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Baroque and High Renaissance art
Baroque and High Renaissance art
Baroque and High Renaissance art
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The Baroque era was the age of magic. Flat surfaces became three-dimensional and paint on plaster became alive. It was the age of masterful illusion. Nothing exhibits this mastery better than Baroque ceiling paintings.
From its conception Baroque art, especially painting, has been designed to overwhelm and wow the viewer. Artistic devices of spatial illusion were developed during the Baroque in response to cultural anxieties occasioned by revolutionary scientific discoveries, revolutionary religious upheaval, and the new taste for virtuosic visual display. A spectacular painted phenomena, quadratura painting, make Baroque paintings seem to reach beyond their architectural limits into the viewer’s space. This trend of illusionistic painted surfaces begins early with Andrea Mantegna’s fresco Camera degli Sposi in 1465. With a di sotto in su, or “seen from below”, perspective the illusion of winged puttos, a peacock and some women lean out into what appears to be a third dimension. Viewers and painters alike grasped onto this illusionistic perspective in painting and ran with it. It was the Baroque era that really explored and perfected the techniques of illusionistic painting. From Mantegna to Pozzo and beyond, to this day illusionistic painting of the Baroque era still leaves viewers in awe.
Assumption of the Virgin
At the central dome in the cathedral of Parma the narrative of the Assumption unfolds in grandeur. The painter of this masterpiece, Correggio, was one of the most important Renaissance painters. Trained at the school of Parma, his later works, such as Assumption of the Virgin, greatly influenced the Baroque era. The dramatic style in which he painted Assumption of the Virgin foresees the dramaticall...
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..., and filled it with figures floating upward. On the floor beneath this scene is a marble disk to mark the ideal spot from which the viewer can fully experience the illusion .
These works are as effective today at inspiring the viewer as they were hundreds of years ago. The Baroque period saw an overflow of creative excess. Just as children become amazed when a magician takes a rabbit out of his magic hat, Baroque painters created the special effects of their time create the same awe inspiring magic. By balancing color, light and shadow, perspective, illusionism, linear perspective, naturalistic figures borrowed from antiquity, and other trompe l’oeil techniques this magic was made. Within room, palaces, churches and chapels, these artists worked a special kind of magic that created space where there was none, and beauty where little had existed before.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
Perhaps the emphasis on emotion and mood in this painting is relevant to its original position as being overhead another of Giordano’s paintings, which depicts Jesus at the temple with the doctors. Just as Irene accomplishes the will of the divine through her human emotional reaction of compassion towards Saint Sebastian, the divine Jesus Christ is able to express human logic and reasoning to impress the doctors in the temple. In both cases, the increasing importance of the human aspect vis-à-vis the divine marks Giordano’s subscription to Renaissance ideals.
The superficial form of light was fascinated during this period due to the thoughts of godlike sun or the truth of the Holy Spirit. The Baroque naturalism maintains the religious themes in its content. The elements of perception in the Baroque art are how we perceive the natural human figures in motion through space, time, and light. We present and analyze the extent of human actions and passions in all its degrees of lightness, darkness, and intensity. The scientific revolution also had a tremendous impact on art during this time.
While paintings in the Renaissance and beyond still had a ways to go in terms of technique and perspective, the progress made in Italy during this time period was astounding. Painters were able to convey emotions and feelings like never before, showing the world that they could transport them to scenes they had only seen in flat, Byzantine images. In a time of straining to make art look real, the use of perspective was the key.
...ic landscapes. The baroque marked the time in which painters considered using subjects other than scenes from the Bible and from classical traditions. The baroque period also was the period in which artists painted portraits, and everyday life scenes. Baroque artist broke away from trying to make the calm balance known to the renaissance artists. Artists from the baroque era were interested in no longer tried in the extreme. They wanted to paint subjects possessing strong emotions; they wanted to capture those emotions and feelings in their work. Instead of just extremes of feeling sometimes, these strong emotions were personal. More often artists tried to portray intense religious emotions. Baroque art attempted to explain how and why their subjects fit as strongly as they did by representing their emotional states as vividly and analytically as possible.
Located in a hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, vying for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Virgin Mary with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative
The tendencies of Baroque translated differently in parts of Europe. In Italy, it reflected the return of intense piety through dense church ornamentations, complex architecture, and dynamic painting. Calabrese’s work exhibits the combined artistic stimuli of the 17th century and culminates in the acquired Caravagesque style that alters how paintings were composed from then on. Executed at the height of Calabrese’s most creative phase, St. John the Baptist Preaching is indicates the monumentality of change in urbanization as well as the return of Catholic permanence in the 1600’s. Aside from the Baroque power of the artwork, Calabrese’s St. John is a piece worth gravitating to and stands as reminder of the grandiose excesses of Baroque art.
At the French Academy of Painting and Sculpture, Abraham Bosse, one of it's founders, stressed the importance of the use of geometry and even went so far as to define perspective and provide rigorous criteria for successful paintings. In the genre of ceiling painting, these standards were essential. Bosse emphasized that perspective was a first principle in any painting, and illusionistic ceiling painting would only result from following stringently to the precept of perspective. Illusionism is not a gauge of correctness, but would have to conform strictly to a perspective construction to be so designated. Bosse further defined that the application of perspective in the “anatomy” of the painting was a critical measure wherein one discovers that the vanishing point falls outside (above) the ceiling painting.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
Correggio’s Mannerist Assumption of the Virgin and Fra Andrea Pozzo’s Italian Baroque The Glorification of St. Ignatius, both illustrate exemplary visions of illusionistic images and mean to celebrate Christianity with both Correggio’s visualization of Catholicism’s key doctrines and Pozzo’s illustration glorifying the Jesuit order. Both church domes frescoes include heavenly, illusory images of looking into the heavens, making viewers feel as if they were being pulled up into the heavens and inspired awe, while bolstering the faith of the churchgoers.
painting even though the event represented in the painting took place long before the Roman Empire. The center temple that occupies the background has a vanishing point running through its doorway and if it weren’t for this illusionistic technique, the painting would be very two-dimensional.
During the period of Renaissance, human’s thought and intelligence has reached its highest and its effect on the architectural form, it became clear and its engagement of rational aspect on the building. Mainly geometrical forms are the characteristics which can be identified. Not so long after Renaissance period of Baroque architecture was introduced, rather than logic and reasoning they wanted to capture the emotional atmosphere by using the architectural elements such as light, height, crafted art, costly materials and so on as being mentioned by(Scotti 2007, 5-10).
Peter Paul Ruben’s art is a combination of the traditional Flemish realism with the classicizing tendencies of the Italian Renaissance style. Peter Paul Rubens had the cunning ability to infuse his own incredible vigor into a potent and extravagant style that came to define Baroque art movement of the 17th century. “Baroque art characterized by violent movement, strong emotion, and dramatic lighting and coloring.” The figures in his paintings create a permeating sense of kinetic lifelike movement, while maintaining the appearance of being grand in stature yet composed.
One of the characteristics of the Italian Baroque is the realistic depiction of human figures, vivid use of color and foreshadowing techniques, especially in the paintings. In addition, the figures of the paintings seem to emerge from the background, giving huge differences between light and dark. The Italian baroque structure has a sense of movement and that of energy when in static form. The sculptures make the observers to have multiple viewpoints. The Baroque architecture has characteristic domes, colonnades, giving an impression of volume and void.
The Baroque period was “one of the most brilliant periods in history, standing squarely at the crossroads between medieval and modern times, this was an age of real achievement, strong hope, and vigorous actuality” (McKinney 270). The term Baroque comes from the Portuguese word barroco, meaning a pearl of irregular shape (Smith 31). Beginning in Italy, the Baroque period was known for its “grandiose concepts” and “magnificent effects”. The grandiose concepts were basically concepts that were grand and over the top. The magnificent effects were just fancy effects. Even while writing the music of that time, the composers would always make the notes fancy and curly. An era of emotional art and music, this period was divided into two time frames: the Early Baroque and the Late Baroque. The Early Baroque lasted from 1650 to 1700 (Britten 84). During this period, choruses and opera were widely popular. Dances were also choreographed to include grace into the songs when performed. Lasting from 1700 to 1750, the Late Baroque added a style of singing known as bel canto (Britten 85). In bel canto, the beauty of the sound overtook the importance of the dramatic dances. Summarizing these two periods, dramatic dancing became popular to go along with the music during the Early Baroque music and singing became popular to be performed along with the music during the Late Baroque. The Baroque period was also a time of numerous achievements. Driven by the influences of the Renaissance period, man began to realize what phenomenal things one could achieve. But what changes in music occurred at this time and what other achievements were made? The Baroque period was a phenomenal period still talked about today.