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AP®︎/College Art History
Course: AP®︎/College Art History > Unit 5
Lesson 3: Renaissance Art in Europe- Workshop of Campin, Annunciation Triptych (Merode Altarpiece)
- Brunelleschi, Pazzi Chapel
- Van Eyck, The Arnolfini Portrait
- Donatello, David
- Donatello, David
- Alberti, Palazzo Rucellai
- Alberti, Palazzo Rucellai
- Fra Filippo Lippi, Madonna and Child with two Angels
- A celebration of beauty and love: Botticelli's Birth of Venus
- The Last Supper
- The Last Supper
- Dürer, Adam and Eve
- Ceiling of the Sistine Chapel
- Ceiling of the Sistine Chapel
- Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)
- Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)
- Last Judgment (altar wall, Sistine Chapel)
- Raphael, School of Athens
- Raphael, School of Athens
- Grünewald, Isenheim Altarpiece
- Pontormo, The Entombment of Christ
- Cranach, Law and Gospel (Law and Grace)
- Titian, Venus of Urbino
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Raphael, School of Athens
The School of Athens represents all the greatest mathematicians, philosophers and scientists from classical antiquity gathered together sharing their ideas and learning from each other. These figures all lived at different times, but here they are gathered together under one roof.
The two thinkers in the very center, Aristotle (on the right) and Plato (on the left, pointing up) have been enormously important to Western thinking generally, and in different ways, their different philosophies were incoporated into Christianity.
Plato points up because in his philosophy the changing world that we see around us is just a shadow of a higher, truer reality that is eternal and unchanging (and include things like goodness and beauty). For Plato, this otherworldly reality is the ultimate reality, and the seat of all truth, beauty, justice, and wisdom. Plato holds his book called the Timaeus.
Aristotle holds his hand down, because in his philosophy, the only reality is the one that we can see and experience by sight and touch (exactly the reality dismissed by Plato). Aristotle's Ethics (the book that he holds) "emphasized the relationships, justice, friendship, and government of the human world and the need to study it."
Pythagoras (lower left) believed that the world (including the movement of the planets and stars) operated according to mathematical laws. These mathematical laws were related to ideas of musical and cosmic harmony, and thus (for the Christians who interpreted him in the Renaissance) to God. Pythagoras taught that each of the planets produced a note as it moved, based on its distance from the earth. Together, the movement of all the planets was perfect harmony -- "the harmony of the spheres."
Ptolemy (he has his back to us on the lower right), holds a sphere of the earth, next to him is Zaroaster who holds a celestial sphere. Ptolemy tried to mathematically explain the movements of the planets (which was not easy since some of them appear to move backwards!). His theory of how they all moved around the earth remained the authority until Copernicus and Kepler figured out (in the late 16th century) that the earth was not at the center of the universe, and that the planets moved in orbits the shape of ellipses not in circles. Raphael included a self-portrait of himself, standing next to Ptolemy. He looks right out at us.
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Want to join the conversation?
How does this picture represent the renaissance?(10 votes)
While Theo Roosevelt makes a good point, the primary idea that this painting has in connection to the time of its creation, the Renaissance, is a revival of interest in Greek and Roman society. Specifically that of Art, Music, history and in this case, Philosophy, Science, Math and Architecture. Greek and Roman culture would have a strong impact on the Renaissance as it would set high standards for the artists to meet that were forgotten and lost to some extent during the middle ages.(8 votes)
Who was the patron for The School of Athens?(7 votes)
As far as I know, the painting was for Pope Julius II.(8 votes)
What is the creation date?(8 votes)
might be too late, but it was painted between 1509 and 1511(1 vote)
How Are the for elements described(5 votes)
The elements are represented on Plato and Aristotle's clothing. Plato wears purple and red, colors meant to reflect air and fire, respectively. These elements have no weight, and are less tangible than others. Aristotle wears brown and blue, meant to reflect the tangible weight of earth and water. The opposing elements the colored dress represent the dichotomy of either philosopher, as the divine and ethereal for Plato and the tangible and earthly for Aristotle.(7 votes)
- What four people painted into The School of Athens?(5 votes)
what does this painting teach us about the renaissance?(4 votes)- This painting teaches us that during the Renaissance, classical learning from the ancient Greeks was highly valued.(5 votes)
what is linear perspective in this painting. What did Raphael want to achieve?(3 votes)- Linear perspective is a mathematical formula using a system of lines known as 'orthogonals.' Linear perspective allows a scene to be interpreted as more realistic. Raphael's use of linear perspective wasn't just for the purpose of representing a realistic scene. Cleverly, he positioned the two most important figures of this scene at the vanishing point. The vanishing point is a point on the horizon line where the orthogonals all meet, a path that our eyes instinctively follow. Raphael uses linear perspective for the purpose of a realistic scene and to promote the importance of Plato and Aristotle, of whom the two opposing philosophies the fresco represents.(5 votes)
- Why did Raphael include a self portrait of himself?(2 votes)
It was common for Renaissance artists to include self-portraits. It was during the Renaissance that artists took on more importance and began signing their works. This was less common during the Middle Ages and Early Renaissance, most likely because of a combination of religious beliefs (God is the only creator) and the lowly status of artists. The perception of artists changed during the Renaissance largely thanks to humanism and the development of a merchant class who could afford to purchase art (creating a much larger customer base). Artists were given a higher status and therefore it became more acceptable to sign your work. By extension, self-portraits act as both a signature and also a showcase of a artist's skill at their craft. Portraiture was incredibly popular during this period and it was not uncommon for patrons (those who commissioned the works) to want themselves shown either in the guise of biblical or mythological figure or as a personification.(5 votes)
- how is this different from the middle ages(2 votes)