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all right with this chapter we are
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moving time but not to location from
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where we were last time we are still
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going to be in Italy but we move forward
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into um really the early part of the
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1500s we start here with Leonardo da
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Vinci and he dips us into the last few
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days of the 1400s but for the most part
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we are now in the high Renaissance in
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the
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1500s in uh Italy the way this chapter
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is divided is that we look at sort of
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the three big Heavies of the Renaissance
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which is Leonardo Da Vinci Michelangelo
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and Raphael who are working around
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Florence Rome and Milan so the majority
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of Italy and we study their style how
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they are individually um but but really
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overall um Italian High Renaissance Art
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and then we move to Venice and Venice
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has it's sort of own distinct style so
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we're going to learn new traits for
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Venice and then last is mannerism which
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is like middle part of the century and
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it looks pretty different um from um
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either the first part or the middle part
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of the chapter with with Venice so
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really three areas um the majority of
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Italy who we see through the three big
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artists of the Renaissance then Venice
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and then mannerism our first artist is
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who you see here this is Leonardo Da
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Vinci um he was born um in Vinci which
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is near Florence
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1452 uh he was a man of science he saw
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himself first as a man of science he
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studied Optics um so he had a great
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interest in accurate perspective and in
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color and light in painting um and he
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studied a lot of anatomy as well he
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moves to Milan from Florence and he
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advertises himself to the Duke of Milan
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as a military engineer so he really did
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see himself first as a man of science
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but he didn't see that Art and Science
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were as separate as maybe we would see
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them today so he advertises himself to
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the Duke as a military engineer and then
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he says well you know dabble in a little
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art on the side if that's ever needed so
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um it truly was a renaissance man he had
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a lot going on uh the first work of his
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that we're going to look at is called
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the virgin of the rocks or the Madonna
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of the Rocks um you'll notice these
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paintings have the same title um you can
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notice from the shape at the top they're
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both alter pieces but they're separated
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by date uh 1483 on the left and 1503 to6
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on the right um they show really the
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same scene we have the Virgin Mary the
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Angel Gabriel Christ and John the
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Baptist and same thing going on here the
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only real difference is really the angel
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here's hand is down we're going to talk
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a little bit about that and here the
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angel sort of leads us across uh to John
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there on the other side the reason we
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have two paintings that are nearly
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identical um the um provenant sort of
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the hands that this is sort of passed
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through over time was a little bit
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confused but there was a legal dispute
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um from a commission of 14 83 the
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painting was not completed but by 1506
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the contract was complete and there is
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an existence to nearly identical
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paintings um this was a work that was um
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uh commissioned by the confraternity of
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the Immaculate Conception all right so I
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want to break this work down um and talk
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about what Leonardo D Vinci's style is
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but then how this really just works into
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a high Renaissance Italian work of art
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and so we can on that list that we've
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talked about in the past which just
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figural form space and composition
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figural form we can always talk about
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the weighted the groundedness and the
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great use of Kiros skuro the use of
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Kiros skuro especially in our early
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edition really leads us to talk about
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Leonardo's style it tends to be a little
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bit darker it's a heavy use of kar skuro
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his paintings tend to be a little
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enigmatic if she kind of looks like
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she's Seated on the moon here with
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little moon rock in the background um so
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his style tends to be um that that way
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just a little bit darker a little bit
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deeper um in terms of space you can
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always fall back on those two major
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forms of space which is linear
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perspective always hard to see when you
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have a lot going on in the background a
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lot of rocks are sort of piled up but we
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have nice use of linear perspective and
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then of course atmospheric perspective
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fact that way deep back in here in the
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background everything gets sort of
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blurry as it sort of goes off into very
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deep space the next thing I want to talk
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about is composition we know a good
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Renaissance work of art should have a
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stable symmetrical composition
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composition is how the work is laid out
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but Leonardo da Vinci although he stays
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true to that calm stable composition he
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gives us something that we hadn't seen
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before and that's called the paramal
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composition that means they're all sort
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of wedged into this pyramid shape see
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that see that triangle there we call
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this a parameter composition now paramal
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composition is still a good Renaissance
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composition it's just not like we've
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seen before paramal composition creates
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a triangle and a triangle is symmetrical
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and so we've got an equal weight on
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either side previously we've seen the
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most important figure in the center and
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that everybody fans out left to right
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stay calm and stable as you would expect
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this just gives you calm and stable in a
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different way here's something else we
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want to talk about and that is implied
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line implied line is a real or imaginary
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line that creates Focus or attention in
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a work of art there's a lot of real and
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imaginary lines that are going on here
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so if we look in this painting here on
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the left if your eye starts with the
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Virgin Mary we have a line here a
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literal line through her hand that takes
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your eye here and then we have lines of
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sight baby's looking this way Christ is
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looking this way to John and the hands
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and that creates an imaginary line when
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you somebody points in this direction or
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looks in that direction then you look in
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that direction and then here we have the
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hand of the Virgin Mary that keeps you
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back up here so implied line really sort
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of keeps you moving here doesn't really
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give you a place to rest but it keeps
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everything nice and tidy and in that
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paramal form here we don't have the hand
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of the angel Gabriel but we still have
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that glance so our Angel Gabriel Here
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looks out to us invites Us in and then
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keeps us moving around the triangle and
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here the angel Gabriel still glances
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across so that's the use of implied line
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creates that Focus either a real line
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like the arm of the Virgin or an an
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imaginary line let's talk about Leonardo
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style a little bit more um here is a
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quote that lets us know about what he
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thought was the most important thing in
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a work of art he says quote a good
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painter has two cheap objects to paint
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man and the intention of his soul the
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former is easy the latter is hard for it
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must be expressed by gestures and the
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movements of Limbs a painting will only
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be wonderful for the beholder by making
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that which is not so appear raised and
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detached from the wall so for him yeah
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it's one thing to get down the curcuro
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and the modeling and the space but the
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really difficult part the thing that you
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want to focus on as an artist is really
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getting that psychological aspect um
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really sort of getting the feeling of
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the work of art and the feeling of the
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figures that are in the painting so I
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want to stay with that idea and look at
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our next two Works got a little too far
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there uh let's look here on the left
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hand side um we're going to look at a
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painting and then on the right hand side
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I'm going to pull up something called
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the Burlington House cartoon the
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Burlington House cartoon is a cartoon
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that's one of the terms on your term
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sheet a cartoon is a full-size
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Preparatory drawing for a later painted
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work a full-size Preparatory drawing um
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so in the 15th century where we are now
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paper becomes more readily available and
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artists could really work out their
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ideas before painting now you can see
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that this is not really the Preparatory
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drawing for what you see here there's a
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lot of ideas that are translated from
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this drawing that are over here but it's
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not an exact uh
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replica and in a drawing just like with
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prints and we're going to study more
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prints as we move forward there's three
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ways to create that Ki skuro and those
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are called hatching cross-hatching and
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Contour hatching and I've attached a
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picture of this
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um uh to our site because it's a little
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bit difficult to see uh but catching is
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um we've talked about this I believe in
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previous lectures lines that are very
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close together so here you see it's
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still completely white there's no
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hatching there but as we want to create
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Shadow you can create these little lines
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one next to each other now that's
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hatching and that's going to get you
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some Shadow but if you want to go into
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deep Shadow you have to create more
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lines so you move to something called
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cross-hatching that gives you deeper
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Shadow that's when you take the lines
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and you hatch them and then you cross
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them like get a right angle cross cross
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cross and that gives you that sort of
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deep deep Shadow that's there now the
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last way is by Contour hatching and
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these are kind of like the lines that we
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see here across the shoulder um that's
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because uh if you're if you're moving a
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you're moving around like a rounded
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surface the lines just have a Bend to
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them so you see some of these Fine Lines
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here those are contour lines and they're
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kind of like hatched lines but they are
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contoured and then they give you that
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sort of um bending motion that you see
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there around the knees and around um the
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shoulder all right uh next thing I want
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you to see about this work here um is
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that paramal composition that Leonardo
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da Vinci is known for and so you can see
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how they are kind of awkwardly fit into
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this shape this is the Virgin Mary and
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this is her mother St Anne um she's kind
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of awkwardly Seated on her lap there but
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it creates a tight composition um with
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uh Christ and uh John here um but the
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painting here that I want to look at on
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the left is also sort of a nice just a
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good example of Leonardo D Vinci's work
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because it shows shows us that paramal
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composition it shows us that deep
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KIRO deep recession of space but it also
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um is a good example of how Leonardo da
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Vinci really wanted to capture the
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psychology and of the sitter and sort of
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the feeling of the work um so what we
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have here is Christ and you can see
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Christ sort of leans over and he
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grapples with the lamb and we know from
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past lectures that the lamb is a symbol
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of Christ's sacrifice and so he looks
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back back at his mother and she has a
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sort of sorrowful look as he sort of is
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going for his role as a sacrificial lamb
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she sort of sees how this story is going
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to end and so she has a sort of woful
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look on her face and you sort of see
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that um look between the two um the sort
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of look of understanding uh and so again
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sort of shows you what Leonardo was
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interested in um in really capturing
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that moment between the two our next
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lecture will keep going with Leonor Da
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Vinci and we're going to look at the
00:10:58
Last Supper
