecting link between the work of Bramante and Palladio. After Bramante's death, Raphael took the position of chief architect of St. Peter's Cathedral in Rome (he drew up a new plan for the cathedral, basing it on the architectural type of basilica), and also completed the construction of the Vatican courtyard with loggias, which Bramante had begun. Among Raphael's other buildings: the round church of Sant'Eligio degli Orefici (built from 1509) and the Chigi Chapel of the church of Santa Maria del Popolo (1512-1520) in Rome, the elegant palazzo Vidoni-Caffarelli (from 1515) in Rome and Pandolfini ( c 152O) in Florence. Raphael's original plan was partially realized in the Roman Villa Madama (from 1517; construction was continued by the architect A. de Sangallo the Younger), organically connected with the surrounding gardens and terraced park. The art of Raphael, which had a tremendous influence on European painting of the 16th-19th and, partly, 20th centuries, for centuries retained the meaning of indisputable artistic authority and model for artists and viewers.
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Michelangelo Buonarroti; otherwise Michelangelo di Lodovico di Lionardo di Buonarroto Simoni (1475-1564), Italian sculptor, painter, architect and poet. In the art of Michelangelo, both the deeply human ideals of the High Renaissance, full of heroic pathos, and the tragic sense of crisis of the humanistic worldview, characteristic of the late Renaissance, were embodied with enormous expressive power. Michelangelo studied in Florence in the workshop of D. Ghirlandaio (1488-1489) and with the sculptor Bertoldo di Giovanni (1489-1490), but the decisive significance for creative development Michelangelo had his acquaintance with the works of Giotto, Donatello, Masaccio, Jacopo della Quercia, and the study of monuments of ancient sculpture. Already in his youthful works (reliefs “Madonna at the Staircase”, “Battle of the Centaurs”, around 1490-1492, Casa Buonarroti, Florence, both are marble, like all the mentioned sculptural works of Michelangelo) the main features of the sculptor’s work were determined - monumentality and plastic power, internal tension and drama of images, reverence for human beauty. Working in Rome in the late 1490s, Michelangelo paid tribute to his passion for ancient sculpture in the statue “Bacchus” (1496-1497, National Museum, Florence); He introduced new humanistic content and vivid convincingness of images into the traditional Gothic scheme of the “Lamentation of Christ” group (circa 1497-1498, St. Peter’s Cathedral, Rome).
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In 1501, Michelangelo returned to Florence, where he created the colossal statue “David” (1501-1504, Galleria dell’Accademia, Florence), embodying the heroic impulse and civic valor of the Florentines who threw off the yoke of Medici tyranny. In the cardboard for the Palazzo Vecchio painting “The Battle of Cascina” (1504-1504, copies have survived), he sought to express the readiness of citizens to defend the republic. In 1505, Pope Julius II invited Michelangelo to Rome and commissioned him to create his own tomb. For the tomb of Julius II, completed only in 1545 (the church of San Pietro in Vincoli in Rome), Michelangelo created a number of statues, including the “Moses” (1515-1516) endowed with a powerful will, titanic strength and temperament, filled with the tragedy of the “Dying Slave” ” and “The Rebellious Slave” (1513-1516, Louvre, Paris), as well as 4 unfinished figures of slaves (1532-1534), in which the process of the sculptor’s work is clearly visible, boldly delving into the stone block in some places and leaving other places almost unfinished . In the pictorial cycle executed by Michelangelo on the vault of the Sistine Chapel in the Vatican (1508-1512; includes scenes from the book of Genesis in the central part of the ceiling, monumental figures of prophets and sibyls on the side parts of the vault, images of the ancestors of Christ and biblical episodes in the formwork, sails and lunettes) , the artist created a grandiose, solemn, easily visible composition in general and in detail, perceived as a hymn to physical and spiritual beauty, as an affirmation of the limitless creative possibilities of God and man created in his image. The frescoes of the ceiling of the Sistine Chapel, like other paintings by Michelangelo, are characterized by clarity of plastic modeling, intense expressiveness of design and composition, and a predominance of muted, refined colors in the colorful range.
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In 1516-1534, Michelangelo again lived in Florence, worked on the design of the facade of the Church of San Lorenzo and the architectural and sculptural ensemble of the tomb of the Medici family in the New Sacristy of the same church (1520-1534), as well as on sculptures for the tomb of Pope Julius II. Michelangelo's worldview in the 1520s acquires tragic character. The deep pessimism that gripped him in the face of the death of political and civil liberties in Italy, the crisis of Renaissance humanism, was reflected in the figurative structure of the sculptures of the Medici tomb - in the heavy thought and aimless movement of the statues of the Dukes Lorenzo and Giuliano, devoid of portrait features, in the dramatic symbolism of the four figures depicting “ Evening”, “Night”, “Morning” and “Day” and personifying the irreversibility of the passage of time. In 1534 Michelangelo moved again to Rome, where he spent the last 30 years of his life. The master’s late paintings are amazing tragic force images (fresco “ Last Judgment” on the altar wall of the Sistine Chapel in the Vatican, 1536-1541), are permeated with bitter reflections on the futility of human life, on the painful hopelessness of the search for truth (partly anticipating Baroque painting of the Paolina Chapel in the Vatican, 1542-1550). Michelangelo's last sculptural works include those marked by tragic expression artistic language“Pieta” for the Florentine Cathedral of Santa Maria del Fiore (before 1550-1555, broken by Michelangelo and restored by his student M. Calcagni; now in the Galleria dell’Accademia, Florence) and the sculptural group “Pieta Rondanini” (1555-1564, Museum of Ancient Art, Milan), intended by him for his own tombstone and unfinished.
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For late creativity Michelangelo is characterized by a gradual departure from painting and sculpture and an appeal to architecture and poetry. Michelangelo's buildings are distinguished by increased plasticity, internal dynamism and mass tension; A big role in them is played by the relief design of the wall, the active light and shadow organization of its surface with the help of high pilasters, emphatically voluminous cornices, platbands and door portals. Even in his last Florentine period, he designed and supervised the construction of the Laurentian Library building (1523-1534), creating an expressive ensemble that included a dynamic space of the vestibule with a staircase and a calm, austere interior of the reading room. From 1546, Michelangelo supervised the construction of St. Peter's Cathedral and the construction of the ensemble of the Capitol Square in Rome (both works were completed after his death). The trapezoidal Capitol Square with the ancient equestrian monument of Emperor Marcus Aurelius in the center, the first Renaissance urban ensemble designed by a single artist, is closed by the Palace of the Conservatives, flanked by two symmetrically placed palaces on its sides and opens into the city with a wide staircase. In the plan of St. Peter's Cathedral, Michelangelo, developing the ideas of Bramante and preserving the idea of centricity, strengthened the significance of the middle cross in internal space. During Michelangelo's lifetime, the eastern part of the cathedral was built with the base of a grandiose dome, erected in 1586-1593 by the architect M. Giacomo della Porta, who somewhat lengthened its proportions. Michelangelo's lyrics are marked by depth of thought and high tragedy. In his madrigals and sonnets, love is interpreted as man’s eternal desire for beauty and harmony; lamentations about the artist’s loneliness in a hostile world coexist with the bitter disappointments of a humanist in the face of triumphant violence. The work of Michelangelo, which became brilliant the final stage Italian Renaissance, played a huge role in the development European art, largely prepared the formation of Mannerism and had a great influence on the formation of the principles of Baroque.
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Botticelli Sandro [actually Alessandro di Mariano Filipepi, Alessandro di Mariano Filipepi] (1445–1510), Italian painter of the Early Renaissance. Belonged to the Florentine school, around 1465–1466 he studied with Filippo Lippi; in 1481–1482 he worked in Rome. Early works Botticelli is characterized by a clear construction of space, clear light and shadow modeling, and interest in everyday details (“Adoration of the Magi,” circa 1476–1471, Uffizi). From the end of the 1470s, after Botticelli’s rapprochement with the court of the Medici rulers of Florence and the circle of Florentine humanists, the features of aristocracy and sophistication intensified in his work, paintings on ancient and allegorical themes appeared, in which sensual pagan images are imbued with the sublime and at the same time poetic, lyrical spirituality (“Spring”, circa 1477–1478, “Birth of Venus”, circa 1483–1484, both in the Uffizi).
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The animation of the landscape, the fragile beauty of the figures, the musicality of light, trembling lines, the transparency of exquisite colors, as if woven from reflexes, create in them an atmosphere of dreaminess and slight sadness. In the frescoes executed by Botticelli in 1481–1482 in the Sistine Chapel in the Vatican (“Scenes from the Life of Moses”, “The Punishment of Korah, Dathan and Abiron”, etc.), the majestic harmony of landscape and ancient architecture is combined with internal plot tension, the sharpness of portrait characteristics characteristic of , along with the search for subtle nuances of the inner state of the human soul, and easel portraits of the master (portrait of Giuliano Medici, 1470s, Accademia Carrara, Bergamo). In the 1490s, during the era of social unrest and mystical-ascetic sermons of the monk Savonarola that shook Florence, notes of drama and religious exaltation appeared in Botticelli’s art (“Slander”, after 1495, Uffizi), but his drawings for “ Divine Comedy“Dante (1492–1497, Engraving Cabinet, Berlin, and the Vatican Library), while maintaining the sharpness of emotional expressiveness, maintains lightness of line and Renaissance clarity of images.
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Donatello (actually Donato di Niccolo di Betto Bardi, Donato di Niccolo di Betto Bardi) (circa 1386–1466), Italian sculptor of the Early Renaissance. In 1404-1407 he studied in the workshop of L. Ghiberti. He worked mainly in Florence, as well as in Siena (1423–1434 m 1457–1461), Rome (1430–1433), Padua (1444–1453), and in 1451 he visited Mantua, Venice, Ferrara. Donatello was one of the first in Italy to creatively comprehend the experience of ancient sculpture and came to the creation classical forms and types of Renaissance sculpture - free-standing statue, wall tombstone, equestrian monument, “picturesque” relief. Donatello's work embodied the search for new ideas characteristic of Renaissance art. expressive means, deep interest in reality in all the diversity of its specific manifestations, the desire for sublime generalization and heroic idealization. Early works masters (statues of prophets for the side portal of the Florence Cathedral, 1406–1408) are still marked by the Gothic constraint of forms, the crushed fragmentation of linear rhythm. However, already the statue of St. Mark for the facade of the Church of Orsanmichele in Florence (marble, 1411–1413) is distinguished by its clear tectonics of plastic masses, strength and calm grandeur.
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The Renaissance ideal of the warrior-hero is embodied in the image of St. George for the same church (marble, circa 1416, National Museum, Florence). A unique gallery of highly individual portrait images are statues of prophets for the campanile of the Florence Cathedral (marble, 1416–1435, Cathedral Museum, Florence). In “picturesque” reliefs (“Herod’s Feast” on the bronze font of the Siena Baptistery, 1423–1427; reliefs Old Sacristy Church of San Lorenzo in Florence, 1434–1443) he created the impression of great depth of space using linear perspective, precise delineation of plans and a gradual decrease in the height of the image. The Renaissance implementation of ancient forms is marked by such works of Donatello as the tombstone of Baldassare Coscia (antipope John XXIII; together with the architect Michelozzo di Bartolommeo, marble, bronze, 1425–1427, baptistery in Florence), which uses an antique sarcophagus, allegorical figures and order frame, altar “Annunciation” (the so-called Cavalcanti altar; limestone, terracotta, circa 1428–1433, Church of Santa Croce, Florence) with magnificent antique decoration, singing platform of the Florence Cathedral (marble with mosaics and gilding, 1433–1439, Cathedral Museum , Florence) with a cheerful round dance of merry putti,
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Last presentation slide: Renaissance Art
statue of David (bronze, 1430s, National Museum, Florence) - the first image of the naked human body in statuary plastic of the Renaissance. While working in Padua, Donatello created the first secular monument of the Renaissance - the equestrian monument to the condottiere Gattamelata (bronze, marble, limestone, 1447–1453) and a large sculptural altar for the church of Sant'Antonio (1446–1450), decorated with relief scenes, masterfully deployed in an illusory space. Donatello’s later works, performed in Florence, are highly expressive, marked by features of spiritual breakdown (group “Judith and Holofernes”, bronze, circa 1456–1457, Piazza della Signoria; reliefs of the pulpits of the Church of San Lorenzo, bronze, 1460s). Donatello's influence on the development of Renaissance art in Italy was enormous; his achievements were adopted by many painters and sculptors - P. Uccello, A. del Castagno, Mantegna, and later Michelangelo and Raphael.
