"Danae II" by Scott Noel I chose a painting currently on display in The Eleanor D. Wilson Museum by Scott Noel named “Danae II”. I chose this painting because I was simply spellbound by the woman lying on her back; the subject was beautiful and her environment was entrancingly portrayed. When I realized the true subject was the mythological being I had assumed her to be (the theme of the exhibition proved my assumption correct) I truly set my sights on this painting for this paper. Although this a contemporary piece I firmly believe it follows in the tradition of the Renaissance. I argue this because the presence of the Renaissance ideals in the artist's subject and his treatment of perspective, color and light and is too great to be ignored. …show more content…
In the Greek myth, King Acrisius was told by a prophecy that he would be killed by his grandson. To prevent this from occurring, he locked his daughter, Danae, in a dungeon. It was in that dungeon that the god Zeus came to the beautiful woman in the form of a golden shower and impregnated her. As a result of that encounter Danae bore a son named Perseus that did accidently kill his grandfather (CITATION). Noel depicts Danae lying on her back in front of a window, behind her a cityscape with bustling people and a great church command the rest of the viewer's attention. It is apparent that this painting precedes Danae's pregnancy, her body is rather thin and a small child is nowhere to be seen. The light resting near her genital area is reminiscent of Zeus' golden shower, this observation leads me to believe that this is the moment of (or the moment directly preceding) the conception of …show more content…
This piece was completed in oil paint; this medium was first widely accepted in Northern Europe and then gained greater popularity during the Late Renaissance. Natural perspective is illustrated rather perfectly in this composition; Noel paid great attention to space and placement in order to mimic the manner in which eyes perceive images. Objects closest to the viewer are far larger than those further away. Noel flirts with the atmospheric perspective (a beloved technique in the Northern Renaissance) however the cityscape beyond the window is commandeered by tall structures-there is little to no sky. Shadows and highlights appear as they would in actuality, they are not manipulated and reflect the great precision that went into the making of this work. The only light source is the sunshine streaming into the room via the window. The only discernable manipulation to Noel's depiction of light is the amount of sunshine illuminating Danae's genital area. This, of course, was purposefully done to allude to the union between Zeus and Danae, yet the effect was executed with such naturalism that it would be easily missed by a viewer unfamiliar with the myth. This symbolism further connects this piece to the tradition of the Renaissance; the artists of Northern Europe littered their paintings with objects imbued with religious or secular
Artemisia Gentileschi (1593-1654?) was one of the most important women artists before the modern period and certainly one of the most famous female painters from the seventeenth century. Gentileschi’s paintings regularly featured women as the protagonists acting in a manner equal to men. In fact, forty nine of her paintings fall into this category. She was raped at the age of 18 and the subsequent events lent her a certain amount of notoriety. These factors have led many to interpret her artwork as an expression of her role as a female victim looking for revenge through her art. Instead, a closer examination of Gentileschi’s life and her artwork exposes the artist as an individual with personal strength and incredible talent who painted subjects similar to or the same as those of her male counterparts, instead of staying within the guiding principles of what was acceptable “feminine” art.
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
The use of light is an integral component of both of these paintings. In Annunciation, the light source, which is coming from the heavens, is be...
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...
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
Both Jan van Eyck and Fra Angelico were revered artists for the advances in art that they created and displayed for the world to see. Their renditions of the Annunciation were both very different, however unique and perfect display of the typical styles used during the Renaissance. Jan van Eyck’s panel painting Annunciation held all the characteristics of the Northern Renaissance with its overwhelming symbolism and detail. Fra Angelico’s fresco Annunciation grasped the key elements used in the Italian Renaissance with usage of perspective as well as displaying the interest and knowledge of the classical arts.
Sofonisba Anguissola was one of the most prominent female painters of the Renaissance. Not only was she one of only four women mentioned by Giorgio Vasari in his famous Lives of the Artists, she also paved the way for later female artists. One may look at Sofonisba’s upbringing and assume that her talents were a result of her wealth and family background. However, if investigated more carefully through both analytical secondary sources and primary sources, it becomes clear that Sofonisba’s painting abilities formed because of her talent, not her wealth. Sofonisba integrated herself into the artistic community and used her second-class status as a female painter to accelerate her career: because she was not able to study as an apprentice in a workshop, her models were usually family members, she pioneered the style of genre painting. Historian Joan Kelly argues in her essay, “Did Women Have a Renaissance?” that women did not experience a Renaissance during the actual Renaissance. Sofonisba’s training and connections were extremely helpful to launch her career, refuting Kelly’s argument that women only were taught “charm” during the Renaissance. In addition, Sofonisba married her second husband for love, not for money, debunking Kelly’s argument that marriages during the Renaissance were not based on love. Though Sofonisba’s life as a woman is a unique case in terms of wealth and profession, her success and fame, talent, and marriage (van dyck?) disprove Kelly’s argument that women did not have a Renaissance during the Renaissance.
His grandfather, is King of Argos, his name is Acrisius. Acrisius had a daughter named Danae, however he wanted a son. So in search for an answer towards having a son, Acrisius went to the Oracle of Delphi. The Oracle said that Acrisius’ daughter, Danae would be the one to carry a baby boy, but this child would kill Acrisius. To avoid his own death, Acrisius created an underground chamber to lock his daughter in, therefore, she would be unable to conceive a child. Little did Acrisius know that Zeus would shape shift into golden rain and conceive a child with Danae. Naturally, Danae gave birth to Perseus. When she was let out of this underground chamber Danae met Polydectes. Polydectes was determined to make Danae his wife and that is exactly what happened. Perseus was unable to grant his mother and Polydectes a gift, so he was told to bring back Medusa’s head. Perseus was successful in retrieving Medusa’s head. On his journey back home he met a beautiful Goddess who was in distress. Perseus saved her from a horrific sea monster and they instantly fell in love and wanted to be joined together in holy matrimony. However, Andromeda’s uncle was no too pleased with this decision. He wanted Andromeda only for himself. Therefore he planned to murder Perseus but was unsuccessful since Perseus had the advantage of Medusa’s head. Perseus showed Andromeda’s uncle Medusa’s face and he then was turned to stone. When he returned home with the gift, he found out Polydectes was abusing his mother. Instead of giving him the present he used it against Polydectes and turned him to stone as well. Acrisius became aware of what Perseus was capable of doing so he decided to flee. Although that didn’t help as much as he believed it would. Perseus and his grandfather ran into each other at the Games Ceremony, in Larissa. When Perseus went to throw the discus it slipped from his grasp and clashed into his grandfather’s head, killing
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
The representation of the new age of exploration, which serves as an allusion to man’s potential, is starkly contrasted with the depiction of Icarus that serves as an allegory for man’s limits, indicating the shift from a euro-centric universe. This painting is an oil canvas landscape of the sun setting on the horizon of the ocean sea, while the ships were sailing through the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman, showing the increasing artistic methods that begin to be utilized.
This painting, measuring about six-by-seven feet, is a massive work that draws viewers directly to it once they enter the room in which its displayed. It is not covered by any glass and is in a very well-lit area, thus it allows viewers to stand as close as possible to see the details of how Peter Paul Rubens handled his medium. Looking at the painting from a photograph is much different than viewing it up close and in person, because when looking at a photograph, one cannot see the texture of the paint that gives the painting its very delicate, unique, and realistic quality. The work appears to be in very good condition because most of the colors are still very rich and vibrant, such as Adonis’ red garment (Rubens). Although one cannot tell when directly viewing the piece, it has been said that previous use of radiographs for further analysis on the painting uncovered that initially, “Rubens gave A...
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
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 shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.