Answer:
High Renaissance art is deemed as “High” because it is seen as the period in which the artistic aims and goals of the Renaissance reached their greatest application.
Step-by-step explanation:
High Renaissance art is characterized by references to classical art and delicate application of developments from the Early Renaissance (such as on-point perspective). Overall, works from the High Renaissance display restrained beauty where all of the parts are subordinate to the cohesive composition of the whole.Many consider 16th century High Renaissance art to be largely dominated by three individuals: Michelangelo, Raphael, and Leonardo da Vinci. Michelangelo excelled as a painter, architect, and sculptor and demonstrated a mastery of portraying the human figure. His frescoes rank among the greatest works of Renaissance art. Raphael was skilled in creating perspective and in the delicate use of color. Leonardo da Vinci painted two of the most well known works of Renaissance art: The Last Supper and the Mona Lisa. Leonardo da Vinci was a generation older than Michelangelo and Raphael, yet his work is stylistically consistent with the High Renaissance.Raphael was commissioned by Pope Julius II to redecorate the Pope’s living space in Rome. As part of this project, Raphael was asked to paint in the Pope’s library, or the Stanza della Segnatura. The School of Athens is one of the frescoes within this room. The fresco represents the subject of philosophy and is consistently pointed to as the epitome of High Renaissance painting. The work demonstrates many key points of the High Renaissance style; references to classical antiquity are paramount as Plato and Aristotle are the central figures of this work. There is a clear vanishing point , demonstrating Raphael’s command of technical aspects that were so important in Renaissance painting. But above all, the numerous figures in the work show restrained beauty and serve to support the harmonious, cohesive work. While the figures are diverse and dynamic, nothing serves to detract from the painting as a whole.