It is interesting to note that though da Vinci’s painting, The Virgin of the Rocks was painted in 1485; it was included in this chapter that places the beginning of the High Renaissance at 1490. Perhaps Leonardo was breaking new ground with this work and establishing many of the characteristics which would later be attributed to this period.
Both of these works demonstrate an acute knowledge of perspective both linearly and atmospherically. Masaccio’s Trinity assumes the viewers perfect positioning will allow them to see an incredible illusion created with orthogonal lines moving inwards from the top corners of the painting to a vanishing point just above the kneeling figures of the patrons. Atmospheric perspective takes advantage of the shadow of the barrel shaped ceiling to subtly diffuse the color and detail of the niche as it moves backwards into space. Da Vinci also uses these tools though he seems to have created two directions for the eye to travel into the distance by painting two openings through the rocky landscape. Viewed through the smaller opening the vanishing point appears to be slightly off center to the right and through the larger the eye is drawn towards a vanishing point that is somewhere off to the left of the painting. This does not feel like a one point perspective exercise. It energizes the painting and keeps the eye activated. The atmospheric perspective is also present in The Virgin of the Rocks as the distant objects in the landscape are painted with fewer visible details while the colors become increasingly muted.
The figures in Mosaccio’s painting are painted in serene respectful poses that seem appropriate to the subject matter. The modeling of the figures demonstrates a keen understanding of objects in space as well as how different textures appear to the human eye. When compared to The Virgin of the Rocks, however, these figures appear somewhat flat and geometrical in their perfect triangular composition. Da Vinci arranges his figures in a pyramidal composition set in a three quarters position. The Virgin Mary represents the peak of the pyramid and her arms roughly shape the edges of the plane of the forward most triangle. The figures of John the Baptist and the Baby Jesus form two of the corners of the base and the Angel finishes this three dimensional version of the Early Renaissance triangular composition seen in Masaccio’s work. These figures also are each posed to continue to keep the eye moving. The Angel, in historia fashion, looks out of the painting, inviting the viewer in though she does not meet the viewers gaze. She is pointing at John the babtist who is worshipping Baby Jesus who appears to be preparing to bless him. Mary embraces the child John the Baptist with one arm while holding her hand above Jesus head and adoring him. This activates the painting tremendously and the additional elements of chiaroscura and sfumato enhance the three dimensional aspects of the figures and allows the mind to really believe that they exist in the landscape rather than being painted objects on a well rendered illusion. These poses, so much more exciting than those of Masaccio demonstrate a sense of dynamic unity that was soon to be emulated by the other great artists of this period.
