Michelangelo, Raphael and Leonardo da Vinci - Were they rivals? | DW Documentary

Key Concepts

Renaissance, Papal Commissions, Artistic Rivalry, Humanism, Sculpture vs. Painting, Theory of Ideas (Plato), Sistine Chapel, School of Athens, Sprezzatura, Antiquity, St. Peter's Basilica, Reformation, Fumaato Technique.

Michelangelo: The Divine Sculptor

• Early Life and Training: Born into a Florentine family, initially rejected for his artistic inclinations, but later recognized by Lorenzo the Magnificent who provided him a place at his art school.
• Sculptural Prowess: Achieved early recognition with Pieta in Rome (1499) and widespread fame with David in Florence.
• Sculpture vs. Painting: Michelangelo considered sculpture superior due to its three-dimensionality, aligning with Greek philosophical ideals of finding form within stone. He explicitly referred to Plato's theory of ideas.
• Sistine Chapel Commission: Reluctantly accepted Pope Julius II's commission to paint the Sistine Chapel ceiling (1508), despite considering himself primarily a sculptor.
• Sistine Chapel Impact: His work was a sensation, drawing crowds and earning him the title "the divine Michelangelo." He successfully translated his sculptural understanding into a two-dimensional medium, creating figures with depth and intense colors.
• Physical Toll: The project took four years of intense labor, leaving him physically strained. He documented his struggles in drawings and poems, lamenting his discomfort and questioning his purpose. Quote: "Oh god, what am I doing here?"
• Rivalry with Raphael: Distrusted Raphael, suspecting him of spying on his work in the Sistine Chapel. He was angered when Raphael incorporated elements of his style into his own paintings, particularly the Sibyls. Michelangelo accused Raphael of copying him, inadvertently complimenting his influence.
• Tomb of Julius II: Considered it his life's work, comprising 30 gigantic sculptures inspired by models from the antique. He was irritated to have to interrupt the project for 4 years. The death of Julius II in 1513 further complicated the project. He signed a new contract with the family heirs of Julius for a smaller version of the tomb. He considered it a terrible failure. Quote: "I haven't been paid enough."
• Personality: Depicted in School of Athens as withdrawn and poorly dressed, reflecting his austere lifestyle and solitary nature.

Raphael: The Harmonious Painter

• Early Success: Arrived in Rome in 1508 at the young age of 26 and quickly surpassed established artists, becoming head of the papal building site for St. Peter's Basilica.
• Papal Favor: Pope Julius II granted him free reign to alter existing works and appointed him head of the papal building site for St. Peter's Basilica.
• Villa Farnesina: Displayed his talents at Villa Farnesina, owned by banker Agostino Chigi, moving towards a more modern style, reconciling tradition with modernity.
• Artistic Style: Combined the strengths of admired masters, achieving unprecedented perfection.
• Humanist Upbringing: Grew up in privileged surroundings in Urbino, a center of humanist thought. His father, Giovanni Santi, was a court poet and painter.
• Early Maturity: His early artistic maturity contributed to his rapid rise in Rome.
• School of Athens: His fresco School of Athens (1508-1510) in the Stanza della Segnatura symbolized the bridge between faith and science, appealing to Pope Julius II's vision of papal power.
• Master Builder: In August 1514, Leo X appointed Raphael as master builder of the future St. Peter's Basilica.
• Overseer of Roman Antiquities: The Medici pope made Raphael overseer of the Roman antiquities, responsible for the inventory and preservation of Rome's ancient civic heritage.
• Sprezzatura: Possessed sprezzatura, the nonchalance expected of a nobleman, as described by Baldassare Castiglione.
• Death: Died in 1520 at the age of 37.

Leonardo da Vinci: The Universal Genius

• Established Reputation: By 1513, Leonardo was renowned for his ability to accurately reproduce reality in his paintings.
• Unfinished Masterpieces: Brought unfinished works like Virgin and Child with St. Anne, St. John the Baptist, and Mona Lisa to Rome, continuously refining his sfumato technique.
• Arrival in Rome: Arrived in Rome in late October 1513, facilitated by his connection to Giuliano de' Medici, brother of Pope Leo X.
• Role at the Papal Palace: Invited to festivities and helped stage them, designing costumes, organizing parties, and creating surprising inventions.
• Scientific Pursuits: Continued his research in mathematics, geometry, botany, and anatomy, including the dissection of corpses, despite Church restrictions.
• Accusations and Patronage: Faced accusations of impropriety related to his anatomical studies, but was protected by Giuliano de' Medici.
• Treatise on Painting: Compiled his interdisciplinary studies into a treatise on painting, later published by his pupil Francesco Melzi.
• Experimental Nature: His experimental nature led him to leave many works unfinished, constantly evolving and never considering anything complete.
• Departure: Left Rome in 1516 and settled in France at the invitation of Francis I, where he died in Amboise in 1519.

Rome: The Artistic Crucible

• Papal Patronage: Popes Julius II and Leo X sought to transform Rome into a new capital of the world, attracting artists with generous commissions.
• Revival of Antiquity: Rediscovery of ancient statues like the Laocoön, Belvedere Torso, and Apollo served as inspiration for artists.
• Artistic Competition: Intense competition for papal favor fueled artistic innovation and rivalry among Michelangelo, Raphael, and Leonardo.
• The School of Athens as a Meeting Point: Raphael included portraits of Michelangelo and Leonardo in his School of Athens fresco, acknowledging their influence and securing his place among them.
• The Sack of Rome: The sack of Rome in 1527 marked the end of the High Renaissance.

Synthesis/Conclusion

The convergence of Michelangelo, Raphael, and Leonardo da Vinci in Rome during the early 16th century represents a pinnacle of artistic achievement. Fueled by papal patronage and intense rivalry, these masters pushed the boundaries of art, leaving an indelible mark on European art history. While their personalities and approaches differed significantly, their collective genius transformed Rome into a cultural center and shaped the course of the Renaissance. The School of Athens serves as a symbolic representation of their interconnectedness and enduring legacy.