1. During the Renaissance, there were two main types of portraiture: collective portraits depicting groups of people, and independent portraits focused on a single individual. 2. Leonardo da Vinci was influential in developing techniques like sfumato and chiaroscuro that gave portraits a sense of naturalism and psychology. His Mona Lisa set new standards. 3. Raphael was deeply influenced by Leonardo's innovations and adopted techniques like pyramidal composition and subtle background treatment in his own portraits of Agnolo and Maddalena Doni commissioned in 1506.

1. High Renaissance Portraiture - Here’s lookin’ at you kid!

3. Collective Portraits… Michelangel’s The Last Judgment 1534-1541 Raphael’s School of Athens 1510-1511 The some of the figures within these works are thought to be portraits of real people…

4. St. Bartholomew’s flayed skin has the face of Michelangelo, an allusion to his own anguish at this time as revealed in his letters and poems

5. JOY MAY KILL by: Michelangelo Buonarroti (1475-1564) Too much good luck no less than misery May kill a man condemned to mortal pain, If, lost to hope and chilled in every vein, A sudden pardon comes to set him free. Thus thy unwonted kindness shown to me Amid the gloom where only sad thoughts reign, With too much rapture bringing light again, Threatens my life more than that agony. Good news and bad may bear the self-same knife; And death may follow both upon their flight; For hearts that shrink or swell, alike will break. Let then thy beauty, to preserve my life, Temper the source of this supreme delight, Lest joy so poignant slay a soul so weak.

6. La Pietà di Michelangelo dell'Opera del Duomo (Firenze) c.1557 This sculpture is thought to be of the Lamentation of Christ. The four figures: Jesus, Mary Magdalene, the Virgin Mary and possibly Joseph of Armathea or Nicodemus (who is said to be a self-portrait of Michelangelo). He did not finish the sculpture himself, as when he discovered a flaw in the marble, and threw a fit on it.

7. Raphael’s depiction of Plato in the School of Athens modeled after Leonardo.

8. Francesco Maria I della Rovere a.k.a. Raphael's mistress as Hypatia of Alexandria in the School of Athens . He also painted the image on the right for her husband.

9. Portrait of Pope Leo X Raphael, 1518-1519 Oil on wood 154 x 119 cm

12. Piero della Francesca, Battista Sforza and Federigo da Montefeltro, Duke of Urbino, ca. 1465, panel, 47 x 66 cm., Uffizi, Florence. Independent portraits…

13. Domenico Ghirlandaio, Giovanna degli Albizzi, 1488, panel, 76 x 50 cm Renaissance profile portrait type had, as one of its sources, ancient medals that carried portrait heads, in profile, of noted persons - a mark of their stature in life, as well as a means of commemorating them, with dignity, in death.

14. Da Vinci Mona Lisa, La Gioconda 1503-1505 2’6” x 1’9”

18. “ If one wanted to see how faithfully art can imitate nature, one could readily perceived it from this dead; for here Leonardo subtly reproduced every living detail. The eyes had their natural lustre and moistness, and around them were the lashes and all those rosy and pearly tints that demand the greatest delicacy of execution. The eyebrows were completely natural, growing thickly in one place and lightly in another and following the pores of the skin. The nose was finely painted, with rosy and delicate nostrils as in life. The mouth, joined to the flesh-tints of the face by the red of the lips, appeared to be living flesh rather than paint. On looking closely at the pit of her throat on could sear that the pulses were beating. Altogether this picture was painted in a manner to make the most confident artist -no matter who - despair and lose heart. Leonardo also made use of this device: while he was painting Mona Lisa, who was a very beautiful woman, he employed singer and musicians or jesters to keep her full of merriment and so chase away the melancholy that painters usually give to portraits. As a result, in this painting of Leonardo’s there was a smile so pleasing that it seemed diving rather than human; and those who saw it were amazed to find that it was as alive as the original.” --Giorgio Vasari (written 50 years after the painting was completed)

19. Portrait of Ginevra Benci 1474-1476 Oil on wood 42 x 37 cm

22. Cecilia Gallerani (Lady with an Ermine) 1483-1490 Oil on wood 53.4 x 39.3 cm

26. Leonardo, Mona Lisa 1503-1506 Raphael, Maddalena Doni 1506

27. Leonardo, Mona Lisa 1503-1506 Raphael, Angolo Doni c.1506

30. Raphael, Maddalena Doni 1506 Raphael, Angolo Doni c.1506

31. Piero della Francesca, Battista Sforza and Federigo da Montefeltro, Duke of Urbino, ca. 1465, panel, 47 x 66 cm., Uffizi, Florence.