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High Renaissance
In art history, High Renaissance, is the period denoting the apogee of the visual arts in the Italian Renaissance. The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo's fresco of the Last Supper in Milan and the death of Lorenzo de' Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Charles V. This term was first used in German (Hochrenaissance) in the early nineteenth century, and has its origins in the "High Style" of painting and sculpture described by Johann Joachim Winckelmann.〔Jill Burke, "(Inventing the High Renaissance from Winckelmann to Wikipedia: an introductory essay )", in: ''Id.'', (''Rethinking the High Renaissance: Culture and the Visual Arts in Early Sixteenth-century Rome'' ), Ashgate, 2012〕 Over the last twenty years, use of the term has been frequently criticized by academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works.〔Marcia Hall, “Classicism, Mannerism and the Relieflike Style” in ''The Cambridge Companion to Raphael'', Cambridge: Cambridge University Press, p. 224.〕
==Overview==
Since the late eighteenth century, the High Renaissance has been taken to refer to a short (c. 30-year) period of exceptional artistic production in the Italian states, principally Rome, capital of the Papal States, under Pope Julius II. Assertions about where and when the period begins and ends vary, but in general the best-known exponents of painting of the High Renaissance, include Leonardo da Vinci, early Michelangelo and Raphael. Extending the general rubric of Renaissance culture, the visual arts of the High Renaissance were marked by a renewed emphasis upon the classical tradition, the expansion of networks of patronage, and a gradual attenuation of figural forms into the style later termed Mannerism.
The paintings in the Vatican by Michelangelo and Raphael are said by some scholars such as Stephen Freedberg to represent the culmination of High Renaissance style in painting, because of the ambitious scale of these works, coupled with the complexity of their composition, closely observed human figures, and pointed iconographic and decorative references to classical antiquity, can be viewed as emblematic of the High Renaissance.〔Stephen Freedberg, _Painting of the High Renaissance in Rome and Florence, 2 vols., Cambridge MA; Harvard University Press〕 In more recent years, art historians have characterised the High Renaissance as a movement as opposed to a period, one amongst several different experimental attitudes towards art in the late fifteenth and early sixteenth century. This movement is variously characterised as conservative;〔Alexander Nagel, "Experiments in Art and Reform in Italy in the Early Sixteenth dick Century", in Kenneth Gouwens and Sheryl E. Reiss eds., ''The Pontificate of Clement VII: History, Politics, Culture'', Ashgate 2005, 385–409〕 as reflecting new attitudes towards beauty;〔Elizabeth Cropper, "The Place of Beauty in the High Renaissance and its Displacement in the History of Art", in Alvin Vos ed., ''Place and Displacement in the Renaissance'', 1995, 159–205〕 a deliberate process of synthesising eclectic models, linked to fashions in literary culture;〔David Hemsoll, 'The conception and design of Michelangelo's Sistine Chapel ceiling: 'wishing to shed a little light upon the whole rather than mentioning the parts', in Jill Burke ed., ''Rethinking the High Renaissance'', Ashgate, 2012〕 and reflecting new preoccupations with interpretation and meaning .〔Jill Burke, '(Meaning and Crisis in the Early Sixteenth Century: Interpreting Leonardo's Lion', ''Oxford Art Journal'', 29, 2006, 77–91 )〕
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