3.2 — High Renaissance Masters
The High Renaissance (c. 1490–1520) sought harmonious synthesis of anatomy, perspective, composition, and psychology. In Florence and Rome, artists like Leonardo, Michelangelo, Raphael, and Bramante created works that became touchstones of Western art.
Leonardo da Vinci (1452–1519)
- Painting: “The Last Supper” (Milan) unites perspective with emotional narrative; “Mona Lisa” exemplifies sfumato and psychological depth.
- Scientific Observation: Anatomical drawings, studies of light and water; notebooks show a unified inquiry into nature and mechanics.
- Sfumato: Soft transitions of tone that dissolve contours, creating atmospheric realism.
Michelangelo Buonarroti (1475–1564)
- Sculpture: “David” (Florence), “Pietà” (St. Peter’s) reveal heroic scale and idealized anatomy.
- Sistine Chapel Ceiling: Genesis cycle with monumental ignudi and prophets; dynamic foreshortening and sculptural bodies.
- Architecture: Medici Chapel; later, St. Peter’s dome design (post-High Renaissance influence).
Raphael (1483–1520)
- Harmony and Clarity: Balanced compositions, graceful figures, serene color.
- Vatican Stanze: “School of Athens” synthesizes classical architecture with portraits of contemporaries as ancient philosophers.
- Madonnas: Intimate, tender depictions that influenced later devotional art.
Architectural Vision: Bramante (1444–1514)
Bramante advanced centrally planned churches and classical vocabularies. His Tempietto (San Pietro in Montorio, Rome) distilled classical proportions into a small martyrium; his initial plan for St. Peter’s proposed a grand centralized scheme.
Traits of the High Renaissance Style
- Unity and Balance: Compositions resolve space, figure, and architecture into harmonious wholes.
- Idealized Naturalism: Perfected anatomy and controlled light create convincing yet elevated realism.
- Psychology and Narrative: Figures interact with subtle gestures and glances, deepening the story.
Definition: Sfumato
A painting technique of subtle gradation between tones and colors, producing soft edges and atmospheric transitions (Leonardo’s hallmark).
Patronage in Rome
Papal commissions (Julius II, Leo X) funded fresco cycles, architecture, and tombs, making Rome the center of large-scale projects that demonstrated both spiritual authority and civic grandeur.
Note: Short-lived Brilliance
The High Renaissance peak was brief; by the 1520s, political upheaval (Sack of Rome, 1527) and artistic experimentation paved the way for Mannerism (Chapter 3.4).
Looking Ahead
Next, Chapter 3.3 explores the Northern Renaissance, where oil technique, microscopic detail, and devotional imagery flourished in Flanders and Germany.