Raphael: Pope Julius II (1511, London NG) Bramante: Il Tempietto (1502, San Pietro in Martorio, Rome) Bramante: Cloister of Santa Maria della Pace (1504, Rome) Michelangelo: Sistine Chapel Ceiling (1508–12) Hellenistic: Laocoon and his Sons (Vatican, excavated 1506) Raphael: Adoration of the Holy Sacrament (1509–11, Vatican) Raphael: The School of Athens (1509–11, Vatican) F. Raphael as Stage Director In his later religious paintings, Raphael developed the skills of both storyteller and stage-director, disposing large groups of people in dynamic compositions with telling control of action, gesture, costume, setting, and even lighting. Raphael: The Expulsion of Heliodorus (1514, Vatican) Raphael: The Deliverance of St. Peter (1514, Vatican) Raphael: The Death of Ananias (1515, London V&A) Raphael: The Miraculous Draught of Fishes (1515, London V&A) Palestrina: Missa Papae Marcelli (1555) Full Names and Dates of Artists, Authors, and Composers: George Frederick Bodley (1827–1907) Donato Bramante (1444– 1514), Filippo Brunelleschi (1377–1446), Donatello (Donato di Niccolo, c.1386–1466), Lorenzo Ghiberti(c.1368 –1455), Heinrich Isaac (1450–1517), Francesco Landini (1325/35–97), Benjamin Henry Latrobe (1764–1820), Leonardo da Vinci (1452–1519), Ambrogio Lorenzetti (c.1290–1348), Masaccio (Tommaso di Ser Giovanni di Simone, 1401–28), Masolino (Tommaso di Cristofano da Panicale, c.1383–1440), Michelangelo Buonarroti (1475–1564), Giovanni Pierluigi da Palestrina (c.1525–94), Piero della Francesca (1415–92), Raphael (Raffaello Sanzio, 1483–1520), Spinello Aretino (c.1350– 1410), Marcus Vitruvius Pollio (c.85–15 BCE) All the art, music, and texts are available on my website: Sacred and Secular http://www.brunyate.com/SacredMCC/ October 30, 2019 The Humanist Ideal Brunelleschi: San Lorenzo, Florence (begun 1419) Brunelleschi: Santo Spirito, FLorence (begun 1441) Leonardo da Vinci: Vitruvian Man (c.1492, Venice, Accademia) The Renaissance of interest in Classical culture introduced values based upon Humanism and secular aesthetics in C. A Visit to Umbria contrast to older theology. The synthesis of these elements A trip to see the work of Piero della Francesca, whose quest for has been an issue for religious art ever since. purity, obsession with perspective, and refusal to prettify make him unparalleled as a painter of ideas. Piero della Francesca: Brera Madonna (c.1472, Milan, Brera) A. Tales of Two Cities Piero della Francesca: The Flagellation of Christ (c.1468, Urbino) Florence in the quattrocento (1400s) and Rome in the cinquecento Piero della Francesca: Annunciation (c.1470, Perugia) (1500s), the respective epicenters of the Early and High Piero della Francesca: Annunciation (fresco c.1460, Arezzo) Renaissance. The seismic shift that enabled architects, artists, and Donatello: Calvacanti Annunciation (c.1435, Florence, Santa Croce) thinkers to bring about a rapprochement between Catholic Heinrich Isaac: La Martinella (c.1480) Christianity and the pagan past. Washington Cathedral (Bodley, begun 1906) Baltimore Basilica (Latrobe, begun 1806) D. Three Davids and an Apollo Cathedral of Santa Maria del Fiore, Florence Revisiting the passage from quattrocento to cinquecento through Saint Peter's Basilica, Rome two sculptures by Donatello, one by Michelangelo, and the antique Apollo that turned the art world on its head. B. The Florentine Spring Donatello: Marble David (1408, Bargello), with St. George Three geniuses of the Florentine Renaissance: the architect Donatello: St. George (1410, Bargello) Brunelleschi, the sculptor Ghiberti, and the painter Masaccio. The Donatello: Bronze David (1440s, Bargello) invention of perspective, and the transition from a God-centered Michelangelo: David (1501-04, Florence Accademia) world to one whose ideal measure is Man. Hellenistic: Apollo Belvedere (Vatican) Landini: "Ecco la Primavera" (later C14) Aretino: Annunciation (c.1400, Cambridge UK) E. Roman Rivalry Brunelleschi: The Binding of Isaac (1401) Michelangelo disliked Raphael, yet the younger artist found ways of Ghiberti: The Binding of Isaac (1401) sneaking into the Sistine Chapel to see the work in progress. Ghiberti: Annunciation (1403–25) Michelangelo devised a vast decorative scheme in which figures Ghiberti: Jacob, Esau, and Isaac (1437-55) from the Hebrew Bible rubbed shoulders with others from Greek Masolino and Masaccio: Adam and Eve (1425-28, Brancacci Chapel) and Roman myth. Raphael brought ancient and modern together in Masaccio: The Tribute Money (1425-28, Brancacci Chapel) silent conversation in the vast airy compositions with which he Masaccio: The Holy Trinity (1427, Santa Maria Novella, Florence) decorated the Pope's chambers. .