Art as a whole and single entity is difficult to define. Many refer to art as an expression of one’s creativity, what is produced as a product of skill and imagination. Art has over the ages evolved to different forms of expression. History has been marked by many different events in art. Art has over the years influenced history in many ways. It is on this background that art continues to influence the environment around as well as the future.
The Renaissance
Renaissance is the rebirth of something, to be bringing out the old in a whole new way. Renaissance was characterised as the period between the 14th and the 16th centuries. This period marked major changes in the world of art (Witcombe, 2011, 2). This period brought a lot of changes to artist such as sculptors, architects as well as painters. These forms of art that is sculpting, painting as well as architecture began to emerge unlike before where they were simply regarded as artisans or apprentices (Witcombe, 2011, 3).
It is commonly referred to as art of the middle ages, it is believed to have been a revolution having began in Italy (Annenberg, 2011, 3). Renaissance art was influenced by Italian painters, sculptors as well as architects. During the renaissance period, artists are said to have experimented with diverse many forms of art, mixing complex as well as simple ideas of expression. It is with this freedom of expression and an urge to experiment that led to the development of baroque art.
Baroque Art
Baroque art has been referred to as the form of art that utilises a lot of ornamentation to create a dramatic effect. It is a period and style that used exaggerated motion and contrast that when interpreted in detail leads to a dramatic effect (Pioch, 2002, 1).
This was a style that was largely popularised by the Catholic Church in Rome and spread rapidly through Europe (Annenberg, 2011, 7).Baroque art is commonly referred to as the art of the seventieth century. As a style, it represents dynamism in transformation as well as continuity of the ideas that the renaissance represents.
Baroque art utilises several varied and different ornaments to create a dramatic motion effect. During the renaissance art and science are said t be connected and the two are used to complement each other. Two great artists in the Baroque art include, Caravaggio and Annibale Carracicci who brought a new dimension to Italian painting. Before then art was artificial lacking a sense of depth and challenge these artists were looking for.
Annibel in his work has an expression that was considered by many as a style of his own. Another artist Caravaggio created his own art and with this he sought to create a great physical prescence. These artist as well as other artists of the baroque art utilised motion to create a deep and intense intention embedded in emotions (Pioch, 2002, 3).
Renaissance led to the development and emphasis to a better description of painting as well as sculptures. This in turn emphasised the need for great knowledge as well intellect to achieve this (Witcombe, 2011, 11). With these developments many works of art were seen as unique and complex and having employed aspects of divine intervention.
Art was see as adopting aspects that imply that art was influenced by religion. During the period of renaissance Plato as well as Platonism was revived. Here art and religion is fused together and as a result art is viewed as divinely inspired. It is through all this that artists, that is sculptors, painters as well as architects began to be regarded as artists the same as poets or writers, for their art.
Conclusion
In the modern day art culture, baroque is used to describe the different works of art. Since the Renaissance, baroque is very well adopted in many forms of modern day art such as architecture, sculpting, theatre, that is in plays and opera and so on, literature as well as philosophy and painting. Many modern day scholars as well as artists believe baroque art as the end as well as the new beginning for renaissance.
References
Annenberg Media. (2011). Art of the Western World: The early renaissance. Web.
Annenberg Media. (2011). Art of the Western World: The High Renaissance. Web.
Witcombe, C. (2011). Art & Artists: The Renaissance & the rise of the Artist. Web.
Art during the Renaissance is marked by the rebirth of artistic freedom. This allowed artists to be more creative, a shift from the strict ways of the medieval period. Religion and the new printing technique had great influenced on this reconstruction. El Greco is an intriguing artist of his generation, whose works reflect the style and characteristics of the Romantic period.
His ability to capture numerous artistic expressions that remain relevant today makes him the choice of my essay. The Renaissance is the period which marks the growth of literary works in the sixteenth-century in Spain, where El Greco lived and worked until his death. This is influential in the evolving, into the three dimension aspect that is aligned to the romanticism by the early eighteenth century.
Characteristic and other influencing factors of the Romantic period
A major development in the Renaissance is the emphasis on the realistic description of three-dimensional figures, and objects in painting and sculpture (History of the Renaissance, 2011). The emergence of scientific methods, and printing press led to an informed perspective and encouraged distributions to more people. This also meant that the artist appeared more intellectual given their creativity and eccentric behavior. This attitude has perhaps grown over the centuries
During the Renaissance, the revival of Plato and Platonism influenced the spread of religious inspiration of the poets and musicians. According to Plato, they were divinely inspired (Art History, 2011). It is at this time that contemporaries of the likes of Michelangelo started to enhance his status by describing him as divine.
Biographical information on El Greco
El Greco was a unique and very interesting artist of the16th-century. El Greco was born in Crete in1541, the centre of Post-Byzantine. El Greco’s father, Georgios Theotokopoulos was a merchant and tax collector.
As other Greek artists, he travelled to Venice and later moved to Rome, Italy to obtain training and enriched his style with elements of Venetian mannerism and traditions. El Greco moved to Toledo, Spain, in 1577, where spend most of his time working. He effectively combined the strict Byzantine style with the medieval traditions influences he obtained during his studies in Venice and Spain.
According to History of the Renaissance, El Greco’s concepts were greatly influenced by his immediate surrounding (2011). Toledo landscape acts to develop El Greco’s unusual perspective on his paintings which have very vibrant colors. His intense mood in several of his paintings reflects the religious perspective of this era. His mature art was influenced by Toledo.
El Greco also excelled as a portraitist reflected in his works of art, which act as a fore-shadow of modernity. According to Annenberg Media, the new printing techniques, music and musical ideas were able to be preserved and distributed to the people (2011).
El Greco’s review was not restricted to scholars, but his lucidity and skillful use of color in his works largely encouraged other artists of his time. He has had a positive impact on both artists in his generation and many contemporary artists. Picasso visited his friend Ignacio Zuloaga’s studio when he was working on Les Demoiselles d’Avignon. His agenda was to study El Greco’s Opening of the Fifth Seal.
Conclusion
El Greco altered his style by inventing a distinct interpretation of the traditional religious subject matter (Art History, 2011). Although, his works are characteristic of the Venetian Renaissance period, they are very distinct and unique compared to his contemporaries. As an artist, he captures the elements and styles of not only the Renaissance period but, also the medieval period.
This perhaps is the reason he continues to have an influence on the 20th century artists for example, Edouard Manet and Eugene Delacroix. El Greco also viewed Raffaello Sanzio da Urbino, Michelangelo and Leonardo da Vinci, who formed the traditional trinity of great masters of that period as models to emulate. This is the reason he has such an impact across all generations.
References
Annenberg Media. (2011) Art of the Western World: The High Renaissance. Web.
The Mona Lisa is a painting symbolizing the look of Lisa Gherardini, wife of Francesco Del Giocono. It is a portrait by da Vinci, one of the Renaissance masters, in honor of Francesco’s wife. The image puts across a message about the family of Francesco. The main message regards celebration of a new family member-the second male baby, and the completion of their home in Florence, Italy. It is worth noting with keen interest that the actual meaning of the painting remained a mystery to many people in the globe, until 2005.
Techniques
Da Vinci employed a “velature” technique in his work. The artist used oil paint, cotton and poplar wood to come up with the artwork. This painting is unique since it incorporates a poplar wood surface as compared to most paintings of da Vinci’s time, which used canvas. There are several colors used including brown, gray, green and blue which generate a high level of unity in the work (Boddy-Evans, 2012). He painted a different color on top of another, thereby creating a delectable form.
This gives Mona Lisa a superb depth, one which would not be achieved by a mixture of colors. He used sfumato and included soft colors, as well as dark glazes on the edges of lips and eyes. The artist laid emphasis on the arms, eyes as well as the lips through a shadowing technique. This makes the painting stand out among other paintings since it depicts the picture as one of a person who is alive.
Furthermore, the artist used an aerial perspective, as well as a beautiful landscape to create the background of his piece of art (Boddy-Evans, 2012). The painting has no visible brush marks of a poor artwork. Da Vinci employed a pyramid design, whereby he placed the image of the woman calmly on the poplar wood. The work depicts a sense of harmony, and the smile of the woman shows happiness.
Owing to his experience in anatomy and mathematics, he established a perfect size for the portrait. The artwork is an outstanding painting in the world. It has influenced modern artists to upgrade their degree of painting. It is a source of inspiration for many women who endeavor to leave a lasting impression on people’s faces through their smiles and joy. Moreover, its use in numerous crockery items like mugs and clothes such as T-shirts cannot be underrated
The Creation of the Heavens by Michelangelo Buonarroti (1508-1512)
This is one of the paintings done by Michelangelo on the Sistine Chapel (Vatican) as commissioned by Pope Julius II, and as a symbol of the high Renaissance work. In this artwork, Michelangelo intended to communicate the beginning of the world and the need for salvation by humankind (Aston, 1979).
The artwork shows God surrounded by angels. God is floating with his left arm pointing the moon, whereas his right arm points the sun. The angels are full of amusement at what God has created. According to early traditions of Italy, dating back to the 4th century, the moon and the sun were of high regard in the country. The moon was a symbol of the Virgin Mary’s influence on the church, and the sun had an association with Christ.
Techniques
Michelangelo used oil paint and canvas to present his artwork on a landscape (Aston, 1979). He used cangiante whereby different shades of brown show details of the people’s bodies and the garment covering them. Use of gray on the background creates a high unity level in the work. White shows God’s beard signifying his old age.
The artist highlighted some areas and gave a shadow effect in others. The outstretching arms of God symbolize Christ’s hanging on the cross. The sun signifies the illumination that Christ would bring on earth through his miracles and salvation through his death.
The moon symbolizes the purity of the Virgin Mary and her association with the church. The look on God’s face suggests future predictions, probably a feeling that Christ would suffer in the hands of men and would be crucified. This artwork has influenced a lot of people, especially Christians, who hold beliefs about the sacred nature of God. They believe that Jesus was the son of God, and he died in order to save them.
References
Aston, M. (1979). The fifteenth century: the prospect of Europe. New York: W.W. Norton.
Boddy-Evans, M. (2012). Palettes and Techniques of the Old Masters: Leonardo da Vinci. Web.
The renaissance period can be described as an era in which great works of art, especially paintings by great artists, were produced. This paper endeavors to compare and contrast two paintings from this period, one appearing on a website and the other from a study textbook.
The two paintings are The Last Communion of St. Jerome by Sandro Botticelli, and The Adoration of the Magi by Leonardo da Vinci. The comparison will look at the paintings’ form, their subject matter, their content, and how they fit into the context of that particular time period.
The Adoration of the Magi is a two-dimensional painting that was painted using oil on a wood panel measuring 246 by 243 centimeters. The exact date of the painting is not known, but is estimated to have taken place sometime between 1481 and 1483. The technique that Leonardo da Vinci used in this painting, therefore, became a trendsetter in the art revolution of the time.
This is seen in the manner in which figures are given a presentation in the painting. In this painting, Mary and her son easily come out as the center piece, surrounded by many people at the scene. The colors used in the painting are yellow, ochre and brown (Delahunt, 2010).
In comparison, The Last Communion of St. Jerome is a three-dimensional painting that was painted on wood with gold and tempera, with dimensions of 34.3 by 25.4 centimeters. Its exact date of painting is also not known, with estimates placing it at sometime in the early 1490s. The suffused lights filtering through the hut’s grayish green wicker frame highlight the sense of concentration and intimacy in the painting. In contrast, the furniture and fabrics are depicted by vibrant colors.
The green-brown robes worn by acolytes put emphasis on the grey-freckled, dark brown tunics of the two young monks. The priest’s red planet is repeated with a stronger shade in the cardinal’s hat. In addition, the priest’s gold and blue dalmatic echoes the blue cloth that the saint kneels on (Frank, 2010).
The Adoration of the Magi definitely has a strong subject matter. This painting shows Mary and her son Jesus surrounded by a crowd of men and women and the tree of life. One can also see knights in combat, an indication of the fall of paganism and the rise of Christian faith. The painting is an abstract work of art. This is because it has been taken out from elements that are found in the observed world, but no longer represent a particular person or object that can be found in this observed world (Delahunt, 2010).
On the other hand, in The Last Communion of St. Jerome, Botticelli depicts the last moments of the life of St Jerome attempting to capture a scene of serenity and peace. The scene includes a gabled hut in which the saint is confined in as a cell, with the only hint of severe suffering being seen in the elderly saint’s face.
The painting is a representation of the moment in which Jerome is lying on a sheet made from linen. He has gathered around him his companions from the monastery and is asking for the body of Christ from one of his brothers (Frank, 2010).
The painting matches with the written text concerning the incident. This is seen in the way the epistle recalled that Jerome asked his companions to assist him in getting to his feet when he saw the priest coming closer to him. He also testifies his faith in Jesus Christ, whose blood and body are present in the wafer.
Additionally, he speaks against Christians who take the Holy Communion despite their several instances of sinning. He also speaks passionately against unworthy priests. He concludes with a recital of several prayers, and a complete confession. The Last Communion of St. Jerome is a representation work of art since it represents something that is, or was, observable in the real world at the time (Frank, 2010).
In The Adoration of the Magi, Leonardo da Vinci sends a message to Christians everywhere that the king of heaven is Jesus Christ, who is to be worshiped by everyone on earth, including kings. Symbolism is used prominently in the painting. The rocky landscape indicated in the background, together with the combating knights seen on horsebacks, points to symbolism.
The rocky landscape is symbolism of the ruins of King David’s palace. This is meant to symbolize the fall of King David as the king, to pave the way for Jesus Christ, who would be the new king to be worshipped by everyone, including King David himself. On the other hand, the combating knights symbolize the fall of paganism to pave the way for the rise of Christianity under Jesus Christ (Delahunt, 2010).
The message that artist Botticelli wishes to pass in the painting The Last Communion of St. Jerome is the meditation or reflection on St Jerome. The painting encourages the viewer to reflect and mediate. However, Botticelli assumed that the viewers would have knowledge about the life and times of Saint Jerome. For a viewer to understand the message, he would have to know the details concerning Saint Jerome’s life.
The painting also has elements of symbolism as seen in the precise symbols present. One of the symbols is that of Jesus Christ, which symbolizes the source of living water as well as the spiritual rock for Christians. It can also symbolize Christ as the good shepherd. There are also some symbols that remind the painting’s viewer of certain moments in the life of Saint Jerome, such as the lion in the painting. The application of a lion in renaissance art is largely associated with Saint Jerome (Frank, 2010).
The painting Adoration of the Magi fits perfectly into the context of the time period in which it was painted. Leonardo da Vinci did the painting during the late 15th century, a time when Christianity was on the rise. At the time, Christianity was taking its root in Europe, with early Christians trying to recruit new followers, or convert pagans and nonbelievers into the religion. The painting contributed a lot to what Christianity is today, by depicting the birth of Jesus Christ as the future king (Delahunt, 2010).
On its part, The Last Communion of St. Jerome shares a similar time period context with of The Adoration the Magi. While the latter portrays the birth of Jesus Christ as the leader of Christianity, the former portrays a saint passing on the teachings of Christianity, such as the taking of the Holy Communion.
References
Delahunt, M. (2010). Examples of earlier Renaissance works of art – by artists born before 1470. ArtLex on the Earlier Renaissance Art. Web.
Frank, P.L. (2010). Prebles’ Artforms: An Introduction to the Visual Arts. New York, NY: Prentice Hall.
Renaissance Paintings Jan Van Eyck – Portrait of a Man in Turban
Jan Eyck was an artist from Northern Europe. He worked on many paintings, but one of his most outstanding paintings is the portrait of a man in turban which he did in 1443. This artwork is thought to be his own reflection. Jan was perceived to be the pioneer of using oil paints in this region.
The image is two-dimensional because we can only see the front side and the top side. By just looking at the image, it is clear that Jan Van Eyck was a very religious person owing to the turban on his head.
The difference between the background and the foreground of the image is difficult to determine because the dark coloring has overlapped the other elements. However, the same darkness has been used to create an outline of the image. The artist used more contrast on the areas that he needed to highlight.
If there was more contrast in the entire image, a balance would have been achieved (Sider 67). This is because the image covers only one half of the frame.
The shadowing is used to block other characters in the image because the artist wanted the viewers to focus on his personality portrayed in the image (Levy 7). The same shadowing is applied on the turban to create texture. More texture has been created by the smooth lines that are on the surface of the turban to create an impression of the folds in the garment.
The outline of the turban is used to create an impression on the size of the headgear. However, the outline is blended with the background to create a smooth edge. There is an aspect of sequence in this image with regard to appearance.
When the viewer glances at the image, darkness is the first aspect to be seen followed by the bright face. The source of light flows from the left side of the image and that is why the other body parts such as ears cannot be seen.
Filippo Lippi – The Madonna and Child
Filippo was another renaissance painter who was born and brought up in Italy. He is was a renowned artist who worked on the Madonna and Child 1440-1445 painting. In this painting, there is a woman who is holding a baby that is placed on a platform, but her image dominates the entire image.
The image has two dimensions because there is height and width (Paoletti and Radke 14). The colors used on the lady’s garments are of high value as opposed to those used on the child’s clothing. Both vertical and horizontal lines have been repeated to create smooth texture and smooth edges.
The colors that are used in the image are much related and thus they create an element of unity. The images are also connected to each other. The lady is linked to the child through her hand and the child is seated on the platform. The background is not blended with the outline of the image.
This argument can be verified by looking at the right hand of the woman, which is overlapped by the body of the child. There would be no balance in the image if the child were not present because the woman seems to lean towards the left side as seen from the woman’s tilted head and the elbow.
However, the position of the child compensates for the imbalance that the woman creates. The lines have been used to separate colors to make sure that each color is distinct (Bayer 1). However, this is only applied on the woman’s garments. The background is made up of several colors that are of low value.
Light is evenly distributed in the image expect on the lower right hand side where the baby creates an obstruction. The image has an aspect of religion which is evidenced by the background of the image. The background represents renaissance architecture where arcs were used and the technique was common in religious buildings. Moreover, the garments worn by the lady represent an element of fashion.
The Renaissance period has presented a lot of masterpieces of art which has formed the cradle of modern culture. The works by Leonardo da Vinci, Michelangelo, and Raphael are famous all over the world. The perfectness and harmony of their art pieces have determined the principles of the world art development.
Raphael is one of the most prominent Italian artists who made his masterpieces during the Renaissance period. Sistine Madonna is one of his most discussed works which was completed before his death. Today it is located in the Gemaldegalerie Alte Meister in Dresden, Germany. It attracts the public’s attention with its inimitable composition and the sacred meaning which is hidden in Madonna’s and her son’s views.
Sistine Madonna is an oil painting which was completed by Raphael in 1514. This piece of art was worked out as the part of the high altar of the Monastery of San Sisto in Piacenza. It was the Benedictine monks’ wish to have such a painting as the altarpiece. The composition of the work can be divided into two parts.
However, the center of the composition is Madonna who is on clouds with her son Jesus in her hands. Madonna is looking in front of her. Jesus is looking at something which is left to him. We also can observe the images of Saint Sixtus and Saint Barbara nearby. Saint Sixtus is looking at Madonna and pointing at something in that direction where Jesus is looking.
It seems that he tries to warn Madonna. Two small winged cherubs who are situated beneath Madonna finish the composition. They are often considered as the independent part of the painting. The background of the work is rather soft and light. We can discover the obscured images of cherubs there.
The color scheme of the painting is rather contrasting because the background of the composition is pale and the main figures are depicted in quite dark colors. Raphael used the tones of dark blue and dark green colors to portray the figures. The dress of Saint Sixtus is in golden colors. Definite details of Madonna’s and Saint Sixtus’s dresses are presented in a bright purple color.
The most discussed issue connected with this religious painting is the meaning of the expressions on the faces of Madonna and Jesus. It was not typical for the art of that period to portray Madonnas with such a worried face.
Moreover, the child seems to be even frightened. Many critics and historians tried to find the answer to this question. It was hidden in the peculiarities of the altar where the painting should be located. Thus, according to one hypothesis, Jesus was looking and Saint Sixtus was pointing at a crucifix as a sign of the death.
Sistine Madonna is one of the most famous religious oil paintings made by Raphael. Moreover, it is the last image of Madonna completed by him for the church or monastery.
This painting became the most prominent example of portraying the religious themes in art for many generations of artists. Many critics emphasize that in this work Madonna looks like an ordinary woman who feels the great responsibility and even fears for her son.
This great painting was developed for the Benedictine monks’ Monastery of San Sisto and has determined the principles of portraying religious motives and images in the works of the Renaissance age. Sistine Madonna became the last image from the series of Madonnas’ depictions made by Raphael.
The renaissance was a period in history where Europe underwent a rebirth in its perception of art. It marked the transformation of the continent from the middle ages to the modern era. The renaissance was the starting point for the development of concepts such as individualism, secularism as well as capitalism. In art, most works were associated with geometric representations of the natural world.
However, some scholars are quick to warn others about the dangers of bracketing all artists in the renaissance into one similar group because some individuals do not fit neatly into these patterns. While other Italian artists may fall outside conventional understandings of art in the renaissance, Leonardo de Vinci does not; his work exemplifies this radical transformation in the representation of images and forms on various media.
Distinct features of the renaissance
Renaissance art was known for its focus on personalities, attitudes or emotions rather than just the outlines or forms of the images being represented. Artists were able to capture emotion even in sculptures, especially the unsupported nude (Maginnis 14). Most of their forms had great emotional intensity and thus appeared more natural.
This was also a time when paintings or drawings became more realistic than they had ever been before (Saari & Saari 44). Most of the artists who achieved this goal utilised the concept of perspective in their work. They made their two-dimensional representations seem very similar to three-dimensional figures.
The ability to manipulate light and darkness in renaissance work also made artistic quite authentic (Jurdjevic 250). These artists knew how to work with tone and they would play with contrast in a manner that achieved their desired goal.
As stated earlier, the renaissance was a time in history when Europe started experiencing elements of secularism (Hay 130). In the period before the renaissance, most artists were intent on promoting religious devotion through their work. However, in the renaissance era, artists started doing some mythological representations and focused on subjects outside of religion. It should be noted that the extent to which this occurred was rather small. However, secular paintings were still a reality (Hart & Wilkins 23).
Lastly, the renaissance was also associated with the accurate representation of images and forms in space. This was manifested through effective use of motion. Images in this era, therefore, focused on correctness and logic rather than unscientific work (Macdonald 9).
Leonardo’s techniques and contribution to the renaissance
Leonardo is best known for his superior use of light and shade in his artistic work. This was a concept that made his paintings more realistic and came to be a distinct feature of the renaissance period. As such, Da Vinci was a true renaissance artist. A typical case of how he used light and shade wistfully was his painting of ‘Virgin and Child with a Cat’. In this artwork, Leonardo was able to capture the mass of his subjects through effective use of light and shade (Van Cleave 86).
Leonardo mastered this technique by analysing his life-sized sculptures. They often replicated the manner in which light and shade fell on real human subjects. It was this ability to transform such abstract concepts, such as light and reflection, to artistic works that made Leonardo highly valued in the renaissance.
O’Connor (50) explains that Leonardo’s ability to manipulate light and darkness stemmed from his intense study of optics. The artist wanted to learn more about the phenomenon of light transmission. He, therefore, used science in order to accomplish his artistic goals. At the time, the individual focused on using real human eyes to study light. He obtained eyes from medical colleagues and discovered a way of hardening different layers of the eye.
He then came up with theories on how light was reflected by the different components. Although these concepts seemed far-fetched at the time, and most medical scientists rejected his ideas, Da Vinci’s theories proved to be quite practical for his designs as well as his artistic work (McHam 53).
He found out that light travels in waves and that the eye worked as a lens. Such ideas assisted him in accurately representing his paintings. The comprehensive scientific work done by Da Vinci exemplifies the need to focus on scientific representation of form. Leonardo was a true renaissance artist because he strived for correct representation of form through scientific mechanisms.
Geometric calculations and intense preparations were famous methods used by renaissance artists to increase the accuracy their work, and Da Vinci was no exception (Kavaler 16). When Leonardo lived in Milan, his ruler had talked about the desire to make a bronze horse with a rider on it. When Leonardo heard about this interest, he took it upon himself to research about the item intensely. He learnt a lot about bronze casting and then observed horses at rest, racing horses as well as prancing horses.
He disentangled various components of the horse’s body part and worked on them independently. Thereafter, Da Vinci was commissioned with the job, and he created a clay model of a horse and its rider. The model was quite huge and profoundly detailed. Leonardo worked out a way of determining how much bronze he would need to cover the clay model from top to bottom. Once again, he relied on scientific methods of measurements and dimension.
The clay mould was never transformed into a bronze statue because Italy diverted its bronze elements for use in making weapons (O’Connor 55). However, the intense and meticulous preparation of the artist is a depiction of his renaissance leanings. He always wanted to make his sculptures and paintings as accurate as possible, and to do this well, then scientific or geometric methods came in handy (Langley 92).
Leonardo often created pieces that captured emotions effectively and seemed magical in the way they represented the human form. A case in point is the Mona Lisa, which is, arguably, the most famous painting ever made by a renaissance artist. Art lovers and critics alike still remain fascinated by the image of the ‘Mona Lisa’. People have imitated and reproduced the ‘Mona Lisa’ in an attempt to demystify this creation.
The same thing may be said about his portraits of beautiful women such as ‘Cecilia Gallarani’. There was a high degree of depth in these pieces because the women were not just beautiful; they had a contemplative and pensive countenance. Da Vinci superbly captured these qualities in his work and thus exemplified the renaissance tendency to portray human emotion so well.
The women in these portraits appeared to have something to hide. However, instead of revealing to the audience what the model was concealing, Da Vinci preferred to show the concealment in order to allow audiences to speculate about those missing components for themselves.
Da Vinci was also widely reputed for his ability to capture movement and mass with subtlety. In the portrait “Virgin of the rocks” the artist had a way of moving from shapes to tones without demonstration of any sort of contours in his pieces. The delicateness of the features in this painting, and many others was evidence of the fact that Leonardo had a deep-seated ability to smoothly transition between forms.
Da Vinci’s promienence as a renaissance artist also stemmed from his capacity to coordinate attitude and the human anatomy perfectly. The artist knew how to demonstrate position and motion in the human body by relating it to the physique of the subject (Keele 366). As a result, his paintings were quite natural.
Many armature contemporaries did not understand this relationship. Consequently, most of them did not change the way muscles looked in different parts of the body, such as the arms, stomach, as well as the back. Their images always seemed to lack adequate emotion. Leonardo explained that it was essential to match attitude with the position of the subject (Kemp and Wallae 87).
To achieve this, one must consider some possible thoughts of the concerned models. Da Vinci often thought about mutes who solely rely on motion in their eyes, back, and feet in order to express what they think about. Alternatively Da Vinci knew how to match the age of the subject with the nature of the attitude that they had.
For instance, Leonardo proposed that when drawing an old man, in the standing position, one must refrain from spreading his legs too wide (Keele 366). Additionally, various muscles and body parts must be used to echo this position. For instance, the person should have bent knees and he ought to have straddled feet. A crooked back would be appropriate as well as stooping shoulders. It would also be fitting for the old person to wear a dull and sluggish look (Richter 101).
This attention to details revolving around the human anatomy made Da Vinci’s work come to life. It alludes to the propensity for the use of science in his work. The artist understood the clinical asymmetry of the human body. He knew that the neck area, hip area and shoulders often exhibit the greatest variability in motion.
As result, it was necessary to alter these traits in order to meet his objectives. Leonardo thought of the human body as some sort of moving machine (Keele 368). Consequently, he was right to assert that the body was governed by mechanical laws. These concepts were indeed revolutionary because medical scientists did not understand them at the time.
Nonetheless, they explained why Da Vinci captured attitude so effortlessly in his work. It is this combination of scientific techniques to achieve true representation that makes him an exemplary renaissance case (Gelb 99).
Leonardo’s weaknesses and distinctness from other renaissance artists
While Leonardo was one of the most influential figures in the renaissance, some of his work was wanting because of his artistic temperament. The individual rarely focused on one thing at a time. He was fascinated by all he saw, and wanted to figure out how things worked. The problem with this attitude was that Leonardo often got bored with certain projects. He would start working on a piece of art and leave it half way (Van Cleave 86).
Furthermore, sometimes he focused so much on experimenting that it often got in the way of actual artistic work. A case in point was the painting of the “Battle of Aughiari”. Leonardo was experimenting with new techniques of paint application. Although the work had initially been appealing, this changed dramatically owing to deterioration of the paint quality (Van Cleave 86), (Welch 64).
Consequently, Da Vinci’s propensity for experimentation sometimes harmed his work. Beckett (5) explains that Da Vinci’s many talents caused him to place too much importance on other fields and thus treat his artistry lightly.
To a certain extent, many experts have come to associate the renaissance period with fresco painting. It was a method that renaissance artists preferred because not only was it a cheaper way of creating artistic pieces, but it also lasted longer than cloth, which was the form that inspired fresco painters (Lopez 204). The method required a lot if investment in artistic skill even though one did not need to use a lot of labour for the same.
As a result, artists had to be careful about the way the work was done. One must prepare a wall surface and then create the right scaffolding. Artists needed to consider the weather when making fresco paintings. If they exposed their painting to wet or cold weather, then this would cause the plaster to remain wet. Alternatively, if a painter did fresco painting when it was dry, then chances are that a part of the painting would dry before completing it.
Some artists looked for creative ways of dealing with the problem by combining oil and tempera (Welch 66). Da Vinci used his own approach to fresco painting by using with oil, although this did not work. It is likely that his divided attention may have led to the problem. Currently, images of paintings that he made with this technique were disastrous because he did not give the method the time that it needed to develop the right approach.
Leonardo was exceptional because he represented how artists could meet the objective of the renaissance era. The unique depictions of the human form could not be easily replicated by other artists. Many of the painters, who tried, only succeeded in imitating one or two elements of Leonardo’s work but never the entire piece (Turner 60).
In this regard, one can assert that Leonardo’s influence stood apart from what other renowned artists had accomplished in the renaissance. Therefore, one can argue that Leonardo stood apart from others as an artist and this reduced his influence in the era.
The subject matter of most of Da Vinci’s paintings was religious and traditional. In most circumstances he dwelt on angels and ordinary people. Therefore, one can assert that there were minimal secular themes in Da Vinci’s work. In this regard, he did not advance secularism as was the case for certain renaissance artists (Burke 15).
Conclusion
Leonardo was an exemplary renaissance artist owing to his focus on accurately presenting images on two dimensional media. He used geometric and scientific methods to achieve this. Da Vinci also balanced light and darkness just like other renaissance artists. Leonardo captured the emotion and attitudes of his subject as was expected in the renaissance. In this regard, he was an exemplary artist. Some deviations from such expectations do not change this fact.
Works Cited
Burke, Peter. The Italian Renaissance: Culture and Society in Italy. Princeton: Princeton University Press, 1999. Print.
Gelb, Michael. How to Think Like Leonardo: Seven Steps to Genius Every Day. New York, NY: Delacorte Press. 1998. Print.
Hartt, Frederick and Wilkins, David. History of Italian Art: Painting, Sculpture, Architecture. London: Thames and Hudson, 2003. Print.
Hay, Denys. The Italian Renaissance in Its Historical Background. Cambridge: Cambridge University Press, 1977. Print.
Jurdjevic, Mark. “Hedgehogs and Foxes: The Present and Future of Italian Renaissance Intellectual History. “ Past & Present 195(2007): 241-268. Print.
Kavaler, Ethan. “Renaissance Gothic: Pictures of Geometry and Narratives of Ornament.” Art History 29.1(2006): 1-46.
Keele, Kenneth. Leonardo Da Vinci’s Infleunce on Renaissance Anatomy n.d. Web.
Kemp, Martin & Wallae Marina. Spectacular Bodies: The Art and Science of the Human Body from Leonardo to Now. Berkeley, CA: University of California Press, 2001. Print.
Langley, Andrew. Leonardo da Vinci and the Renaissance. Philadelphia, Pa.: Running Press, 2001. Print.
Lopez, Robert Sabatino, The Three Ages of the Italian Renaissance. Charlottesville: University Press of Virginia, 1970. Print.
Macdonald, Fiona. The World in the Time of Leonardo da Vinci. Parsippany, N.J: Dillon Press, 1998. Print.
Maginnis, Hayden. Painting in the Age of Giotto: A Historical Reevaluation, Oxford: OUP, 1997. Print.
McHam, Sarah. Looking at Italian Renaissance Sculpture. Princeton: Princeton University Press, 1998. Print.
In the modern day, Leonardo da Vinci is considered by many to be the greatest artist and possibly even the greatest person of all time. That opinion survives since the Renaissance era when he was thought to be the most gifted man in the world and influenced many of his contemporaries in a big way. The greatness of Leonardo is evidenced by the description of his life and work created by Giorgio Vasari.
Leonardo as an artist
Vasari describes many deeds of Leonardo from his first works on the part of an image of the Christ’s baptism (Vasari 287) to his incredible inventions, like alchemical concoctions similar to the modern day latex (Vasari 296). The most amazing story recounted by the historian is probably that of The Last Supper. The painting was commissioned by the Dominican friars of Milan. Vasari writes that it impressed the Church officials so much they demanded Leonardo finished it, even after he stated he could not paint Christ in all his glory. The painting captivated King of France to the extent he was ready to pay any sum of money to have it moved to Paris. Only the fact that The Last Supper was painted on the wall managed to stop the relocation (Vasari 291). The other universally famous work mentioned by Vasari is Mona Lisa. He describes it in great detail writing how “the eyebrows could not be more natural” and “the flesh of the face seemed to be real flesh, rather than paint” (Vasari 294). It is clear that Vasari admired the work greatly as did many before and after him. The excellence in art made Leonardo extremely famous. He was recognized as a phenomenal artist even in his own time, as evidenced by Vasari, who recounts Leonardo being tasked with various paintings by the city council of Milan (Vasari 295).
Leonardo as a scientist
Another aspect of Leonardo’s genius was his aptitude towards natural science. Vasari writes about many incredible experiments. Leonardo blew up guts of steers so much they filled a whole room (Vasari 296). He designed machinery for various purposes, including pumps and excavators (Vasari 286). He also was interested in herbs and animals, studying and recording various species. His most famous achievement in this field – an incredibly detailed and precise painting, representing human anatomy, called Vitruvian Man, is also mentioned (Vasari 292). The painting represents the level of understanding and detail unmatched by anybody at that time.
Conclusion
All of the da Vinci’s achievements are described by Vasari with great reverence. The historian makes it very clear how much Leonardo was respected in his time. All of his works which were at least nearly complete instantly became classic. Leonardo’s skills impressed some of the most powerful people of the time all of whom wished for something made by him. This adoration clearly shows that da Vinci was incredibly famous and influential even in his own time and as Vasari states “his fame increased even more after his death” (Vasari 284). And from the modern perspective, we can clearly see how much Leonardo da Vinci affected Renaissance culture and all of the world after his death.
Works Cited
Vasari, Giorgio. The Lives of the Artists. Trans. Julia Conaway Bondanella and Peter Bondanella. Oxford: Oxford University Press, 2008. Print.
Art plays a great role in the cultural development of every country as it alters and improves with the course of time, providing people with an opportunity to develop their worldview and perception. The Italian Baroque and the Italian Renaissance are those periods in the history of art that attract the attention of both artists and representatives of the general public. They are familiar to people from all over the world as well as the names of their main representatives. Even though the works of the Baroque and the Renaissance seem to be similar to each other, they have many distinct features.
The Renaissance started developing in the 15th century in Italy, which is known today as a place that was a home for numerous artists (Watkin 211). Moreover, the change from medieval times to early modern age happened during the Renaissance, which made it a very important historical period. It was followed by the Baroque that started in the 17th century (Watkin 283). It was greatly affected by religious changes and creation of Protestants and Roman Catholics.
As people’s minds were significantly influenced by this transformation, many works of the Renaissance masters were recreated. The Renaissance was positively accepted by its contemporaries and appealed to the majority of the general population while the Baroque was considered to be somehow strange (Mittendorf). As a result, the artists who worked during the first period seemed to be more recognizable even today. To some degree, this fact can be explained by the unwillingness of people who lived in the 17th century to observe those artworks that were familiar to them.
All main differences observed in the works of the Baroque and the Renaissance artists are associated with their styles. For example, perspective was firstly used by the artists who lived in the 15th century (Mittendorf). In this way, they obtained an opportunity to make their works more realistic than their predecessors did. However, obtained depths of artworks made them less emotional and appealing. The Baroque coped with this issue, adding more drama to paintings and sculptures. For example, when focusing on the statue of David made by Michelangelo, viewers saw the emotionless character who was going to fight with Goliath (Mittendorf).
The man looked very calm and stable. Vertical lines of the statue dominated in this work, which was typical for the Renaissance. It seemed that David was not yet engaged in any action. He thought and waited for something. On the contrary, the same work made by Bernini revealed David’s intensity and readiness to head into battle (Mittendorf). David was sculptured in action as he was whipping a stone at the giant.
His face revealed that the man was very concentrated on the object of his attack and determined to defeat him. David was not hesitating and had an expression of exertion. The curvatures of the sculpture showed dynamism as if the character was frozen while doing something. In the framework of architecture, the Renaissance works were also full of clean lines. They could be curved but remained rather simple and ordinary (Watkin 211). In their turn, Baroque masters included ornament details that made their buildings look more luxurious and pompous.
Thus, it can be concluded that the Renaissance works are rather conservative and strict. They are based on clear lines and absence of ornamental details. The works created during the Baroque are more curved and decorated. They seem to be more focused on beauty than on convenience.
Pico’s “Oration on the Dignity of Man” could be said to be a manifesto of Renaissance humanism as well as a synthesis of Christian and neo-Platonic ideas. How did Pico apply philosophical ideas from Classical sources (Plato in particular) to Christian beliefs? How can these ideas be used to explain the differences between the art of the Middle Ages and the Renaissance? Give specific examples from at least two disciplines we have studied.
Giovanni Pico Della Mirandola is one of the most influential writers of the Renaissance period, especially due to his attempt to harmonize and reconcile Platonic views with other ideas such as Aristotelian, Christian, and Hebrew philosophies. In his “Oration of the Dignity of Man”, Pico attempts to remap the human landscape and make it the center of human capacity and perspective. He heavily borrows the ideas of both Christianity and Platonic philosophy (Lamm, 2004). Pico believes that “Humanistic” is “not anti-Christian” and attempts to draw Platonic ideas of the universe into Christian belief in creation. How did he insert Platonic ideas into Christianity?
To answer this question, one needs to analyze the problem of “the one to many”. Pico faced this problem. The question was “if the universe is a single thing (object or God), how are all the diverse sections or parts of the universe relative to just one thing?” In Christian belief, the manifold parts of the universe were “created out of nothing” by the power of God (Mathews & Platt, 2010). Thus, Christian philosophers believed in “creation ex nihilo”.
On the other hand, Platonic philosophy held that there is no real or eternal order of creation. They asserted that the universe can be arbitrarily interfered with because it was arbitrarily created. In addition, Neo-Platonism philosophers argued that the manifold parts of the universe were emanations of God (Mathews & Platt, 2010). To reconcile these two factions, Pico drew the ideas of Plato’s philosophy to Christian views. Pico argued that the many parts of the universe were not created by God, but are symbols of God (Lamm, 2004). Thus, every person, animal, object, thought, religion, speech, or philosophy is a symbol of God. Therefore, God is one. The symbolic relation to God unites all creation.
These ideas can be used to explain the difference between the arts of the middle ages and the renaissance. For instance, by reconciling Christianity and the old philosophies that argued against the existence of God, Pico gave way for the modernization of arts. For example, his ideas gave way for the application of social life in arts, reduced emphasis on gothic style, and increased emphasis on secular themes (Lamm, 2004).
We have found that one important Renaissance idea is that the individual is unique and important, that each person has dignity and worth. Drawing upon examples from at least two disciplines (art, music, philosophy, literature), discuss the idea’s manifestation in works we have studied. How and where does this specifically appear? How was the “individual” seen and valued during the Middle Ages?
One of the most important features of Renaissance ideas is the uniqueness and importance of an individual based on worthiness and dignity attributed to a person. In arts, the famous “Mona Lisa” by Leonardo da Vinci provides a good example of humanism in paintings. For example, the painting uses color, lines, and perspective to portray humanism aspects in a woman. It also attempts to show the dignity associated with women by holding them with respect in society (Lamm, 2004). In literature, John Calvin’s “Institutes of Christian Religion” provides a good example of Renaissance work that depicts dignity and individuality in humanism. For instance, Calvin believed that every person has an individual relationship with God rather than a collection relationship with God, which previously allowed priests to act as mediators.
One important aspect of the Renaissance was a revival of classical Greek and Roman culture. Drawing upon examples from at least two disciplines, write an essay that discusses how Renaissance creators incorporate ancient forms, styles, and ideas into their work. What changes as a result of these encounters with ancient culture?
Renaissance creators attempted to revive the ancient Greek and Roman culture. At the beginning of the European renaissance in the 13th and 14th centuries, there was a strong campaign by scholars and artists in Italy to reawaken the ancient Greek and Roman cultures. For instance, Petrarch and Boccaccio emphasized the revival of Latin and Greek languages, arguing that their use was supposed to promote human dignity and worth. They also emphasized the revival of the intellectual traditions and values of Greek and Roman cultures. For example, Leonardo da Vinci studied various aspects of ancient Greek and Roman topics, including physics, flight, hydraulics, anatomy, geology, and botany (Lamm, 2004).
He applied some of these principles in his works. For example, da Vince drew and painted various objects, including a ship and a plane model based on Greek principles of science (Mathews & Platt, 2010). The resulting changes affected Renaissance works, especially arts. For instance, “Mona Lisa” and “David” by da Vinci are products of his knowledge in anatomy and balance, which were borrowed from the ancient Greek and Roman ideas.
References
Lamm, R. C. (2004). The humanities in western culture, Brief version. New York: McGraw-Hill.
Mathews, R. T., & Platt F. D. (2010). Readings in the western humanities: The Renaissance to the Present. New York: McGraw-Hill.
