David, Michelangelo, Carrara marble, 1501-1504, Galleria dell'Accademia, Florence
Rear-view of the Michelangelo's David
Moses, Michelangelo, marble, 1513-15, St. Peter in Chains Church, Rome
Pietá, Michelangelo, marble, 1498-99, St. Peter's Basilica, Vatican City
Pietá, Bellini, 1505
Creation of Adam, Michelangelo, fresco, 1512, Sistine Chapel, Apostolic Palace, The Vatican
Expulsion from Paradise, Michelangelo, fresco, 1509, Sitine Chapel, Apostolic Palace, The Vatican
Augustus on a Capricorn, cameo
Madonna of the Meadow, Raphael, 1504
School of Athens, Raphael, fresco, 1509-10, Apostolic Palace, Vatican City
Transfiguration, Raphael, oil on wood, 1516-20, Vatican City
The Crowning of the Virgin, Raphael, oil on canvas, 1502-04, Vatican
St. George and the Dragon, Raphael, oil on wood, 1504, Louvre, Paris
St. George and the Dragon, Raphael, oil on panel, 1506, National Gallery, Washington D. C.
Portrait of a young woman (his mistress), Raphael, oil on panel, 1518, National Gallery, Rome
Sistine Madonna, Raphael, oil on canvas, 1512, Dresden, Germany
St. Michael Vanquishing Satan, Raphael, Oil transferred from wood to canvas, 1518, Louvre, Paris
Woman at her Toilet, Titian, oil on canvas, 1515, Louvre, Paris
Assumption of Mary, Titian, oil on panel, 1516-18, Institution:Santa Maria Gloriosa dei Frari, Venice
Danaë, Titian, oil on canvas, 1545, National Museum Naples
Rape of Europa, Titian, oil on canvas, 1560-62, Boston
The Virgin and Child with St. Anne, Leonard Da Vinci, oil om poplar wood, 1500-1513, Louvre, France
Madonna and Child with St. Anne, Masaccio, Tempera on panel, c. 1424-1425, Uffizi, Florence
The Virgin of the Rocks, Leonardo da Vinci, oil on panel, 1483-86, Louvre, France
Mona Lisa (La Gioconda) Leonardo da Vinci, oil on panel, 1503, Louvre, Paris
San Giovanni Battista (St. John the Baptist), Leopnardo da Vinci, 1513-1516, Oil on walnut wood, Louvre, France
Vitruvian Man by Leonardo da Vinci, Galleria dell' Accademia, Venice (1485-90), Pen and ink with wash over metalpoint
on paper
Studies of Embryos by Leonardo da Vinci (Pen over red chalk 1510-1513), Royal Library, Windsor Castle
17 ft.tall; represnts the heroic ideal (athletic, ready to fight stance); symbolizes the defense of civil liberties in Florence
Moses is horned as he was describe din the Vulgate; critics are in disgreement in ragrd to Moses' tense body: is he awed to be in the presence of God or is he angry at the Jewish people?
Note the youth of Mary, the disproportionate sizes of the figures, the pyramidal composition, and the lack of the signs of the Passionon Christ's face
note Eve hiding behind God and his protective arm; anatomically correct portrait of the human brain or the human uterus?; the Michelesque masculine build: bulky, muscular, graceful, emotional
Note the before and after of Adam and Eve (after the expulsion they appear aged); the serpent/woman coiled around the tree: Satan? the tree personified?; the ignudi (athletic nude males...there are 20 of them on the ceiling of the Sistine Chapel)
from his Florentine period; pyramidal composition of the Holy Family in imitation of Leonardo; tranquil expressions of subjects; focus on the interplay of subjects
Homage to the Renaissance's love for all things classical; Plato (pointing up) and Aristotle (pointng down or ahead); Apollo and Athena
Pyramid: Elijah, Christ, Moses; James (faith), Peter (hope), John (love); apostles trying and failing to cure a demonically possessed boy
events dipicted: the Assumption, the Giving of the Girdle to St Thomas, and the Coronation
"sistine" refers to its dedication to Pope Sixtus IV, who is featured on the left; on the right is St. Barbara; Mary's expression is unusual
Titian has pictured this sensuous young Venetian woman daydreaming at her toilet, holding her rope of hair in one hand and a perfume bottle in the other. She is standing, face-on, and is wearing a green dress with shoulder straps and a loose pleated white blouse which is open, revealing her left shoulder. A bearded man in a red doublet is holding two mirrors for her, one in front and the other behind. The painting is tightly focused on the two figures, which fill the entire space. The classical layout is particularly clear thanks to the harmonious way the forms echo each other. For example, the young woman's oval face and the round mirror echo the curving lines of her unclothed arm, right sleeve, plump shoulders, and generous décolleté. (official Louvre website)
from top to bottom: God flanked by angels bearing a crown for Mary; Mary lifted up by angels; the Apostles
depicts the golden shower visiting the imprisoned Danae, body of courtesan, face of a Venetian lady
Depicting St Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolizing his Passion as the Virgin tries to restrain him.
Depicts St John (patron saint of florence) adoring the Christ Child who in turn is blessing John. Also pictured St. Mary and the archangel Gabriel. The story: both the Holy Family and John the Baptist in the company of Gabriel were fleeing from Bethlehem to Egypt to avoid the Massacre of the Innocents.Celebrating both the the Immaculate Conception of Mary and the Virgin Birth.
"the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world."
The piece depicts St. John the Baptist in isolation. St. John is dressed in pelts, has long curly hair, and is smiling in an enigmatic manner which is reminiscent of Leonardo's famous Mona Lisa. He holds a reed cross in his left hand while his right hand points up toward heaven (like St Anne in Leonardo's cartoon The Virgin and Child with St Anne and St John the Baptist). It is believed that the cross and wool skins were added at a later date by another painter.The pointing gesture of St. John toward the heavens suggests the importance of salvation through baptism that John the Baptist represents.
Leonardo's pupil, Salai (a nickname meaning "little devil") is thought to have been the model. Salai was greatly indulged by Leonardo and lived with him for 30 years.
Canon of Proportions; drawing and text based on the work of ancient Roman architect, Vitruvius; text is written in mirror image; blend of art and science; relation of man to nature; Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm). He believed the workings of the human body to be an analogy for the workings of the universe."
a fetus in a womb from his studies of cadavers; Leonardo was the first to accurately depict the fetus and womb and in proportion.
|
David, Michelangelo, Carrara marble, 1501-1504, Galleria dell'Accademia, Florence
17 ft.tall; represnts the heroic ideal (athletic, ready to fight stance); symbolizes the defense of civil liberties in Florence