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Impact of the Renaissance Florence
How was Florence impacted by the Renaissance
How was Florence impacted by the Renaissance
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As we get closer and closer to the future, many famous people from the past will most likely be forgotten. Often famous or well-known people will have commissioned famous artists to create a work of art or masterpiece of themselves which helps the people of the future by showing who or what that person was. For example Sir Isaac Newton, was famous for describing the universal gravitation and the 3 laws of motion and was given a commemorative statue at Oxford University or even his monument which can be seen in Westminster Abbey which help us tell his life work. However statues are not the only way people can be remembered by, a small thing such as a photo, a movie which that person participated in, or even a music cd which tells us how that person expressed him or herself, there are many ways in which people can be remembered by. Pope Julius II had commissioned Michelangelo to design and sculpt his tomb before his death. As for Pope Alexander VII he had employed Bernini to create his own tomb. Even though both works of art were meant for the same purpose, they differ in style, size and symbolism. So in this paper I will be comparing and contrasting both works of art, patrons and artists.
The High Renaissance period started from 1490’s and lasted until 1527. In 1494 to 1559 the Italian Wars began, which was a series of wars that were fought mainly between major European powers such as France and the Holy Roman Emperor, for the territories in the rich Italian peninsula. Pope Julius II commanded the Papal army and fought in a few campaigns. One of the major parts of the Italian wars may be the Sack of Rome of 1527. The Sack of Rome was an attack ordered by the King of Spain and France which led an estimate of 45,000 men, women and ...
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Gardner, Helen, Richard G. Tansey, and Fred S. Kleiner. Gardner's Art through the Ages. Fort Worth: Harcourt Brace College, 1996. Print.
Williams, Stephen . "The High Renaissance." Academy of Art University, San Frnacisco. . Lecture.
Williams, Stephen . "The Italian Baroque." Academy of Art University, San Frnacisco. . Lecture.
Avery, Charles, and David Finn. Bernini: genius of the Baroque. Boston: Bulfinch, 1997. Print.
Getlein, Mark. "Chapter 17-The 17th and 18th Centuries." Living with Art. 9th ed. Boston, MA: McGraw Hill, 2008. 384-406. Print.
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
University of Virginia, VA: National Art Education Association, 1992. Print. Gilbert, Jonathan P and Rachel Mills. Michelin Green Guide California.7 ed.
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Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 1: Elements of Design. Retrieved from myeclassonline.com
Roman portraiture was known to be one of the most significant and prominent periods in the development of portrait art. Roman portraits are characterized by two major styles the realistic or “veristic” and the idealized elements or “classicizing” both of these styles are known for their unusual realism and the desire to convey images of specific individuals such as gods and emperors. However it is important to understand the early background behind roman sculptures stretches back to the earliest days of Roman history, for example a commend tradition was to create a wax sculpture of the dace of a desist man, which were kept in a special place of the owners home. These sculptures were more of a record the persons existence than an actual work of art, there for it emphasis more realistic details than artistic beauty.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: H.N. Abrams, 1990. 152. Print.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
Kleiner, Fred, Gardner's Art through the Ages: A Global History, Fourteenth Edition The Middle Ages, Book B (Boston: Wadsworth, 2013), 348.
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.
Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. 2004. Accessed October 27, 2011. http://www.metmuseum.org/toah/hd/duch/hd_duch.htm.
Works Cited Encyclopaedia of Art History. visual-arts-cork.com. 2013. The web. 20 November 2013.