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The styles of northern and italian renaissance painting
Art during the Renaissance
Art during the Renaissance
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Museums are usually filled with paintings which feature beautiful figures and stunning landscapes, because of this I wanted to create an exhibition which will take museum goers by surprise and create a different experience not usually found in a typical Renaissance exhibition by only featuring paintings that are out of the ordinary in a single room. My exhibition The Holy and the Gory: Martyrdoms of the Renaissance will display paintings from the Renaissance time period which depicts some of the most famous Martyrdom scenes from Christendom history. Those who are Christians will not be the only ones who can enjoy the exhibition however. Martyrdom stories are some of the most interesting ones for a person to learn about, whether they believe in Christianity or not. Also, I plan to hold this exhibition from October to November in 2014. I decided on these months because with October being the month known for Halloween and November first being All Saints Day, the day where Christians take the time to remember the saints in Christianity, both months go together with the theme of this exhibition. Though this exhibition is not meant to scare the museum goers who come to see the paintings that will be displayed, it will appeal to those visitors who will enjoy the ‘creepy’ vibe this exhibition will hold during the month of October. This exhibition is not one that is typical for the National Gallery to hold, but I feel it will be one that can be enjoyed by many museum goers of multiple faiths. The first painting to be in this exhibition will be Head of Saint John the Baptist by Giovanni Bellini in 1468. This piece shows the recently cut off head of St. John, patron saint of cutters, done in the Venetian colorito style. St. John the Baptis... ... middle of paper ... ...ed shortly after this painting was completed and so was only able to finish two of the planned seven panels . With the different styles of artists’ works planned to be showcased in this exhibition I hope viewers will be able to see what sorts of artworks were being done during the Renaissance that do not consist of works done by Michelangelo, da Vinci, Donatello, or Raphael. With a topic not usually covered when studying about Renaissance artist, I hope viewers will be able to not only learn about the interesting stories of famous Martyrdoms, but also learn about some of the lesser known Renaissance artists and their styles. Paintings of angles and landscapes from the Renaissance may look pretty but with these different and shocking pieces I hope to create an exhibition that will not soon fade away from visitor’s memories after they leave the National Gallery.
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
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...
After walking around The Timken Museum of Art, paintings started to look indistinguishable making ancient artist paintings battle for my absorption of attracting my eyes to glimpse intently at their art work. Much less, before running off, an intensely hued oil painting capture my attention. It read, The Piazzetta at Venice. Luca Carlevarijs made this outstanding painting which illustrated realism with every brushstroke that was imprinted into the painting. Lighting gleam from the south and brighten the streets of venice as workers sold their crafts to others. On left of the painting, laid the library of Sansovino. Clouds originated slightly bringing an ash color to the top right hand corner of the painting. Birds flew freely to the south in between the clouds. Two dog stood calmly in front of the column of Saint Theodoric. To the right , Carlevarijs illustrated the beauty of the south side of Saint Mark’s Basilica. Lucas Carlevarijs compose this dire painting to make people feel as if they were there to feel the warm of the sun on that beautiful afternoon. Carlevarijs archive this e...
The French oil painter Dreux Budé Master created ‘The Crucifixion” around 1490. His depiction of the crucifixion is ...
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
Tiziano Vecellio was an artist in the 1400’s - 1500s. He completed paintings like “Women with a mirror, Man with glove, and Cruxifiction. He lived somewhere in the 1400s and 1500’s although we do not know when. He was known for his use of color. In this paper I will argue that Tiziano Vecellio was a true renaissance artist. I’m going to argue this through his life, and artwork.
During the Renaissance the subject of paintings was shifting from religious scenes to depictions of everyday life. The first genre scenes were produce...
On a Sunday afternoon, I can think of no better activity than to stroll around Los Angeles County Museum of Art (LACMA) for the afternoon. It never ceases to amaze me the amount of people who are there for the express purpose of viewing, and hopefully, appreciating art. I have been to LACMA countless times, starting from the time that I was a very young girl, but never before had I gone with a specific assignment to complete - to view LACMA’s collection of Renaissance art in order to compare and contrast pieces in their exhibit to the works of art that we have studied in Humanities class. I will be focusing on Madonna and Child in a Landscape by Cima da Conegliano as well as Portrait of a Man by Petrus Christus and comparing and contrasting them with artists such as Raphael and Jan van Eyck.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
The development of Italian painting in the years around the 1300 or the proto-renaissance is in some sense the rebirth of art and culture. The painters of Renaissance Italy usually attached to particular courts and with loyalties to certain cities, still explored the extensive span of Italy. Many of the Italian painters grew artistically during this time, which is noticeable in Duccio’s painting compared to Giotto’s. In the renaissance period it was highly popularized to mainly draw depictions of religious figures, which is what the concentration of Duccio’s artwork mainly was. Before the painting of the Betrayal of Christ, Duccio’s paintings were highly composed and reliant upon the ancient tradition of icon painting. In the time around 1300 Duccio took steps toward depicting images in a more naturalistic form; Whereas, Giotto, in the 1300’s, was already established as painting more three-dimensional and naturalistic forms.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
I have a real love for Renaissance art. The reason I chose this topic is because I took a class on art a freshman, and really enjoyed it. The book I read was ‘The Art of the Renaissance.’
This paper argues that Donatello is a true Renaissance artist by evaluating his art, life, and time that he lived. One reason that Donatello was proven a true Renaissance artist was by his life and the way he lived it. Born in Florence, 1386 Donatello was the son of Niccolo di Betto Bardi who was a member of the Florentine Wool Combers Guild. This gave young Donatello status as the son of a craftsman and placed him on a path of working in the trades. Donatello was educated in the house of the Martelli family, one of the wealthiest Florentine families at that time.
His piece, Lives of the Artists, is an incredibly important record for modern analysis of Renaissance art as it is contemporary with some of the art which it records and it can perform as a window into how people viewed art at that time. Vasari, unfortunately, was also purposeful in his recording of ‘great art’ and so he inevitably falls victim to the bias of his time. Thus we see one way in which viewing the artist through the lens of their biography may result in our falling foul of our goal to report events faithfully. If we are to rely on what sources are available for some of the artists whom are privy to some of the greatest scholarly focus, such as Vasari, our view is skewed by his interpretation and thus our conclusions