Leonardo Da Vinci During The High Renaissance

Following centuries of a powerful church, chivalrous knights, and harsh struggles, emerged a season of rebirth, rediscovery, and revival. Characterized by humanistic ideals, the Renaissance period marked a new style of art and literature and fresh appreciation of the body and nature. The pinnacle of the period occurred from 1500 to 1520, an era concentrated in Italy and known as the High Renaissance. Two prominent faces of the time were Leonardo da Vinci, painter of the acclaimed, “Mona Lisa,” and Michelangelo Buonarroti, sculptor of the jaw-dropping, “Pieta.” As the Renaissance spread North, Jan van Eyck, gifted artist of the “Arnolfini Wedding,” entered the public eye as well. Gradually, the study of mortal man replaced the study of the Almighty

God. As the rebirth of culture occurred, a new, humanistic attitude toward God and man materialized.
Leonardo da Vinci, 15th Century virtuoso behind the scrutinized “Mona Lisa,” epitomizes High Renaissance art.

Nearly everything captured the attention of handsome, intelligent, and charming da Vinci. His dream of flying and pursuit of inventing often compelled him to abandon a project for the sake of exploration. Contrary to the beliefs of most notorious figures of the time, da Vinci comprehended the flaws of humanism and relativism. Rather, he recognized a higher authority, which he strove to obey. Today, da Vinci is most frequently recognized as the creative genius behind the fascinating “Mona Lisa.” “Mona Lisa” herself, was likely quite ordinary. In fact, “Mona” is simply an abbreviation of the title, “Mrs.” or “Madonna.” While the subject’s true identity is debatable, da Vinci’s skillful execution is undeniable. The blurred contours and dark undertones of his own technique, sfumato, pair with intentional fuzziness and purposeful shadows to create a portrait with exceptional depth and rich meaning. Opposed to the preferences of many artists of the day, da Vinci favored pleasant subjects. No doubt his employment of musicians and jesters to entertain his subjects is partially responsible for Mona Lisa’s distinguished smile. Indubitably, Leonardo da Vinci’s achievements set the standard for High Renaissance

art.
Another master of High Renaissance art is Michelangelo Buonarroti. As a young boy, his family did not appreciate his ability, but instead chastised him for lack of a “respectable” occupation. Fortunately, Medici prince Lorenzo the Magnificient, recognizing fifteen year old Michelangelo’s talent, practically adopted the boy, and raised him in the Florentine Court, like a son. In stark contrast to da Vinci’s amiable qualities, Michelangelo has been described as intolerant, jealous, and short-tempered. Intriguingly, Michelangelo preferred sculpting to other forms of art. He found it more spiritual, since life was formed from the dust of the ground. Accordingly, Michelangelo’s first renowned work and only signed masterpiece was a sculpture. Titled “Pieta,” meaning, “pity,” the sculpture displayed the calm Virgin and holy Christ. Michelangelo’s exceptional understanding of anatomy flowed from his extensive dissection of cadavers. Dismally, many of his sculptures proclaimed a message that man can achieve greatness single-handedly. By Michelangelo’s death, he had understandably been described as the “prototype of artistic genius.”
While often discussed in relation to Italy, the “rebirth” of culture spread across the continent, prompting revivals, such as the Northern Renaissance, a period modeled by 15th Century, Flemish painter Jan van Eyck . Master of realism, Jan van Eyck’s paintings of nature have been described as almost photographic. At the time, artists were required to form their own paint, often using egg as the binder. Van Eyck broke the mold, experimenting with oil in lieu of the egg. Highly successful, the glaze captured light, generating the illusion of a glowing scene. Seemingly strange upon first glance, his “Arnolfini Wedding,” a private wedding in a bedchamber contains exquisite symbolism. The dog portrays fidelity, the shoes – a sacred area, the fruit – fertility, a whisk brush - domestic care, and a single candle – the omniscient eye of God. As a private wedding, who witnessed the marriage? On the back wall, a mirror reflects the image of Jan van Eyck. Further verification is found in the inscription upon the mirror, “Johannes de Eyck fuit hic. 1434,” a Latin phrase, which translates, “Jan van Eyck was here. 1434.” Rich in symbolism, Jan van Eyck’s masterpieces elegantly depict the Northern Renaissance.
As with any period, positive effects and negative consequences alike, accompanied the decisions and actions of Renaissance figures.

Increasingly, man was accepted as an autonomous individual and emphasized as his own measure, resulting in a loss of true meaning. The “Mona Lisa,” “Pieta,” and “Arnolfini Wedding,” are beautiful masterpieces which not only exemplify esteemed Renaissance art, but also boldly display the convictions of their artists. While Leonardo da Vinci and Jan van Eyck realized the tenants of the gospel and understood the flaws of humanism, Michelangelo adhered to the commonly accepted beliefs of relativism. Most of his contemporaries valued the human intellect, underemphasized their powerful God, and shared Michelangelo’s position. Unsurprisingly, the ideals of humanism that emerged in the Renaissance have not died off, but set the stage for the morals of humanism observed

today.