The following is a comparative analysis of Caravaggio’s The Musicians from the Italian Baroque period, and Watteau’s Mezzetin from the Rococo Period. Although both paintings depict a scene or event from everyday life, or a genre scene, the latter was painted more recently during the modern era and it differs immensely. The major differences become evident in the style of the painters as well as their personal representations of the subject matter. The works illustrate the evolvement of a certain genre in Western painting from Renaissance through the modern era. This transformation exemplifies how a similar subject matter can be represented in an entirely new and innovative way.
Michelangelo Merisi da Caravaggio painted the genre scene painting entitled The Musicians during the Italian Baroque period in 1595. The painting depicts four boys in Classical costume. The figures are clearly delineated, and the contours are particularly reminiscent of Renaissance tradition. The fourth boy on the left is Cupid, reaching toward a bunch of grapes. Cupid is often depicted in scenes of music, and also represents love. The grapes symbolize wine, representing enjoyment in the presence of music. However, they can also be seen as representing Bacchus, the God of wine and debauchery. In this light the scene can be seen as erotic. The figures are half-draped, representative of sensuality and the passion of music. The scene is clearly of secular nature establishing a very realistic scene that could occur during daily life. Scenes depicting musicians were popular at the time, since the Church supported the revival of music, new styles and forms. However, this scene is particularly different from its predecessors. Instead of painting females with Cup...
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Works Cited
"Mezzetin | Antoine Watteau | Collection Database | Works of Art | The Metropolitan Museum of Art, New York." The Metropolitan Museum of Art, New York: metmuseum.org. N.p., n.d. Web. 14 Apr. 2011. .
"The Musicians | Caravaggio (Michelangelo Merisi) | Collection Database | Works of Art | The Metropolitan Museum of Art, New York." The Metropolitan Museum of Art, New York: metmuseum.org. N.p., n.d. Web. 14 Apr. 2011. .
In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of
In Pietro Paolini's painting, Bacchic Concert (Paolini, 1625-1630), at first glance, we are made to feel near or up close to the musicians by the near life-size likeness of the two larger musicians highlighted in the foreground, namely the flute and guitar player. Even though less of the bodies of the background musicians are visually seen, they are relatively in proportion to the flute and guitar player in the foreground. This adds to the feeling of nearness.
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
1420. Tempera on wood, gold ground, 25 1/8 x 19 in. (63.8 x 48.3 cm). Metropolitan Museum of Art, New York.
Lorenzo De Medici can be considered as one of the most influential men of the 13th century. His work in political affairs and administration were renowned in all Italy and his family could count on him in every aspect. Lorenzo was also a promoter of a new period called Renaissance. He was one of the first “mecenate” to explore this new way of art. In this project, I will concentrate how he developed art in Florence, giving a clear example through an Artist of that period that was working for him: Sandro Botticelli. His work “The Spring” is a well-defined example of what we can call “art in the Renaissance”, in particular for the Italian Renaissance.
Before starting my journey to the museum, I first browsed the online catalogs of the Metropolitan Museum of Art. I began here so that I would have an idea of what paintings I would like to see and where they were spatially located. Considering the fact that I am severely directionally challenged, this saved me copious amounts of time (I spend more time trying to figure out where I am in the museum than I do actually enjoying the artwork). With a couple of paintings in mind, I ventured to the museum in search of these Romantic pieces. The most compelling piece I saw was The Natchez by Eugène Delacroix.
One of Piero della Francesca’s well known paintings known as, Madonna and Child with Two Angels (Senigallia Madonna), is a piece that caught my eye while browsing The Metropolitan Museum of Art located on the Upper East side of Manhattan. This piece, created circa 1478 was done in Sansepolcro, Italy and was executed with oil paint on wood sized at 24 in. x 21 1/16 in.. Piero della Francesca’s biblical portrait of the Virgin, Christ, and angels is a central icon in the Catholic church specifically of the Renaissance (rebirth) in Italy. Throughout this piece, there is an underlying theme of the Virgin Mary’s son, Jesus Christ as he is intimately represented. It is an iconic scene that has been depicted by many different artists of the Renaissance but the way that Piero della Francesca represents his iconic piece differs in that it is more than a portrait, it is a scene of the Virgin Mary and her child being blessed.
Ziegler, Joanna E. “Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art
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.
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. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
...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 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
Caravaggio’s painting is unique due to its wonderful use of chiaroscuro, which is the contrast between light and dark. For example, the painting “Supper at Emmaus (1602)” illustrates Jesus and his disciples in bright colors and uses a dark tint for the background (Miller, Vandome, & McBrewster, 2010).
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...
Baroque was a period from 1600- 1750. In this period, people in different classes and different religion, they were fought for interests, and then baroque style was created. “Baroque”- this word has variety explanations. One of the explanation is from Spain – “Barroco”, it means Imperfect pearl. One is from an Italian – Charles de Brosses. He said barroco was from the ‘’ Logic’’, it means the description of Syllogism.