Toward the high Renaissance: Verrocchio and Leonardo발음듣기
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Toward the high Renaissance: Verrocchio and Leonardo
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Toward the high Renaissance: Verrocchio and Leonardo
We're in the Uffizzi and we're looking at Verrocchio's painting of the Baptism of Christ.
So we see St. John on the right baptizing Christ.
This is simultaneously the moment that Christ's divine nature is revealed and we see that in the Holy Spirit and the hands of God above.
What is especially fun about this painting is that Leonardo was one of his students and Leonardo painted some parts of this painting.
OK, so that is a wild idea right there.
Because we think of Leonardo as the master of the High Renaissance, and the notion of him as a student and to actually have some of his student work available is really fabulous.
Well, it is pretty wild, just the notion, that other people would paint part of your paintings - that is true.
It is not something we could imagine a modern artist doing.
But this was a standard idea, that a master would have students, would have apprentices, and they would work in his work shop and often do some of the less critical elements.
So we know that Leonardo was responsible for one of the angels,
Right, so one day Verrocchio said: "Today, Leonardo, could you paint one of the angels for me?"
And so Verrocchio painted one of the angels and Leonardo painted the other.
And I think what is fun about this is to think about one of the angels as an Early Renaissance angel and the other angel as a High Renaissance angel.
Leonardo's angel as the High Renaissance angel, because it is really Leonardo who invents the style of the High Renaissance.
To me I think it is pretty obvious.
So we have two angels, they are very close.
Think about how one angel, Verrocchio's angel looks rather typical, like a boy.
He does look like a boy.
Yeah, like maybe Verrocchio went out and got a boy to model for him.
Leonardo's angel looks like it has no earthly model.
It's just ideally beautiful.
And it's that ideal beauty that will become so important in the High Renaissance.
If you think about figures like Michaelangelo's David, it's the ideal beauty of the High Renaissance figures that suggests their divine nature.
So that's so interesting.
Because when we think about the Trecento, like we have a kind of painting that created a representation of the other worldly, of the divine, that had nothing to do with the earthly.
But then in the 15th century we had artists that were studying nature, studying our reality.
In a sense you are saying that Leonardo is surpassing even that, that he took the lessons of the 15th century and reworked them in order to be able to create an even more transcendent representation of the divine.
Well, in the 1300s artists would represent spirituality or in the heavenly by using a lot of gold, halos, figures that were very flat and so they suggested transcendence, a kind of other worldliness.
So what Leonardo is doing is, he is keeping all of those lessons of the early Renaissance of how to make the human figure look real, right.
Using modeling, giving the figure a sense of weight and gravity, giving the figure a sense of three-dimensionality.
Understanding its anatomy. Exactly.
All of those lessons of the Early Renaissance and yet is able to imbue the figure with a sense of transcendence and divinity.
So much so that the halo now almost seems redundant.
Exactly. And it is Leonardo who will do away with the halo but it is not just the ideal beauty of the figure that suggests that kind of transcendence and spirituality.
It is also, I think for me, in the movements of the figure.
If you look at Leonardo's angel holding Christ's clothing, he kneals facing to the right, his shoulders twist slightly to the left, his head leans back and up and it is an incredibly complex pose.
If you think back to the Early Renaissance, the artists like Masaccio and Donatello were just really discovering how to create figures standing in contrapposto, who could move realistically.
But Leonardo is taking a giant step beyond that.
So the figures really move in a very elegant and graceful way that suggests that divine nature.
So Leonardo is really offering us a glimpse into the future, a promise of what the High Renaissance will hold in store for us.
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This is simultaneously the moment that Christ's divine nature is revealed and we see that in the Holy Spirit and the hands of God above.발음듣기
대기중
What is especially fun about this painting is that Leonardo was one of his students and Leonardo painted some parts of this painting.발음듣기
대기중
Because we think of Leonardo as the master of the High Renaissance, and the notion of him as a student and to actually have some of his student work available is really fabulous.발음듣기
대기중
Well, it is pretty wild, just the notion, that other people would paint part of your paintings - that is true.발음듣기
대기중
But this was a standard idea, that a master would have students, would have apprentices, and they would work in his work shop and often do some of the less critical elements.발음듣기
대기중
Right, so one day Verrocchio said: "Today, Leonardo, could you paint one of the angels for me?"발음듣기
대기중
And I think what is fun about this is to think about one of the angels as an Early Renaissance angel and the other angel as a High Renaissance angel.발음듣기
대기중
Leonardo's angel as the High Renaissance angel, because it is really Leonardo who invents the style of the High Renaissance.발음듣기
대기중
If you think about figures like Michaelangelo's David, it's the ideal beauty of the High Renaissance figures that suggests their divine nature.발음듣기
대기중
Because when we think about the Trecento, like we have a kind of painting that created a representation of the other worldly, of the divine, that had nothing to do with the earthly.발음듣기
대기중
But then in the 15th century we had artists that were studying nature, studying our reality.발음듣기
대기중
In a sense you are saying that Leonardo is surpassing even that, that he took the lessons of the 15th century and reworked them in order to be able to create an even more transcendent representation of the divine.발음듣기
대기중
Well, in the 1300s artists would represent spirituality or in the heavenly by using a lot of gold, halos, figures that were very flat and so they suggested transcendence, a kind of other worldliness.발음듣기
대기중
So what Leonardo is doing is, he is keeping all of those lessons of the early Renaissance of how to make the human figure look real, right.발음듣기
대기중
Using modeling, giving the figure a sense of weight and gravity, giving the figure a sense of three-dimensionality.발음듣기
대기중
All of those lessons of the Early Renaissance and yet is able to imbue the figure with a sense of transcendence and divinity.발음듣기
대기중
Exactly. And it is Leonardo who will do away with the halo but it is not just the ideal beauty of the figure that suggests that kind of transcendence and spirituality.발음듣기
대기중
If you look at Leonardo's angel holding Christ's clothing, he kneals facing to the right, his shoulders twist slightly to the left, his head leans back and up and it is an incredibly complex pose.발음듣기
대기중
If you think back to the Early Renaissance, the artists like Masaccio and Donatello were just really discovering how to create figures standing in contrapposto, who could move realistically.발음듣기
대기중
So the figures really move in a very elegant and graceful way that suggests that divine nature.발음듣기
대기중
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