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High Renaissance

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.

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High Renaissance

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  1. High Renaissance

  2. Leonardo da Vinci. Virgin of the Rocks, c. 1485, oil on wood

  3. Leonardo da Vinci/ the “Renaissance” man/ pyramidal configuration/ interlocking gestures/ chiaroscuro and sfumato/ atmospheric perspective

  4. Leonardo da Vinci. Cartoon for the Virgin and Child with St. Anne and the Infant St. John, 1498, charcoal heightened with white on brown papercartoon/ stable without being static

  5. Leonardo da Vinci. Embryo in the Womb, c. 1510, pen and ink on paper

  6. Leonardo da Vinci. Anatomical Studies (larynx and leg), 1510, pen, brown ink and wash over black chalk on paper

  7. Leonardo da Vinci. Last Supper from the refectory of Santa Maria delle Grazie (Milan), c. 1495-98, fresco (oil and tempera on plaster)

  8. depiction of a dramatic movement/ groupings of disciples/ Judas Iscariot/ isolation of Christ/ use of linear perspective/ poor condition of the work

  9. 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

  10. Left: Leonardo da Vinci. Vitruvian Man, c. 1485-1490, pen and ink Below: Leonardo da Vinci. Study for the monument to Francesco Sforza, c. 1488-1490

  11. Donato D’Angelo Bramante. Tempietto (Rome), 1502Bramante/ 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

  12. 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

  13. Michelangelo Buonarroti. David, 1501-1504, marblethe “Giant”/ compositionally and emotionally connected to an unseen presence/ pent-up passion vs. classical calm/ reinterpretation of classical antiquity/ emphasis on the hands

  14. Michelangelo Buonarroti. Moses (San Pietro in Vincoli, Rome), c. 1513-1515, marble

  15. Michelangelo’s tomb for Julius II/ expression of wrath building up/ a head with horns

  16. Right: Michelangelo Buonarroti. Bound Slave, 1513-1516, marbleLeft: Michelangelo Buonarroti. Dying Slave, c. 1513, marbleliberating the figure from a block of stone/ references to a tortured soul/ influence of the Laocoon group

  17. Michelangelo Buonarroti. Ceiling of the Sistine Chapel (Vatican City, Rome), 1508-12, fresco

  18. Plan of the Sistine Ceiling

  19. Humanistic interpretation of the story of Creation

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