Studies of Male Heads, Helmets for Soldiers and Facial Features, Michelangelo, circa Hamburger Kunsthalle / bpk / Christoph IrrgangIn the early 16th century, three of the greatest artists of the Italian Renaissance circled each other in Florence, vying for influence and looking for inspiration. Now, an exhibitiontitled Michelangelo, Leonardo, Raphael: Florence, c. 1504at the Royal Academy of Arts in London reexamines the renowned trio.The show spotlights the year 1504 because thats when the three came together. Michelangelo, who had just completed his statue David, and Leonardo da Vinci were already in Florence; Raphael traveled to the city that year to study Leonardos work.Leonardo, who was around 52, was celebrated as a painter, engineer and multidisciplinary explorer in the realms of science and philosophy, writes Charles Nicholl, author of Leonardo da Vinci: The Flights of the Mind, forGuardian. Meanwhile, Michelangelo, 29, was a rising star, brash, truculent and already sporting the famous boxers nose, smashed in a fight with a rival sculptor; Raphael, 21, was a talented young unknown scouting for new inspiration and patronage.The Virgin and Child with the Infant St. John (The "Taddei Tondo"), Michelangelo, circaRoyal Academy of Arts, London / Prudence Cuming Associates LimitedThe show features more than 40 works, beginning with the Taddei Tondo (circa 1504-5), Michaelangelos only marble sculpture in the United Kingdom. Commissioned by art patron and cloth merchant Taddeo Taddei, the unfinished white marble relief features an infant John the Baptistpresenting a bird to the infant Christ, who is held in Marys arms.Raphael, a friend of Taddeo Taddei, was inspired by the Taddei Tondo. Several years later, the piece would influence the artists Bridgewater Madonna (1507-8), a painting featured nearby in the exhibition.In the painting, [Raphael] adopts the tondos entwined figures, the serpentine movement of Jesus across his mothers lap, and brings vibrant color and tender eleganceMarys enclosing clasp, the baby tugging her veil, as theFinancial Times Jackie Wullschlger writes.Leonardos Burlington House Cartoon (circa 1506-8) is the focus of the shows central gallery. The work was likely created as a presentation drawing: a full-sized study of what the planned picture might look like, which could be shown to a patron, or group of patrons, per Londons National Gallery. The piece is the only large-scale drawing by Leonardo to survive.The Virgin and Child with St. Anne and the Infant St. John the Baptist ("The Burlington House Cartoon"),The National Gallery, LondonThe show ends with a collection of drawings by Leonardo and Michelangelo, created in preparation for projects intended to adorn the Palazzo Vecchio. Florences government commissioned Leonardo to paint a mural, the Battle of Anghiari,Battle of Cascina in the same hall.The frescoes were never completed, but the drawings shed light on the two artists generative relationship. Leonardo maintains his fascination with extreme facial expressions, while Michelangelo excels at the male nude in action, with every muscle outlined, crosshatched and highlighted, writes the New York Times Emily LaBarge.In some of the drawings, adds the Times, the two men swap preoccupations, as though looking over each others shoulders, tentatively testing the waters, before returning to what they do best.Michelangelo, Leonardo, Raphael: Florence, c. 1504 is on view at the Royal Academy of Arts in London through February 16, 2025.Get the latest stories in your inbox every weekday.Filed Under: Art, Art History, Arts, Drawing, Exhibitions, Exhibits, Italy, Leonardo Da Vinci, London, Michelangelo, Painters, Painting, Raphael, Renaissance, Visual Arts