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Current time:0:00Total duration:4:21

Video transcript

[Music] only you feet see and we're looking at rocio's painting of the baptism of Christ so we see st. John on the right baptized in Christ this is simultaneously the moment that Christ's divine nature is revealed and we see that in the Holy Spirit in the hands of God above what's especially fun about this painting is that Leonardo was one of his students and Leonardo painted some parts of this painting okay so that's 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's pretty well just the notion that other people would pay part of your paintings it's not something that's true we can imagine a modern artistry but this was a standard idea that a master would have students would have apprentices and they would work in his workshop and often do some of the less critical elements so we know that Leonardo is responsible for one of the angels right so one day Rocio said today Leonardo could you paint one of the angels for me and so for ochio painted one of the angels and Leonardo painted the other and I think what's 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's really Leonardo who invents the style of the high Renaissance to me I think it's pretty obvious so we have two angels they're very close I think about how one angel Viroqua the angel looks rather typical like a boy he does look like a boy yeah like maybe Rocio went out and got avoid a 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 Michelangelo'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 Trento we have a kind of painting that create did a representation of the otherworldly of the divine that had nothing to do with the earthly but then in the fifteenth century we had artists that were studying nature studying our reality in a sense you're 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 in the heavenly by using a lot of gold halos figures that were very flat and so they suggested transcendence and kind of otherworldly Ness so what Leonardo is doing is he's 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's Leonardo who will do away with the halo but it's not just the ideal beauty of the figure that suggests that kind of transcendence and spirituality it's also I think for me and the movements of the figure if you look at Leonardo's angel holding Christ's clothing heels facing to the right his shoulders twist slightly to the left his head leans back and up and it's an incredibly complex pose if you think back to the early Renaissance artists like Masaccio and Donatello we're just really discovering how to create figure standing in contrapposto who could move realistically but Leonardo is taking a giant step beyond that so that 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 the high Renaissance will hold in store for us [Music]