Early Renaissance art presentation. Renaissance art. Last slide of the presentation: Art of the Renaissance

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Renaissance

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Renaissance - an era of flourishing culture in Western Europe in the 15-16th centuries. In its classical form, the culture of the Renaissance developed in the cities of Northern and Central Italy. The Renaissance was characterized by a revival of interest in literature, art, philosophy of Ancient Greece and Rome. The real world and man were proclaimed the highest value: Man is the measure of all things. The aesthetic ideal of the Renaissance was formed on the basis of a new worldview - humanism (recognition of the value of the human person). The role of the creative person has especially increased.

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Renaissance
Italian Renaissance 1. Proto-Renaissance (12-13th centuries) 2. Early Renaissance (15th century) 3. High Renaissance (15th-early 16th centuries) 4. Late Renaissance (Tue half of 16th century) Northern Renaissance

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Proto-renaissance
Proto-Renaissance is a period in the history of Italian art, spanning the 13th and 14th centuries, characterized by the growth of secular realistic tendencies and an appeal to ancient traditions. Giotto. Fresco "Kiss of Judas"

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The era of joyful discovery of the world. Center - Florence. Architect Filippo Brunelleschi. The idea of \u200b\u200ban open space "ideal city".

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Early Renaissance (15th century - quattrocento)
Donatello "David"
Masaccio "Expulsion from Paradise"

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High Renaissance by Leonardo da Vinci
Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance .. The artist, developing the traditions of the art of the Early Renaissance, emphasized the smooth volume of forms with soft chiaroscuro, sometimes enlivened the faces with a barely perceptible smile, achieving with its help the transmission of subtle states of mind. Leonardo da Vinci strove for the sharpness in the transfer of facial expressions, and brought the physical features and movement of the human body into perfect harmony with the spiritual atmosphere of the composition.

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"Lady with an Ermine"
"Madonna of the Rocks" "Madonna Litta"

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Leonardo da Vinci "The Last Supper"

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High Renaissance Raphael
Raphael (1483-1520), Italian painter and architect. In his work, the humanistic ideas of the High Renaissance about a beautiful and perfect man living in harmony with the world, the ideals of life-affirming beauty characteristic of the era, were embodied with the greatest clarity.

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Madonna Conestabile
Sistine Madonna

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High Renaissance Michelangelo Buonarroti
On the vault of the Sistine Chapel in the Vatican, the artist created a grandiose, solemn, easily visible in general and in detail composition, perceived as a hymn to physical and spiritual beauty, as an affirmation of the boundless creative possibilities of God and a man created in his image

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"David" "Pieta"

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Late Renaissance (Venice. 16th century)
Giorgione "Sleeping Venus" Titian "Venus of Urbino"

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Northern Renaissance
A. Durer. Self-portrait at age 13
Engraving "Four Horsemen" from the cycle "Apocalypse"

Grade 10 student S.Monko

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Features of the art of the Renaissance The presentation was made by a student of the 10th grade of the secondary school №2 Monko Stanislav

Renaissance (Renaissance) Renaissance - from the French "Renaissance" Revival of antiquity An era of intellectual and artistic flowering that began in Italy in the 14th century, reaching its peak in the 16th century

Ideas of the Renaissance: Humanism (the humanistic ideal of a free, developed person, capable of self-improvement) The idea of \u200b\u200bnational art Utopia (the image of an ideal world)

The great ancient experience of philosophy and art has been revived, and above all, the idea that "man is the measure of all things." Renaissance literature painting architecture

Renaissance literature The main representatives of the Renaissance in literature: Dante Alighieri Francesco Petrarca William Shakespeare Miguel de Cervantes

Development of genres during the Renaissance Early: Secondary: Later: Sonnet Novel Essay Novel Drama

Dante Alighieri (1265 - 1321) Italian poet, creator of the Italian literary language. The pinnacle of Dante's creativity is the poem "The Divine Comedy" (published in 1472) in three parts ("Hell", "Purgatory", "Paradise")

Francesco Petrarca (1304 - 1374) Italian poet, humanist, researcher of antiquity. Petrarch is the founder of the humanistic culture of the Renaissance, along with Dante - the creator of the Italian literary language. Francesco Petrarca is the creator of sonnets.

Aphorisms and quotes by Francesco Petrarca To be able to express how much you love means little to love. He who has many vices has many rulers. Seeking power for peace and security means climbing a volcano to shelter from the storm.

William Shakespeare (1564 - 1616) English playwright, poet of the Renaissance.

Genres of Shakespeare's works: Chronicles ("Richard II") Comedies ("The Taming of the Shrew") Tragedies ("Romeo and Juliet") Tragicomedies ("Pericles, Prince of Tire")

Miguel de Cervantes (1547-1616) The greatest writer of Spain. Author of one of the first novels in the modern sense, "The cunning hidalgo Don Quixote of La Mancha"

Renaissance painting The main representatives of Renaissance painting: Leonardo da Vinci Vecellio Titian Albrecht Durer

Leonardo da Vinci (1452 - 1519) Italian painter, sculptor, scientist, engineer and architect of the Renaissance.

Famous works of Leonardo da Vinci "La Gioconda" "Lady with an Ermine"

Vecellio Titian (1485 - 1576) Titian Vecellio, one of the greatest masters of world painting, was called "King of painters and painter of kings". His art is the most striking phenomenon of the Venetian school of the Italian Renaissance.

Famous works by Titian Vecellio "Penitent Mary" Flora "Magdalene"

Albrecht Durer (1471 - 1528) German painter and graphic artist. The founder of the art of the German Renaissance.

Famous works of Albrecht Durer "Young Venetian" Madonna and Child "woman"

Renaissance architecture

Features of architecture Renaissance architecture grew up in a struggle with old Gothic architecture. The main principles are: symmetry of plans and compositions of buildings and uniform distribution, placement of all elements of the facade at equal intervals from each other. Internet resources: 1. Wikipedia; 2.http: //smallbay.ru/renessitaly.html

The center of the Renaissance is the northern Italian city of Florence.

The revival began in the second half of the XV -
XVI centuries.
Later spread to other European
countries.

During the Renaissance, new genres of painting appeared, such as portrait.

Arose on the basis of humanism.
Humanism proclaimed the highest value
man and his good. Humanists believed that
everyone has the right to develop freely
as a person, realizing their abilities.

Stages

Proto-renaissance
Early renaissance
High Renaissance
Late Renaissance

Proto-renaissance

Literature
Dante Alighieri.
"The Divine Comedy".
Written in Italian
language, not Latin.
(Latin is the language of learning).
Painting
Giotto conveyed the volume
figures and chiaroscuro. Technique
replaced the mosaics with a fresco.
(Mural - painting on raw
plaster).

Early renaissance

Architecture
Filippo Brunelleschi - founder
Renaissance architecture, one of
the founders of the theory of scientific perspective.
After him, the main feature in architecture
almost all churches in Europe became the central
dome. Without the dome of Brunelleschi there would be no
the main creation of Michelangelo - the dome
above St. Peter's Basilica in Rome.
Brunelleschi initiated the creation
domed temple based on antique
orders.
An order is a system of measurements.

Architecture
Creating a new type
city \u200b\u200bpalaces -
palazzo,
served
a model for
public buildings
later time.

Sculpture
Donatello -
greatest sculptor
XV century. First from
Roman times
empire created
sculpture
naked
human body and
first equestrian statue
condottier
Gattamelates.

Painting
Sandro Botticelli
Was close to the Medici court and
the humanistic circles of Florence.
Works on religious and
mythological themes marked
inspired poetry, play
linear rhythms, subtle coloring.
Influenced by social upheaval
1490s art by Botticelli
becomes intensely dramatic.

High Renaissance painting

Leonardo da Vinci
The universal genius of the Renaissance
"La Gioconda"
"The Last Supper"

Raphael
Master of the Madonnas. Created a picture
"Sistine Madonna"
The fresco "School of Athens".

Michelangelo
He considered sculpture to be the main art.
Painted the ceiling and the altar
the Sistine wall
chapels. (Rome. Vatican).
Designed the dome of St. Peter's
in Rome.

Giorgione Titian

Late Renaissance

In the second half of the 16th century in Italy, the
economic and commercial decline, Catholicism
entered into a struggle with humanistic culture,
experienced a deep crisis and art.
Mannerism - current in Western European
art of the second half of the 16th century. Was
a kind of transitional style between
art of the Renaissance and Baroque.

Northern Renaissance

Countries
Germany;
Netherlands;
France;
England;
Spain

New genres of painting are emerging: landscape,
portrait, everyday painting.

Netherlands
Jan Van Eyck -
improved technique
oil painting that
replaced the tempera. Tempera -
painting with paints,
binder which
serve as emulsions: natural
(whole egg, plant juice)
or artificial (water
glue solution with oil).
The Ghent altarpiece consists of
three parts - triptych.

Pieter Bruegel the Elder (Peasant).
"Blind".

Germany
Durer is the first of
artists of the North
revival mastered the technique
engraving on copper.
Was engaged in printing
graphics.

The Renaissance (Renaissance) is a period of cultural and ideological
development of European countries. All European countries have gone through this
period, but each country has its own historical framework due to the uneven socio-economic development
Renaissance.
Revival originated in Italy, where the first signs were visible
back in the XIII and XIV centuries (in the activities of the Pisano family, Giotto,
Orcanyi and others), but it was firmly established only from the 20s of the XV
century. In France, Germany and other countries, this movement began
much later. By the end of the 15th century, it reached its highest
flourishing.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

In its modern meaning, the term was introduced into everyday life by the French
19th century historian Jules Michelet. Currently, the term
Renaissance has become a metaphor for cultural flourishing:
for example, the Carolingian Renaissance of the 9th century.
The term "Renaissance" began to be used as early as the 16th century. Used it
Italian artist J. Vasari, the period of time described,
as the activities of Italian artists who opposed
aesthetic antique ideal to medieval gothic.
Renaissance, or Renaissance (from French Renaissance, from Italian Rinascimento)
- an era in the history of European culture that replaced culture
The Middle Ages and the pre-culture of modern times.
Approximate chronological framework of the era of the XIV-XVI centuries.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

The culture of the Renaissance reached its heyday in Italy, whose
the land was saturated with the stately remains of the ancient
architecture and art. But, unlike antique
Greece, where the conditions of life and human life were considered
unworthy of great art, in the Renaissance
in the works of painting and sculpture was approved
the beauty of earthly life and everyday life of that time.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

The Renaissance culture is based on the principle of humanism,
asserting the dignity and beauty of a real person,
his mind and will, his creative powers.
Liberation from Church Scholasticism and Dogmatism
contributed to the rise of science. Passionate thirst
knowledge of the real world and admiration for it led to
display in art of various sides
reality and reported majestic pathos
the most significant works of artists.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

Distinctive feature of the era
Renaissance from medieval:
1. the secular nature of the culture;
2.anthropocentrism (interest in
person and his activities).
Interest in antique
culture, it seems to be
"Revival" - and so it appeared
term.
Madonna with a pomegranate. S. Botticelli, approx. 1490 g.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

Italy is the first capitalist country in Europe due to weakness
feudal system in a country, an advantageous location, it
the first takes the path of international relations.
In the XI-XIII centuries - communal revolutions took place in the country, in
as a result of which many cities acquired independence and
established a republican form of government.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

At this time, national literature in Italian was born
language.
In the visual arts, guild craftsmanship is replaced
individual creativity.
At a time when in other countries of Western Europe receives
the development of the Gothic style in Italy, art emerges in
which contains a new quality:
an appeal to antiquity, but at the same time grew by
romantic traditions, Byzantine painting, Gothic.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

THE REODIZATION OF THE ART OF THE RENAISSANCE:
IN ITALY:
1. Proto-Renaissance (pre-revival) - II floor. XIII century;
2. Early Renaissance (Trichento and Quattrocento) - from 1420-1500
of the year;
3. High Renaissance (Cinquecento) - from 1500-1580,
flourishing of art;
4. Late Renaissance - XVI century. - the first half of the 17th century;
5. Baroque - XVI-XVII centuries
NORTHERN REVIVAL (Netherlands)

GENERAL CHARACTERISTIC OF THE RENAISSANCE

All kinds of fine arts
now violate somehow
monolithic medieval synthesis
(where architecture prevailed),
gaining a comparative
independence.
Types of fine arts:
1. Painting;
2. Architecture;
3. Sculpture;
4. DPI;
5. Graphics (printed woodcut
and metal).
Cathedral of Santa Maria del Fiore, Florence. The pearl of the Renaissance
architecture

GENERAL CHARACTERISTIC OF THE RENAISSANCE

Style in fine
art:
"Renaissance realism"
Art is imbued with ideals
humanism (from the Latin humanus -
"Human"), the flow of public
thought, which originated in the XIV century. in
Italy, and then throughout the second
half of the 15th and 16th centuries.
spread to other European
countries.
Humanism idealizes and exalts
man, raises him above the level
routine). Early painters
renaissance sought support in antiquity and
proto-Renaissance traditions.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

Renaissance visual arts challenge:
Art as a whole strove towards rationalism - "to imitate nature",
but at the same time they did not forget about beauty.
Art loses its meaning if it is devoid of aesthetic charm.

ARTISTS

Proto-Renaissance:
High revival:
1.
2.
Nicolo Pisano (1220/25 -1278/84);
Giovanni Pisano (1245-1320);
1.
Leonardo da Vinci (1452-1519);
3.
Giotto di Bondone (1266/1267 -1337
biennium);
2.
Raphael Santi (1483-1520)
3.
Michelangelo Buonarotti (1475-1564)
4.
Pietro Cavallini.
Early revival:
Late revival:
1.
Donatello (c. 1386 -1466);
1.
Paolo Verenese (1528-1588)
2.
Mozaccio (1401-1428);
2.
Jacopo Tintoretto (1518-1594)
3.
Filippo Brunelleschi (1377-1446)
3.
4.
Larenzo Ghiberti;
Michelangelo da Caravaggio (1573-1610).
5.
Sandro Botticelli (1445-1510)
6.
Michelozzo da Bartolommeo;
7.
Domenico Veniziano.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

CHARACTERISTICS
VISUAL ARTS:
1.the style of the Renaissance is based on
striving for calm, balanced
proportions within a strict linear
compositions;
2.conveying perspective in composition
(technical means of organization
spaces on a plane);
3.Application of optical effect: light
the spot brings closer, the dark removes;
4.use in painting elements
landscape and interior;
5.applying the horizon line to
natural level;
6.Application of various compositional
techniques for building a composition (symmetry,
asymmetry).

GENERAL CHARACTERISTIC OF THE RENAISSANCE

CHARACTERISTIC FEATURES OF IMAGES
ARTS:
1.
is introduced into the composition of the real
space, real objects, figures
people (they are voluminous, material due to
cut-off modeling);
2.
rejection of the typical image of figures
(Middle Ages), from the conventions of gestures and
facial expressions, from planar solutions;
3.
transfer of the correct construction of figures
(proportions of the human body);
4.
transfer of the state of mind of the heroes, through
color and strokes;
5.
generalization and monumentality of forms.

GENERAL CHARACTERISTIC OF THE RENAISSANCE

Marriage in Cana. Paolo Verenese. 1562-1563 Louvre, Paris

GENERAL CHARACTERISTIC OF THE RENAISSANCE

In architecture:
1.
symmetry is applied and
proportions;
2.
orderly
arrangement of constituent
parts, columns, pilasters;
3.
to replace asymmetrical
comes outlines
semicircular arches, domes,
niches, edicules with
hemispherical shape;
4.
new systems created
facade decoration
buildings;
5.
new constructive
system.
Sant'Agostino, Rome, Giacomo Pietrasanta, 1483

GENERAL CHARACTERISTIC OF THE RENAISSANCE

The greatest flowering
Renaissance architecture
survived in Italy, leaving after
two cities-monuments:
Florence and Venice.
Venice. Italy

GENERAL CHARACTERISTIC OF THE RENAISSANCE

The greats worked on the creation of the buildings
architects:
1. Filippo Brunelleschi;
2. Leon Battist Alberti;
3. Donato Bramante;
4. Giorgio Vasari and many others.
Renaissance architecture in England and the Netherlands
Signoria - a masterpiece of Italian Renaissance architecture

GENERAL CHARACTERISTIC OF THE RENAISSANCE

Antique are reborn in sculpture
tradition, naked body is shown,
created new classic forms and
types of Renaissance sculpture:
1.new type of round statue and
sculptural group;
2. a new type of scenic relief;
3.resolved stability problem
figure setting;
4.the organic wholeness of the body is transferred,
its severity, mass, etc.
David. Michelangelo

RENAISSANCE COSTUME

Renaissance clothing is getting more
comfortable, more harmonious, as if expressing
harmony of internal and external in a person.

ORNAMENT OF THE RENAISSANCE

Among the ornaments, a particularly important semantic
the role is played by the grotesque.
Italian Renaissance artists turned
to the legacy of Ancient Rome.
During the excavation of the term Titus discovered
unfamiliar sight of roman scenic
ornament, which was named in Italian "la
grottesca "- grotesque from the word" grottf ", that is, grotto,
dungeon. The found ornament struck with its
extraordinary, bizarre and free play
human, animal and plant
forms, freedom and ease of artistic
fantasy.

RENAISSANCE FURNITURE

Since the 15th century, residential
more and more at home
filled with furniture but
she doesn't have any
significant changes
compared to gothic.
Dominated chest-chest with
facade decorated
plinth with pilasters and
cornice.
Gradually from the second
half of the 15th century furniture
start decorating
details characteristic
for architecture style
Renaissance. Homeland of style
Renaissance was Italy where
strongly developed
furniture manufacturing.

RENAISSANCE FURNITURE

Great importance begin
give profiling
furniture. At the chests who had
the shape of a rectangular box,
chiseled legs appear,
their walls become
curved and trimmed
carved with gilding and
painted, is applied and
intarsia - wooden
inlay. In painting
furniture take part
major artists.

RENAISSANCE FURNITURE

The most common types
furniture was a chest (cassone) a bench with a back and armrests in
the form of two chests (kassapunk),
chairs of two types - on four legs
and on two carved boards with
octagonal seats, beds
- low, without a canopy, with carved
columns in the corners.
In the 16th century, new samples appear
furniture: office-desks, soft
armchairs.

War machine. Engineering structure. Project. Leonardo da Vinci

Car. Engineering structure. Project. Leonardo da Vinci

Large bow. Engineering structure. Project. Leonardo da Vinci

Aircraft. Engineering structure. Project. Leonardo da Vinci

Italy late 13th century - 16th century.

Slide 2: Periods of Development of Renaissance Art

Pre-revival of the late 13th - 14th centuries Early Renaissance 15th century High Renaissance late 15th - 16th centuries Late Renaissance towards the 16th century.

Slide 3

k. 13-14 centuries. Pre-revival Protorenaissance Trecento

Slide 4: Art of Pre-Renaissance to. 13-14 century

Giotto "Kiss of Judas" "Lamentation" Bell tower of the Cathedral of Santa Maria del Fiore

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Art of the Early Renaissance 15th century Botticelli "Spring" "The Birth of Venus" "Venus and Mars" "Annunciation" "Abandoned"

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Art of the Early Renaissance 15th century Donatello "David" "Condottiere Gattamelata"

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Art of the High Renaissance 16th century Leonardo da Vinci "Madonna Benois" "Madonna Litta" "La Gioconda" "Lady with an ermine" "Self-portrait" (etching) "The Last Supper" (fresco)

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Art of the High Renaissance 16th century Raphael "Conestabile Madonna" "Beautiful gardener" "Sistine Madonna" "The Betrothal of Mary" "School of Athens" (fresco)

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Art of the High Renaissance 16th century Michelangelo "David" "Pieta" Painting of the ceiling of the Sistine Chapel (frescoes) Dome of St. Peter in Rome

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Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance, Leonardo da Vinci developed as a master, studying in 1467-1472 in Florence under A. del Verrocchio. The methods of work in Verrocchio's workshop, where artistic practice was combined with technical experimentation, as well as the rapprochement with the astronomer P. Toscanelli, contributed to the emergence of the scientific interests of the young Leonardo da Vinci. In his early works (the head of an angel in Verrocchio's Baptism, after 1470, Annunciation, circa 1474, both in the Uffizi; the so-called Benois Madonna, circa 1478, State Hermitage Museum, St. Petersburg), the artist, developing the traditions of Early Art Renaissance, emphasized the smooth volume of forms with soft chiaroscuro, sometimes enlivened the faces with a barely perceptible smile, achieving with its help the transmission of subtle states of mind. Recording the results of countless observations in sketches, sketches and field studies performed in various techniques (Italian and silver pencils, sanguine, pen, etc.), Leonardo da Vinci achieved, sometimes resorting to an almost caricatured grotesque, sharpness in the transfer of facial expressions, and physical the features and movement of the human body were brought into perfect harmony with the spiritual atmosphere of the composition.

Slide 42

In 1481 or 1482, Leonardo da Vinci entered the service of the ruler of Milan Lodovico Moro, acting as a military engineer, hydraulic engineer, organizer of court celebrations. For over 10 years he worked on the equestrian monument to Francesco Sforza, the father of Lodovico Moro (a life-size clay model of the monument was destroyed during the capture of Milan by the French in 1500). In the Milanese period, Leonardo da Vinci created the Madonna of the Rocks (1483-1494, Louvre, Paris; 2nd version - circa 1497-1511, National Gallery, London), where the characters are presented surrounded by a bizarre rocky landscape, and the subtlest chiaroscuro ( sfumato) plays the role of a spiritually binding principle, emphasizing the warmth of human relations. In the refectory of the Santa Maria delle Grazie monastery, he completed the wall painting “The Last Supper” (1495-1497; due to the peculiarities of the technique used by Leonardo da Vinci - oil with tempera - was preserved in a badly damaged form; restored in the 20th century), which marks one from the heights of European painting; its high ethical and spiritual content is expressed in the mathematical regularity of the composition, logically continuing the real architectural space, in a clear, strictly developed system of gestures and facial expressions of characters, in a harmonious balance of forms. Engaged in architecture, Leonardo da Vinci developed various versions of the "ideal" city and projects of the central-domed temple, which had a great influence on the architecture of his contemporary Italy.

Slide 43

After the fall of Milan, Leonardo da Vinci's life passed in continuous travel (1500-1502, 1503-1506, 1507 - Florence; 1500 - Mantua and Venice; 1506, 1507-1513 - Milan; 1513-1516 - Rome; 1517-1519 - France) ... In Florence, he worked on the painting of the hall of the Grand Council in Palazzo Vecchio "Battle of Angiari" (1503-1506, unfinished, known from cardboard copies), which stood at the origins of the European battle genre of modern times. In a portrait of Monna Lisa or La Gioconda (circa 1503, Louvre, Paris), he embodied the lofty ideal of eternal femininity and human charm; an important element of the composition was the cosmically vast landscape, melting into a cold blue haze. Leonardo da Vinci's late works include projects for a monument to Marshal Trivulzio (1508-1512), the altarpiece “St. Anne with Mary and the Christ Child” (circa 1500-1507, Louvre, Paris), completing the master's search in the field of light-air perspective and harmonic construction of the composition, and "John the Baptist" (about 1513-1517, Louvre, Paris), where the somewhat corny ambiguity of the image testifies to the growing crisis moments in the artist's work. In a series of drawings depicting a universal catastrophe (the so-called "Flood" cycle, Italian pencil, pen, circa 1514-1516, Royal Library, Windsor) reflections on the insignificance of man before the power of the elements are combined with rationalistic ideas about the cyclical nature of natural processes. The most important source for the study of the views of Leonardo da Vinci are his notebooks and manuscripts (about 7 thousand sheets), excerpts from which were included in the "Treatise on Painting", compiled after the death of the master by his student F. Melzi and had a great influence on European theoretical thought and artistic practice.

Slide 44

In the "dispute of the arts", Leonardo da Vinci gave the first place to painting, understanding it as a universal language (similar to mathematics in the field of sciences), capable of embodying all the diverse manifestations of the rational principle in nature. As a scientist and engineer, he enriched almost every field of science at that time. A prominent representative of the new, based on the experiment of natural science, Leonardo da Vinci paid special attention to mechanics, seeing in it the main key to the secrets of the universe; his ingenious constructive guesses were far ahead of his modern era (projects of rolling mills, earth-moving machines, submarines, aircraft). The observations he collected on the influence of transparent and translucent media on the coloring of objects led to the establishment of scientifically grounded principles of aerial perspective in the art of the High Renaissance. Studying the structure of the eye, Leonardo da Vinci made correct guesses about the nature of binocular vision. In anatomical drawings, he laid the foundations of modern scientific illustration, he was also engaged in botany and biology. A tireless experimental scientist and artist of genius, Leonardo da Vinci has become a universally recognized symbol of the Renaissance.

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Raphael (actually Raffaello Santi or Sanzio, Raffaello Santi, Sanzio) (1483-1520), Italian painter and architect. In his work, the humanistic ideas of the High Renaissance about a beautiful and perfect man living in harmony with the world, the ideals of life-affirming beauty characteristic of the era, were embodied with the greatest clarity. Raphael, the son of the painter Giovanni Santi, spent his early years in Urbino, in 1500-1504 he studied with Perugino in Perugia. The works of this period are marked by subtle poetry and soft lyricism of landscape backgrounds ("A Knight's Dream", National Gallery, London; "Three Graces", Museum of Condé, Chantilly; "Madonna of Conestabile", State Hermitage, St. Petersburg; all - about 1500-1502 ). The altarpiece of Raphael “The Betrothal of Mary” (1504, Galleria Brera, Milan) is similar in compositional and spatial solution to the fresco of Perugino “Handing over the keys to St. Peter” in the Sistine Chapel of the Vatican. From 1504, Raphael worked in Florence, where he got acquainted with the works of Leonardo da Vinci and Fra Bartolommeo, studied anatomy and scientific perspective. Numerous images of Madonnas created by him in Florence (“Madonna Granduca”, 1505, Pitti Gallery, Florence; “Madonna and Child with Christ and John the Baptist” or “The Beautiful Gardener”, 1507, Louvre, Paris; “Madonna with a Goldfinch”, Uffizi) brought All-Italian fame to the artist.

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In 1508, Raphael received an invitation from Pope Julius II to Rome, where he was able to get to know more about ancient monuments, and took part in archaeological excavations. Fulfilling the order of the pope, Raphael created paintings of the halls (stanzas) of the Vatican, praising the ideals of freedom and earthly happiness of man, the infinity of his physical and spiritual capabilities. Architectural backgrounds play an important role in the calm grandeur and harmoniously harmonious composition of paintings, which innovatively developed the tendencies of contemporary Italian architecture to Raphael. In Stanza della Senyatura (1509-1511), the artist presented the main areas of spiritual activity in his era: theology ("Dispute"), philosophy ("The Athenian School"), poetry ("Parnassus"), jurisprudence ("Wisdom, Measure, Strength" ), as well as allegorical, biblical and mythological scenes on the plafond corresponding to the main compositions. In Stanza d "Eliodoro with frescoes on legendary historical subjects (" The Expulsion of Eliodor "," Meeting of Pope Leo I with Attila "," Mass in Bolsene "," Liberation of the Apostle

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Peter from the Dungeon ”), Raphael's talent as a master of chiaroscuro and harmonious, soft and light color was manifested with particular force. The drama that grows in these frescoes takes on the tinge of theatrical pathos in the paintings of Stanza del Inchendio (1514-1517), which Raphael already performed with numerous assistants and students. Raphael's cardboards are close to the Vatican frescoes to a series of tapestries for decorating the walls of the Sistine Chapel (1515-1516, Italian pencil, brush painting, Victoria and Albert Museum, London, and other collections). The fresco "Triumph of Galatea" at the Villa Farnesina in Rome (1514) is imbued with the spirit of the ancient classics with its cult of sensual beauty. In Rome, the brilliant talent of Raphael, a portrait painter, reached maturity ("Portrait of a Cardinal", about 1512, Prado, Madrid; "Woman in White" or "Donna Velata", about 1513, Palatina Gallery, Florence; portrait of B. Castiglione, 1515-1516, Louvre, Paris, etc.). In Raphael's Madonnas of the Roman period, the idyllic mood of his early works is replaced by the recreation of deeper human, maternal feelings (Madonna Alba, circa 1510-1511, National Gallery, Washington; Madonna di Foligno, circa 1511-1512, Vatican Pinakothek) ; as full of dignity and spiritual purity, the intercessor of humanity, Mary appears in the most famous work of Raphael - "Sistine Madonna" (1515-1519, Picture Gallery, Dresden).

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In the last years of his life, Raphael was so overloaded with orders that he entrusted the implementation of many of them to his students and assistants (Giulio Romano, J.F. Penny, and others), usually limited to general supervision of the work. In these works (the frescoes "Loggias of Psyche of Villa Farnezina", 1514-1518; frescoes and stucco in the Loggias of the Vatican, 1519; unfinished altarpiece "Transfiguration", 1519-1520, Vatican Pinakothek), the features of the Renaissance crisis, a tendency towards Mannerism were clearly manifested. Raphael's activity as an architect was of exceptional importance for the development of Italian architecture, representing, as it were, a link between the work of Bramante and Palladio. After the death of Bramante, Raphael took the post of chief architect of St. Peter's Cathedral in Rome (he drew up a new plan of the cathedral based on the architectural type of the basilica), and also completed the Vatican courtyard with loggias, which Bramante had begun. Among other buildings of Raphael: the circular church of Sant'Eligio degli Orefici (built from 1509) and the Chigi chapel of the Church of Santa Maria del Popolo (1512-1520) in Rome, the elegant palazzo Vidoni-Caffarelli (from 1515) in Rome and Pandolfini ( s 152O) in Florence. The author's idea of \u200b\u200bRaphael was partially realized in the Roman villa of Madama (from 1517; construction was continued by the architect A. de Sangallo the Younger), organically connected with the surrounding gardens and terraced park. Raphael's art, which had a tremendous influence on European painting of the 16th-19th and, in part, the 20th centuries, for centuries retained the value of an indisputable artistic authority and model for artists and spectators.

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Michelangelo Buonarroti (Michelangelo Buonarroti; aka Michelagnolo di Lodovico di Lionardo di Buonarroto Simoni) (1475-1564), Italian sculptor, painter, architect and poet. In the art of Michelangelo, both the deeply human ideals of the High Renaissance, full of heroic pathos, and the tragic sense of the crisis of the humanistic worldview, characteristic of the late Renaissance, were embodied with tremendous expressive power. Michelangelo studied in Florence in the studio of D. Ghirlandaio (1488-1489) and with the sculptor Bertoldo di Giovanni (1489-1490), however, his acquaintance with the works of Giotto, Donatello, Masaccio, Jacopo della Quercia, the study of monuments was of decisive importance for the creative development of Michelangelo antique plastic. Already in his youthful works (reliefs "Madonna at the Stairs", "Battle of the Centaurs", circa 1490-1492, Casa Buonarroti, Florence, both are marble, like all the mentioned sculptural works of Michelangelo), the main features of the sculptor's work - monumentality and plastic power, inner tension and drama of images, reverence for human beauty. Working in Rome in the late 1490s, Michelangelo paid tribute to his passion for antique sculpture in the statue of Bacchus (1496-1497, National Museum, Florence); he introduced a new humanistic content, a vivid persuasiveness of images into the traditional Gothic scheme of the "Lamentation of Christ" group (circa 1497-1498, St. Peter's Cathedral, Rome).

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In 1501 Michelangelo returned to Florence, where he created a colossal statue of "David" (1501-1504, Gallery of the Academy, Florence), embodying the heroic impulse and civic prowess of the Florentines, who threw off the yoke of the Medici tyranny. In the cardboard for the painting of the Palazzo Vecchio "Battle of Kashin" (1504-1504, copies survived), he tried to express the willingness of citizens to defend the republic. In 1505, Pope Julius II invited Michelangelo to Rome and commissioned him to create his own tomb. For the tomb of Julius II, completed only in 1545 (Church of San Pietro in Vincoli in Rome), Michelangelo created a number of statues, including the powerful will, titanic strength and temperament of “Moses” (1515-1516), filled with the tragedy of “The Dying Slave "And" The Risen Slave "(1513-1516, Louvre, Paris), as well as 4 unfinished figures of slaves (1532-1534), in which the process of the sculptor's work is clearly visible, boldly delving into a stone block in some places and leaving other places almost unworked ... In the pictorial cycle performed by Michelangelo on the vault of the Sistine Chapel in the Vatican (1508-1512; includes scenes from the book of Genesis in the central part of the plafond, monumental figures of prophets and sibyls on the side parts of the vault, images of the ancestors of Christ and biblical episodes in striking, sails and lunettes) , the artist created a grandiose, solemn, easily visible in general and in detail composition, perceived as a hymn to physical and spiritual beauty, as an affirmation of the unlimited creative possibilities of God and a man created in his image. The frescoes of the plafond of the Sistine Chapel, like other paintings by Michelangelo, are characterized by the clarity of plastic molding, the intense expressiveness of the drawing and composition, the predominance of muted refined colors in the colorful range.

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In 1516-1534 Michelangelo again lived in Florence, worked on the project of the facade of the Church of San Lorenzo and the architectural and sculptural ensemble of the Medici tomb in the New Sacristy of the same church (1520-1534), as well as on sculptures for the tomb of Pope Julius II. Michelangelo's perception of the world in the 1520s takes on a tragic character. The deep pessimism that gripped him in the face of the death of political and civil liberties in Italy, the crisis of Renaissance humanism, was reflected in the figurative structure of the sculptures of the Medici tomb - in heavy meditation and aimless movement of the deprived of portrait features of the statues of the Dukes Lorenzo and Giuliano, in the dramatic symbolism of four figures, Evening ”,“ Night ”,“ Morning ”and“ Day ”and personifying the irreversibility of the passage of time. In 1534 Michelangelo moved to Rome again, where he spent the last 30 years of his life. The later paintings of the master amaze with the tragic power of images (the fresco "The Last Judgment" on the altar wall of the Sistine Chapel in the Vatican, 1536-1541), are permeated with bitter reflections on the futility of human life, on the painful hopelessness of the search for truth (partly anticipating the Baroque painting of the Paolina Chapel in the Vatican , 1542-1550). Michelangelo's last sculptural works include the Pieta for the Florentine Cathedral of Santa Maria del Fiore (until 1550-1555, broken by Michelangelo and restored by his pupil M. Calcagni; now in the Galleria dell'Accademia, Florence) and the sculptural group Pieta Rondanini ”(1555-1564, Museum of Ancient Art, Milan), intended by him for his own tombstone and not finished.

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Michelangelo's later work was characterized by a gradual departure from painting and sculpture and an appeal to architecture and poetry. Michelangelo's buildings are distinguished by increased plasticity, inner dynamism and tension of the masses; an important role in them is played by the embossed decoration of the wall, the active cut-off organization of its surface with the help of high pilasters, emphasized volumetric cornices, platbands and door portals. Even in his last Florentine period, he designed and directed the construction of the Laurenzian Library building (1523-1534), creating an expressive ensemble that included a dynamic lobby space with a staircase and a calm, austere reading room interior. From 1546 Michelangelo supervised in Rome the construction of St. Peter's Cathedral and the construction of the Capitol Square ensemble (both works were completed after his death). The trapezoidal Capitol Square with the antique equestrian monument of Emperor Marcus Aurelius in the center, the first Renaissance urban planning ensemble, designed by one artist, is closed by the Palace of the Conservatives, flanked by two palaces symmetrically placed on its sides, and opens into the city with a wide staircase. In terms of the Cathedral of St. Peter, Michelangelo, developing the ideas of Bramante and preserving the idea of \u200b\u200bcentricity, strengthened the importance of the cross in the interior space. During the lifetime of Michelangelo, the eastern part of the cathedral was built with the foundation of a grandiose dome, erected in 1586-1593 by the architect M. Giacomo della Porta, which somewhat lengthened its proportions. Michelangelo's lyrics are marked with depth of thought and high tragedy. In his madrigals and sonnets, love is interpreted as the eternal human striving for beauty and harmony, complaints about the artist's loneliness in a hostile world coexist with the bitter disappointments of a humanist in the face of triumphant violence. Michelangelo's creativity, which became the brilliant final stage of the Italian Renaissance, played a huge role in the development of European art, in many ways prepared the formation of Mannerism, had a great influence on the formation of the principles of the Baroque.

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Botticelli (Botticelli) Sandro [actually Alessandro di Mariano Filipepi, Alessandro di Mariano Filipepi] (1445-1510), Italian painter of the Early Renaissance. Belonged to the Florentine school, about 1465-1466 studied with Filippo Lippi; in 1481-1482 he worked in Rome. Early works by Botticelli were characterized by a clear construction of space, clear cut-off molding, interest in everyday details (“Adoration of the Magi,” circa 1476-1471, Uffizi). Since the end of the 1470s, after Botticelli's rapprochement with the court of the rulers of Florence Medici and the circle of Florentine humanists, the features of aristocracy and sophistication are enhanced in his work, paintings on ancient and allegorical themes appear, in which sensual pagan images are imbued with sublime and at the same time poetic. lyrical spirituality ("Spring", about 1477-1478, "The Birth of Venus", about 1483-1484, both in the Uffizi).

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The animality of the landscape, the fragile beauty of the figures, the musicality of light, quivering lines, the transparency of refined colors, as if woven from reflexes, create an atmosphere of dreaminess and light sadness in them. In the frescoes made by Botticelli in 1481-1482 in the Sistine Chapel in the Vatican (Scenes from the Life of Moses, Punishment of Korea, Dathan and Aviron, etc.), the majestic harmony of landscape and ancient architecture is combined with internal plot tension, sharpness of portrait characteristics inherent in , along with the search for subtle nuances of the inner state of the human soul, and easel portraits of the master (portrait of Giuliano Medici, 1470s, Academy of Carrara, Bergamo). In the 1490s, in the era of social unrest and the mystical-ascetic sermons of the monk Savonarola that shook Florence, notes of drama and religious exaltation appeared in Botticelli's art (Slander, after 1495, Uffizi), but his drawings for Dante's Divine Comedy ( 1492-1497, Engraving Office, Berlin, and the Vatican Library), with the sharpness of emotional expressiveness, preserve the lightness of the line and the Renaissance clarity of images.

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Donatello (Donato di Niccolo di Betto Bardi) (circa 1386-1466), Italian sculptor of the Early Renaissance. In 1404-1407 he studied at the workshop of L. Ghiberti. He worked mainly in Florence, as well as in Siena (1423-1434 m 1457-1461), Rome (1430-1433), Padua (1444-1453), in 1451 he visited Mantua, Venice, Ferrara. Donatello was one of the first in Italy to creatively comprehend the experience of antique plastic art and came up with the creation of classical forms and types of Renaissance sculpture - a free-standing statue, a wall tombstone, an equestrian monument, a “picturesque” relief. The work of Donatello embodied the search for new expressive means characteristic of the art of the Renaissance, a deep interest in reality in all the diversity of its specific manifestations, a desire for sublime generalization and heroic idealization. The early works of the master (statues of the prophets for the side portal of the Florentine cathedral, 1406–1408) are still marked by the Gothic constraint of forms, the crushed fragmentation of linear rhythm. However, already the statue of St. Mark for the facade of the Church of Orsanmichele in Florence (marble, 1411-1413) is distinguished by clear tectonics of plastic masses, strength and calm grandeur.

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The Renaissance ideal of the warrior-hero is embodied in the image of St. George for the same church (marble, circa 1416, National Museum, Florence). Statues of the prophets for the Campanile of the Florentine Cathedral (marble, 1416–1435, Cathedral Museum, Florence) represent a kind of gallery of highly individual portrait images. In "picturesque" reliefs ("The Feast of Herod" on the bronze font of the Baptistery of Sienese, 1423-1427; reliefs of the Old Sacristy of the Church of San Lorenzo in Florence, 1434-1443), he created the impression of a great depth of space with the help of linear perspective, precise delimitation of plans and a gradual lowering the image height. The Renaissance transformation of antique forms marked such works of Donatello, as the tombstone of Baldassare Coch (antipope of John XXIII; together with the architect Michelozzo di Bartolommeo, marble, bronze, 1425-1427, baptistery in Florence), which used an antique sarcophagus in the form framing, altar "Annunciation" (the so-called altar of Cavalcanti; limestone, terracotta, circa 1428-1433, Church of Santa Croce, Florence) with magnificent antiquated decor, singing platform of the Florentine cathedral (marble with mosaics and gilding, 1433-1439, Cathedral Museum , Florence) with a cheerful round dance of merry putti,

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statue of David (bronze, 1430s, National Museum, Florence) - the first depiction of a nude human body in the statuary sculpture of the Renaissance. Working in Padua, Donatello created the first secular monument of the Renaissance - an equestrian monument to the condottier Gattamelata (bronze, marble, limestone, 1447-1453) and a large sculptural altar for the Church of Sant'Antonio (1446-1450), decorated with relief scenes skillfully deployed in an illusory space. Donatello's later works performed in Florence are sharply expressive, marked by features of a spiritual breakdown (the group "Judith and Holofernes", bronze, circa 1456-1457, Piazza della Signoria; reliefs of the pulpits of the Church of San Lorenzo, bronze, 1460s). Donatello's influence on the development of the Renaissance art of Italy was enormous, his achievements were perceived by many painters and sculptors - P. Uccello, A. del Castagno, Mantegna, later Michelangelo and Raphael.