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High Renaissance Portraiture Raphael

Pre-Renaissance portraiture. Bonaventura's St FrancisByzantine artNo individual facial characteristics so how can we tell identity?. Early Renaissance Profile portraits. Profiles had a commemorative functionInfluence of Roman coinsIncreasing attempt to show real features of person. Idealisation..

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High Renaissance Portraiture Raphael

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    1. High Renaissance Portraiture & Raphael Revision: Early and Pre-Renaissance portraiture Revision of Leonardo’s key portraits Raphael’s portraiture Some mannerist portraits

    2. Pre-Renaissance portraiture Bonaventura’s St Francis Byzantine art No individual facial characteristics – so how can we tell identity?

    3. Early Renaissance Profile portraits Profiles had a commemorative function Influence of Roman coins Increasing attempt to show real features of person. Idealisation.

    4. Piero’s Urbino Diptych REVISION Make a list of 5 significant features of this work. Think about Composition/ format Classical influences Landscape Naturalism symbolism

    5. Reverse of double portrait, Triumph of Federico da Montefeltro & Triumph of Battista Sforza

    6. Portraiture during the Renaissance GROUP PORTRAITS 2+ people E.g. Pope Leo X & 2 Cardinals COLLECTIVE PORTRAITS Often feature prominent people in society in a larger scene Can you think of a painting showing portraits of several people? INDEPENDENT PORTRAITS 1 person depicted A painting or a sculptural bust (influence of Roman art) Can you remember which artist made a bust of a woman who resembled Leonardo’s Ginevra de Benci?

    7. Individual portraits

    8. REVISION What was innovative about these two High Renaissance portraits by Leonardo?

    9. Complete this on your worksheet: SUMMARY OF DEVELOPMENTS IN LEONARDO’S PORTRAITURE: Leonardo – key innovation was to abandon the _________portrait and turn the ______ to face the viewer. His interest was in developing a ________ presentation, revealing the sitter’s ________. He believed that the “____ were the __________ to the soul” and the portrait should portray the “motions of the ______.”

    10. HIGH RENAISSANCE Portraits by Raphael

    11. Collective portraits in the High Renaissance

    12. Raphael’s SCHOOL OF ATHENS Which one is Plato, which Aristotle? Using your knowledge of Plato and Aristotle, guess which one is which. Consider: Who was older? Who taught whom? Whose philosophy emphasised inspiration and ideas? Whose philosophy emphasised enquiry and reason? Extra for experts: Whose portrait does the figure on the left resemble? Do you recognise the gesture from another painting we have studied?

    13. EXAMPLE #2 FROM THE SCHOOL OF ATHENS CLOSE UP on Heraclitus (a portrait of Michelangelo) Analyse: how is this figure dressed differently to the others? (Describe his clothes) What can we learn the personality and occupation of Raphael’s great rival from this depiction?

    14. Raphael as a portrait painter Raphael had a special talent for portraiture – he combined realism of 15th C portraits with the human ideal of the High Renaissance Influences: Piero (Raphael grew up in Urbino) Leonardo – saw the Mona Lisa in 1503. Used this pose and pyramid format. Skill in portraying character and personality, but didn’t achieve sense of mystery seen in the ML.

    16. Agnolo Doni (aka Angelo) He was a successful and shrewd wool merchant. He comes across as intelligent, cool, firm, confident in his pose and glance. He looks at us – scrutinises us. His portrait seems more natural, relaxed than his wife Plainer colours used for him – suggests more sober personality than wife

    17. How does this portrait show the influence of Leonardo’s Mona Lisa?

    18. Compare and contrast Agnolo Doni with Mona Lisa SIMILARITIES Background is landscape pose -mirror image of Mona Lisa’s – ľ view, hands crossed & rest on rail. Refined, at ease. Begins to reveal Personality of sitter : Agnolo - engaging gaze like ML –seems intelligent, thoughtful. But lacks the psych. depth of Leonardo’s. Clothing simple, refined, suggests status and wealth DIFFERENCES Landscape – naturalistic countryside, 3D (cf. Urbino Diptych) – learnt from Leonardo. However landscape is based on local Tuscan hills, not imagination like M.L’s rocky, mysterious one Palette is far brighter. ML is monochrome, moody. Lighting – daylight, even diffused light. Does not use subtle sfumato of Leonardo

    20. Maddalena Doni Also uses a pyramidal composition Less sense of ‘mystery’ - seems dull, lacking in personality? (or artist’s inability to suggest a woman’s character?) short fingers – suggests a certain lack of grace? (not graceful long fingers like Cecilia. G or Mona L); Landscape is realistic (Tuscan countryside) rather than an imaginary, psychological landscape Maddalena’s costume is more lavish /rich – showy? (flamboyant colours – lacks subtle taste of CG and ML?, brocade sleeves, silk bodice, transparent veil; ring and pendant) Necklace – 3 large stones, pearl, unicorn - symbol of virginity Status: Each portrait show the each woman’s place in society, ie. Mona Lisa was a bride to be (powerless?) while Maddalena is wealthy, established

    21. La Muta c1504 ‘the mute one’ for the first time Raphael captures aspects of the inner personality of a female sitter Conveys: elegance, courtliness decorum: her pose is upright, her gaze refined. Clothes and jewellery: tasteful elegance in colours size of jewels

    22. On the topic of IDEALISATION What are the qualities of an ideal man or woman in the 21st Century? How would it compare to the Ideal Renaissance Man or Woman?

    23. Revision: The Renaissance Ideal Ideal Renaissance man: Graceful, dignified Intelligent, Alert Courteous, Considerate Sense of self-restraint discretion and taste Interest in the arts Involved in their community Knowledge of Classical, philosophy, rhetoric, art All rounder Qualities admired in Renaissance women: Decorum, moderation Modesty in speech / action Beauty & Gracefulness Courtesy, etiquette Talent / cultured tastes (music, poetry) Moral virtue – kindness, charity, temperance Chastity

    24. An important influence: The Book of the Courtier (Il Cortegiano) by Baldassare Castilgione Written in 1508 and published in 1528 just before his death. Subject - what constitutes a perfect courtier The courtier expected to have A cool mind, a good voice (beautiful, elegant, brave words) Poise: proper bearing and gestures. Bravery: a warrior spirit, athletic Education: good knowledge of the humanities, Classics and fine arts. Sprezzatura (impression of effortlessness / nonchalance) .

    25. Baldassare Castiglione 1514-1516 the ‘ideal Renaissance man’ Important Humanist thinker Friend of Raphael What elements suggest the sitter’s: good taste: style without extravagance, decorum/ self-restraint/ composure sensitivity / kindness /gentlemanliness? scholarliness

    26. Significance: Marks the point where Raphael refined his skill in independent portraits. This and La Donna Velata shows Raphael conveying unique personality Gaze: blue eyes engage the viewer directly. Shows warm intelligence and empathy. Hint of movement at mouth like Mona Lisa. Pose: Re-uses the Mona Lisa pose. Head is half-turned, Hands are at rest, calmly and gently clasped. Composition: large oval forms that relate to each other (shoulders, arms, sleeves). Totally balanced. Clothing: black, white, soft grey – show sober elegance and restraint (not showy). He only wears a single brooch in his hat; gold clasp of belt

    27. IDEALISATION / NEO PLATONISM Raphael idealised B. Castliglione by showing him as the perfect courtier (in keeping with his own book) In real life he was “indecisive, fussy, snobbish…not at all distinguished as a commander…exceedingly fond of fine clothes” (George Bull) Neo-platonic idea – an idealised outer appearance shows a perfect soul. Plato wrote about a Theory of Forms, The Republic. BC refers to Plato’s ideas in his book. He believed, if it were possible to have a “perfect Republic, of a perfect King… there must exist a perfect courtier.”

    28. La Donna Velata 1514- 1516 This portrait represents the ideal Renaissance woman – ie of the court, well educated, virtuous. This “veiled lady” was one of R’s favourite models – possibly his mistress Colours: these are influenced by Venetian art. List them. What do they suggest? Clothing: What elements suggest her wealth/style? Modesty? Good taste? Composition: describe the shape formed. Pose: which gesture is both modest yet subtly sensual, and suggests she is alive / moment caught in time? Repeated motifs ? Background – what effect does the neutral coloured background have?

    29. Pope Julius II (1512) What do you remember about Julius II? Closely analyse the pose Gesture Expression Background Clothing What do they reveal about the sitter?

    30. Pose: ľ length shows most of body and hands. Rapahel has created a new pose which influenced later papal portraits. His portrait depicts the responsible ruler reflecting on the burdens of power. Identity of sitter: R conveys multiple aspects of a complex personality (eg. leadership skills in battle, efforts to restore Rome to its proper place as centre of Christian world, desire to cling to power) Clothes: simple cape but lined with ermine (only worn by rulers). Rich colours and fabrics (red) suggest wealth, authority and leadership Symbols: green curtain has the papal emblem, the crossed keys of St Peter on in. Gold finials on throne in shape of acorns refer to the Della Rovere family name and crest Throne – conveys status but also frames the figure Gaze: introspective – reflecting on life, responsibilities and upcoming death. Sense of pathos – he looks tired, sad, frail. Presented as the ideal image of a caring leader Hands: one rests limply holding silk cloth (desire to release himself from task) fabric is unruffled. Other hand is tense, gripping throne (shows determination, his ‘hold on the papacy’ through his life)

    31. Pope Leo X and 2 Cardinals (1517) How does this Pope seem different to Julius in personality/mood? What feeling do you get from the 2 cardinals? Look closely to find a clue of which family Leo is from. What elements suggest this pope is rather materialistic? “God has given us the Papacy, let us enjoy it.” - Pope Leo X

    32. Composition: new device used: diagonal perspective – the 3 heads are in horizontal frieze across the picture plane. pose: devpt of motif of seated pope, observed but unaware of viewer. Form: Shadows on Cardinal’s faces help to create depth. Attributes: shows his humanist refinement and learning (illuminated manuscript) but also materialism (silver bell) symbols – gold ball on top of chair (Medici family symbol) hands: shows his vanity (manicured hands) Personality: not idealised. We see his power and dignity, but also his plump self satisfaction.

    33. Pope Leo X & Two Cardinals Leo X – corpulent, pose is relaxed – reflects his easy going nature. He was less interested in spirituality / politics and more interesting in enjoying life & entertainment at court. HUMANIST ELEMENTS present in Book = illuminated manuscript of the Hamilton Bible Magnifying glass = he has been studying the artistic merits of the miniatures PSYCHOLOGY of the POPE and CARDINALS Other sitters: conflicting gazes of 2 cardinals - sense of tension Cardinal Giulio de’Medici (favoured cousin) to his right became Pope Clement VII. He stares in to distance. Looks blank, impassive. Behind Leo X is Cardinal Luigi de’ Rossi – who looks toward and past us. Grips throne: Sinister? Or just showing he was one of the Pope’s most trusted confidants? [he was recently appointed to the college of cardinals by Leo to protect his interests; there had been an assassination plot.] Colour scheme – rich and restrained set off by gold ball reflecting at top of chair; 3 reds create feeling of tension. Light Reflection in gold ball – possibly learned from Northern painters like Van Eyck who often included convex mirrors / reflections of hidden parts of the interior

    34. EXAM QUESTION 2008 Compare and contrast a High Renaissance portrait v. Mannerist Portrait

    35. Bronzino’s Portrait of a Young Man Bronzino is a Mannerist artist Describe his COSTUME (style, colour, garments) and what he is holding. How does it convey that he is a scholar / official of the court? What DETAILS suggest the sitter’s wealth and interest in fashion? Note down 2 classical elements that suggest this is a grand palazzo http://smarthistory.org/bronzino-portraits.html

    36. Other portraits by Bronzino Portrait of a Young Girl Portrait of a Lady

    37. Laura Battiferri 1560 and Ugolini Martelli 1535 (both by Bronzino)

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