The High Renaissance, which gave humanity such great masters as Leonardo da Vinci, Raphael, Michelangelo, Giorgione, Titian, Bramante, covers a relatively short period of time - the end of the 15th and the first third of the 16th centuries. Only in Venice did the flowering of art continue until the middle of the century.
Fundamental changes associated with the decisive events of world history and the successes of advanced scientific thought have endlessly expanded people's ideas about the world - not only about the earth, but also about space. The perception of the world and the human personality seems to have become larger; in artistic creativity this was reflected not only in the majestic scale of architectural structures, monuments, solemn fresco cycles and paintings, but also in their content and expressiveness of images. The figurative language, which in the Early Renaissance, according to some researchers, could seem too “chatty,” became generalized and restrained. The art of the High Renaissance is a living and complex artistic process with dazzlingly bright ups and subsequent crises.
Architecture
The center of High Renaissance architecture was Rome, where, on the basis of previous discoveries and successes, a single classical style emerged. The masters creatively used the ancient order system, creating structures whose majestic monumentality was in tune with the era. The largest representative of High Renaissance architecture was Donato Bramante (1444-1514). Bramante's buildings are distinguished by their monumentality and grandeur, harmonious perfection of proportions, integrity and clarity of compositional and spatial solutions, and free, creative use of classical forms. Bramante's highest creative achievement is the reconstruction of the Vatican (the architect actually created a new building, organically incorporating scattered old buildings into it). Bramante is also the author of the design of St. Peter's Cathedral in Rome. With his work, Bramante determined the development of architecture in the 16th century.Painting
In the history of mankind it is not easy to find another person as brilliant as the founder of the art of the High Renaissance Leonardo da Vinci(1452-1519). The comprehensive nature of the activities of this great artist, sculptor, architect, scientist and engineer became clear only when the scattered manuscripts from his legacy were examined, numbering over seven thousand sheets containing scientific and architectural projects, inventions and sketches. As a scientist and engineer, Leonardo enriched almost all areas of scientific knowledge: anatomy, physiology, botany, paleontology, cartography, geology, chemistry, aeronautics, optics, mechanics, astronomy, hydraulics, acoustics, mathematics. It is difficult to name an area of knowledge that his genius would not touch. In his famous “Treatise on Painting” (1498) and other notes, Leonardo paid great attention to the study of the human body, information on anatomy, proportions, the relationship between movements, facial expressions and the emotional state of a person. Leonardo was also interested in the problems of chiaroscuro, volumetric modeling, linear and aerial perspective. Leonardo paid tribute not only to the theory of art. He created a number of magnificent altarpieces and portraits (the so-called “Madonna Litta”). Leonardo's brush belongs to one of the most famous works of world painting - "Mona Lisa" (La Gioconda). Leonardo created monumental sculptural images, designed and built architectural structures. Leonardo remains to this day one of the most charismatic personalities of the Renaissance. A huge number of books and articles have been dedicated to him, and his life has been studied in detail. And yet, much in his work remains mysterious and continues to excite people’s minds. Leonardo's universalism is so incomprehensible that Vasari could not explain this phenomenon except by the intervention of heaven: “Whatever this man turns to, his every action bears the stamp of divinity,” as the famous biographer wrote about the great Leonardo da Vinci.
Art Rafael Santi(1483-1520) also belongs to the peaks of the Italian Renaissance. In the history of world art, the work of Raphael is associated with the idea of sublime beauty and harmony. It is generally accepted that in the constellation of brilliant masters of the High Renaissance, in which Leonardo da Vinci personified intellect, and Michelangelo - power, it was Raphael who was the main bearer of harmony. Of course, to one degree or another, each of them possessed all these qualities. There is no doubt, however, that the tireless striving for a bright, perfect beginning permeates all of Raphael’s work and constitutes its inner meaning. His works are unusually attractive in their natural grace ("Sistine Madonna"). Perhaps this is why the master gained such extraordinary popularity among the public and had many followers among artists at all times. Raphael was not only an amazing painter and portrait painter, but also a monumentalist who worked in fresco techniques, an architect, and a master of decor. All these talents were especially evident in his paintings of the apartments of Pope Julius II in the Vatican (“School of Athens”). In the art of the brilliant artist, a new image of a Renaissance man was born - beautiful, harmonious, perfect physically and spiritually (“Portrait of B. Castiglione”).
Raphael. Madonna and Child (Madonna Conestabile). Hermitage. Around 1500-1502.
A contemporary of Leonardo da Vinci and Raphael was their eternal rival - Michelangelo Buonarroti, the greatest master of the High Renaissance - sculptor, painter, architect and poet. This titan of the Renaissance began his creative path with sculpture. His colossal statues became a symbol of a new man - a hero and fighter (“David”). The master erected many architectural and sculptural structures, the most famous of which is the Medici Chapel in Florence. The splendor of these works is built on the colossal tension of the characters’ feelings (Sarcophagus of Giuliano de’ Medici). But Michelangelo’s paintings in the Vatican, in the Sistine Chapel, are especially famous, in which he proved himself to be a brilliant painter. Perhaps no one in world art, neither before nor after Michelangelo, has created characters so strong in body and spirit (“The Creation of Adam”). The huge, incredibly complex fresco on the ceiling was completed by the artist alone, without assistants; it remains to this day an unsurpassed monumental work of Italian painting. But in addition to painting the ceiling of the Sistine Chapel, the master, already in old age, created the fiercely inspired “Last Judgment” - a symbol of the collapse of the ideals of his great era. Nevertheless, Michelangelo always idolized the beauty of man, no matter what fatal and tragic pages of life determined the content of the creations of this genius. Michelangelo worked extensively and fruitfully in architecture, in particular, he supervised the construction of St. Peter's Cathedral and the ensemble of the Capitol Square in Rome. The work of the great Michelangelo constituted an entire era and was far ahead of its time; it played a colossal role in world art, in particular, it influenced the formation of the principles of the Baroque.
Venice added a bright page to the history of High Renaissance art, where this period lasted until the mid-16th century. The city acquired particular splendor after the reconstruction of its center by Bramante's student Jacopo Sansovino (1486-1570). Opposite the Doge's Palace, he erected the monumental Library of San Marco with an openwork facade, organically connecting it with the ensemble of the square. At the foot of the bell tower of the Cathedral of San Marco, the master built a small elegant building - Loggetta, and in 1532-37. on the Grand Canal - the elegant palazzo Corner della Ca Grande. Highest prosperity in the 16th century. achieved Venetian painting with its rich traditions created by the masters of the previous century, and primarily the poetic and contemplative work of Giovanni Bellini, teacher of the great masters Giorgione and Titian.
Giorgione considered the first master of the High Renaissance in Venice. His art is completely special. The spirit of clear harmony and some special intimate contemplation and dreaminess reigns in it. This Venetian knew how to convey the mood of the scene, its barely perceptible, like a wonderful dream, absolute silence. He often painted delightful beauties, real goddesses. Usually this is a poetic fiction - the embodiment of an unrealizable dream, admiration for a romantic feeling and a beautiful woman. His paintings contain a hint of sensual passion, sweet pleasure, unearthly happiness. Refined hedonism became an important theme of his painting. With the art of Giorgione, Venetian painting acquired pan-Italian significance, establishing its artistic characteristics.
Titian entered the history of Italian art as a titan and the head of the Venetian school, as a symbol of its heyday. The breath of a new era - stormy, tragic, sensual - was manifested with particular force in the work of this artist. Titian's work is distinguished by its exceptionally wide and varied coverage of types and genres of painting. Titian was one of the founders of monumental altar painting, landscape as an independent genre, and various types of portraits, including ceremonial ones. In his work, ideal images coexist with bright characters, tragic conflicts with scenes of jubilant joy, religious compositions with mythological and historical paintings. Titian belongs to the greatest colorists of world painting. His paintings shine with gold and a complex range of vibrating, luminous undertones of color. Titian developed a new painting technique that had an exceptional influence on the further development of world fine art until the 20th century. Titian's powerful temperament and bright creative individuality were already evident in his early works, saturated with vibrant life, sparkling beauty, richness of spiritual content, and depth of emotional experiences. Titian, who lived for almost a century, experienced the collapse of Renaissance ideals; the master's work half belongs to the era of the Late Renaissance. His hero, entering the fight against hostile forces, dies, but retains his greatness. The influence of Titian's great workshop affected all Venetian art. 
Self-portrait
The Teenage Mutant Ninja Turtles are comic book and cartoon characters, a fictional team of four mutant turtles whose task is to fight the evil that flourishes on the streets of their hometown.
The turtles were created by two artists, Kevin Eastman and Peter Laird. Let's remember the names of all the ninja turtles.
Leonardo
Leonardo (Leo) - a ninja turtle with a blue headband, is considered the informal leader of the turtle team - he is always brave, determined and disciplined. Leo strictly follows the rules of honor, his weapons are swords.
Raphael
Rafael (Raph) wears a red mask - he is a little aggressive, suspicious and has a very peculiar sense of humor. Raf often quarrels with Leo, which, as a rule, leads to the former's excessive temper. Raph's weapon is the sai - a bladed melee weapon that looks like a trident with an elongated middle tooth.
Michelangelo
Michelangelo (Mickey) is a turtle with a yellow bandage. Mickey is the most cheerful and frivolous turtle. Mickey is very witty, kind and loyal. Mickey's weapons are nunchucks, he wields them masterfully, but sometimes in battle he uses chains with hooks.
Donatello
Donatello (Donnie) wears a purple mask and has a reputation as a very smart guy. Donnie is the least aggressive member of the team and always prefers to resolve conflicts peacefully. However, Donnie also often "turns" into a crazy professor - his inventions usually lead to horribly destructive consequences. Donnie fights with what is called a bo pole.
The turtles are named after four great artists and sculptors: Leonardo da Vinci, Raphael Santi, Michelangelo Buonarroti, Donatello.
Raphael Santi was the youngest of the three titans of the Renaissance, besides him, Leonardo da Vinci and Michelangelo Buanarrotti are also called. When the artist arrived in Florence he was 19 years old, Michelangelo - 29 years old, Leonardo – 52 years old.
Raphael lived in Florence for 4 years, 1504-1508. At that moment, an absolutely fantastic situation arose in the city: in the city at the same time Raphael, Michelangelo and Leonardo da Vinci walked along the same streets and palazzos. Three titans of the Renaissance competed with each other in the same cultural space. Never before has the level of excellence reached such concentration within one city.
Raphael. Portrait of Agnolo Doni. Exhibited at an exhibition at the Pushkin State Museum of Fine Arts
At the exhibition “Raphael. Poetry of the Image”, a paired portrait of the Doni spouses is exhibited at the Pushkin State Museum of Fine Arts. The portraits were commissioned from Raphael at the same time that Michelangelo commissioned the painting “The Holy Family” (also called Madonna Doni/Tondo Doni), which now adorns the Uffizi galleries.
Michelangelo. Holy Family/Madonna Doni. Ordered by the Doni family. Frame created by Michelangelo
Raphael and Leonardo
The relationship between Leonardo and Raphael was smooth, at the “teacher-student” level, without scandals or intrigues. Raphael admired Leonardo, studied and imitated his style. The young artist visited Leonardo da Vinci's studio in Florence and saw his La Gioconda. According to the memoirs of his contemporaries, he was greatly impressed by this work. Reworking this theme, namely the turn of the body and the pose of the model, the position of the hands, a portrait of Maddalena Strozzi (married Doni) was executed, which is exhibited at the exhibition at the Pushkin Museum.
Raphael. Portrait of Maddalena Doni. Exhibited at an exhibition at the Pushkin State Museum of Fine Arts
Leonardo da Vinci. Gioconda. Original: Louvre, Paris
Raphael and Michelangelo
They were opposites of each other. Raphael was handsome, elegantly dressed, surrounded by friends and admirers. Michelangelo, on the contrary, is forever alone, caustic in his statements. He had a difficult character. Michelangelo treated his appearance with pointed disdain.
Michelangelo once stated, “ Everything Rafael can do, he learned from me" This is partly true; Raphael, like a sponge, absorbed and creatively mastered the highest achievements of painting of his time.
St. Peter's Basilica in Vatican
Artists competed with each other in commissions, in the painting of the Sistine Chapel of the Vatican, in architecture during the construction of St. Peter's Cathedral. Only sudden death of Raphael allowed Michelangelo to intercept this architectural order and complete it.
An article about Raphael's paintings at the exhibition of masterpieces at the Vatican Pinacoteca is located
About the paintings presented in 2016 at the exhibition “Raphael. Poetry of the Image” in the Pushkin State Museum of Fine Arts (Moscow, Volkhonka Street) written An article about the facts of Raphael’s life and death is presented
Distinctive features of the High Renaissance. Leonardo da Vinci - architect, artist, engineer, founder of the High Renaissance style. Frescoes and "Sistine Madonna" by Raphael Santi. Michelangelo Buonarotti - sculptor, architect, painter. Frescoes of the Sistine Chapel. Strength and expression of sculptural compositions. The art of the High Renaissance as the embodiment of “beautiful realism.” Characteristics of the sociocultural situation of the late Renaissance. Features of the Venetian school of painting (Giorgione, Titian).
High Renaissance in Central Italy
In difficult times for Italy, a short-lived “golden age” of the Italian Renaissance began - the so-called High Renaissance, the highest point of the flowering of Italian art. The High Renaissance coincided with a period of fierce struggle of Italian cities for independence. The art of this time was permeated with humanism, faith in the creative powers of man, in the unlimited possibilities of his capabilities, in the reasonable structure of the world, in the triumph of progress. In art, the problems of civic duty, high moral qualities, heroic deeds, the image of a beautiful, harmoniously developed, strong in spirit and body hero man who managed to rise above the level of everyday life came to the fore.
Leonardo da Vinci(1452-1519). Leonardo's first teacher was Andrea Verrocchio. The figure of an angel in the teacher’s painting “Baptism” already clearly demonstrates the difference in the artist’s perception of the world of the past era and the new era: no frontal flatness of Verrocchio, the finest cut-off modeling of volume and extraordinary spirituality of the image. Researchers date the “Madonna with a Flower” (“Benois Madonna,” as it was previously called, after the owners) to the time of Verrocchio’s departure from the workshop.
From the 80s of the 15th century. Two unfinished compositions by Leonardo have survived: “The Adoration of the Magi” 
and "St. Jerome." 
Probably in the mid-80s, the “Madonna Litta” was created using the ancient tempera technique.
Leonardo offers his services to the Duke of Milan and leaves for Milan. Combining scientific and creative principles, possessing both logical and artistic thinking, Leonardo spent his whole life engaged in scientific research along with the fine arts; distracted, he seemed slow and left little art behind. At the Milanese court, Leonardo worked as an artist, technical scientist, inventor, mathematician and anatomist. In architecture he is busy designing an ideal city, in sculpture - creating an equestrian monument, in painting - painting a large altar image. And each of the creations he created was a discovery in art.
The first major work he performed in Milan was “Madonna of the Rocks” (or “Madonna of the Grotto”).
The composition of the picture is constructive, logical, and strictly verified. The group of four people forms a kind of pyramid, but the gesture of Mary's hand and the pointing finger of the angel create a circular movement within the painting, and the gaze naturally moves from one to the other. This is no longer just a landscape background, but a certain environment in which the depicted persons interact. The creation of this environment is also facilitated by that special quality of Leonardo’s painting, which is called “sfumato”: an airy haze that envelops all objects, softens the contours, forming a certain light-airy atmosphere.
Leonardo's greatest work in Milan, the highest achievement of his art, was the painting of the wall of the refectory of the monastery of Santa Maria della Grazie on the subject of the Last Supper (1495-1498).
Christ meets with his disciples for the last time at dinner to announce to them the betrayal of one of them. “Truly I tell you, one of you will betray me.” Leonardo depicted the moment of reaction of all twelve to the words of the teacher. This reaction is different, but there is no external affectation in the picture, everything is full of restrained internal movement. Thirteen people sit at a long table, parallel to the line of the canvas: two are in profile to the viewer on the sides of the table, and eleven are facing. Twelve people are divided into four groups of three people each. For Leonardo, the main thing is to reveal, through the reactions of different people, characters, temperaments, and personalities, the eternal questions of humanity: about love and hatred, devotion and betrayal, nobility and meanness, greed. People express themselves differently in moments of mental shock.
In 1499, the years of Leonardo’s wanderings began: Mantua, Venice and, finally, the artist’s hometown of Florence, where he painted the cardboard “St. Anna with Mary on her lap,” from which he creates an oil painting in Milan (where he returned in 1506). Leonardo spent a short time in the service of Caesar Borgia, and in the spring of 1503 he returned to Florence, where he received from Pietro Soderini, now a Gonfaloniere for life, an order to paint the wall of the new hall of the Palazzo Signoria. Leonardo made a cardboard on the theme of the battle of the Milanese and Florentines at Anghiari - the moment of a fierce battle for the banner.
In Florence, Leonardo began another painting: a portrait of the merchant del Giocondo's wife, Mona Lisa, which became one of the most famous paintings in the world. For the first time, the portrait genre became on the same level as compositions on religious and mythological themes. Despite all the undeniable physiognomic similarities, Quattrocento’s portraits were distinguished by, if not external, then internal constraint. In the portrait of Mona Lisa, a degree of generalization has been achieved that, while preserving all the uniqueness of the individuality depicted, allows us to consider the image as typical of the High Renaissance. This generalization, the main idea of which is a sense of one’s own significance, a high right to an independent spiritual life, was achieved by a number of certain formal moments: the smooth contour of the figure, and the soft modeling of the face and hands, shrouded in Leonardo’s “sfumato”.
The ideas of monumental art of the Renaissance, in which the traditions of antiquity and the spirit of Christianity merged, found their most vivid expression in the work of Raphael(1483-1520). In his art, two main tasks found a mature solution: the plastic perfection of the human body, expressing the inner harmony of a comprehensively developed personality, in which Raphael followed antiquity, and a complex multi-figure composition that conveys all the diversity of the world. Rafael Santi was born in 1483 in the city of Urbino. The early period of Raphael’s work is perfectly characterized by a small painting in the form of a tondo “Madonna Conestabile”, with its simplicity and laconism of strictly selected details (despite the timidity of the composition) and the special, inherent in all of Raphael’s works, subtle lyricism and a sense of peace.
In 1500, Raphael left Urbino for Perugia to study in the workshop of the famous Umbrian artist Perugino, under whose influence The Betrothal of Mary (1504) was written.
Raphael moved to Florence, his numerous works interpreting the image of the Madonna gained him worldwide fame. The merit of the artist, first of all, is that he was able to embody all the subtlest shades of feelings in the idea of motherhood, to combine lyricism and deep emotionality with monumental grandeur. This is visible in all his Madonnas, starting with the youthfully timid “Madonna Conestabile”: in the “Madonna of the Greens”, “Madonna with the Goldfinch”, “Madonna in the Armchair” and especially at the pinnacle of Raphael’s spirit and skill - in the “Sistine Madonna”.
Undoubtedly, this was the way to overcome the simple-minded interpretation of serene and bright maternal love for an image saturated with high spirituality and tragedy, built on a perfect harmonic rhythm: plastic, coloristic, linear. But it was also a path of consistent idealization. However, in “The Sistine Madonna” this idealizing principle is relegated to the background and gives way to the tragic feeling emanating from this ideally beautiful young woman with the baby God in her arms, whom she gives to atone for human sins. The figure of Mary with the baby, strictly silhouetted against the sky, is united by a common rhythm of movement with the figures of St. The Barbarians and Pope Sixtus II, whose gestures are addressed to the Madonna, as are the views of the two angels, are in the lower part of the composition.
In 1509, Pope Julius II invited the young artist to Rome to paint the personal papal rooms (stanzas) in the Vatican Palace. Raphael paints the first two stanzas. In the Stanza della Segnatura (room of signatures, seals), he painted four fresco allegories of the main spheres of human spiritual activity: philosophy, poetry, theology and jurisprudence. The official program for painting the Stanza della Segnatura was a reflection of the idea of reconciling the Christian religion with ancient culture. In the fresco “The School of Athens,” which personifies philosophy, Raphael presented Plato and Aristotle surrounded by philosophers and scientists from different periods of history.
Their gestures (one points to the sky, the other to the earth) characterize the essence of the differences in their teachings. At the very edge of the right group, the artist painted himself. The main thing in the painting remains the general atmosphere of high spirituality, the feeling of strength and power of the human spirit and mind. In the fresco "Parnassus", personifying poetry, Apollo is depicted surrounded by muses and poets - from Homer and Sappho to Dante.
In the second room, called the “Stanza of Eliodorus,” Raphael painted frescoes on historical and legendary scenes glorifying the popes: “The Expulsion of Eliodorus” - on the Bible plot about how the punishment of the Lord in the form of an angel - a beautiful horseman in golden armor - fell on the Syrian leader Eliodor, who tried to steal gold from the Jerusalem Temple, intended for widows and orphans.
Raphael was also the greatest portrait painter of his era, who created that type of image in which the individual is in close unity with the typical.
The third greatest master of the High Renaissance - Michelangelo - far outlived Leonardo and Raphael. The first half of his creative career occurred during the heyday of the art of the High Renaissance, and the second during the Counter-Reformation and the beginning of the formation of Baroque art. Michelangelo Buonarroti (1475-1564) was born in Caprese, in the family of a city governor. In 1488, in Florence, where the family moved, he entered the workshop of Ghirlandaio, a year later - into the sculpture workshop at the monastery of San Marco with one of Donatello's students. The young artist leaves for Rome, where he creates his first works that brought him fame: “Bacchus” and “Pieta”.
Michelangelo depicted Christ prostrate on Mary's lap. The young, ideally beautiful face of the Madonna is mournful, but very restrained. The figures form a pyramid in the composition, giving the group stability and completeness. The dominant features in this composition are features characteristic of the High Renaissance: the integrity of the heroic image, the classical clarity of monumental artistic language.
Returning to Florence in 1501, Michelangelo, on behalf of the Signoria, undertook to sculpt the figure of David from a block of marble damaged before him by an unlucky sculptor. In 1504, Michelangelo completed the famous statue. In the beautiful image of David, in his stern face, the sculptor conveyed the titanic power of passion, unyielding will, civil courage, and the boundless power of a free man. The Florentines saw in David a hero close to them, a citizen of the republic and its defender. The social significance of the sculpture was immediately understood.
In 1504, Michelangelo began working on the painting of the “Hall of the Five Hundred” in the Palazzo Signoria, but the drawings and cardboards for his “Battle of Cascina” have not survived.
In 1505, Pope Julius II invited Michelangelo to Rome to build his tomb. Dad abandoned his plan. An angry Michelangelo left for Florence, but, demanded by the Pope, under pressure from the Florentine authorities, who were afraid of complications with Rome, he was forced to return to Rome again, this time for an equally grandiose, but, fortunately, realized plan - painting the ceiling of the Sistine Chapel at the Vatican palace
Michelangelo worked alone on the painting of the ceiling of the Sistine Chapel, from 1508 to 1512, painting an area of about 600 square meters. m (48x13 m) at a height of 18 m.
Michelangelo dedicated the central part of the ceiling to scenes of sacred history, starting from the creation of the world. These compositions are framed by the same painted cornice, but creating the illusion of architecture, and are separated, also by picturesque rods. Picturesque rectangles emphasize and enrich the real architecture of the ceiling. Under the picturesque cornice, Michelangelo painted prophets and sibyls (each figure is about three meters), in lunettes (arches above the windows) he depicted episodes from the Bible and the ancestors of Christ as simple people engaged in everyday affairs.
The nine central compositions unfold the events of the first days of creation, the story of Adam and Eve, the global flood, and all these scenes, in fact, are a hymn to man, the forces inherent in him, his power and his beauty. Adam is ideally beautiful in the scene “The Creation of Adam”; he is still deprived of will, but the touch of the creator’s hand, like an electric spark, pierces him and ignites life in this beautiful body. Michelangelo's main means of expression are emphasized plasticity, precision and clarity of line and volume.
The plastic principle in Michelangelo's painting always dominates over the pictorial.
Soon after the completion of work in Sistine, Julius II died and his heirs returned to the idea of a tombstone. In 1513-1516. Michelangelo performs the figure of Moses and slaves (captives) for this tombstone. "Bound Slave"
“The Dying Slave” conveys different human states, different stages of struggle.
From 1520 to 1534, Michelangelo worked on one of the most significant and most tragic sculptural works - on the tomb of the Medici (Florentine church of San Lorenzo), expressing all the experiences that befell the master himself, his hometown, and the whole the country as a whole. Since the late 20s, Italy was literally torn apart by both external and internal enemies. One wall is decorated with the figure of Lorenzo, the opposite with Giuliano, and below at their feet there are sarcophagi decorated with allegorical sculptural images - symbols of fast-flowing time: “Mornings” and “Evenings” - in Lorenzo’s tombstone,
“Night and Day” - in Giuliano’s tombstone. A feeling of uneasiness and anxiety comes from the images of Lorenzo and Giuliano. This restless rhythm is further intensified by the poses of allegorical figures of the time of day: tense, curved bodies seem to be rolling off the sloping lids of sarcophagi, not finding support.
Michelangelo leaves for Rome, where he begins his second work in the Sistine Chapel - the painting “The Last Judgment” (1535-1541) - a grandiose creation that expressed the tragedy of the human race.
The creative judgment, the punishing Christ is placed in the center of the composition, and around him in a rotating circular motion are depicted sinners casting themselves into hell, the righteous ascending to heaven, and the dead rising from their graves to God's judgment. Everything is full of horror, despair, anger, confusion. Complex angles of intertwined, twisted bodies, extreme dynamism, increased expression, creating an expression of anxiety, anxiety, confusion - all these are features deeply alien to the High Renaissance.
Since 1546 he has been working on the Cathedral of St. Peter, begun by Bramante. Michelangelo owns the drawing and drawing of the dome, which was executed after the master’s death and is still one of the main dominant features in the city’s panorama.
The last two decades of Michelangelo's life coincided with a period when the free-thinking traits of the great humanistic era of the Renaissance were being eradicated in Italy. At the insistence of the Inquisition, which considered such a number of naked bodies in the fresco “The Last Judgment” obscene, Michelangelo’s student Daniele de Volterra recorded some of the figures. The historical significance of Michelangelo's art, its impact on his contemporaries and on subsequent eras can hardly be overestimated. Some foreign researchers interpret him as the first artist and architect of the Baroque.
The final trailer is just around the corner. Donatello gives you the opportunity to introduce you to all four heroes of the upcoming game and their characteristics in battle. Finally in the universe "Turtles" An interesting cooperative game appears.
Let's watch and look forward!
Raphael
Red mask and a pair of sai. Raf is one of the most aggressive and persistent street fighters in the game. He can literally get into a crowd of enemies, make killer throws, and also has enormous damage when fighting a single enemy, because the attack speed and damage are quite high.
Michelangelo / Michelangelo
Always ready for a friendly attack, Mikey literally the life of the party, very cheerful, but will protect the backs of his colleagues to the last. Thanks to the nunchucks, he has the highest attack speed in the game, but also the lowest damage per hit at the same time. Relies on your agility and ability to quickly throw in combos to put the enemy down before he does anything.
Donatello / Donatello
Just like my little brother Mikey, Donatello not particularly aggressive. He knows how to contemplate and reflect, always looking for rational ways to help avoid unnecessary struggle. It hits slowly, but painfully and sweepingly, because Bo has such a long pole in his hands. Knows how to ride his brothers on this pole for mind-blowing combos.
Leonardo / Leonardo
The eldest of the brothers Leonardo often takes on the tasks of the leader of the four. Combines tactfulness and impetuosity in attacks with his swords. The feeling of selflessness often makes him argue with the stubborn Raphael. Combat characteristics are the most balanced and versatile for a variety of situations.
