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#RenaissanceArt

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"Moses Kneeling in Front of the Burning Bush," Raphael Santi, 1514.

Raphael Santi, known now as simply Raphael (1483-1520) is regarded, along with Da Vinci and Michelangelo, part of the Holy Trinity of Renaissance art.

The son of a noted painter, he took over his father's workshop as a young lad and became a very productive painter. Despite being only 37 when he died, he left behind a huge body of work.

He had a rivalry with Michelangelo, and both worked in the Vatican. Michelangelo was popular for centuries but in the 18th and 19th centuries Raphael's more serene and harmonious compositions came into vogue and were a big influence on Neoclassicism. But they ended up being thrown out by the Pre-Raphaelites.

From the Museo di Capodimonte, Naples.

"Danube Landscape," Albrecht Altdorfer, c. 1520-25.

Altdorfer (c. 1480 - 1538) was a painter, engraver, and architect, and a leading figure of the Renaissance's "Danube School" of art. He is also one of the first recorded artists who was painting landscapes for their own sake, and not populating them with figures to tell a story.

The Danube School was a group of artists, located mostly in Bavaria and Austria, who favored a more "painterly" and less glossy style, and sometimes were forerunners of Expressionism in their handling of human figures. Their work often involved rugged mountains, tall pines, and dramatic light; sounds like they were also ancestors of the Romantics!

From the Alte Pinakothek, Munich.

"Self-Portrait with Fur-Trimmed Robe," Albrecht Dürer, 1500.

Dürer (1471-1528) was one of the greatest and most innovative artists of the Renaissance. A native of Nuremberg, he became a confidante of a number of Italian artists of the era and introduced some of their elements, such as nudes and classical themes, while mixing it with secularism of German intellectuals.

Here we have one of his self-portraits, painted when he was 28. In German society, that was considered the age when one moved from youth to adulthood; the fact that it was 1500, the turn of a millennium, is not insignificant either. Here he does something not done in Northern European painting of the time...it's a portrait with no background, and with the subject facing the viewer, something normally only done with paintings of Jesus or other religious figures.

The Jesus comparison doesn't stop there...he's obviously making himself look like the savior, and the hand holding the robe is very similar to the usual stance of Christ giving a blessing. Whether this is a work of arrogance or blasphemy is still debated today.

From the Alte Pinakothek, Munich.

Katherine Rabogliatti is our Samuel H. Kress Research Fellow. But what does that mean? And what kinds of cool projects is she working on? Thanks to the #SamuelHKressFoundation, a good friend to our museum for decades, Raboglatti is connecting Kress objects nationwide. Read on for more....

georgiamuseum.org/gmoa_blog/re