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128. Luca Signorelli, c. 1440–1523, Italian, Head of a Woman, date unknown. Pencil on paper. Galleria degli Uffizi, Florence. Early Renaissance.

If Alberti was the first theorist of Renaissance art, Giorgio Vasari was its first historian. His Le vite de’ più eccellenti pittori, scultori e architettori (Lives of the Most Excellent Painters, Sculptors, and Architects) is considered by many to be the first important book of Art History. His treatise brings together the biographies of major Italian artists from Cimabue to the mid-16th century. In the introduction, Vasari verses on the techniques of the arts, among which drawing is granted a central role. Harsh debates aroused in Vasari’s time and during the following centuries between the defenders of drawing and colour, who argued over which of the two played a more important part in painting. In the text which has been selected, Vasari argues that drawing is not only fundamental for painting, but also for the other arts:

“The Nature and Materials of Design or Drawing.

“Seeing that Design, the parent of our three arts, Architecture, Sculpture, and Painting, having its origin in the intellect, draws out from many single things a general judgment, […] we may conclude that design is not other than a visible expression and declaration of our inner conception and of that which others have imagined and given form to in their idea. And from this, perhaps, arose the proverb among the ancients ‘ex ungue leonem‘ when a certain clever person, seeing carved in a stone block the claw only of a lion, apprehended in his mind from its size and form all the parts of the animal and then the whole together, just as if he had had it present before his eyes. […]

“But let this be as it may, what design needs, when it has derived from the judgment the mental image of anything, is that the hand, through the study and practice of many years, may be free and apt to draw and to express correctly, with the pen, the silverpoint, the charcoal, the chalk, or other instrument, whatever nature has created. For when the intellect puts forth refined and judicious conceptions, the hand which has practised design for many years, exhibits the perfection and excellence of the arts as well as the knowledge of the artist. […]

“The masters who practise these arts have named or distinguished the various kinds of design according to the description of the drawing which they make. Those which are touched lightly and just indicated with the pen or other instrument are called sketches, as shall be explained in another place. Those, again, that have the first lines encircling an object are called profiles or outlines.

“Use of Design (or Drawing) in the Various Arts.

“All these, whether we call them profiles or otherwise, are as useful to architecture and sculpture as to painting. Their chief use indeed is in Architecture, because its designs are composed only of lines, which so far as the architect is concerned, are nothing else than the beginning and the end of his art, for all the rest, which is carried out with the aid of models of wood formed from the said lines, is merely the work of carvers and masons.

“In Sculpture, drawing is of service in the case of all the profiles, because in going round from view to view the sculptor uses it when he wishes to delineate the forms which please him best, or which he intends to bring out in every dimension, whether in wax, or clay, or marble, or wood, or other material.

“In Painting, the lines are of service in many ways, but especially in outlining every figure, because when they are well drawn, and made correct and in proportion, the shadows and lights that are then added give the strongest relief to the lines of the figure and the result is all excellence and perfection. […] When he has trained his hand by steady practice in drawing (figures in relief, plaster casts), let him begin to copy from nature and make a good and certain practice herein, with all possible labour and diligence, for the things studied from nature are really those which do honour to him who strives to master them, since they have in themselves […] that simple and easy sweetness which is nature’s own, and which can only be learned perfectly from her, and never to a sufficient degree from the things of art. Hold it moreover for certain, that the practice that is acquired by many years of study in drawing, as has been said above, is the true light of design and that which makes men really proficient.”

Giorgio Vasari, Introduction to Le vite de’ più eccellenti pittori, scultori e architettori, 1550

129. Hieronymus Bosch, c. 1450–1516, Flemish, Studies of Monsters, date unknown. Pen and ink on paper, 31.8 × 21 cm. Ashmolean Museum, Oxford. Northern Renaissance.

HIERONYMUS BOSCH

(Hertogenbosch, c. 1450–1516)

Born in the middle of the century, Bosch experienced the drama of the highly-charged Renaissance and its wars of religion. Medieval traditions and values were crumbling, paving the way to thrust humankind into a new universe where faith lost some of its power and much of its magic. His favourite allegories were hell, heaven and lust. He believed that everyone had to choose between one of two options: heaven or hell. Bosch brilliantly exploited the symbolism of a wide range of fruit and plants to lend sexual overtones to his themes.

130. Hieronymus Bosch, c. 1450–1516, Flemish, Two Witches, date unknown. Pen and ink on paper, 12.5 × 8.5 cm. Museum Boijmans Van Beuningen, Rotterdam. Northern Renaissance.

131. Perugino (Pietro di Cristoforo Vannucci), c. 1450–1523, Italian, Study of a Kneeling Youth and of the Head of Another, 1500. Metalpoint on pale pink-beige prepared paper, 22 × 11.5 cm. The Metropolitan Museum of Art, New York. Early Renaissance.

132. Luca Signorelli, c. 1440–1523, Italian, Nude Man Seen from Behind Carrying a Corpse on His Shoulders, c. 1500. Black chalk, brown wash, and watercolour on paper, 35.5 × 22.5 cm. Musée du Louvre, Paris. Early Renaissance.

SIGNORELLI

(Cortona, c. 1440–1523)

Signorelli was a painter from Cortona but was active in various cities of central Italy like Florence, Orvieto and Rome. Probably a pupil of Piero della Francesca, he added solidity to his figures and a unique use of light, as well as having an interest in the representation of actions like contemporary artists, the Pollaiuolo brothers.

In 1483, he was called to complete the cycle of frescos in the Sistine Chapel in Rome, which means he must have had a solid reputation at that time. He painted a magnificent series of six frescos illustrating the end of the world and The Last Judgment for the Orvieto Cathedral. There can be seen a wide variety of nudes displayed in multiple poses, which were surpassed at that time only by Michelangelo, who knew of them. By the end of his career, he had a large workshop in Cortona where he produced conservative paintings, including numerous altarpieces.

133. Luca Signorelli, c. 1440–1523, Italian, The Damned, c. 1500. Black pencil on paper, 28.5 × 22 cm. Galleria degli Uffizi, Florence. Early Renaissance.

134. Lo Spagna (Giovanni di Pietro), c. 1450–1528, Italian, Standing Saint, date unknown. Pen and ink on paper, 36.5 × 22 cm. Musée Condé, Chantilly. Early Renaissance.

135. Luca Signorelli, c. 1440–1523, Italian, Head of a Man with a Cap (Dante?), date unknown. Charcoal on paper, 23.7 × 15.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Early Renaissance.

136. Perugino (Pietro di Cristoforo Vannucci), c. 1450–1523, Italian, Bacchus or Ephebos, date unknown. Black pencil, pen and white lead on watermarked white paper. Galleria degli Uffizi, Florence. Early Renaissance.

137. Fra Bartolomeo (Bartolommeo della Porta), c. 1472–1517, Italian, Flying Angel, date unknown. Black pencil, stump and white chalk on watermarked paper, 19.2 × 16.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

138. Vittore Carpaccio, 1460/1466?-1525/1526, Italian, Sacra Conversazione, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

139. Hieronymus Bosch, c. 1450–1516, Flemish, Two Fantastic Creatures, date unknown. Pen and brown ink on paper, 16.3 × 11.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

140. Fra Bartolomeo (Bartolommeo della Porta), c. 1472–1517, Italian, View of the Santissima Annunziata, c. 1500–1510. Pen on white paper, 21 × 28.3 cm. Galleria degli Uffizi, Florence. High Renaissance.

141 Hieronymus Bosch, c. 1450–1516, Flemish, The Field Has Eyes, the Forest Has Ears, c. 1500. Pen and brown ink on paper, 20.2 × 12.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

142. Leonardo da Vinci, 1452–1519, Italian, Bust of a Young Woman, c. 1501. Red chalk and silverpoint on paper. Galleria dell’Accademia, Venice. High Renaissance.

143. Leonardo da Vinci, 1452–1519, Italian, Grotesque Head, c. 1503–1507. Black chalk on paper, 39 × 28 cm. Christ Church Picture Gallery, Oxford. High Renaissance.

144. Leonardo da Vinci, 1452–1519, Italian, Study of two warriors’ heads for The Battle of Anghiari, c. 1504–1505. Charcoal on paper, 19.1 × 18.8 cm. Szépmu”vészeti Múzeum, Budapest. High Renaissance.

145. Raphael (Raffaello Sanzio), 1483–1520, Italian, Head of a Boy with a Cap, c. 1502–1503. Black chalk with highlights in white on paper, 21.2 × 18.6 cm. Palais des Beaux-Arts, Lille. High Renaissance.

RAPHAEL (Raffaello Sanzio)

(Urbino, 1483 – Rome, 1520)

Raphael was the artist who most closely resembled Pheidias. The Greeks said that the latter invented nothing; rather, he carried every kind of art invented by his forerunners to such a pitch of perfection that he achieved pure and perfect harmony. Those words, “pure and perfect harmony,” express, in fact, better than any others, what Raphael brought to Italian art. From Perugino, he gathered all the weak grace and gentility of the Umbrian School, he acquired strength and certainty in Florence, and he created a style based on the fusion of Leonardo’s and Michelangelo’s lessons under the light of his own noble spirit.

His compositions on the traditional theme of the Virgin and Child seemed intensely novel to his contemporaries, and only their time-honoured glory prevents us now from perceiving their originality. He has an even more magnificent claim in the composition and realisation of those frescos with which, from 1509, he adorned the Stanze and the Loggia at the Vatican. The sublime, which Michelangelo attained by his ardour and passion, Raphael attained by the sovereign balance of intelligence and sensibility. One of his masterpieces, The School of Athens, was created by genius: the multiple detail, the portrait heads, the suppleness of gesture, the ease of composition, and the life circulating everywhere within the light are his most admirable and identifiable traits.

146. Albrecht Dürer, 1471–1528, German, Creszentia Pirckheimer, 1503. Charcoal, white highlights, 32 × 21.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

147. Albrecht Dürer, 1471–1528, German, Willibald Pirckheimer, 1503. Charcoal, 28.2 × 20.8 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

148. Leonardo da Vinci, 1452–1519, Italian, Leda and the Swan, c. 1503–1504. Pen, ink and wash over black chalk on paper, 16 × 13.9 cm. Devonshire Collection, Chatsworth. High Renaissance.

149. Albrecht Dürer, 1471–1528, German, Study of Pope’s Head, c. 1506. Paintbrush, white highlights on paper, 19.7 × 19.7 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

150. Michelangelo Buonarroti, 1475–1564, Italian, Male Nude, Seen from the Rear, c. 1503–1504. Black pencil on paper, 28.2 × 20.3 cm. Musée du Louvre, Paris. High Renaissance.

151. Raphael (Raffaello Sanzio), 1483–1520, Italian, Portrait of the Doge Leonardo Loredan, c. 1504–1505. Metalpoint, 12.1 × 10.4 cm. Palais des Beaux-Arts, Lille. High Renaissance.

152. Albrecht Dürer, 1471–1528, German, Adam and Eve, 1504. Pen and watercolour, 24.2 × 20.1 cm. The Morgan Library and Museum, New York. Northern Renaissance.

153. Hieronymus Bosch, c. 1450–1516, Flemish, The Tree Man, c. 1505. Pen in brown ink, 27.7 × 21.1 cm. Albertina, Vienna. Northern Renaissance.

154. Hans Baldung Grien, 1484/1485-1545, German, Phyllis Sitting on the Back of Crawling Aristotle, 1503. Pen and black ink, 28.1 × 20.1 cm. Musée du Louvre, Paris. Northern Renaissance.

155. Leonardo da Vinci, 1452–1519, Italian, Studies for the Christ Child with a Lamb, c. 1503–1506. Pen and brown ink and black chalk, 21 × 14.2 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

156. Albrecht Altdorfer, c. 1480–1538, German, Samson and Delilah, 1506. Pen and black ink with white heightening on brown prepared paper, 17.1 × 12.2 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.

157. Raphael (Raffaello Sanzio), 1483–1520, Italian, Portrait of a Woman, c. 1505–1507. Pen, brown ink and black chalk on paper, 22.2 × 15.9 cm. Musée du Louvre, Paris. High Renaissance.

158. Hans Baldung Grien, 1484/1485-1545, German, Saint Catherine Leaning on a Sword, c. 1503–1504. Pen and brown ink, 27.4 × 13.3 cm. The Metropolitan Museum of Art, New York. Northern Renaissance.

159. Raphael (Raffaello Sanzio), 1483–1520, Italian, Study for The School of Athens, c. 1509. Pen and ink on white paper.Galleria degli Uffizi, Florence. High Renaissance.

160. Albrecht Dürer, 1471–1528, German, Head Study of an African, 1508. Charcoal, 32.0 × 21.8 cm. Albertina, Vienna. Northern Renaissance.

161. Lucas Cranach the Elder, 1472–1553, German, Head of a Young Boy, c. 1509. Brown and black ink, grey and ochre washes and gouache, 21.6 × 17.1 cm. Musée du Louvre, Paris. Northern Renaissance.

162. Raphael (Raffaello Sanzio), 1483–1520, Italian, Holy Family with St John the Baptist, Zacharias, and Elizabeth in a Landscape, 1507–1508. Pen and ink on paper, 35.3 × 23.4 cm. Palais des Beaux-Arts, Lille. High Renaissance.

163. Michelangelo Buonarroti, 1475–1564, Italian, Study for the Head of an Old Man, c. 1509. Black chalk, 43.2 × 28 cm. Galleria degli Uffizi, Florence. High Renaissance.

MICHELANGELO BUONARROTI

(Caprese, 1475 – Rome, 1564)

Michelangelo, like Leonardo, was a man of many talents; sculptor, architect, painter and poet, he made the apotheosis of muscular movement, which to him was the physical manifestation of passion. He moulded his draughtsmanship, bent it, twisted it, and stretched it to the extreme limits of possibility. There are not any landscapes in Michelangelo’s painting. All the emotions, all the passions, all the thoughts of humanity were personified in his eyes in the naked bodies of men and women. He rarely conceived his human forms in attitudes of immobility or repose.

Michelangelo became a painter so that he could express in a more malleable material what his titanesque soul felt, what his sculptor’s imagination saw, but what sculpture refused him. Thus this admirable sculptor became the creator, at the Vatican, of the most lyrical and epic decoration ever seen: the Sistine Chapel. The profusion of his invention is spread over this vast area of over 900 square metres. There are 343 principal figures of prodigious variety of expression, many of colossal size, and in addition a great number of subsidiary ones introduced for decorative effect. The creator of this vast scheme was only thirty-four when he began his work.

Michelangelo compels us to enlarge our conception of what is beautiful. To the Greeks it was physical perfection; but Michelangelo cared little for physical beauty, except in a few instances, such as his painting of Adam on the Sistine ceiling, and his sculptures of the Pietà. Though a master of anatomy and of the laws of composition, he dared to disregard both if it were necessary to express his concept: to exaggerate the muscles of his figures, and even put them in positions the human body could not naturally assume. In his later painting, The Last Judgment, on the end wall of the Sistine, he poured out his soul like a torrent. Michelangelo was the first to make the human form express a variety of emotions. In his hands emotion became an instrument upon which he played, extracting themes and harmonies of infinite variety. His figures carry our imagination far beyond the personal meaning of the names attached to them.

164. Raphael (Raffaello Sanzio), 1483–1520, Italian, Leda and the Swan, c. 1507. Pen and ink over black chalk on paper, 31 × 19.2 cm. Royal Collection Trust, London. High Renaissance.

165. Titian (Tiziano Vecellio, attributed to), 1489/1490-1576, Italian, Saint Jerome in the Desert, 1509. Pen and grey ink, 13.6 × 16.7 cm. Galleria degli Uffizi, Florence. High Renaissance.

166. Lucas Cranach the Elder, 1472–1553, German, Christ and the Adultress, 1509. Brown ink and brown wash, 29.9 × 19.6 cm. Herzog Anton Ulrich-Museum, Kunstmuseum des Landes Niedersachsen, Brunswick (Lower Saxony). Northern Renaissance.

LUCAS CRANACH THE ELDER

(Kronach, 1472 – Weimar, 1553)

Lucas Cranach was one of the greatest artists of the Renaissance, as shown by the diversity of his artistic interests as well as his awareness of the social and political events of his time. He developed a number of painting techniques which were afterwards used by several generations of artists. His somewhat mannered style and splendid palette are easily recognised in numerous portraits of monarchs, cardinals, courtiers and their ladies, religious reformers, humanists and philosophers. He also painted altarpieces, mythological scenes and allegories, and he is well-known for his hunting scenes. As a gifted draughtsman, he executed numerous engravings on both religious and secular subjects, and as court painter, he was involved in tournaments and masked balls. As a result, he completed a great number of costume designs, armorials, furniture, and parade ground arms. The high point of the German Renaissance is reflected in his achievements.

167. Antonio da Sangallo the Younger, 1484–1546, Italian, The Mausoleum of Theoderic, c. 1506. Pen and ink on paper. Galleria degli Uffizi, Florence. High Renaissance.

168. Fra Bartolomeo (Bartolommeo della Porta), 1473–1517, Italian, Madonna and Child with Saints, 1510–1513. Black chalk, with traces of white chalk, 37.5 × 28.3 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

169. Mabuse (Jan Gossart), c. 1478–1532, Flemish, Apollo Citharoedus of the Casa Sassi, 1509. Pen and brown ink, over black chalk, 30.8 × 17.7 cm. Gallerie dell’Accademia, Venice. Northern Renaissance.

170. Niccolò dell’ Abate, 1509–1571, Italian, Madonna and Child Enthroned with Saint Basil the Great and Saint John the Baptist and Donor, 1509–1571. Pen and brown ink, brush and brown wash mounted on board, 23.2 × 19.4 cm. The Metropolitan Museum of Art, New York. Mannerism.

171. Amico Aspertini, c. 1474–1552, Italian, Hercules and the Lernaean Hydra, date unknown. Pen, ink and wash. Galleria degli Uffizi, Florence. Mannerism.

172. Baldassare Peruzzi, 1481–1536, Italian, Interior View of Santo Stefano Rotondo, date unknown. Pen and brown wash on white paper. Galleria degli Uffizi, Florence. High Renaissance.

173. Baldassare Peruzzi, 1481–1536 Italian, The Baths of Diocletian, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

174. Raphael (Raffaello Sanzio), 1483–1520, Italian, A Soldier Before the Chapel of St. Peter, date unknown. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

175. Raphael (Raffaello Sanzio), 1483–1520, Italian, Interior View of the Pantheon, c. 1510. Pen and ink on paper, 22 × 40.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

176. Baldassare Peruzzi, 1481–1536, Italian, Theatrical Perspective with Symbolic Monuments of Rome, date unknown.Pen, ink and wash on paper. Galleria degli Uffizi, Florence. High Renaissance.

177. Leonardo da Vinci, 1452–1519, Italian, Self-Portrait, c. 1512. Red chalk on paper, 33.3 × 21.3 cm. Biblioteca Reale, Turin. High Renaissance.

LEONARDO DA VINCI

(Vinci, 1452 – Le Clos-Lucé, 1519)

Leonardo’s early life was spent in Florence, his maturity in Milan, and the last three years of his life in France. Leonardo’s teacher was Verrocchio. First he was a goldsmith, then a painter and sculptor: as a painter, representative of the very scientific school of draughtsmanship, but more famous as a sculptor, being the creator of the Colleoni statue at Venice, Leonardo was a man of striking physical attractiveness, great charm of manner and conversation, and mental accomplishment. He was well grounded in the sciences and mathematics of the day, as well as a gifted musician. His skill in draughtsmanship was extraordinary; shown by his numerous drawings as well as by his comparatively few paintings. His skill of hand is at the service of most minute observation and analytical research into the character and structure of form.

Leonardo is the first in date of the great men who had the desire to create in a picture a kind of mystic unity brought about by the fusion of matter and spirit. Now that the Primitives had concluded their experiments, ceaselessly pursued during two centuries, by the conquest of the methods of painting, he was able to pronounce the words which served as a password to all later artists worthy of the name: painting is a spiritual thing, cosa mentale. He completed Florentine draughtsmanship by applying a sharp subtlety to modelling by light and shade, which his predecessors had used only to give greater precision to their contours. This marvellous draughtsmanship, this modelling and chiaroscuro he used not only to paint the exterior appearance of the body but also, as no one before him had done, to cast over it a reflection of the mystery of the inner life. In the Mona Lisa and his other masterpieces he even used landscape not merely as a more or less picturesque decoration, but as a sort of echo of that interior life and an element of a perfect harmony.

Relying on the still quite novel laws of perspective, this doctor of scholastic wisdom, who was at the same time an initiator of modern thought, substituted for the discursive manner of the Primitives the principle of concentration which is the basis of classical art. The picture is no longer presented to us as an almost fortuitous aggregate of details and episodes. It is an organism in which all the elements, lines and colours, shadows and lights, compose a subtle tracery converging on a spiritual, a sensuous centre. It was not with the external significance of objects, but with their inward and spiritual significance, that Leonardo was occupied.

178. Hans Holbein the Elder, 1460/1465-1524, German, Ambrosius and Hans Holbein, 1511. Silverpoint on white-coated paper, 10.3 × 15.5 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

179. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Portrait of a Young Woman, 1510–1511. Black pencil on paper, 42 × 26.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

180. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Rider and Fallen Soldier, c. 1537. Chalk on paper. Staatliche Graphische Sammlung, Munich. High Renaissance.

181. Follower of Raphael (1483–1520), Italian, Saint Michael Slaying the Demon, c. 1511–1520. Pen and brown ink, brown wash, black chalk and white heightening, 41.6 × 27.7 cm. Musée du Louvre, Paris. High Renaissance.

182. Hieronymus Bosch, c. 1450–1516, Flemish, A Group of Ten Spectators, 1516. Pen and brown ink on paper, 12.4 × 12.6 cm. The Morgan Library and Museum, New York. Northern Renaissance.

183. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Studies of Saint Sebastian and the Virgin and Child, c. 1519. Pen and brown ink on paper, 16.2 × 13.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. High Renaissance.

184. Amico Aspertini, c. 1474–1552, Italian, Masculine Nude or A God of the Rivers, date unknown. Chalk and wash on paper. Galleria degli Uffizi, Florence. Mannerism.

185. Niccolò dell’ Abate, 1509–1571, Italian, Landscape, date unknown. Pen and ink on paper. Galleria degli Uffizi, Florence. Mannerism.

186. Antonio da Sangallo the Younger, 1484–1546, Italian, Architecture Study, c. 1513–1517. Pen and brown ink over a sketch in pencil, 33.4 × 48.5 cm. Galleria degli Uffizi, Florence. High Renaissance.

187. Baccio Bandinelli (attributed to), 1488–1560, Italian, An Unidentified Subject, with Figures Kneeling before a Bearded Man, c. 1515. Red chalk, 25.5 × 32.5 cm. British Museum, London. High Renaissance.

188. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Landscape with a Castle, 1512. Pen and brown ink, 15 × 21.6 cm. Galleria degli Uffizi, Florence. High Renaissance.

189. Niklaus Manuel Deutsch, 1484–1530, Swiss, The Mocking of Christ, 1513–1514. Pen and black ink with white and gold highlights on red-brown prepared paper, 54.1 × 21.7 cm. J. Paul Getty Museum, Los Angeles. Northern Renaissance.

190. Follower of Albrecht Altdorfer (c. 1480–1538), German, The Holy Family with Saint Elizabeth and the Infant Saint John, 1513. Pen and dark brown ink highlighted with brush and opaque white on light brown prepared paper, 21.5 × 14.8 cm.The Metropolitan Museum of Art, New York. Northern Renaissance.

191. Raphael (Raffaello Sanzio), 1483–1520, Italian, Study for The Madonna of the Fish, 1513–1514. Red chalk and black pencil on paper, 26.7 × 26.4 cm. Galleria degli Uffizi, Florence. High Renaissance.

192. Albrecht Dürer, 1471–1528, German, Barbara Dürer (Dürer’s Mother), 1514. Charcoal, 42.2 × 30.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

193. Albrecht Altdorfer, c. 1480–1538, German, Preparatory Drawing for the Frescoes for the Royal Baths in Regensburg, c. 1515. Pen and ink, wash. Galleria degli Uffizi, Florence. Northern Renaissance.

194. Raphael (Raffaello Sanzio), 1483–1520, Italian, Hebe and Proserpina, 1517. Red chalk on paper, 25.7 × 16.4 cm. Teylers Museum, Haarlem. High Renaissance.

195. Raphael (Raffaello Sanzio), 1483–1520, Italian, Two Masculine Nudes, 1515. Red chalk and metalpoint on paper, 41 × 28 cm. Albertina, Vienna. High Renaissance.

196. Rosso Fiorentino, 1494–1540, Italian, Macabre Allegory, 1517–1518. Pen, ink and wash on paper. Galleria degli Uffizi, Florence. Mannerism.

197. Titian (Tiziano Vecellio), 1489/1490-1576, Italian, Two Satyrs in a Landscape, date unknown. Pen and brown ink, white gouache on fine, off-white laid paper, 21.6 × 15.1 cm. The Metropolitan Museum of Art, New York. High Renaissance.

198. Matthias Grünewald, c. 1475–1528, German, St. Dorothy with the Basket of Flowers, c. 1520. Black chalk and watercolour, heightened with white on paper, 35.8 × 25.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

199. Parmigianino (Francesco Mazzola), 1503–1540, Italian, Study of a Kanephoros for the decoration of the vault of Santa Maria della Steccata, Parma, c. 1533–1535. Pencil and red chalk, heightened with white, 27.6 × 18.1 cm. Albertina, Vienna. Mannerism.

200. Correggio (Antonio Allegri), 1489?-1534, Italian, The Adoration of the Magi, c. 1517. Red chalk and white gouache on paper, 29.1 × 19.7 cm. The Metropolitan Museum of Art, New York. High Renaissance.

CORREGGIO

(Antonio Allegri)

(Correggio, 1489?-1534)

Correggio founded the Renaissance school in Parma, but little is known of his life. He was born in the small town of Correggio. There he was educated, but in his seventeenth year an outbreak of the plague drove his family to Mantua, where the young painter had the opportunity to study the pictures of Mantegna and the collection of works of art accumulated originally by the Gonzaga family and later by Isabella d’Este. In 1514 he went back to Parma, where his talents found ample recognition; and for some years the story of his life is the record of his work, culminating in his wonderful re-creation of light and shade.

It was not, however, a record of undisturbed quiet, for the decoration which he made for the dome of the cathedral was severely criticised. Choosing the subject of the Resurrection, he projected upon the ceiling a great number of ascending figures, which, viewed from below, necessarily involved a multitude of legs, giving rise to the apt description that the painting resembled a “fry of frogs”. It may have been the trouble which later ensued with the chapter of the cathedral, or depression caused by the death of his young wife, but at the age of thirty-six, indifferent to fame and fortune, he retired to the comparative obscurity of his birth place, where for four years he devoted himself to the painting of mythological subjects: scenes of fabled beings removed from the real world and set in a golden arcadia of dreams. His work prefigures Mannerism and the Baroque style.

201. Lucas Cranach the Elder, 1472–1553, German, Head of a Peasant, c. 1520–1525. Watercolour with opaque white highlights, 19.3 × 15.7 cm. Kunstmuseum Basel, Basel. Northern Renaissance.

202. Albrecht Dürer, 1471–1528, German, Cardinal Albrecht von Brandenburg, 1518. Charcoal, 42.8 × 32.1 cm. Albertina, Vienna. Northern Renaissance.

203. Sebastiano del Piombo (Sebastiano Luciani), 1485/1486-1547, Italian, Cartoon for the Head of Saint James, c. 1520. Black and white chalk on paper, 30.2 × 30.5 cm. J. Paul Getty Museum, Los Angeles. High Renaissance.

204. Albrecht Dürer, 1471–1528, German, Erasmus of Rotterdam, 1520. Black chalk, 37.3 × 26.8 cm. Musée du Louvre, Paris. Northern Renaissance.

205. Matthias Grünewald, c. 1475–1528, German, Head of a Young Woman, c. 1520. Black chalk on paper, 27.7 × 19.6 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

MATTHIAS GRÜNEWALD

(Würzburg, c. 1475 – Halle an der Saale, 1528)

Grünewald and Dürer were the most prominent artists of their era. Painter, draughtsman, hydraulic engineer and architect, he is considered the greatest colourist of the German Renaissance. But, unlike Dürer, he did not make prints and his works were not numerous: ten or so paintings (some of which are composed of several panels) and approximately thirty-five drawings. His masterpiece is the Isenheim Altarpiece, commissioned in 1515.

His works show a dedication to medieval principles, to which he brought expressions of emotion not typical of his contemporaries.

206. Matthias Grünewald, c. 1475–1528, German, Head of a Shouting Child, c. 1520. Black chalk on paper, 24.4 × 20 cm. Kupferstichkabinett, Staatliche Museen zu Berlin, Berlin. Northern Renaissance.

207. Andrea del Sarto (Andrea d’Agnolo), 1486–1530, Italian, Study for the Head of Mary Magdalene, date unknown. Red pencil on watermarked white paper, 21.7 × 17 cm. Galleria degli Uffizi, Florence. High Renaissance.

ANDREA DEL SARTO (Andrea d’Agnolo)

(Florence, 1486–1530)

The epithet ‘del sarto’ (of the tailor) is derived from his father’s profession. Apart from a visit to Fontainebleau in 1518–1519 to work for Francis I, Andrea was based in Florence all his life. A pioneer of Mannerism and a leading fresco painter of the High Renaissance, Andrea selected subjects that were nearly always covered in bright, solidly coloured robes without adornment. Major works include the John the Baptist series at the Chiostro dello Scalzo (1511–1526) and his Madonna of the Harpies (1517). Andrea suffered from being the contemporary of such giants as Michelangelo and Raphael, but he undoubtedly ranks as one of the greatest masters of his time.

208. Andrea del Sarto (Andrea d’Agnolo), 1486–1530, Italian, Head of an Old Man in Profile, date unknown. Black pencil and wash on watermarked white paper, 21.8 × 18.1 cm. Galleria degli Uffizi, Florence. High Renaissance.

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