Introduction: Throughout the history of Christianity,
the Church has shared an intimate relationship with sacred art. As early as the
second century, the Faithful crafted sacred imagery, enriching their spiritual
lives with art representing Christ and the Virgin Mary. Just as over the centuries
the Catholic Church has moved through various stages, so too has the tradition
of sacred art conformed to the developments of each era. By embracing the innovations
of the time and implementing their own artistic vision, the masters who decorated
the churches and Christian homes that arose during their individual periods continue
to gift culture with their genius. This virtual museum exhibition will analyze the
religious imagery that appeared during the Italian High Renaissance, looking specifically
to the work of three renowned artists: Leonardo
da Vinci (1452 A.D. - 1519 A.D.), Michelangelo Buonarroti (1475 A.D. - 1564
A.D.), and Raffaello Sanzio (1483 A.D. - 1520 A.D.). Whereas it is not possible
to consider every one of these masters’ works, this exhibit will examine one specific
sacred piece completed by da Vinci, Michelangelo, and Raphael, in which each
artists’ impact is well illustrated. In doing so, it will offer both a theological
and historical perspective, discussing the relationship between the work of
these artists and the Church of the Italian Renaissance.
An
Overview of the Church in the Renaissance: In order to
fully appreciate the inception of sacred art in the High Renaissance style, it
is necessary to first understand the social and ecclesiastic dynamic of this period.
Its title meaning “rebirth,” the Renaissance period (fourteenth to seventeenth
century) saw a tremendous shift in the cultural focus of Europe. Humanism directed
the social mindset, and intellectuals and artists alike sought to revive the traditions
of ancient Greece and Rome. While during this period the Catholic Church was the
primary spiritual influence as well as a leading social force, throughout much
of the Renaissance She battled the destructive elements of the Protestant Reformation.
In a quest to define Catholic belief, the Council of Trent was convened from 1545
A.D. to 1563 A.D. It was here that the council fathers reemphasized the need for
religious art. Sacred imagery “was to have a pedagogical purpose by
representing sacred doctrine and the Church’s aesthetic imprimatur was a
necessary guarantee of doctrinal correctness.” Although their work proceeded
the council, the High Renaissance masters, Leonardo da Vinci, Michelangelo Buonarroti,
and Raffaello Sanzio answered to this need. Beginning in c. 1490 A.D., the High
Renaissance remained dominant in Europe for over three decades, not coming to
an end until 1527 A.D. These years were of key importance within the entirety
of the Renaissance and represent the heights of achievement acquired during the
period. As this exhibit will display, a
style emerged which would positively enhance the teachings of Catholicism for centuries
to follow.
1. Leonardo
da Vinci
It is appropriate
that this museum exhibit open with Leonardo da Vinci, as he has long been
considered the ultimate Renaissance man and “master of a hundred arts.” Born on April 15, 1452 A.D.,
in Vinci, Italy, during his early years the young Leonardo was influenced by Humanism
and its bond with Classical Antiquity. At the age of fifteen he was apprenticed
in the workshop of Andrea del Verrocchio in Florence, under whom he showed remarkable
talent. Throughout the decades of
his career, da Vinci worked under patrons in Florence, Milan, Rome, and France. Rather than concentrating
solely on the artistic dimension of his talent, he embraced the persona of the Renaissance
man and took great strides in the realms of botany, geology, geography, military
engineering, anatomy, and aspects of physical science, for instance, hydraulics
and mechanics.
While each of these areas of study aided da Vinci in his artistic endeavors,
his love of anatomy and engineering were of particular significance. Much of
his work was highly influenced by Catholicism, such as seen in his church
designs and religious art. However, due to the diversity of his interests, da
Vinci finished few pieces, leaving his legacy in sketches and cartoons rather than
completed works. Nevertheless, his significance is not mitigated. On the contrary,
his work acted as a steppingstone to that of his contemporaries, the High Renaissance
artists, Michelangelo and Raphael.
The Virgin and Child with Saint Anne and Saint
John the Baptist
Leonardo da Vinci possessed a remarkable
understanding of the sacred power of art, a concept beautifully conveyed in his
words: "A good painter has two chief objects to paint – man and the
intention of his soul.” His cartoon for the Madonna
and Child with Saint Anne and the Infant Saint John (c. 1505 A.D. – 1507 A.D.)
is particularly indicative of this philosophy.
The graceful gestures in the drawing’s figures, together with their serene
facial expressions, create a reflection of their deeper spirituality. In
addition, this sketch demonstrates the bond existing between classical themed
realism and religion so prominent within art of the High Renaissance. Incorporated
into each figure is detailed naturalism, calling to mind da Vinci's extensive knowledge
of human anatomy. This work thus demonstrates the incorporation of Humanistic
thought which structured sacred art of the era, creating a balance among Renaissance
aestheticism and the Church's mission of evangelization.
2. Michelangelo Buonarrota
The second High Renaissance
artist to be examined in this museum exhibit is indispensable to the artistic tradition
of the Vatican. Michelangelo Buonarrota was born in Caprese, Italy, on March 6,
1475 A.D. At a young age he was placed in the care of a family of stone
cutters, an event which “[laid] the foundation for his later love affair with
marble." Rather than thriving in academic studies,
Michelangelo spent his time mesmerized by the work of nearby church painters, drawing
what he experienced. At a young age Michelangelo began studying and working in
the palace of Lorenzo the Magnificent, demonstrating unparalleled talent in the
art of classical sculpture. Michelangelo’s love of this medium is particularly
visible in his frescos, where he merged the intricacies of these two distinctive
art forms, thus embodying his words: "I now believe that painting and
sculpture are one and the same." Michelangelo completed
extensive work within the Vatican, illumining Church Doctrine with plaster,
paint, and marble. Until his death in 1564 A.D., Michelangelo created
masterpieces reflecting the Council of Trent's future stipulations concerning
sacred art, building upon the foundation laid by Leonardo da Vinci while simultaneously
influencing numerus other High Renaissance and post-Renaissance artists.
The Last Judgement
When the artistic legacy of Michelangelo
is considered, the frescos with which he adorned the Vatican's Sistine Chapel
ceiling instantly come to mind. However, this museum exhibit will not focus on the
ceiling set of frescos but rather, The Last Judgment (1534 A.D. - 1541
A.D), a painting he placed on the wall of the same chapel years later. Through
its intense emotion and movement, this painting draws together both the humanistic
and spiritual ideologies of the High Renaissance. For example, although the naturalistic
Christ figure dramatically lifts is arm in anger, he also gracefully gestures
toward his pierced side, representing both God’s mercy and justice. The incorporation
of both realistic and imaginative figures serve to fully illustrate the
theological theme of the Last Judgment scene. In this fresco, the prevailing Church
mindset later conveyed in the Council of Trent is visible, wherein “most
Catholics turned away from a ‘religion of the suffering God’ to a ‘religion of
glory.’”
The human forms, taking the appearance of sculpted paintings, emulate the Humanistic
Philosophy of the era with their emphasis on the perfection of man. Classical Antiquity,
High Renaissance thought, and Catholic Doctrine ultimately merge, breathing new
life into sacred art through Michelangelo’s talent.
3. Raffaello
Sanzio
The third and final
High Renaissance artist to be discussed in this museum exhibit is Raffaello
Sanzio. Known in popular culture as Raphael, this master was born in Urbino, Italy,
in the year 1483. Raised in material, intellectual, and artistic wealth,
Raphael quickly built a successful career. Beginning his artistic endeavors in
Perugia, moving to Florence, and later working under papal patronage in Rome,
he incorporated into his paintings stylistic themes prominent both in the work
of Leonardo da Vinci and Michelangelo.
His efforts within the sphere of sacred art built upon that of these two
High Renaissance artists and, like them, he continued to wed extreme emphasis
on the humanity of his figures with their spiritual identity. In doing so, he
also responded to the Church's desire to offer Her Faithful art with which they
would personally connect. Although Raphael died prematurely at the age of
thirty-seven (1520 A.D.), he completed numerous sacred works of undeniable significance,
many within the heart of the Vatican.
The
Sistine Madonna
Completed in 1512
A.D. for use as an altarpiece in the convent chapel at San Sixtus in Piacenza,
a sacred structure housing the relics of Saint Sixtus and Saint Barbara, this oil
painting reflects the presence of these two saints as, at the sides of the
Blessed Mother, both appear. While Raphael painted the
movement of the figure’s bodies in a remarkably realistic manner, the celestial
background surrounding them offers a spiritual dynamic. The figures of the
Virgin and Child wear pained expressions, as the intended location for the
image was directly facing a crucifix. The majesty of the work is interwoven
with tragedy, where each figure in the painting is aware of the future
suffering awaiting the Infant. The Sistine Madonna thus embodies Raphael’s
approach to sacred art, emphasizing the "symbolic power of [his]
canvas,"
through which he embraced both Catholic spirituality and humanistic naturalism.
Conclusion:
In analyzing the life and work
of Leonardo da Vinci, Michelangelo, and Raphael, it becomes evident that they
played a priceless role within the history of Catholicism. At a time when the Church
was in need of sacred imagery to illustrate Doctrine, these three Italian High Renaissance
artists created timeless religious masterpieces. The strides they took within the
tradition of sacred art remain as relevant, if not more so, in the present day
as they did during the High Renaissance. Just as da Vinci, Michelangelo, and Raphael
grew from each other, so too have subsequent artistic styles emerged from these
masters. This virtual museum exhibition ultimately offers a glimpse into a pivotal
moment in the story of Church History, illumining its undeniable influence within
the life of Catholicism.
Image References:
Image 1: Michelangelo
Buonarrota, "The Creation of Adam," 1508 A.D. - 1512 A.D. Fresco, Sistine
Chapel, Rome. www.hampshireculture.org.uk.
Image 2: Leonardo da
Vinci, "The Virgin and Child with Saint Anne and Saint John the Baptist," c. 1505
A.D. – 1507 A.D. Charcoal heightened with black and white chalk on
brown paper, National Gallery, London. www.leonardodavinci.net.
Image 3: Michelangelo
Buonarrota, “The Last Judgment,” 1534 A.D. - 1541 A.D. Fresco, Sistine
Chapel, Rome.
Image 4: Raffael
Sanzio, “The Sistine Madonna,” 1513 A.D. – 1514 A.D. Oil on canvas.
Gemäldegalerie Alte Meister, Dresden. www.italian-renaissance-art.com.
