Hungarian artist Mihály Munkácsy completed his "Glorification of the Renaissance" 1888. The Kunsthistorisches Museum in Vienna commissioned the work for one of its ceilings and the painting itself is basically an atelier-collage of Renaissance Masters.
Raphael and Leonardo converse with each other in the bottom left hand corner while Veronese works on an enormous canvas behind them a little farther to the left. In the middle of the image, Titian instructs a young student who is focusing on a model. Michelangelo, with hammer in hand, leans over the balustrade in the right hand corner. Pope Julius II appears in the loggia near the top of the painting, which was Munkácsy's way of paying tribute to a papacy that had supported the flourishing of the arts in the late fifteenth and early sixteenth centuries. Munkácsy makes sure to include himself in this depiction of apotheosis - he appears just behind the reclining female on the right hand side.
The grandness of Munkácy's creation can only truly be felt in person, but even a photograph of its setting at the Kunsthistorisches Museum in Vienna is enough to take one's breath away.
Raphael and Leonardo converse with each other in the bottom left hand corner while Veronese works on an enormous canvas behind them a little farther to the left. In the middle of the image, Titian instructs a young student who is focusing on a model. Michelangelo, with hammer in hand, leans over the balustrade in the right hand corner. Pope Julius II appears in the loggia near the top of the painting, which was Munkácsy's way of paying tribute to a papacy that had supported the flourishing of the arts in the late fifteenth and early sixteenth centuries. Munkácsy makes sure to include himself in this depiction of apotheosis - he appears just behind the reclining female on the right hand side.
The grandness of Munkácy's creation can only truly be felt in person, but even a photograph of its setting at the Kunsthistorisches Museum in Vienna is enough to take one's breath away.
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