Comparison Of Perugino And Caravaggio
analytical Essay
1317 words
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 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.
In this essay, the author
- Compares perugino's christ delivering the keys of the kingdom to st. peter from the early renaissance to caravaggio’s conversion of st
- Analyzes how perugino's compositional triangle gives clarity, static balance, and symmetrical order to the painting.
- Analyzes how perugino paints beauty through simple geometric forms, static balance, and clear lighting. caravaggio's dramatic break from the italian renaissance yields a completely different treatment of narrative.
- Analyzes how caravaggio abandons static style and implies movement by using paint to create an image and not rigid outlines. the strong, vibrant, and emotional figures convey the opposite message of classical, passive figures.
- Analyzes caravaggio's breakthrough in art, which added great emotional effects and mystery to the art. he doesn't light paul with a clear even light like perugino would have.
- Analyzes how caravaggio creates receding space by an implied vanishing point rather than the one that perugino gives the observer.
- Analyzes how caravaggio brought new life and immediacy to the emotional aspect of painting. he abandoned the rules of renaissance artists like perugino that idealized the human and religious experience.
- Opines that perugino's art was the art of classical persuasion, but caravaggio’s was heightened by a variety of forms, recession of space, and tenebrism.
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- Baroque Vs Italian Baroque Artanalytical essayNorthern and Italian Baroque Art As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling.
In this essay, the author
- Argues that the italian baroque pieces were more detailed and captured the personality of the figure, in contrast and compare them to northern barque art.
- Explains that the baldachino is uniquely baroque in spirit, with spiraling grooves and vines to symbolize the union of the new and old testaments.
- Compares northern and italian baroque art, stating that light and dark play an important role in church architecture in stained glass.
- Analyzes how judith leyster uses tenebrism to create spatial depth and volumetric forms through slight scale of light and dark by creating a small drama of considerable tension and opposition.
- Compares northern and italian baroque art by painting a self-portrait of the artist, artemisia gentileschi.
- Compares northern and italian baroque art by using self-portraits and the famous feature of light and dark.
- Analyzes how bernini's sculpture of david captures his youthful lack of heroism, his embarrassment and powerlessness except when aided by god.
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In this essay, the author
- Explains that the baroque era was born out of the roman catholic church's counter reformation. gentileschi successfully accomplishes this in her painting, judith slaying holofernes.
- Explains that the roman catholic church needed to reaffirm the catholic faith in people during the protestant reformation. art portrays direct, passionate, and realistic religious scenes that could be understood by anyone regardless of literacy or social status.
- Analyzes how baroque art in italy portrayed dramatic scenes of a specific moment of action. gentileschi uses bold color, lighting effects and detailed brushwork to bring the painting to life.
- Analyzes how gentileschi's incorporated physical movement of the figures to arouse emotion within the viewer. the viewer empathizes with the pain depicted on the face of holofernes.
- Analyzes how gentileschi's judith slaying holofernes epitomizes the style of artwork during the italian baroque era.
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In this essay, the author
- Analyzes how 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
- Analyzes michael baxandall's argument that a painting in the fifteenth-century italy resulted in an art practice of groundwork in-depth analysis of the painting.
- Analyzes how baxandall focuses his argument on the painter and patrons of how visual art is socially constructed, and how it plays an active role in social orders.
- Analyzes how baxandall conveys the simple and direct sentences with a voice of language that is objective and reversed.
- Analyzes baxandall's argument in "conditions of trade" that he discuses many works of art done by different artists that produce religious paintings.
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In this essay, the author
- Compares the artistic styles of flemish and italian artists in the 15th century.
- Compares how flemish renaissance painters used malleable oil paints and favored panel paintings, while italian renaissance artists used tempera, a water-based pigment that dried rapidly.
- Analyzes how robert campin introduced a new level of realism to flemish art in the merode altarpiece.
- Analyzes how the depiction of christ's conception takes place in a loggia, surrounded by an enclosed garden which represents mary’s virginity and chasteness.
- Analyzes how fra angelico's style differs from the realism of flemish art, in which there was a fascination with the natural world and proficient rendering of texture and form.
- Compares robert campin's merode altarpiece and fra angelico’s the annunciation. the flemish were proficient in oil painting, while the italian renaissance artists continued their predecessors’ use of tempera.
1192 wordsRead More - Baroque Vs Baroque Artanalytical essayArt is a constantly evolving process. The previous style of work serves as a roadmap for what will follow. As often is the case with any form of growth, there exists a transitional period. Because of this evolution, there are traces of a style’s illustrious history embedded in the adaptive art’s metaphorical DNA. The transition from early to late Renaissance established two styles of art known as Baroque and Rococo. While, on the surface, the Rococo style can appear to be very similar to the work produced by Baroque artists, the two also demonstrate distinct differences in their use of subject and theme, the manner in which they created the art, and how that art was perceived in their time. These factors establish both styles from one another, making them unique.
In this essay, the author
- Explains that the transition from early to late renaissance established two styles of art known as baroque and rococo.
- Explains that renaissance art underwent a deliberate and revolutionizing change between the seventeenth and eighteenth centuries.
- Explains that the baroque style transitioned into the modern rococo style during the 17th and 18th centuries. the name was derived from the french word rocaille.
- Compares the baroque style with the rococo style, which embodies a lighter, more playful, intimacy. both styles illustrate the grand, overstated, dynamic late-european art between the 17th-18th centuries.
- Analyzes how bernini's all-encompassing work on the cornaro chapel, santa maria della vittoria, in rome illustrates the methods baroque artists used.
- Analyzes bernini's sculpture ecstasy of st. theresa, which is located to the left of the altar and was chiseled from marble.
- Explains that baroque art and architecture served as a vessel from which the church could send scriptural message to those uneducated enough to read. had it been well received, it would have instituted an official and imposing way of expression that could restore the reputation of the papacy.
- Analyzes how rococo artists attempted to capture a more serene reflection of life in their time.
- Explains that the rococo style originated as a reaction against the severity of the baroque style in the 18th century.
- Analyzes how the sculpture pygmalion and galatee by falconet demonstrates the sense of playfulness and femininity of the rococo.
- Explains that baroque artists worked with consideration for balance, the recognition of the painterly effect, harsh color palettes, and the emphasis on dramatic expression.
- Analyzes how caravaggio's distain and deviation of the classical period left a sour taste in the mouths of other painters and critics, including giovanni pietro bellori.
- Analyzes how jean-honoré fragonard's swing uses soft pastels to establish a lighter, more organic structure.
- Explains that baroque and rococo styles were expansions to stylistic transformations that were characteristic of art in the renaissance period. they shared different themes and were created using different methods and materials.
- Analyzes how the transition between baroque and rococo during the renaissance served a similar purpose. they attempted to move away from the flat surfaces, romanticized figures, and unemotional expressions of classical art.
- Analyzes how the baroque style reflects the reaction to the advancement of protestantism and resulted in heavy religious idea and thought.
- Analyzes how the rococo style found aesthetic praise and provided a stylistic approach that suited the upper class. it deviated from the heavier themes of baroque and focused on the lighter, more care-free, emotive routines of the wealthy.
- Explains that the transition from baroque to rococo was a process of evolution. the differences in how each style utilized and implemented subject matter and themes, as well as how the works were physically constructed, all stand to establish them as separate styles.
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In this essay, the author
- Compares the development of italian painting in the years around the 1300 or the proto-renaissance to giotto's.
- Analyzes how duccio and giotto show their different styles on how they compose their paintings. the size of the surface they chose to paint on lets the viewer know that the artwork is embedded in detail and visual consumption.
- Analyzes how both duccio and giotto have overwhelming images; the subjects of the painting surrounding jesus imply exactly how they are depicted. the crowd painted around jesus creates an unbalanced scene and gives an overall nonsymmetrical feeling.
- Compares duccio and giotto's paintings, stating that they differ in their style.
- Compares duccio's betrayal of christ with giotto’s kiss of judas, which emphasizes the hierarchy of the subjects.
- Analyzes how duccio and giotto's paintings set in place a benchmark for where artwork in the years around 1300 began to develop.
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In this essay, the author
- Explains caravaggio's use of the tenebrism style in his paintings, which defies common renaissance art, has changed how people view art.
- Explains that caravaggio is the only child of fermo merisi and lucia aratori. his father was a household administrator and architect-decorator.
- Explains that caravaggio's commission to decorate the contarelli chapel in the church of san luigi dei francesi helped him rise to become one of the most popular artists in rome at the time.
- Opines that caravaggio's "the supper at emmaus" depicts a scene from the gospel of luke 24 where the resurrected christ appears to two disciples.
- Opines that caravaggio is remembered as the artist who made his painting feel personal. his work greatly influenced many artists like diego velazquez and rembrandt.
- Cites wikipedia's "caravaggio." wikipedia. wikimedia foundation, 13 jan. 2014. web. 17 jan
571 wordsRead More - The Last Judgement Michelangelo Analysisanalytical essayPerspective is based on Jesus in this painting due to his outward “radiant glow of divine light” (1) extending to the other people in the painting. The main focus is on Jesus and the rest of the figures are diffused in an outward fashion from Jesus himself. The artist himself expresses an emphasis on individualism by implementing himself within the painting by appearing “twice in the Last Judgement: in the flayed skin which Saint Bartholomew is carrying in his left hand, and the figure… who is looking encouragingly at those rising from their graves” (2). This is an action that only a Renaissance painter would do, which is displaying individuality through a self-portrait because of the possibility of being judged for selfishness. Light and shadowing is prominent within the art which is shown in the painting when the lighter, more brighter colors are focused in the middle and then fade into darker tones while moving outward into the
In this essay, the author
- Analyzes how michelangelo's the last judgement is the most valuable representation of italian renaissance fine art. realism, perspective, individualism, light and shadowing are prominent qualities of the painting.
- Analyzes how the principal symbol within the painting is the cast that is assembled by the painter.
- Analyzes how individualism is evident in the painting because of the implementation of his self within it.
633 wordsRead More - St. John the Baptist Preaching by Mattia Pretianalytical essayThe 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.
In this essay, the author
- Analyzes how the baroque era reflected the power of roman antiquity and typified the renewed piety of catholics. mattia preti's painting of st. john the baptist preaching has a distinct caravagesque style.
- Analyzes how calabrese depicts st. john the baptist in a heroic semi-nude pose, which blurs the lines between sanctity and reality.
- Analyzes how calabrese champions realism through his manipulation of compositional space. st. john invades the viewer's space as his arm juts out of the frame and into the viewers' faces.
- Analyzes how calabrese incorporates geometrical forms throughout the composition, such as the circle at the foreground and the triangle that occupies the majority of the space.
- Analyzes how calabrese uses strong directional lighting from the top, left corner of the painting to highlight the scene.
- Analyzes how calabrese's work imitates the same techniques through color, line, and extreme detail to naturalism.
- Analyzes how calabrese's work exhibits the combined artistic stimuli of the 17th century and culminates in the acquired caravagesque style.
1443 wordsRead More - Jean Hey’s Annunciationanalytical essayBy 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 this essay, the author
- Analyzes how jean hey's "the annunciation" represents the transition from the trial-and-error process of the early renaissance to the technical perfection that embodied the high renaissance.
- Explains that the renaissance was characterized by the rebirth of art in conjunction with a rediscovery of philosophy, literature, science, and empirical investigation from antiquity.
- Compares hey's "the annunciation" to sandro botticelli’s “virgin and child with angel” in 1475.
- Analyzes how hey builds on the groundwork of the 15th century to create an image that realistically portrays the tremendous human emotion of fear.
- Analyzes how the high renaissance solved the puzzle of artistic balance by creating a final product where the human figures would dominate the rest of the painting.
- Analyzes how hey's "annunciation" overcame that challenge. the size of the figures is not dominating; they are players in an elaborate scene.
- Explains that jean hey was flemish, not italian, and that he produced "the annunciation" outside of italy.
- Analyzes hey's "annunciation" as a natural representative of the transition from the learning process of early renaissance to the perfect execution of high renaissance.
2188 wordsRead More