After wrapping up our discussion of the High Renaissance with Michelangelo’s Pieta, we began looking at the Late Renaissance and Mannerism. There is a distinct change, partially the art of Michelangelo, which separates the period of the High and Late Renaissance. The Late Renaissance and Mannerism come about from the artists of the High Renaissance reaching the peak of ideal humanist art. In accordance with Neoplatonic belief, artists in the Renaissance were trying to reach the idea of humanist art, and they essentially did by the time of Leonardo, Raphael, and Michelangelo. Once they reached these ideals they strived for of realism, balance, dynamism, and more – the idea of breaking these rules became more intriguing than building upon them. While artists of the Early Renaissance were constantly trying to improve on the work of artists before them Mannerist artists strived to almost go against their predecessors and aim to create something unique and visually interesting.
Michelangelo’s frescos on the ceiling of the Sistine Chapel are primary examples of Late Renaissance art. When comparing Michelangelo’s figures to any other High Renaissance artist it is glaringly obvious how different they are. Michelangelo’s figures take up these strange, contorted positions, that might appear natural because of Michelangelo’s masterful skill, but when looking upon closer examination are almost impossible to do. Beyond that, they are so muscular, even the women, that they don’t look like real figures, but statues almost. All the High Renaissance artists strived to make their figures look as lifelike as possible, but Michelangelo does not attempt that here and instead focuses on using these figures’ bodies and faces to convey emotions and meaning.