High Renaissance

a visual primer
20 Pins
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3y
La Fornarina by Raphael (1520)
Importance: In this fine example of High Renaissance artists’ common impetus to paint only the highest ideals of beauty, the viewer enters a portrait of a striking woman who offers insights into her own emotionality through the artist’s choice of color and gesture.
The Sistine Chapel by Michelangelo (1508-12)
Importance: Michelangelo’s massively grand scale painting of interconnected murals depicting the epic narratives of the Bible on the walls and ceiling of the Sistine Chapel is widely known as a cornerstone of High Renaissance art.
The Sacred Conversation by Giovanni Bellini (1505)
Importance: A work of the sacra conversazione, or sacred conversation genre, that shows Saint Anna and Saint Simeon with the Madonna and Child.
Doge Leonardo Lorodan by Giovanni Bellini (1501-02)
Importance: Example of formal portraiture popular during the High Renaissance, often commissioned by those in elevated societal positions as representations of themselves with a nod to the style of classical Roman sculpted busts.
Sleeping Venus by Giorgione (1508-10)
Importance: One of the first full-length female nudes ever painted in Venice and considered one of the most beautiful examples of the reclining nude art trope.
Adoration of the Child (Christ) by Correggio (1526)
Importance: One of the more popular subjects of High Renaissance painting, Madonna with the Christ child, depicted here through Correggio’s masterful conveying of intimacy and tenderness through tonalismo, sfumato, and delicate color.
Madonna and Child with the Holy Trinity and Two Saints by Luca Signorelli (1510)
Importance: A sacra conversazione, or sacred conversation, where Madonna and Child are flanked between angels Michael and Gabriel, and the Holy Trinity is centered above—a classic dialogue of the times between human and the divine.
Lamentation of Christ by Luca Signorelli (1502)
Importance: Signorelli’s frescoes in the Orvieto Cahedral are considered the most monumental of depictions concerning the Apocalypse and the Last Judgment in Italian Renaissance art.
Venus of Urbino by Titian (1538)
Importance: This painting represents the ideal Renaissance woman and was meant to serve as a “teaching painting” full of hidden meaning and allegory from a young groom to his new bride, when he commissioned it from Titian.
Bacchus and Ariadne by Titian (1520–23)
Importance: The epitome of a poesia, otherwise known as a history painting based on classic texts featuring spirituality or mythology. It is also notable for expressing Titian’s skill with articulating the Venetian credo of colorito, or primacy of color
Assumption of the Virgin by Correggio (1526–30)
Importance: Prime example of a di sotto in su work, otherwise known as “viewed from below.” The technique was used often when depicting scenes of heaven on ceiling architectural spaces to give the viewer an impression of being a part of the divine work.
Madonna of the Harpies by Andrea del Sarto (1517)
Importance: This painting focuses on the motif of the sacra conversazione, a term developed in the 18th century for paintings that depicted the Virgin with Christ as Child with a few saints in attendance.
The Tempest by Giorgione (1506-08)
Importance: Among the first paintings to be labeled a “landscape” in Western art history despite its inclusion of High Renaissance figures, allusions, coloring, and composition.
The Creation of Adam by Michelangelo (1508–12)
Importance: A departure from traditional depictions of Adam, this portion of the Sistine Chapel shows the first born man as made in God’s image and placed in equality to him—a representation of Humanist ideals in which man is central to the universe and in direct connection with the divine.
Salvatore Mundi by Leonardo da Vinci (1500)
Importance: Extremely unusual depiction of Jesus as savior of the world and master of the cosmos, only while garbed as a Renaissance man amidst humanist times.