High Renaissance
The High Renaissance was the second phase of the Italian renaissance characterized by groundbreaking artistic production of iconic works of art in Rome and Florence Italy. The timeline for the start and end of the High Renaissance has been a subject of intense debates with many differing on the exact years. Many of them, however, state that the High Renaissance began in the 1490s, citing Leonardo da Vinci’s The Last Supper as the first of the High Renaissance artworks, and lasted for about thirty years until the Sack of Rome (Adams). Some historians such as Frederick Hartt believe that the High Renaissance ended earlier in 1520 after Raphael’s death. The dominating and most notable legends of this period include; Leonardo da Vinci, Michelangelo, Raphael, and Donato Bramante (Burke).
The High Renaissance was the zenith of artistic genius in a range of areas such as architecture, painting, and sculpture more than any other period during the renaissance. Artists had mastered linear perspective and shading painting techniques employing classical humanism ideals. The period’s artworks also made reference to classical and were iconic in their display of retrained beauty. Academic art historians have recently critiqued the oversimplification of the period’s artistic developments, the tendency to focus on a few iconic works, particularly by the three aforementioned artists (Adams).
The style adopted by the High Renaissance artists differed from that of the early renaissance artists their antiquated reference to classical and overall harmony. For example, unlike the early renaissance artists who stressed technical aspects, the High Renaissance artists would often sacrifice the perspective of the works in favor of beauty and the painting’s harmony (Chessick). Two factors mainly influenced the High Renaissance painting development. The first was a change in the paint used. Earlier artists in the Early Renaissance used tempera paint while the High Renaissance painters started using oil paints, which could be manipulated with ease and enabled them to create softer forms (Adams). Secondly, many patrons, such as popes, were available to sponsor these artists. These patrons had diverse tastes, and this led to the development of groundbreaking iconic works.
The artistic works produced during the High Renaissance have remained among the most celebrated works of art up to the present. For instance, Mona Lisa by Leonardo da Vinci is arguably the most famous painting in the world today. Thus it would be correct to say that these works were genius productions that were much ahead of their time. They moved from idealized religious iconography to linear perspective techniques that helped create extreme depth. The paintings and sculptures were realistic and accurate depictions of the human anatomy and psychological features. Leonardo da Vinci is accredited for developing sfumato, a novel method of transitioning between painting colors a revolutionary move improving the blending of tone and color (Burke). Light and darkness were manipulated to give a tone contrast resulting in both visual and compositional perfection. All of the complex manipulation and elements served to support the harmony of the overall painting.
During the High Renaissance, artists were typically painters, architects, and sculptors, and their themes for both sculptors and paintings were similar. Michelangelo, for instance, was the best sculptor and also unrivalled in fresco painting. Raphael and Leonardo da Vinci were maestro painters. The Bacchus, Pieta and David, all by Michelangelo, were among the best-known sculptors of the High Renaissance. The Pieta was unconventional in its depiction of the Virgin holding Christ after crucifixion. The architecture designs in the High Renaissance was symmetrical and proportionate. A key artist in this era was Donato Bramante, who designed the Tempietto that many argue inspired Pope Julius II to build the St. Peter’s Basilica (Adams). Michelangelo designed the Basilica’s dome. Raphael designed the Villa Madama which, although never finished, was the most advanced villa design at the time.
Leonardo da Vinci immortalized paintings of the High Renaissance with his The Last Supper, Virgin of the Rocks, and Mona Lisa. His creativity genius proves that he was well ahead of his time. He negates tradition and takes an unconventional approach in depicting The Last Supper, and instead of placing Judas at the opposite side of the table as was the norm, he painted on the same side of the table with the others (Chessick). He infuses psychology into the paint as one must think to identify Judas. Similarly, his Mona Lisa employs a clever manipulation of light and darkness as da Vinci shadows the corners of Mona Lisa’s mouth and eyes to make her smile elusive a move that has continued to fascinate many to the present. On the other hand, Raphael painted his famous frescos, Stanze Della Segnatura, in 1511, earning him a reputation of a fresco maestro.
The Influence of the High Renaissance to Mannerism Era
The Mannerism era followed the High Renaissance with the 1520s-1530s serving as a transition period between the two. The High Renaissance had achieved almost everything that could be achieved in art, and therefore a new breed of young painters sought new perspectives and approaches in relation to painting (Burke). The High Renaissance had a huge influence on mannerism as the achievements during this period fueled the need for new designs and styles. The High Renaissance artists themselves, such as Michelangelo and Raphael, pioneered the transition to mannerism in their later years. For instance, Michelangelo’s iconic painting at the Sistine Chapel ceiling greatly influenced the style of many Mannerist artists.
The Mannerist artists also incorporated the High Renaissance perfectionism by did not always copy it. They exaggerated the High Renaissance principle by artists like Michelangelo to use artificial colors, decoration, and depicting characters with elongated limbs (Adams). This was always a way to show their skills, often fueled by patrons who encouraged them to compete against each other to win commissions. Although this style differed from that of the High Renaissance, it is regarded by historians as just a progression from it.
Impacts of the High Renaissance in Italy
The High Renaissance era had both positive and negative effects to Italy then although the positive effects outnumber the negatives ones by far. To begin with, the period saw the growth of the two cities in which the High Renaissance was generally witnessed (Burke). These were Rome and Florence, where Florence, which had a fair share of the High Renaissance artists, benefited from this reputation. Secondly, the iconic masterpieces produced at this period improved the aesthetic appearance of these cities. Sculptures that were openly displayed, sophisticated buildings designed and decorated by these artists enhances these cities. Furthermore, the young generation of artists was influenced by and learned from the period’s artists helping create more artworks even after the High Renaissance. However, commissions for these artists were costly and could only be afforded by the nobles and the popes (Adams). A lot of the cities wealth, therefore, went into these commissions nearly bankrupting the cities, and this was at the expense of other social and economic developments at the time.
Works Cited
Adams, Laurie S. “The High Renaissance in Florence and Rome.” Key Monuments of the Italian Renaissance, 2019, pp. 121-141.
Burke, Jill. “Inventing the High Renaissance; An Introductory Essay.” Rethinking the High Renaissance, 2017, pp. 1-23.
Chessick, Richard D. “History of Italian Renaissance Art.” The American Journal of Psychiatry, vol. 162, no. 12 Dec. 2015, doi.org/10.1176/appi.ajp.162.12.2415. Accessed 29 May 2020.