high renaissance

HIGH RENAISSANCE

RAPHAEL DEPOSITION1507 ROME • Combination of Michelangelo &

Leonardo• Local color like Michelangelo• Chiaroscuro like Leonardo

STANZA DELLA SEGNATURA• One of four suites in the Vatican

painted by Raphael between 1508-11• Stanza della Segnatura housed the

library of Julius II• Disputation of the Holy Sacrament,

School of Athens, The Parnassus, The Cardinal Virtues

• School of Athens• Monumental figures in monumental

architecture• Importance of Man

Raphael. The School of Athens. 1509. Vatican, Rome, Italy.

RAPHAELMADONNA OF THE CHAIR1514 FLORENCE • Monumental figure- too big for frame• Chiaroscuro and local color

FIRE IN THE BORGOVATICAN, ROME1514

• Figure types from classical sources

• Stage set- divided into 3 sections just like Renaissance theater

• Aenas carrying his father** Raphael/Bernini/Caravaggio David and Bernini David

Raphael. Sala di Constintano. The Battle of the Milvian Bridge. 1524. Vatican, Rome. Grouping a copy from Trajan’s column. Using Roman art for its form and content. Real

landscape.

RAPHAEL TAPESTRIES VATICAN, ROME.

Miracle of the Fishes- 1515• Monumental boat symbolic• Gestures between the figures• Baroque will continue to develop

further the emphasis on gestures

LOGGIA OF PSYCHE1517-18VILLA FARNESINA, ROMEAgostino Chiggi• The frescoes represent the Story of

Psyche, a myth derived from Ovid’s Metamorphoses (2nd century A. D.).

• Trials of Psyche• All the horrible things Venus does to

her. Cupid and Psyche marry • Garlands and festoons• Painted to look like tapestries• Di soto en su- illusionsism in the

triangle areas• Quadro riportato

LOGGIA OF RAPHAEL1518-19VATICAN

• Vault- 13 of them• Combination of quardro

riportato and di soto en su (columns)

• Very important for the influence on baroque which will exploit these concepts

TINTORETTOTHE PARADISE1592 VENICE • in size 22.6 x 9.1 meters (74 ft. by

30 ft), reputed to be the largest painting ever done upon canvas

• All figures are suspended in the clouds

• There is no longer any one point perspective

• Influenced by the Last Judgment by Michelangelo

ANTONIO DA CORREGGIOTHE ASSUMPTION OF THE VIRGIN 1530PARMA, ITALY Correggio's Assumption would eventually serve as a catalyst and inspiration for the dramatically-illusionistic, di sotto in su ceiling paintings of the 17th-century Baroque period. In Correggio's work, and in the work of his Baroque heirs, the entire architectural surface is treated as a single pictorial unit of vast proportions and opened up via painting, so that the dome of the church is equated with the vault of heaven.• The vision of John the Evangelist• Unified perspective that works at

every angle. • Changes dome painting!