Raphaello Sanzio was an artist starting during the beginning in of the Renaissance Era. Raphael thrived in painting through this experimental time period. Raphael’s paintings were influenced by the time period, other artists, but still found originality in his paintings. Raphael chose to paint about 4 topics, theology, philosophy, the arts, and the law (Kirsch). During this time of religion Raphael really adapted to the idea of cathedrals and landscape of Holy places.
The Renaissance Era began with the question of life and wondering why things in the world are the way they are. The Renaissance time period was a time of more creative living. It became the time period of trying new ways to handle every day live. People became more educated and started questioning the ways of the world. Most importantly, it was the decade for art (Cooper). During the Renaissance new topics about life were arising like the idea of life after death. Not only was religion beginning to play a role in art, so was the idea of science social lives and math. Raphael was mostly famous for his artwork of religious influences. Although he is commonly known as a painter, Raphael was also an architect. Architects during the Renaissance tried to form new ways to create a structure, such as by using domes, round arched, and columns (Cooper). It is not surprising that Raphael would be inspired by the Church because of his past with Perugino. Perugino, the father like figure to Raphael, painted Church’s and Holy places. The idea of Holyness and God sparked the interest of Perugino then he would later influence one of the most famous artists in the religious world. Being that Raphael was on his own at such a young age, he eventually sought out the city of Flor...
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...hael: The complete works. Retrieved from http://www.raphaelsanzio.org/biography.html
Kirsch, E. W. (2013). Raphael (painter). Grolier Multimedia Encyclopedia. Retrieved November 7, 2013, from Grolier Online http://gme.grolier.com/article?assetid=0242620-0
Cooper, K. S. (2013). Renaissance. The New Book of Knowledge. Retrieved November 12, 2013, from Grolier Online http://nbk.grolier.com/ncpage?tn=/encyc/article.html&id=a2025050- h&type=0ta (Copper, 2013).
Raphael (1483–1520). (2013). (S. J. Freedberg, Rev.). The New Book of Knowledge. Retrieved November 13, 2013, from Grolier Online http://nbk.grolier.com/ncpage?tn=/encyc/article.html&id=a2024820- h&type=0tap Landau, S. B. (2013). Renaissance Art and Architecture. The New Book of Knowledge. Retrieved November 12, 2013, from Grolier Online http://nbk.grolier.com/ncpage?tn=/encyc/article.html&id=a2025060-h&type=0ta
Raphael’s interpretation and style was clearly influenced by Leonardo’s Mona Lisa, less the background landscape, furniture and loggia. By comparison to Leonardo’s portraiture, Raphael’s figure is more volumetric, fuller “and with an uncomplicated, self-confident, robust personality” (L21, 27:56), which also describes the Humanistic depiction of the facial expression illustrated indicative of the emotion aspect of this work. Kloss (2011) describes the color scheme as being a palate of “an exquisite balance of grays and blacks, warm flesh tones and whites, against the luminous background of gray mingled with brown-beige tones” (L21, 28:06). Raphael’s stylized contours are “superbly drawn, especially that of the splendidly designed hat. Look at the brim of the hat, which is at once compact and commanding” (L21, 28:23). Kloss (2011) remarks: “this is one of the touchstones of great portraiture, and not only Renaissance portraiture. Rubens would copy it and emulate it. Rembrandt would borrow from it. No one would improve upon it” (L21,
The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance art. 6th ed. of the book. Upper Saddle River, N.J.: Prentice Hall, 2006.
During the Renaissance, people were dedicated to studying human works. They would observe from real life to gain inspiration, new ideas, and to try to recreate the world as they saw it in their art. New techniques such as scientific and atmospheric perspective were created, changing art forever. Artists would use their skills to create works for patrons, from the Church, various guilds, and other religious orders. During the High Renaissance, Julius II commissioned Raphael to decorate the Vatican Palace. The first of the rooms he decorated was The “Room of the Signature”, where he painted The School of Athens. Originally, this room housed Julius II’s personal library, but later on it would be the room where papal documents were signed. In 1508, Raphael began painting four frescoes that represented theology, philosophy, law, and the arts. As stated in Janson’s History of Art Volume II, This fresco “represents a summation of High Renaissance humanism, for it attempts to represent the unity of knowledge in one grand scheme.” Raphael’s The School of Athens is a prime example of humanistic art, as evidenced by the subject of the art itself, the classical elements in the piece, and it’s scientific and illusionistic rendering.
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
Johnson, Geraldine A. Renaissance Art, A Very Short Introduction. New York: Oxford University Press, 2005.
... close attention to detail. Moreover, his art is the true representation of the Renaissance, a rebirth. Raphael placed emotion into every brushstroke in an attempt to convey the feelings of a painting at that particular point in time. His life was composed of peace and serenity and his craftsmanship was irrefutable. His creativity and absolute mastery of capturing life continues to catch the eyes of both friends and strangers. His art continues to speak.
...ced by permission of." Renaissance and Reformation Reference Library. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 1: Vol.1: Almanac. Detroit: UXL, 2002. World History in Context. Web. 30 Apr. 2014.
Arcadia Lost: Politics and Revision in the Restoration Tempest." Renaissance Drama 13 (1982): 189-209. Wolf, A. A History of Science, Technology and Philosophy in the 16th and 17th Centuries. Vol.
The Renaissance was a cultural movement that spanned the period roughly from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. Renaissance art was perceived as a "rebirth of ancient traditions", transforming the tradition by the absorption of recent developments in the art of Northern Europe by application of contemporary scientific knowledge. Many famous artists would emerge around this time, including Michelangelo Buonarroti, Leonardo Da Vinci, and Raphael de Sanzio. The Renaissance provided and environment for many artists to thrive and succeed. In addition to some artists gaining popularity, others who weren't as well-known still had flourishing careers; one of which was Antonio Da Correggio. Born in a small town near Reggio Emilia, Antonio's passion for art expanded naturally, and bloomed in its native soil. By 1516, Corregio was in Parma, where he generally remained for the rest of his career. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Corregio prefigured the Rococo art of the 18th Century. Although he isn't as well-known and appreciated for his contribution to the Renaissance, "Correggio is an enigmatic and eclectic artist, and it is not always possible to identify a stylistic link between his paintings. He appears to have emerged out of no major apprenticeship, and to have had little immediate influence in terms of apprenticed successors, but his works are now considered to have been revolutionary and influential on subsequent artists" (1).
The paintings by Duccio and Giotto firmly set in place a benchmark for where artwork in the years around 1300 began to develop. These artworks show how paintings began to evolve into more symbolic, naturalistic, and dramatic scenes, depicting events in life and religion. The paintings of Duccio and Giotto are similar in the sense that their paintings were then, in the sense of more modern words, “special effects” of their time. They show vivid colors with meaning and symbolism, atmospheric characters that exist in space, and composition that is well thought out. Overall, these two artists become a pinnacle of art that illustrates Italian paintings in the years around 1300.
The object of this book, Early Medieval Art, is to convey the theme “tradition not only receives and transforms, it literally invents a tradition upon which it founded itself” (p. 15) concerning art of the early medieval era. The purpose of this book is to summarize and offer knowledge of medieval art, that will then be included in the greater series of books by other specialists for Oxford University Press. Lawrence Nees accomplished his argument successfully by following the chronological production of the art and the traditions that are imbedded within them. Although, his thesis is strongly supported, Ness’ failure is found in his over reliance on the artwork itself, which then leads to the masking of his personal arguments.
Artists in the Renaissance aided the continuation of Renaissance ideals. Renaissance art, including paintings, sculptures, and architecture,...
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.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.