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1 Leonardo da Vinci Perhaps the most famous Renaissance Man was Leonardo da Vinci. Leonardo was a painter, sculptor, architect, engineer, naturalist, and inventor. He filled notebook after notebook with sketches and notes for inventions, including a robot, a calculator, and a flying machine that looks much like a modern helicopter. Leonardo was born in Vinci, a town in Tuscany that is near Florence. The name Leonardo da Vinci actually means Leonardo from Vinci. As a young man, Leonardo was apprenticed to a painter named Andrea del Verrocchio in Florence. He created a number of promising paintings during this time. Later he went to work for the duke of Milan, whom he served as an engineer and painter. It was in Milan that Leonardo began to fill many of his famous notebooks. He also painted one of his most famous paintings, The Last Supper, which shows Jesus and his apostles. Leonardo used an experimental technique for this painting, oil-tempera paint applied to dry plaster, rather than using the traditional fresco method of applying pigments to plaster while the plaster was still wet. Unfortunately the experiment was not a success, and the painting has deteriorated over the years. Around 1500 Leonardo returned to Florence. It was there that he painted another famous masterpiece, Mona Lisa. The dreamy quality of the portrait of Mona Lisa resulted from Leonardo s use of subtle gradations of light and shade. (For more information about Mona Lisa and The Last Supper, see the Visual Arts section, pp ) Leonardo was also interested in anatomy and believed that the human form, as well as animal figures, should be drawn as realistically as possible. For this reason, he studied cadavers and made numerous sketches of human anatomy in order to understand how muscles and bones work. In his last years, he was engaged with scientific studies rather than painting.

2 2 Leonardo da Vinci, The Vitruvian Man (The Proportions of Man) (c. 1492) The mind of Leonardo da Vinci ( ) has been a topic of endless fascination and discussion among scholars. How could one person have so many ideas about so many things? We are most fortunate that more than 5,000 pages of the artist s drawings and notes (in his curious mirror-image handwriting) survive. They tell us that he pondered all facets of the physical and natural worlds. Leonardo was an especially great observer of human anatomy. This drawing of the proportions of the human body (sometimes called The Vitruvian Man or The Proportions of Man) is based on a mathematical analysis of the proportions between parts and the whole. The figure both stands in a square and, with extended limbs, stretches to touch a circle. The image reflects the belief that the perfect geometry of the human form relates it directly to the mathematical construction of the universe. To Renaissance thinkers the human form was as a microcosm of the macrocosm. 66 You can read more about Leonardo da Vinci in the World History and Geography section The Renaissance and the Reformation, pp Where is the center of the circle? The center of the circle is located at the navel of the figure.

3 What kind of triangle is formed, or implied, by the legs and feet of the extended figure? An equilateral triangle is formed by the legs and feet. What ideas and interests of the Renaissance does this figure represent? The figure represents an interest in the human figure and in the scientific and mathematical analysis of the physical world. It also expresses a belief in the importance of the role of humankind in the universe. The drawing also reminds the viewer that the laws ruling the human body are related to the laws ruling geometry, and both kinds of laws are part of the rational harmony of all heaven and earth. Why would you not expect an artist from medieval times to take the same kind of interest in understanding the physical world as a Renaissance artist? Medieval artists were focused on the spiritual aspects of the universe; they did not believe that humankind had the ability to shape its own destiny. Many of the ideas and projects that Leonardo was working on were original, or even in violation of the law. Why might he have used mirror-writing (backwards writing) for his notes? Answers will vary. Some people believe that he did it to deter others from studying his notebooks. Why might an artist s notebook be of more interest than a finished work of art? Answers will vary. Students might mention that an artist s notebook probably describes what the artist was thinking, his calculations, and his plans for completing the work. Leonardo da Vinci, Mona Lisa ( ) 3 Leonardo da Vinci was the epitome of the Renaissance Man a great artist of his time who also excelled in engineering, architecture (from churches to fortresses), military science, geology, aerodynamics, optics, hydraulics, botany, music, and literature. His Mona Lisa is perhaps the most well-known portrait in the western world. Nearly 500 years after Leonardo laid down his brush, she still looks out with an enigmatic smile that has confounded scholars for generations. Why is the attractive woman smiling? At whom is she smiling? Did Leonardo want her gaze to meet ours or not? Leonardo s fascination with the science of light and nature affected his art. He noticed that objects were not really made of lines, but of shadows and highlights. He used dark and light shades in a technique called chiaroscuro [kee-ahr-uh- SKYUR-oh], giving his images a softer, more realistic, three-dimensional look, as evident in Mona Lisa s face. Leonardo also observed that objects in the far distance appear less distinct and so employed sfumato blurring the edges of objects, thus making them appear as if they are far away. Sfumato is evident in the Mona Lisa s landscape background, which recedes into deep space, defying the painting s actual flat surface. How does Leonardo draw your eye through the painting? The use of light in the upper half of the painting and in the hands draws your eye in a circular motion through the painting. Leonardo also used a pyramid design, placing the woman in the center of the painting, forming the base with her hands, and the peak at the top of her head.

4 Leonardo used a technique called sfumato, the blurring between light and dark and blending of different colors. How does this technique contribute to the realistic look of Mona Lisa? The depth of her face, especially around the eyes and corners of her mouth, was created using this technique. It creates a lively feeling and a sense of three-dimensionality. Is the background of the painting realistic? Why or why not? Answers will vary. Students should support their answers with specific references to the work. The young woman s expression is mysterious. What do you think she is feeling? Answers will vary. Explain that in drawing, expression rests mainly in two features: the corners of the mouth and the corners of the eyes. Leonardo deliberately left these parts hard to see by letting them merge into a soft shadow. That is probably why we are never quite certain what mood Mona Lisa s expression is conveying. Leonardo da Vinci, The Last Supper (1498) 4 Italian Renaissance painting was typically made for a specific purpose and location. What more logical subject to paint in the dining hall of the Dominican monastery in Milan than The Last Supper? While eating, the monks could contemplate the moment in which Christ tells his disciples, One of you will betray me. How do the figures react? Leonardo captures each one s powerful response questioning, denial, horror, shock, and disbelief. The story of The Last Supper is told in the book of Luke, chapter 22, verses 1 23 in the Bible. (See More Resources.) Leonardo emphasizes Christ s centrality by placing him in the center, and also draws attention to his serene face through linear perspective. The lines made by the tops of the doorways, the meeting of wall and ceiling, and the roof beams all converge in a vanishing point just above his head. Judas, the disciple who will betray Christ, is on Christ s right. He is the only one drawing back and whose face is in shadow. Leonardo tried something new with this work. He painted on dry plaster rather than using the traditional fresco technique of applying pigments to wet plaster, which absorbs the paint and makes for a strong, durable work. Unfortunately, the technique failed, and the paint began to flake off even in Leonardo s time. Restoration to preserve this masterpiece has continued to this day. 67 What do you see? This is a depiction of Jesus final meal with his disciples as imagined by the artist, Leonardo da Vinci. Christians believe that the Last Supper was on a Thursday, and Jesus was crucified on Friday and rose from the dead on Sunday, which is celebrated as Easter Sunday. How does Leonardo draw your eye to the main figure? The figure is centrally located and isolated within the door frame. Also, the vanishing point is at Jesus head. One of Jesus disciples will betray him to the Romans. Do you think the disciples have learned of this yet? Why? Answers will vary, but should include that the disciples appear surprised, shocked, or sad.

5 What do you feel looking at this work? Answers will vary. Did Leonardo use linear perspective in the same way in both The Last Supper and Mona Lisa? Answers will vary.

6 CK_5_TH_VA_P325_368.QXD 2/10/06 7:47 AM Page 338 I. Art of the Renaissance When you discuss perspective in Raphael s Marriage of the Virgin, you may wish to review from Grade 3 foreground, middle ground, and background. For contrast, examine paintings that do not create an illusion of depth, for example, Madonna and Child on a Curved Throne. (See Grade 4 Art Resources, Art of the Middle Ages.) You may wish to show students additional paintings by Raphael. One of special interest is his School of Athens, which shows great thinkers from antiquity like Plato and Aristotle along with Renaissance figures like Leonardo da Vinci. This is a classic expression of the Renaissance s artists appreciation for the classical world. Ask if students have been to a wedding, participated in a wedding, or seen a wedding on television. If they have, ask students to share their favorite memory of the wedding in a painting or drawing, and supplement it with a journal entry. Review linear perspective with students. Then ask them to determine where the vanishing point is in Raphael s Marriage of the Virgin. (the open doorway) Why is its location important? (directly above Joseph putting a ring on Mary the center of the action) 338 Grade 5 Handbook In his Marriage of the Virgin, Raphael sets the stage carefully. He conveys the importance of this marriage through his positioning of the main characters and background architecture. Everything, including the lines on the ground, draws our eye to Joseph and Mary, shown front and center, at the moment of their marriage. The joining of the couple is an important event leading to the eventual birth of Jesus. This story is told in the book of Matthew, chapter 1, verses of the Bible. Raphael inserts a bit of drama into the seemingly serene scene. Joseph s staff blossoms, signifying that God has chosen him to marry Mary. The staffs of the suitors behind him remain bare. And the frustrated suitor in the foreground even breaks his staff in half. Raphael heightens the sense of disappointment by playing it against the quiet perfection of the rest of the scene. As noted above, prior to the Renaissance, artists typically did not sign their work. The concept of painters and sculptors as great geniuses who deserved fame from their work developed during this time. Raphael s painting is an example of the trend. He painted Raphael Vrbinas (Raphael of Urbino) and the date, 1504, in the building s fictive center arch thus letting everyone know he created the work. Explain that this scene represents the marriage of the Virgin Mary (the mother of Jesus) to Joseph in an Italian Renaissance setting. What moment in the marriage ceremony is being depicted? Joseph is about to place a ring on Mary s hand. Where is the vanishing point in this painting? The open doorway of the building is the vanishing point. Raphael establishes a foreground, middle ground, and background to give the painting depth. Which figures mark these areas of the painting? The wedding party is in the foreground; there are people in the middle of the plaza; and there are people in the distance atop the steps of the building. Raphael was praised for his ability to portray lifelike figures. How does he accomplish this in this painting? The figures have strength and energy. The man on the right is bending or breaking a stick over his knee. Joseph and Mary are caught in the middle of a movement. The Florentines (residents of Florence) were quite proud of their architecture. How does Raphael give a major role to architecture in this painting? The building occupies the upper half of the painting and seems to preside over the ceremony in the foreground. Does the building show evidence of Renaissance interest in ancient Greek and Roman architecture? Yes, the interest is apparent in the building elements (columns, arches, friezes) and the idealized figures. Raphael and other Renaissance artists placed biblical scenes in Italian Renaissance settings and peopled them with figures in Renaissance clothing. Why might they have depicted scenes this way? Answers will vary. 7 Raphael, The Virgin and Child with Saint John the Baptist (1507) Raphael became famous for his Madonna and Child paintings. The theme was not new; the tradition of painting the Virgin and baby Jesus had existed for about 1,000 years. But Raphael s figures have more volume a sense of fullness which made them appear more lifelike than those from previous periods.

7 CK_5_TH_VA_P325_368.QXD 2/10/06 7:47 AM Page 339 As in Marriage of the Virgin, Raphael positions his figures in a manner that communicates information. The Virgin Mary is in the center. She is the embodiment of love and nurturing, encompassing and protecting Jesus and his cousin John the Baptist. Mary is most likely holding a devotional prayer book. Jesus is holding a crucifix in his hand. John the Baptist is the figure on the right, and he is wearing the garment of a desert-dweller. Both John and Mary are focused on the figure of Jesus. Notice too the strong diagonal Raphael builds from Mary s head down through that of Jesus, and then John the Baptist. The diagonal changes direction when forming the triangle. The only thing that breaks the line is the cross an important symbol of the Christian religion. Raphael focuses both John and Mary s gaze on the cross so that we understand its importance. Finally, Raphael forms the trio into a solid triangle that won t tumble out of the picture s round shape. 70 Note: Cover up the title on the front of the print before showing to students. This may look like a scene of two children and a woman, or their mother, but do you see indications that it is a religious scene as well? One child is holding a crucifix; the other (trace with your finger) has a halo above his head: the halo is a symbol of grace, divinity, and holiness. Explain that this is a portrait of the Virgin Mary with her son Jesus and John the Baptist, who is said to be Jesus cousin. John the Baptist preached in the wilderness and baptized people there. Baptism welcomes people into the Christian community. Which child do you think is John the Baptist? He is the one on the right. He wears the garment of a desertdweller. How can you tell that Jesus is the most important figure? Both John the Baptist and Mary are looking at him. What strong horizontal line balances the circular shape of the painting? The band of water and trees balances the circular shape of the painting. Despite the deep space of the background, how does Raphael keep your eyes focused on the figures? The figures are large, in the immediate foreground, and are placed so that they block your view. What geometric shape do the three figures create in the composition? The figures create a triangle. What do you think appealed to people about Raphael s works? Is there anything that appeals to you now? Answers will vary. Donatello, Saint George (c ) 8 The sculptor Donatello ( ) was well known early in the Renaissance for his dramatic, life-sized figures. Born in Florence, Donatello was apprenticed to a goldsmith. Later he would benefit from the patronage of Cosimo de Medici. He was a friend of the architect Brunelleschi. Donatello posed Saint George in a rather simple manner. He stands facing us directly, feet apart, shoulders square, with his shield and hands at the ready. He is at rest but leans ever so slightly forward, ready to leap into action at any moment. Find other, older depictions of Mary and Jesus along with additional paintings by Raphael and compare the figures. Ask students to try to describe the unique nature of Raphael s paintings. Raphael s figures sit in a realistic landscape. He creates a sense of deep space in a similar way as Leonardo da Vinci did in his famous portrait Mona Lisa. Have students note how both artists blurred the details in the distance. The outlines of the landscape are indistinct in comparison to those of the nearby figures. This visually imitates the way humans actually see objects grow fainter the farther away they are from us. Visual Arts 339

8 CK_5_TH_VA_P325_368.QXD 2/10/06 7:47 AM Page 340 I. Art of the Renaissance With masking tape, measure the height of Saint George along a classroom wall. (The statue is 6 ft. 10 in. or 209 cm.) Have students stand next to the mark and imagine seeing the sculpture. Based on what they viewed in the reproduction, have them write about how they might feel before this mighty marble figure. How does his size and expression affect them? Have students peer-edit one another s work for correct punctuation, spelling, grammar, and clearly expressed ideas. Donatello also did a statue of David. Students may enjoy comparing Donatello s David with Michelangelo s David. Michelangelo sculptor, painter, and architect was working on sculptures until just six days before his death. Ask students what he likely meant by alphabet when he said on his deathbed, I regret that I am dying just as I am beginning to learn the alphabet of my profession. Saint George s expression is intense. His furrowed brow suggests passion and dedication. Donatello visually tells us that Saint George is the brave hero who saves the king s daughter from the menacing dragon. The Armorers Guild commissioned this work from Donatello for the Or San Michele Church. This was a guild church on the main road in Florence that had fourteen niches for sculpture. Saint George originally sat in one of the niches. A copy has since replaced it; the original is now in the National Museum of the Bargello in Florence. Different guilds commissioned different artists to represent their patron saints. Given the nature of its work, the Armorers Guild demanded that Saint George be depicted fully armed. Despite the limitations this imposed, Donatello imbued his Saint George with a deep expressive quality. Students who were in Core Knowledge schools in Grade 4 should be familiar with the story of Saint George and the dragon, though you may wish to review it. At a minimum, explain that Saint George is the patron saint of England. Around the time of the First Crusade, he is said to have slain a dragon that was holding a Libyan king s daughter captive. As his reward, he asked that the king and all his people convert to Christianity, and his request was granted. What object is the figure holding and what is he wearing? He is holding a shield and wearing armor. What do these items suggest about the man s duty? The items suggest that the man is a knight or warrior. What does the figure s stance indicate about his attitude towards fighting? His stance indicates that he is courageous and determined. What do you think his facial expression suggests? Answers will vary. Students should support their answers with specific references to the image. Where do you see evidence that this warrior is a Christian knight? The sign of the crucifix is on his shield. Michelangelo, David (c ) 9 Michelangelo ( ) referred to himself as a stonecutter, believing it his foremost skill. (Notice the three-dimensional quality of his painted figures in the Sistine Chapel.) At a mere 26 years of age, in Florence, Michelangelo carved a huge piece of marble about 14 feet long into a 13-foot tall statue of the biblical hero, David. Michelangelo s figure imitates the scale and idealization of ancient Greek sculpture, which celebrated beauty, youth, balance, and harmony. Michelangelo studied the human body to see how the muscles and skin moved; thus his statue has very obvious muscles and veins. The statue is leaning on one leg, as do many of the ancient Roman sculptures that copied the Greek style. In the Old Testament story, David is a young boy who faces the giant warrior Goliath. This story can be found in the Bible, first book of Samuel, chapter 17, verses Why did Michelangelo depict a heroic and strapping older youth? Although the sculpture has a religious theme, it was displayed in Florence s government center and served as a symbol of republican civic pride. At that time, Florence was an independent city-state that had just ousted the 340 Grade 5 Handbook