Next, we should look at the brilliantly and elaborately detailed armor of Ares. The shield’s handle, the rivets along its edge and the circular decoration around the inside of the shield are meticulously done. Additionally, the shadow created with the change in hue, saturation, and value on the inside of the shield help create the depth and curvature of the shield. The body armor also implements a well-crafted mixture of shadows and smooth curved lines as well as color change to create depth. Had this not been so craftily accomplished, the shield would have taken on a flat and dull appearance. This is true for the lion head on the shoulder of Ares , which is able to convey the concept of layered gold on top of iron without using the layering of paint to create the three dimensional character. The more time I spent viewing the particular parts of the armor, the more admiration I had for Batoni as an artist. The helmet, with the golden dragon atop and ram around the lower front are also finely detailed.
Batoni also does a magnificent job in the fine details of the painting, most notably in the shadows of the garments and the intricacies of the ironwork of the armor and shield adorned by Ares. These are, however, not the only intricacies which stand out within this painting. Batoni also shows careful attention to detail in the trees, the leaves, the small portion of sky, the finger nails (one word), and the faces of which we will discuss more in depth later on. The care taken by Batoni, or any artist for that matter, in the intricacies of detail is (are) one thing that no replication of a painting can ever hope to reproduce.
Looking deeper into the meaning of Batoni's allegory, we begin with the division of the background. The h...
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...borderline obsession with Ancient Greek and Roman mythology, history, and literature that gave him a "formidable ability to conceive and execute arresting history pictures (138). Additionally, it is written that Batoni was unwilling to part with the painting (138). While he is known for having painted numerous portraits, his personal affection towards select paintings have made them intriguing as to the purpose behind their creation. In modern day terms, we can probably conclude that his love for antiquity and art led to a passion for projects such as his "Allegory of Peace and War."
Works Cited
Bowron, Edgar Peters., Peter Björn. Kerber, and Pompeo Batoni. Pompeo Batoni: Prince of Painters in Eighteenth-century Rome. New Haven: Yale UP, 2007. 100-50. Print.
Matthews, Ruppert. "Origins of Saluting." History Extra. Immediate Media, 08 Nov. 2011. Web. 03 May 2014.
Throughout the chapters of John Knowles novel “A Separate Peace” there are many biblical allusions. In particular, the story of Cain and Abel. Phineas and Gene are based on story of Cain and Able. Cain and Abel are brothers such as Genes and Phineas’ friendship. In the story one is filled with jealousy like Gene and one brother kills the other also like Gene.
The Statue of a kouros represents a Greek male. With one foot forward, the statue at the same time, represents movement and is able to stand on it own. This also gives the over life size figure, visible weight. In this early figure, geometric forms seem to predominate, and anatomical details, such as the chest muscles and pelvic arch, are presented with somewhat of exaggerated lines. Although the exaggerated lines show where these muscles belong, the detail is still missing. Looking up and down this nude body, at this miss proportioned and lacking of detail body, the hair is what grabs my attention. The hair is carved with detail not noticeable in the rest of the body. As well, although the fists are clinched and still bonded to the body, the legs and elbows are separated. The ability to move around and inspect the statue makes a big difference than if it was up against a wall, or just looking at its picture. The legs, which support the weight of the statue, have a visible strength which is seen in the knees. The head is what carried the most detail, the ears although to far back, are intricately designed. It is the ability to walk around the entire statue that allows me to see the different aspects and places where attention to detail was placed. However, he does not expand into three dimensional space; he has a closed-off, column-like appearance
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
In John Knowle’s A Separate Peace, symbols are used to develop and advance the themes of the novel. One theme is the lack of an awareness of the real world among the students who attend the Devon Academy. The war is a symbol of the "real world", from which the boys exclude themselves. It is as if the boys are in their own little world or bubble secluded from the outside world and everyone else. Along with their friends, Gene and Finny play games and joke about the war instead of taking it seriously and preparing for it. Finny organizes the Winter Carnival, invents the game of Blitz Ball, and encourages his friends to have a snowball fight. When Gene looks back on that day of the Winter Carnival, he says, "---it was this liberation we had torn from the gray encroachments of 1943, the escape we had concocted, this afternoon of momentary, illusory, special and separate peace" (Knowles, 832). As he watches the snowball fight, Gene thinks to himself, "There they all were now, the cream of the school, the lights and leaders of the senior class, with their high IQs and expensive shoes, as Brinker had said, pasting each other with snowballs"(843).
Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
Baxandall, M., Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450, Oxford, 1971. Bellori, G.P., Le vite detpittori, scultori et architetti modern), Rome, 1672. ed. E. Borea, intro. G. Previtali, Turin, 1976.
... close attention to detail. Moreover, his art is the true representation of the Renaissance, a rebirth. Raphael placed emotion into every brushstroke in an attempt to convey the feelings of a painting at that particular point in time. His life was composed of peace and serenity and his craftsmanship was irrefutable. His creativity and absolute mastery of capturing life continues to catch the eyes of both friends and strangers. His art continues to speak.
Titian’s style of art, and his masterful techniques with religious art, mythical compositions, and successive glazes have never been surpassed. They influence generations of artists to come, and will continue to do so as long as his work is studied. His place in the Italian High Renaissance will never be overlooked.
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
Baxandall, Michael. “Conditions of Trade.” Painting and Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
Baxandall, Michael. “Conditions of Trade.” Painting and Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
This breaks all of our tradition in sculpture. On the one hand the simplification and distortion of body and limb seem extremely daring departures from the tradition which few do; on the other hand, this is reminiscent of the earliest sculpture ever produced, which is far from a perfect balance. Thus he has created a new form; that of pure laziness.
Honour, Hugh, and John Fleming. "Hellenistic and Roman Art." A World History of Art. London: Laurence King, 1999. 179-213. Print.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
his leap towards uniqueness and style made it stand out. Lastly, Caravaggio through the painting has