Guido Reni, born in Bologna on November 4, 1575, was the son of Daniele Reni, a musician and singer, and Ginevra Pozzi. He was baptized in the Church of San Lorenzo and attended the Grammar School of Gugliemini in Bologna. His father showed him how to sing and taught him to play the harpsichord and other instruments. Instead of practicing to follow in his father's footsteps, Reni spent his time making sketches and clay figures. It wasn't until Denis Calvaert, a famous Flemish painter, saw some of his drawings and sought out Guido as his apprentice. Guido's father consented to the apprenticeship with one condition - that if he failed to make progress within a certain period, Guido was to return to music.
At the age of 13, Reni was appointed to give instructions to his fellow pupils which won him the respect of his companions and superiors. By the age of 18 he was promoted to the painting of his master's groundworks, composition of small pictures, and started selling his own works. At 20, Reni was one of the first students at the first art academy which was the school of the Carracci. That same year, in 1594, after his father's death, Reni began to make outlines, paint groundworks, and draw from subjects which were assigned him. This was a time where he devoted himself to executing several small religious compositions for the churches and nobles of Bologna. By 1598 Reni left the Carracci academy. This was due to arguments over payments for establishing a pattern for financial obligations, which he would struggle with through the rest of his career.
Reni moved to Rome in 1601, where he devoted himself to drawing and redrawing antique statues, both with pencil and pen. He familiarized himself with the spirit of Greek art. His first...
... middle of paper ...
...ad “as coolly as a mistress appraising a head of beef.” Reni seems to want to represent that death and cruelty are commonplace among courts and their nobles. Reds and greens were used, emphasized with rich golds. The color fades away from the center, focusing the viewer's attention to Salome.
The story of Salome has been a favorite of painters and has been represented in several ways. Salome was the daughter of Herodias and Herod II, ruler of Galilee. As the story goes, her father had asked her to dance for him at a banquet, promising her anything she asked for in return. Herodias, who was angry with St. John the Baptist for criticizing her marriage, prompted her to ask for St. John the Baptist's head. Herod had imprisoned John for condemning the marriage which violated Mosaic Law. He was afraid to have the prophet killed, but Salome did indeed ask for John's head.
Born in 1556, Giovanni Gabrieli was an Italian composer who worked for the St. Mark’s Cathedral in Venice. During his time there, he composed works for separate choirs for both vocal and instrumental performers. One of his most famous pieces comes from his Sacrae Symphoniae completed in 1597; the Sonata Pian e Forte. Gabrieli was both a composer and organist in Renaissance and Baroque transitional period which caused elements of both periods to be demonstrated within his compositions. With instrumental music becoming more popular, it was becoming quite common during this time to have a composer who also played an instrument, especially the piano or organ. Sonata Pian e Forte gained fame from being a work that demonstrated a few characteristics and ideas about sound that had yet to be seen or often used.
Leonardo Da Vinci was born on Saturday April 19, 1452, just outside the small village of Vinci, in Italy’s Tuscany region (Kalz 20). He was born from a peasant woman named Caterina and fathered by a lawyer with the name of Ser Piero Da Vinci. His parents were not married (Macdonald 5). When Leonardo was a one year old his mother left him with his father for some other man. His father wanted him to be successful, so at the age of fourteen his father sent him to become an apprentice of a famous artist in Florence, Italy called Andrea Del Verrocchio (Macdonald 5). His apprenticeship lasted twelve years (Kalz 23), in which time Verrocchio inspired and encouraged Leonardo to be a free-thinker (Reed 28). Before his apprenticeship Leonardo had little formal education (Reed 9). After his apprenticeship under Andrea Del Verrocchio he began to work under Lorenzo de’ Medici (Kalz 23). In 1482, at the age of thirty, Leonardo moved to Milan and gained favor of the duke of Milan, Ludovico Sforza due to his singing voice and talent on the flute (Kalz 23). In 1483, while still living in Milan, Leonardo started his Treatise on Painting, which has many notes on experiments he continued on different ideas on optics such as the eyes, light, and shapes (Reed 28). Leonardo’s good fortune was interrupted in 1499 when the French inv...
Getlein, Mark. Living With Art – Ninth Edition. Michelangelo 1475-1564. Page 371. New York: McGraw-Hill, 2010.
Baxandall, M., Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450, Oxford, 1971. Bellori, G.P., Le vite detpittori, scultori et architetti modern), Rome, 1672. ed. E. Borea, intro. G. Previtali, Turin, 1976.
As his career continued, Bellini became known for his landscapes and naturalistic depiction of light. Giovanni founded the Venetian school of painting, and lived to see his students succeed and even some of them become more famous than he himself was. His life ended in Venice in 1516, but his contributions to Renaissance art would live forever. Bellini brought a new level of realism and nature to art, innovative subject matter, and a new sensuousness in both form and color. Giovanni’s personal attitudes and styles predetermined the special nature of Venic...
Bowron, Edgar Peters., Peter Björn. Kerber, and Pompeo Batoni. Pompeo Batoni: Prince of Painters in Eighteenth-century Rome. New Haven: Yale UP, 2007. 100-50. Print.
Kleiner, Fred S. A History of Roman Art. Boston, MA: Wadsworth, Cengage Learning, 2010. Print.
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
Partridge, Loren. The Art of Renaissance Rome 1400-1600. New York, NY: Harry N. Abrams, Inc., 1996.
In a small town near Florence called Vinci, on the 15th of April, 1452 Piero Da Vinci, and a peasant girl, Caterina bore a son who would become the start of a new era, the Renaissance. Leonardo Da Vinci was a illegitimate son this meant that he could not have a prestigious position such as a notary or a doctor. In a sense this was in his favour as he had the chance of perusing his own interests. Da Vinci was born in the Province of Florence. At the time Da Vinci was born, Florence had become a fast growing city, which was wealthy enough to fund many acknowledged craftsmen. This gave Da Vinci the chance to become the apprentice of the famous artist, goldsmith and sculptor Andrea del Verrocchio. Verrocchio at that time owned an important workshop in Florence and he shared his workshop with fellow colleagues such as; Domenico Ghirlandaio, Perugino, Botticello and Lorenzo de Credi. These men would have been scholars in; art, science and engineering. This granted Da Vinci to observe other professional fields of work and to get in contact with the different professions
The objective of this essay is to provide an explanation of Leonardo da Vinci’s life and work as an artist in context with his time spent in Milan. Following an initial introduction to Leonardo’s formative years in Florence (and his apprenticeship to the sculptor and painter Andrea del Verrocchio, 1435-88), I will attempt to explain the significance of his presence in Milan with detailed descriptions of his work there. Giorgio Vasari (1511-74) was also an artist and architect, but is perhaps better known for his book on the lives of well known painters, sculptors and architects (published 1550; from Cimbue to his autobiography which was included in a revised edition):
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...
...m 1643 – 1715 AD. By the 1630s, an Italian sculptor by name of Giovanni Francesco Susini made a bronze replica available to a larger group of audience. Such replication process became socially acceptable for artists looking for inspired works as well as the local and international art students. People from various parts of the world, such as: England, United States of America, Russia, China, and many more – continue to visit the Capitoline Museum of Rome to grab a full view of the renowned piece: Galata Morente.
He was apprenticed to one of the finest artists in Florence. He was apprenticed as a studio boy. There he learned the arts and this inspired him to be a great artist. He gained a vast range of technical skills, including drafting, chemistry, metal-working, mechanics, metallurgy, and plaster casting.
During his stay in the palace, Michelangelo learned from and was inspired by the scholars and writers of Lorenzo’s acquaintances. His later work would forever be influenced by what he learned about philosophy and politics throughout those years. While staying in the Medici home, he refined his technique under the guidance of Bertoldo di Giovanni, keeper of Lorenzo’s collection of ancient Roman sculptures and a sculp...