Italian Renaissance :
The High Renaissance - Part 1/3
Andrea Verrocchio
(1435–1488, Italian, Early-High Renaissance)
“In this work Verrocchio was assisted by Leonardo da Vinci, then a youth and a member of his workshop, who painted the angel on the left and the part of the background above.
"(According to Vasari, Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him, but later critics consider this story apocryphal.)”
Putto: naked and winged baby, symbolising angel or Cupid (son of Venus).
“It is the second major equestrian statue of the Italian Renaissance, after Donatello's equestrian statue of Gattamelata (1453).....
“Donatello, in his monument at Padua, had partially solved the [weight] problem by putting the raised leg on a sphere. Verrocchio was the first to solve the [weight] problem in having the horse supported by three legs.”
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| The Baptism of Christ - Andrea Verrocchio & workshop - oil & tempera on panel (180 x 152 cm) 1470/80 - Uffizi Gallery (Florence) |
"(According to Vasari, Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him, but later critics consider this story apocryphal.)”
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| Putto con delfino - Andrea del Verrocchio - bronze (67 cm) c.1470 - Palazzo Vecchio (Firenze) |
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| The Equestrian statue of Bartolomeo Colleoni - Andrea del Verrocchio - bronze (395 cm excl. pedestal) 1480–88 - Campo Santi Giovanni e Paolo (Venice) |
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| Equestrian statue of Gattamelata - Donatello - bronze, 1453 - Piazza del Santo (Padua) |
Leonardo da Vinci
(1452–1519, Italian polymath)
Mona Lisa's eyes and mouth, as well as Ginevra de' Benci's background scenery havethe shadowy quality for which the works are renowned and came to be called "sfumato," or Leonardo's smoke.
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| Lady with an Ermine (Portrait of Cecilia Gallerani) - Leonardo da Vinci - oil & tempera on wood panel (55 x 40 cm) 1483/90 - National Museum (Kraków, Poland) |
(1475–1532, Italian)
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| Portrait of a Lady - Bernardino Luini - oil on panel (77 x 58 cm) 1520-25 - National Gallery of Art (Washington, D.C.) |
Domenico Ghirlandaio
(1449–1494, Italian)
St Jerome, an intellect faithful in humanism, was depicted with his various tools for scribing ancient literature. His greatest life achievement was the translation of the Holy Bible to Latin.
"Most striking is the high age of the mother. She is Elisabeth, the wife of the also aged priest Zacharias. Also, the visitors are not Elisabeth's contemporaries but 15th century members of the Florentine Tornabuoni family. They bring wine and fruit, which probably was not common in ancient Israel." - Artbible
As an open-minded arts protectorate, he assigned:
- Donato Bramante to build Saint Peter's Basilica,
- Raphel to paint a suite of reception rooms in Vatican City, and
- Michelangelo to paint the inside of Sistine Chapel.
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| St Jerome in his Study - Domenico Ghirlandaio - fresco (184 x 119 cm) 1480 - Chiesa di Ognissanti (Florence) |
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| Birth of St. John the Baptist - Domenico Ghirlandaio - fresco (215 × 450 cm) 1486-1490 - Tornabuoni Chapel (Florence) |
Pope Julius II
Papa Julius II, nicknamed the Warrior Pope, restored Roman papal rule over the royalties, and successfully restored the Medici House in Florence. |
| Portrait of Pope Julius II - Raphael (1483–1520, Italian) - oil on poplar wood (109 x 81 cm) 1511 - National Gallery (London) |
- Donato Bramante to build Saint Peter's Basilica,
- Raphel to paint a suite of reception rooms in Vatican City, and
- Michelangelo to paint the inside of Sistine Chapel.
Michelangelo and the Warrior Pope had had gone through “the agony and the ecstasy” during the Sistine Chapel ceiling painting project, as this fantastic 1962 movie re-enacted.
(1475–1564, Italian)
In the 15rh century, explorers discovered the Americas and Fast East, rapidly expanding the known world. Maps made by the explorers enabled the making of the first globe i n 1492. Painters benefited from the ever expanding navigation, which brought pigments from foreign lands to the ports in Italy.
"In the centre is a chariot driven by two white horses and surmounted by a sphere circled by a disk upon which stands a winged Cupid, a group of figures surrounds the chariot and in the centre background is a sea dotted with ships between a fortress on a headland at the left and a fortified harbour on the right, with a row of open-fronted sheds for ship-building.
"This desco da parto was a ceremonial birth tray offered on the occasion of a marriage or a birth during the 15th century and its imagery, a Triumph of Love, derives from the Italian humanist Petrarch’s series of poems called I Trionfi, composed during the second half of the 14th century. The coat of arms on its reverse has been identified as those of the Samminiato and the Gianfigliazzi families of Florence. As the marriage of Francesco da San Miniato and Constanza Gianfigliazzi is recorded in 1537 or 1547, and the form of the shield bearing their arms is unknown prior to the 1520s, this tray would appear to have been partially re-painted in or after 1537."
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| Tondo Doni, por Miguel Ángel 《聖家族》 - Michelangelo - tempera on panel (120 cm dia.) 1506 - Uffizi Gallery (Florence) |
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| his work at Sistine Chapel |
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| The Erdapfel - Martin Behaim (1459-1507, German textile merchant and cartographer) - (133 cm, dia. 57 cm) 1490/92 - Germanisches National Museum (Nuremberg) |
Reference: Wikipedia
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| The Triumph of Love Birth tray (Renaissance childbirth tray) - workshop of Apollonio di Giovanni (Florence) - tempera on poplar panel (72 x 72 x 5.5 cm) c.1460-70 - Victoria and Albert Museum (London) |
"This desco da parto was a ceremonial birth tray offered on the occasion of a marriage or a birth during the 15th century and its imagery, a Triumph of Love, derives from the Italian humanist Petrarch’s series of poems called I Trionfi, composed during the second half of the 14th century. The coat of arms on its reverse has been identified as those of the Samminiato and the Gianfigliazzi families of Florence. As the marriage of Francesco da San Miniato and Constanza Gianfigliazzi is recorded in 1537 or 1547, and the form of the shield bearing their arms is unknown prior to the 1520s, this tray would appear to have been partially re-painted in or after 1537."
- Hektoen International
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