Renaissance in Cinquecento Italy

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Chapter 22: Renaissance in Cinquecento Italy
Exercises for Study:
1. Select one of the following pair of artworks and describe the differences you observe between them. Each pair consists of art of the Early Renaissance (Chapter 21) and that of the High and Late Renaissance (Chapter 22). Examine the composition, technique, position of the figures, and facial expressions, as well as any relevant elements of art and principals of design (see handout from September or Google “art elements and design principals”).
ANDREA DEL VERROCCHIO, David 1465 – 1470 or DONATELLO, David, 1440–1460 VS. MICHELANGELO BUONARROTI, David, 1501 – 1504

Interest in humanism and the rebirth of Classical, spur an interest in authentic Roman and Greek sculptures. The revival of nudity in life-size sculpture was initiated by Donatello’s David, and continued through the Renaissance. Nudity led to an increase study of human anatomy. Sculptors competed with the glory of ancient artists by creating monumental figures that revived Roman and Greek sculpture, along with the Classical’s interest in nudity and correct human proportion.
Donatello’s David, 1420s-1460s, was the first bronze nude life-size statue since antiquity. David is in an exaggerated contrapposto position, and is viewed as an androgynous figure. Nudity was used to portray David as a biblical hero, and has a positive connotation. While nudity during the Middle Ages was regarded as indecent and censorious. Nudity had only previously appeared in “moralizing contexts, i.e. Adam and Eve or depictions of sinners in hell” (Kleiner 567). The life-size work was probably not meant for public viewing, but rather housed in the Medici Palace.
Verrocchio exemplified the meaning of a Renaissance man. Not o...

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...’s family crest. Creating indentifying features that Titian was the artist. The forms that farm the central figure are both enormous and powerful; on the left is Moses and on the right is a pagan who holds the cross. These figures are from the Old Testament, therefore are illustrated as statues. Being an oil painting, Titian is allowed to be expressive with his brushworks, creating individuality. The figures form out of the darkness, creating interest in spiritual light.

Works Cited

Kleiner, Fred S., and Helen Gardner. Gardner's Art through the Ages: A
Global History. Boston, MA: Thomson Higher Education, 2009. Print.
Nici, John B. Barron's AP Art History. Hauppauge, NY: Barron's Educational
Series, 2008. Print.
Sorabella, Jean. "Heilbrunn Timeline of Art History." Venetian Color and Florentine Design. The
Metropolitan Muesum of Art, n.d. Web. 31 Jan. 2014.

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