Transcript Chapter 14 The High Renaissance Donato Bramante (1444 – March 11, 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the.

Chapter 14
The High Renaissance
Donato Bramante
(1444 – March 11, 1514)
was an Italian architect,
who introduced the Early
Renaissance style to
Milan and the High
Renaissance style to
Rome, where his most
famous design was St.
Peter's Basilica.
The Tempietto
by Bramante
c. 1502 - 1503
Rome,
within a narrow courtyard
Believed to be on the
site of the martyrdom
of St. Peter.
The Basilica of Saint Peter
from Castel Sant'Angelo
St. Peter’s Basilica
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Architect(s) Donato Bramante
Antonio da Sangallo the Younger
Michelangelo
Vignola
Giacomo della Porta
Carlo Maderna
Bernini
A view from the dome of St. Peter’s Basilica
The dome,
redesigned
and
completed
by Giacomo
della Porta
in 1590.
Church and Dominican Convent of Santa Maria
delle Grazie with "The Last Supper" by
Leonardo da Vinci. It is believed that Bramante
designed the apse.
Bramante's
apse.
The
Baptism of
Christ
1474-1475
Verrocchio
and
Leonardo
Madonna with Child
c. 1470
Andrea del Verrocchio's
workshop
New York, Metropolitan
Museum of Art.
David
Andrea del Verrocchio,
1473-1475
Bronze, height 49”
Florence,
Museo Nazionale del
Bargello
Verrocchio's David was most likely
made between 1473 and 1475. It
was commissioned by the Medici
family. It is sometimes claimed that
Verrocchio modeled the statue
after a handsome pupil in his
workshop, the young
Leonardo da Vinci.
Self-portrait in red chalk,
c. 1512- 1515.
Leonardo di Ser Piero
Born April 15, 1452
Vinci, Florence, in
present-day Italy
Died May 2, 1519 (aged
67)
Amboise, Indre-et-Loire,
in present-day France
Virgin of the Rocks
National Gallery,
London,
possibly 1505–1508,
demonstrates
Leonardo's interest in
nature.
Mona Lisa
or
La Giaconda
(1503–1505/1507)
Louvre,
Paris
The shadowy quality for which
the work is renowned came to
be called “sfumato” or
Leonardo’s smoke.
The Virgin and
Child with St. Anne
and St. John the
Baptist
c. 1499–1500
National Gallery,
London
charcoal, black and
white chalk on tinted
paper
Ginevra de'
Benci
c. 1475
National
Gallery of
Art
Washington,
D.C.
Ginevra de' Benci (Born 1457) was a lady of
the aristocratic class in 15th century
Florence, admired for her intelligence by
Florentine contemporaries. She is the
subject of one of only 17 extant paintings
attributed to Leonardo da Vinci. The oil-onwood portrait was permanently acquired by
the National Gallery of Art in Washington,
D.C., in 1967 for 5 million dollars paid to the
Princely House of Liechtenstein, a record
price at the time.
It is known from three written
sources that Leonardo painted a
portrait of Ginevra de' Benci in
1474 in commemoration of her
marriage to Luigi Niccolini, and
the painting's imagery and
reverse text support this theme.
Directly behind the young lady in
the portrait is a juniper tree. The
reverse of the portrait is
decorated with a juniper sprig
encircled by a wreath of laurel
and palm and is memorialized by
the phrase
VIRTUTEM FORMA DECORAT
("Beauty adorns Virtue").
The Italian word for juniper is
"ginepro," which leads many to
believe that the juniper motif is a
symbolic pun on Ginevra's name.
Fittingly, juniper was also a
Renaissance symbol for chastity.
Leonardo's formal training
in the anatomy of the
human body began with
his apprenticeship to
Andrea del Verrocchio, his
teacher insisting that all
his pupils learn anatomy.
As an artist, he quickly
became master of
topographic anatomy,
drawing many studies of
muscles, tendons and
other visible anatomical
features.
For much of his life, Leonardo was fascinated by the phenomenon
of flight, producing many studies of the flight of birds, and plans for
several flying machines, including a helicopter and a light hang
glider. Of these, most were impractical, but the hang glider has
been successfully constructed and demonstrated.
When finished, the painting was acclaimed as a masterpiece of design and
characterization. But the painting deteriorated rapidly so that within a
hundred years it was described by one viewer as "completely ruined.”
Leonardo, instead of using the reliable technique of fresco, had used
tempera over a ground that was mainly gesso, resulting in a surface which
was subject to mold and to flaking. Despite this, the painting has remained
one of the most reproduced works of art, countless copies being made in
every medium from carpets to cameos. The Last Supper (1498)
Convent of Santa Maria delle Grazie, Milan, Italy.
The Virgin and
Child with St.
Anne
Leonardo da Vinci,
c. 1508
Oil on wood
Louvre, Paris