The Epoch of Renaissance emerged on the territory of Italy, becoming the true Rebirth of the national cultural life of the people throughout the whole world. The development of Art in the Renaissance period is considered to take a significant place in the world of Art through well-known representatives such as Leonardo Da Vinci, Michelangelo, Titian, Raphael, and many others. The analysis of the art place within the Renaissance culture gives an opportunity to evaluate the level of the epoch influence on the culture. Art in the Renaissance is considered to cover a broad sphere in the development of architecture, painting, literature, and many others aspects of social-cultural life.
The Nature of the Renaissance Art
The purpose of the Renaissance Art emergence appeared to be the desire to disclose life pleasures and human nature within the culture. It should be noted that this period can be characterized by liveliness and human harmony. The representatives of the Renaissance epoch concentrated their attention on the perspective, learning the differences of the things in their appearance being close or far from each other. Such analysis of the things was thoroughly reflected in the paintings, which differed by the manner of colors usage and style of drawing. The artists tried to do various experiments with paints based on oil predominance and used to mix powdered oil pigments. Great attention was paid to the light usage and perspective in painting and accuracy in backgrounds for architectural projects.
The principal subject matter of Art in the period of Renaissance development was considered to be the biblical theme. The illustration of the mythological characters is related to the Roman and Greek legends and myths. This period can be characterized by the importance of Madonna’s image in Art. Artists of the Renaissance epoch took inspiration from Greek and Roman Art, focusing merely on the human body, to be more exact, the nude. The pictures and architectural works of the Renaissance prove that its representatives strived for the idealization of the human forms and showing human perfection, highlighting the unique personality and expression purity. It is important to state that the line drawn between the artists and the representatives of other cultural spheres such as literature or philosophy was almost broken in the period of the Renaissance. (Dowling, 2000)
The artists of the Renaissance period managed to cover a great variety of themes; they underlined the importance of historical depiction in the painting, mythological and religious ones. The basic characteristics referred to the demonstration of decorative ornament, fresco cycles being involved in the architectural elements and painting works. The impact of the Classical Roman motifs was reflected in major works of the artists of Rebirth. The analysis of the major art aspects related to the Renaissance allowed us to underline the following basic techniques used by its representatives:
Proportion and Balance. It means that artists tried to stick to the definite sizes in the paintings. They used bright and airy colors; human forms were centralized in major works.
Foreshortening. This technique was used for the shortening effect of various drawing lines in order to create the depth illusion.
Contrasting effect (chiaroscuro). The artists of the Renaissance used this technique by showing strong contrast in dark and light colors for the purpose of depth illusion and three-dimensionality. (Gardner, 2005).
Thus, the nature of Renaissance art appeared to cover definite aspects and characteristics, being popular only for this period of art development.
Women and Art in the Renaissance
The role of women in Renaissance Art was deeply analyzed through active female participation in the cultural life of that period. It should be stressed that Art was considered to be a powerful method of strong controlling women by means of social pressures and prohibited visual examples.
One of the most important women’s roles in Renaissance art was devoted to the activities of the artists. The role of female artists faced a lot of restrictions connected with career social unacceptability, drawing nude studies, and economic limitations dominating at that period. Some historical analyses show that women participating in the artists’ activities were very talented; nevertheless, social prohibition restricted female abilities and their expression in the Renaissance epoch. The female career of an artist usually came to an end after the marriage. The Renaissance art shows that the basic theme for the female artists was the depiction of the family members and private human harmony through the portraits and collective pictures.
Women were considered to be active enough as artistic patrons; they commissioned Art having the roles of noble, royal, and religious women. For this, the introduction of special agreements between the woman and the artists took place. Women were completely involved in the art process of the Renaissance period. They tried to buy pictures of famous artists or even order special religious and mythical drawings for themselves. Art was very popular among royalty for the purpose of establishing and strengthening female power. For example, the picture of Eleanor of Toledo and her son helped her to strengthen the nobility and royalty of her children. (Zwanger, 2005).
The Art involved the women’s participation directly; this fact can be proved by the great number of pictures with women featured. The main characteristic of such drawings is abundance. Despite this fact, the image of the women was symbolized through eroticization. The Virgin Eve depiction underlined the dichotomy of the shameful cause of Eden’s expulsion. The depiction of women was characterized by an empty sign allegorizing and symbolizing intangible ideas, vices, and various virtues. Popular Renaissance role models such as Judith and Susanna were utilized for showing female virtues and being eroticized for the purpose of man attraction.
Nevertheless, the number of women’s drawings was limited. They underwent various interpretations proving their limited role in the social culture of the Renaissance period. The pressure and the lack of independence suffered by women restricted their rights in art activities; despite this fact, women managed to express themselves through the majority of pictures and works of architecture. (Murray, 2007).
Art and Love in the Renaissance Epoch
The marriage and establishment of the family appeared to be an important element of Art in the Renaissance period. Many artists devoted their works to the state of marriage and the depiction of an ideal wife. The absence of legal consistency and clear boundaries were the principal characteristics of Renaissance marriage. That is why the illustration of the wedding or family life was free enough in style and manner.
There was no necessity to marry in the church or have an official ceremony, and this point can be seen through the works of the Renaissance artists. The representatives of Renaissance art happened to reflect the life of women within their families, depicting all their duties, taking into account children rising. The marriage illustration was mixed with irony. The woman was presented as the person created for men’s pleasure and family roles fulfillments. The artworks of that period are characterized by the discussion and comparison of lave and pain, the depiction of the feeling of beauty, and its contradiction to the cruelty of human actions. Thus, Titan is famous for his works devoted to the depiction of the face and feel it can express. (Bayer, 2008).
So, one should stress that love and marriage in Renaissance art were characterized by freedom in the family structure and official ceremonies. The absence of official marriage necessity was reflected in the works of the Renaissance period, disclosing the mixture of feelings and human family duties.
Conclusion
So, the development of Art in the Renaissance period managed to cover a lot of various aspects of painting techniques and theme domination. Thus, it became clear that the depiction of religious, mythological, and human nature elements appeared to be the background of rebirth art. The role of the woman appeared to be significant enough though not so vivid and active. The usage of the ancient material in the painting and history of Art made it be individual and unique. The understanding of the epoch of the Renaissance period is a very complicated process; the best way is to analyze definite particular issues related to this period and study the gradual art development through the works of the major artists.
References
Bayer, Andrea. Art and Love in the Renaissance. Timeline of Art History. NY, 2008.
Renaissance is one of the most important events that contributed to the development and evolution of arts and philosophy in modern Europe. European art Renaissance was more significant in Western Europe than in any other region. However, the Italian city of Florence had the largest contribution to the movement (Kleiner 47).
The city’s sculptors, painters, writers, philosophers, and architects contributed heavily to the movement. Renaissance originated in Florence in the 15th century before spreading to other regions of Western Europe. The city is considered the “birthplace of Renaissance.” Most of the great scholars, artists, painters, and philosophers came from Florence (Kleiner 59).
The attitude of “Man rather than God is the measure of all things” originated from Florence. The rediscovery of classical ideas, skills, and knowledge changed the face of Europe. This analysis seeks to address the questions “why did Florence play the most important and the greatest role in a renaissance in terms art, culture, philosophy, and science?” and “Why is Florence City considered the cradle of renaissance?”
To address these questions, it is important to consider the political, social, cultural, and economic aspects of Florence at the time. For instance, scholars have argued that the primary reason for Florence’s status as the “cradle of European Renaissance” is due to its patronage and prosperity. Like the rest of the Italian cities and towns, Florence was experiencing an economic boom.
For instance, it was the “home of European wool trade”. Considering that wool was an important raw material in the Italian booming textile industry, Florence attracted thousands of traders. Most of the city’s residents were wealthy merchants. For instance, the Medici family, one of the most wealthy and powerful families in Florence, controlled the city and its economy.
Giovanni de Medici, one of the members of the wealthy family, was the banker in the Papal Court, which required him to fund the city’s art culture through patronage. Also, he had received education in the principles of humanism, which provided him with the idea of supporting the arts culture in his city.
Apart from the Medici family, the increasing number of wealthy and high profile individuals and families in Florence contributed a lot to patronage. In what it appears to be a competition between millionaires in Florence, different wealthy persons funded and commissioned different public and private works. Each of them was trying to outdo the others by commissioning magnificent portraits, buildings, sculptures, and paintings.
For instance, Michelangelo, Botticelli, and Leonardo da Vinci are said to have been sponsored by Lorenzo de Medici. Lorenzo commissioned one of the largest art studios in his palace, which saw the works of Botticelli, da Vinci and Michelangelo installed in his palace.
The “Orange Dome of the Cathedral” was a made by Brunelleschi, a famous architect commissioned and sponsored by the Medici family. The famous Mona Lisa painting, the work of da Vinci, serves as a good example of how patronage contributed to the Renaissance in Florence.
Quattrocento period, which spread over the 15th century (and the first phase of Renaissance), was initiated by the Medici Family in Florence. The period emphasized on quality concerning Trecento. For instance, the element of perspective was attached to paintings, while architectural designs received ancient Roman and Greek element of lines (Kleiner and Gardner 87).
It also emphasized on small size and simplicity of artworks. The first half of Quattrocento emphasized on gold backgrounds based on religious features as shown by the work of Gentile da Fabriano.
The second half of Quattrocento brought complicity in artistic style. For instance, it brought an emphasis on dynamics, the inclusion of many details and elements of everyday life.
Works Cited
Kleiner, Fred and Helen Gardner. Gardner’s Art Through the Ages: A Global History. Mason, OH: Cengage learning, 2009. Print.
Kleiner, Fred. Gardiner’s Art through the Ages Global History. Mason, OH: Cengage learning, 2010. Print.
It should primarily be mentioned that both Heaven & hell in art: The birth of the Italian Renaissance and The unchained art of the Renaissance are interesting and very insightful videos. Throughout the videos, the reporter visits historical places and describes the outstanding works of Renaissance art. He slowly moves in history and explains the meanings behind specific creations and also analyzes them critically and in detail.
One of the most essential points that is made by the reporter is that Renaissance was not creating modern thought but rather it was telling stories and getting people acquainted with religious ideas that were deep and important. Renaissance art gives individuals an insight into the history and allows them to understand the role of religion in human life. In addition, the reporter claims that, by representing the religious standards and since the Renaissance art judges people and asks who is going to be saved and who is going to be doomed.
Personal Response
As was mentioned earlier, I personally really liked the videos because I found them extremely interesting and educational. Both of them provided me with the needed insights that helped to understand Renaissance art and culture better and immerse deeper into the history of this essential era. While comparing these two videos, I can say that I definitely liked Heaven & Hell: The birth of the Italian Renaissance more due to the fact that, in my opinion, it included a more critical and subjective analysis of the reporter. For instance, I specifically liked the part where the reporter talked about Savannah Roller who offered a new perspective on the Renaissance of those times.
He stated that it had grown sinful and corrupt, the rich became corrupt, and, as a result, the art became corrupt. While providing historical insight, this part of the video gave me the possibility to look at Renaissance from another, more negative perspective.
For the person that is not very much interested in history because it is sometimes presented in a boring way, these videos were a huge difference. The reporter who was delivering the information was not simply retelling the history, he was analyzing, criticizing, and getting surprised together with the viewers. This strategy created the feeling of strong connection throughout the videos and; therefore, they evoked strong emotions of interest and surprise. Additionally, I really liked that I not only gained a significant amount of knowledge after watching the videos but also discovered some practical things. By observing and evaluating the painting, the reporter taught the viewers what to look at in the painting, how to find the differences, and understand their meanings.
Conclusion
To summarize, Heaven & hell in art: The birth of the Italian Renaissance and The unchained art of the Renaissance are both interesting videos that tell the viewers the story about the history of the emergence and development of the Renaissance. This era gave people an opportunity to imagine the unimaginative and receive deep religious knowledge. I personally really liked watching both of the videos. One of the reasons for that was the way the reporter delivered the information in an interesting and engaging way. What is more, the videos gave me the possibility to look at the Renaissance from different perspectives and learn how to find meanings in the essential creations of art.
The development of the High Renaissance art in the 16th century in the three Italian cities that are rightfully considered to be the places where Renaissance was born – Florence, Rome, and Venice is one of the major interests of this essay. Moreover, typical masterpieces of the art of those cities will be compared and their differences and similarities in the historical and social contexts will be found.
For this kind of assignment, the works by such famous artists as Leonardo da Vinci, Raphael Sanzio, Michelangelo Buonarroti, Giovanni Bellini, and Titian were chosen. To understand the essence of the further analysis it is necessary to define what the Renaissance was when it took place and what were its main characteristic features. The very term “High Renaissance” is of French origin and means “rebirth” if translated into English literally (Paoletti & Radke, 2005).
This fact is not surprising because French was considered to be the language that fitted most of all for all artistic matters and the epoch of Renaissance was the actual rebirth of the classical ancient culture that was forgotten during the Early Middle Ages. High Renaissance is the term to indicate the movement that appeared in the Western culture in the early 16th century and was dominant in art till the early 17th century (Paoletti & Radke, 2005).
The essence of the new art movement lied in the return to classical principles in painting, sculpture, and architecture. In scientific terms, it can be reflected as the return of the wide use of the linear technique in painting, scientific basis, and specific knowledge that allowed the Renaissance artists to reflect nature and human beings with the largest extent of precision. The formation of the term “Renaissance Man” is also attributed to the epoch of the 16th century when the creator of this term Leonardo da Vinci lived and worked (Paoletti & Radke, 2005).
High Renaissance in Florence
Florence is considered to be the birthplace of the High Renaissance. But, in order to see the context in which the High Renaissance was formed in Florence and then substituted by another trend, baroque, it would not be out of place to take a brief look at the historical circumstances of the 16h century. It was marked by the increase of monarchial power and consequently with the growth of the role of religion.
At the same time, the Italian cities where the Renaissance was born were rather prosperous cities that provided all the possibilities for the development of arts. These cities, and namely Florence, were self-governed cities that enjoyed the status of the Republic and were ruled by rather rich families who had money not only for political activities but for art as well. For instance, the family of Medici who ruled Florence in the 14th – 16th centuries praised art and invited the most prominent artists from the whole of Italy. The most prominent representative of the Renaissance in Florence was Leonardo da Vinci (1452 – 1519).
He left a huge amount of the material in the form of scholarly works and masterpieces of arts, and two of them will be analyzed in the paper. The first one is the famous portrait Mona Lisa, and the second one is the tempera Last Supper. The exact date when the portrait was finished is unknown but the scholars suppose it to be 1503 – 1505. The very painting is the portrait of Lisa Gherardini who was the representative of the aristocracy of Florence. The painting itself is a rather skillful piece of work that is considered to be enigmatic. The half-length portrait leaves the impression of being unfinished and leaves space for spectators’ fantasy (Paoletti & Radke, 2005).
The techniques used for the painting were traditional of da Vinci who made active use of the pyramid design for placing the figure of the Mona Lisa that allowed him to create an impression of calmness in the picture. The front side of the pyramid is the folded hands of Gioconda, while the skillful use of light and color makes the hidden and underlying images of circles and spheres visible which is necessary for the picture’s being three-dimensional.
The technique of creating a certain frame for the person depicted and the distance between this person and the spectators is typical of da Vinci’s style. He used images of caves, windows, etc. while depicting Madonna with a baby, and in this painting, a chair is the kind of such a frame that keeps distance between the Mona Lisa and the viewers of the picture. All this is typical of the art of Florence of the 16th century together with great attention paid to rendering emotions of people and their best features (Paoletti & Radke, 2005). Another bright example of da Vinci’s work is the tempera Last Supper that is painted on the wall of the church Santa Maria Della Grazie in Italy.
It is mistakenly called a fresco but it is not because it was painted by the mixture of egg yolk with vinegar and paint that was to be put on the dry plaster. The style of the picture is typical of da Vinci. He skillfully uses light and shadow; colors are selected in order to present the atmosphere of the event of the Last Supper of Christ with his apostles. Leonardo da Vinci managed to reflect the lively expressions of faces of the characters and left another mystery for scholars who try to decode symbols hidden in this tempera.
Patrons of da Vinci were Medici and the church officials from the Della Grazie monastery but there is absolutely no reflection of the fact in his works. He refused to complete works faster even if demanded by patrons because he was a perfectionist and it is reflected in his works (Paoletti & Radke, 2005).
Roman High Renaissance
Religious wars, inquisition, and other phenomena of that kind were typical of the 16th century. However, the rise of people’s interest in social and political life also emerged at that time. Moreover, it was accompanied by the desire for freedom expressed openly by numerous nations. People wanted to feel like human beings and be able to make the decision themselves; they wanted freedom from the king’s power and from the power of the church (Paoletti & Radke, 2005).
The same is true about Rome where after the return of Popes from Avignon capture the center of the artistic life of Italy was transferred. Unfortunately, the decay of the Italian city-states and their conquest by French and German invaders stopped the development of the Renaissance (Paoletti & Radke, 2005).
The same can be said about Raphael who was taught by Leonardo da Vinci and influenced by Michelangelo. He was the representative of the Florence Renaissance but left a considerable trace in the Renaissance that took place in Rome. In the early 16th century Rome experienced the revival of its political and cultural power. Pope Julius II invited Raphael to work at the decoration of the Vatican Palace in Rome. The greatest masterpiece by Raphael in Rome was the fresco “School of Athens” painter in 1509 – 1510 (Paoletti & Radke, 2005).
This fresco is a nice example of da Vinci’s influence upon Rafael’s work and reflects best of all the typical features of Roman art of the 16th century – religious topics and characters, perfect skills of artists, and emotional coloring of pieces of art. The style of the “School of Athens” keeps to the best traditions of Leonardo. Raphael depicts skillfully a large group of people and encodes certain symbols in the fresco.
He portrays Aristotle as Michelangelo and Plato as da Vinci, moreover, there is an image of Raphael himself hidden in the crowd of people in the background of the fresco. These symbols are a pure reflection of the epoch’s ideas among which education dominated. Raphael tried to compare ancient Greece to the Italian contemporary to him, and the main reason for the comparison was the huge number of prominent scholars and great attention to education and equality of people’s rights (Paoletti & Radke, 2005).
Another bright example of the Roman Renaissance is the sculpture Pieta by Michelangelo created in 1498 – 1500. This sculpture was ordered by the Cardinal of San Dionigi who wanted it to decorate the Basilica of San Pietro in Rome.
The Pieta is the sculpture of Madonna holding the dead Christ in the arms after he had been taken off the Cross. The young face of Madonna seems to be the symbol of the young age of the whole mankind that she represents. Her grief is the grief of mankind for its sins and for Christ who died for them. The use of marble allows the viewer to observe all the play of light and shadow in the sculpture that seems to add to its emotional coloring. Here, the main difference from all other Renaissance works lies – Michelangelo was a rather emotional person and his works are full of emotion and drama compared to works by Leonardo da Vinci or Raphael (Paoletti & Radke, 2005).
Venetian Art During High Renaissance
The 16th century is the starting point of the High Renaissance and the transition from the Medieval Age to the Modern World. It can be explained by the fact that the traditional Medieval outlook of the world that was based on religion was transformed into the anthropocentric outlook the central point in which was taken by a human being as the greatest creation of the divine forces. Venice was a kind of the Medieval Empire that possessed lands in Italy, Greece, and the coast of the Adriatic Sea, and art was on the rise in this city-state. Venetian doges, i. e. the rulers of this city-state were the patrons of arts and did not save money for the cultural development of their power state. It was so because they understood the importance of morality and culture for the formation of a solid and patriotic nation (Paoletti & Radke, 2005).
Venetian High Renaissance is quite similar to the art of Florence and Rome, but it also has its own peculiarities. The subjects that were chosen more often than others were certain mythological and religious characters while the topic of a human being was reflected in their context. The luxurious dresses and accessories pictured in pieces of Venetian art of the 16th century are also signs of specifically Venetian style. The most prominent representatives of the Venetian High Renaissance were Giovanni Bellini and Titian, skillful painters who brought Venetian art to the highest level of its development (Paoletti & Radke, 2005).
The work by Giovanni Bellini considered in this essay is called “Feast of Gods”. It was created in 1514 and is considered to be one of the brightest examples of Venetian art of the High Renaissance in the 16th century. Patronage of Venetian doges and the Duke of Ferrara allowed Bellini to create a series of mythological paintings in which, however, the main role is attributed to human beings and their perfection (Paoletti & Radke, 2005). In this fact, the major characteristic of the Venetian Renaissance can be found.
They are human beings and their freedom, although the subjects can vary considerably from Florence or Roman Renaissance the main topic remains the same. The style of the work is similar to the Florence and Roman High Renaissance in its use of color, light, and shadow to express the emotions of the character and make the painting look more realistic (Paoletti & Radke, 2005). The same is true about the work by Titian who was famous as a portraitist depicting the perfection of the human body.
The work by Titian titled the “Venus of Urbino” is typical to the Venetian Renaissance as it reflects one of the aspects of personal freedom – the young lady is nude in the picture but her emotion and facial expression demonstrate the absence of concern about that. She is seen as sharing her emotions with the viewers and displaying the full freedom of being herself and being proud of her body (Paoletti & Radke, 2005). Titian uses calm colors to depict the woman in combination with the bright red and golden which help to show the reaction of the society to the freedom displayed by this woman. The use of light and shadow effects is another peculiarity of Titian’s style of painting.
Titian was also known for his talent of rendering the inner feelings of the persons he depicted and the “Venus of Urbino” is not an exception to this rule. In this painting, Titian managed to render the confidence of the woman. Although the sitter for the painting was an ordinary woman, Titian managed to picture her as the real Venus that had power over its spectators (Paoletti & Radke, 2005).
Conclusion
The styles of Renaissance in the three Italian cities analyzed in this paper have their similarities and differences. The same can be said about the patronage of art in those cities, and the symbolism that the pieces of art have. The style of the Renaissance is similar in the three cities because the leading trend of the time was anthropocentrism and perfection of a human being, its freedom, and its self-identity. However, the patronage of art was different in the compared cities – Florence and Venice supported their artists with the help of aristocracy that financed the art development while in Rome art was patronized by the church and the Pope himself.
In this paper, the main principles of the High Renaissance of the 16th century in Florence, Rome, and Venice are reflected. The author of the work compared and analyzed the masterpieces by Leonardo da Vinci, Raphael Sanzio, Michelangelo Buonarotti, Giovanni Bellini, and Titian and pointed out the main similarities and differences in their styles of painting. Also, the historical and political contexts of the High Renaissance development were considered together with the patronage the above-mentioned painters had. This paper clarifies that the High Renaissance developed in rather difficult circumstances and reflected the main trends of the 16th century. The painters and sculptors of the High Renaissance were rather talented artists and their works have typical features of their styles.
Works Cited
John T.Paoletti & Gary M. Radke Art in Renaissance Italy. Prentice Hall; 3rd edition, 2005.
The renaissance period does not have a beginning; however, proto-renaissance represents the period that marked the early onset of the era. During this time, Giotto, who is considered the father of Western painting, became famous for his innovation in fresco painting. The most remarkable of his works is found in the painting work that he did in the Arena Chapel.
The Chapel was constructed by Enrico Scrogveni, a rich man during this time (Tomei, 2017). Enrico had the Chapel built to gain redemption of his father, who was accused of the sin of usury during the time when he was alive. Giotto was, therefore, commissioned by Enrico to paint the Arena Chapel. Giotto stepped away from the medieval spiritual painting and brought his innovative aspect of the new style of frescoes.
The frescoes on the walls of the Chapel tell the stories of Christ and the Virgin Mary. Giotto used the frescoes cycle to transmit the narratives of the life of Christ and the Virgin Mary. The technique of using the frescoes to paint the inside walls of the Chapel was a mastermind. The materials used for the fresco cycles were unique, and the paintings had to be completed from top to bottom (Tomei, 2017).
The frescoes were painted on the walls and, thus, are not movable. The fresco cycles are stories moving from one wing of the Chapel to the next in an organized pattern. One of the most outstanding frescoes is the painting where Enrico presents the Arena Chapel to the Virgin Mary. The fresco of Enrico presenting the church is an allusion to the afterlife in which Giotto creates a fantasy story.
In this painting, the remarkable realism of Giotto’s work is showcased. Giotto’s great invention of painting in three dimensions is also depicted in the fresco showing the betrayal of Jesus. From this fresco, one can re-imagine the story of Judas betraying Christ with a kiss.
Reference
Tomei, A. (2017). Giotto’s annunciation to the Virgin in Arena Chapel in Padua between East and West. Journal of Iconographic Studies, 10, 73-82. Web.
The art of the High Renaissance dates from the late 15th century and the first three decades of the 16th century. The “Golden Age” was chronologically brief, but the unique creations of the titans of the Renaissance were created during this period. Michelangelo Buonarroti, the greatest master of the High Renaissance, was a sculptor, painter, architect, and poet. He worked extensively in architecture, particularly supervising St. Peter’s Cathedral and the Capitoline Square ensemble in Rome. There he created one of the major works of those years – the Pietà. It is the master’s first significant original work, inspired by faith in the triumph of humanist ideals of the Renaissance. Michelangelo’s work constituted an entire epoch and was far ahead of its time.
Fundamental Historical Aspects
The rise of culture took place in a difficult historical period in the life of Italy, in the context of the sharp economic and political weakening. The Turkish conquests in the East, the discovery of America, and the new sea route to India deprived Italian cities of their role as important trading centers (Chamberlin, 2019). The invasion of French troops, the disastrous wars of the first decades of the 16th century, and the defeat of Rome weakened Italy enormously.
At this time, when the threat of enslavement by foreign conquerors arose, the strength of the people and their national consciousness grew as the country fought for independence. A tremendous social upsurge served as the basis for the flowering of an influential culture of the High Renaissance. This period formed the main principles of culture and art of the new style.
Analysis of the Work and Main Characteristics
The Pietà is the expression of maternal pain and heavy grief, and at the same time, spiritual strength and fortitude. The author addresses the dramatic theme in a deeply psychological way, showing immense sorrow with a tilt of the head, a precise gesture of Madonna’s left hand (Fenichel, 2017). The moral purity of Mary’s image and the noble restraint of her feelings reveal the force of her character, rendered in classically definite forms with unexpected perfection. Both figures are composed in an intimate group where no single detail disturbs the closed silhouette and its plastic expressiveness.
The masterpiece is made of light marble, and the artist chose a solid block for this work: it underlines the desire to create clean, sincere work. The sculpture has a pyramidal shape, but it is impossible to view it from all sides, as the back part is hidden from sight by the wall of the cathedral. Michelangelo conveyed all the nuances of the tragic plot in the minor details: the distorted face of Mary, the mute question in her eyes, the crucifixion marks on her hands, and the pierced ribs of Christ. The artist succeeded in creating a magnificent sculpture both in terms of the professionalism and the emotional content of the creation.
The Author’s Contribution to the History of Art
Michelangelo was the greatest sculptor of the Italian Renaissance and one of its leading artists and architects. He is a central figure in the history of art and the foremost representative of Florentine painting (Hibbard, 2018). One of Michelangelo’s qualities most admired by his supporters is “terribilità,” which can be translated as “terrifying power.” He combined sensitivity and talent with tremendous diligence in his work. His masterpieces, including the Pietà, demonstrate harmony, balance, and the embodiment of the ideal of humanity. The master’s creations have significance to this day, and his contribution to culture is invaluable.
Conclusion
The High Renaissance is a complex artistic process with bright rises and subsequent crises. The art of that time greatly influenced the development of culture not only in Italy but also in the rest of Europe. The perception of the world and the human personality has changed. Michelangelo was one of the first creators of the Renaissance; he made an invaluable contribution to culture. His work, the Pietà, played a tremendous role in world art and left a mark that will never disappear from history.
References
Chamberlin, E. R. (2019). The world of the Italian Renaissance. Routledge. Web.
Fenichel, E. A. (2017). Michelangelo’s Pietà as Tomb Monument: Patronage, Liturgy, and Mourning. Renaissance Quarterly, 70(3), 862-896. Web.
Early European history is divided into three parts i.e. antiquity, the middle ages, and the modern era. According to Erwin, Panovsky (1994). The modern era brought in the renaissance period, Which was later brought up by Jules Mitchelete of Paris and Jacob Burckhardt of Basle and they go on to describe this period as the discovery of man”. Visual arts include cognition which is the part that deals with the way a man thinks. Visual arts are very essential in our lives since they affect everything around us. It’s the cornea part of the eye that perceives an image within a range of 180 degrees then it sends a message to the brain. After this, it’s when one makes either a positive or negative judgment about something.
What does the term renaissance mean?
The word renaissance refers to mindful and artistic changes that change with time as a result of mere discoveries. Italy, in the 14th century that reached a climax in the 16th century after spreading for some time in other regions of Europe. The middle ages were of silence and not much was put into the history of the visual arts. Artists were held in high esteem for their works during the renaissance period depending on their different works. Till up to the 20thy century works of art that still were widely uploaded was that Vasari Giotto led the rise of art after along silence. Renaissance is a word that applies to other fields of study such as cultural revivals, Christianity, music, literature, humanism, self-reliance, science, and art.
Examples of Outstanding Artists and their Works
According to Britannicca Concise Encyclopedia, “Lorenzo Valla rejected medieval scholastics in favor of human-centered forms of philosophy and Literature. François Rabelais and William Shakespeare produced works that emphasized the intricacies of human character.
According to history, a new invention or thought tends to erase the previous one. Visual arts can be displayed through drawing, photographs, and even engravings which can be done on any surface. According to Roelof van Starten iconography is the study of themes, objects, and subjects in visual art.
Given Darer is believed to be one who commenced the renaissance act and was one of the most known artists in Europe. According to john Dillenberger (1999), ” he is the representative for both renaissance arts and renaissance humanist thinking”. Durer became known from his wood cuttings on the apocalypse and this was based on reasons such as the work was done on a large sheet and this interests people in the 16th century as this was encouraging for the new century. Durer also made paintings and did etching in addition to wood cuttings.
Brunelleschi made his arts which in linear perspective but according to Irish Arts New Stories, ” earliest surviving use of linear perspective, however, is in Donatello’s St George and the dragon relief.” Also, it’s believed Donatello knew so much of class in the way he produced his works when it comes to visual arts this earned him a name during the era of his existence.
The time between 1600 to 1650 period is referred to as a period of the high renaissance because artists of this era had many classic works of their own and hence Mark Hardens Artchive termed them as “classically based intelligence which imposed visual harmony and commotional balance while eliminating gratuitous detail”. For the Florentine era, some of the best artists according to Mark Hardens Artchive are, ” Leonardo, Michelangelo, and Raphael”.
The Visual Arts of the Early Renaissance Period
According to A paper in early renaissance art history, written in (2004), it states that” the work of Dominica Ghilandaio as only? nominally religious and is typified by portrait and set pieces in the form of religious within more naturalistic and humanistic dimensions than in the devotional pictures of the previous century”.
The Italian Renaissance Period
This era had so many artists. These periods had very many artists who were considered to be of class. The best portrait of the renaissance period is believed to be one of Mona Lisa’s portraits done by Leonardo da Vinci. According to Irish art news stories 2008 the author describes, it as an era for ” struggle for classical Greek antiquity, a faith in the nobility of man (humanism), the mastery of linear perspective and overriding respect for naturalistic and this works are evident in the works of people like Donnatello; the sad-faced heroine in the birth of Venus by Botticelli; and one by Mona Lisa by Leonardo Da Vinci”. The best jewels are considered to be those of Michelangos’s compelling faces in his religious frescoes genesis and last judgment on the ceiling of roof and wall of the Sistine Chapel in Rome which are considered to be the best according to Irish art news stories. The Italian renaissance periods saw much use of motifs from different sources and were used on different materials.
Other good portraits according to Irish art news stories are: “Piero Della Francesca; St. Sebastian by Pietro Perugino; Ecce Homo by Andrea Mantegna and Doge Bellini Sistine Madonna and Pope Leo by Raphael and portraits of a man and Venus by Urbino by Titian.
The Northern Renaissance Period
According to the Irish art news stories guide, it’s believed that the number of painters increased in the North renaissance period during this renaissance period. They based on principles like the discovery of oil painting which eased their work and made them produce good works which in return made them and also the discovery of linear perspective.
Conclusion of the Visual Arts of the Early Renaissance Period
In conclusion, visual arts are important and have to be developed from time to time since they enable people to realize other people’s thoughts, feelings, and views about certain things in nature. The study of visual arts should be publicized and encouraged as study subjects in both public and private institutions. Those excelling in those fields should be encouraged through financial support to keep visual arts alive. Also, this can be done through the organization of exhibitions which can help in the advertisement of different artists’ work. Alternatively, this can be a nice way through which the government can use in the creation of jobs for the many jobless citizens.
References
Laurie Schneider Adams, Art across time (Third Edition) Volume II The fourteenth Century to the Present.
Erwin Panofsky (1994) Kenyon Collage.
John Dillerberger (1999) Images and Relics.
Roelof Van Straiten An introduction to Iconography.
When considering the painting of the Renaissance, it is accepted that it was an era of new perspectives and new visions. Admittedly, painters opened up new horizons for their work. Ecclesiastical and quite simplistic images made way for sophisticated Renaissance imagery. Painters tried new forms and means of expressing their ideas. This was a time of constant change. For instance, within fifty years, the way of portraying women changed considerably.
Thus, Antonio del Pollaiuolo’s “Portrait of a Young Woman,” which was completed in 1475, differs greatly from the portrait by another significant painter Titian, “Portrait of Eleonora Gonzaga della Rovere” completed in 1536-37. Pollaiuolo’s young woman is depicted as a typical representative of her class, whereas Titian’s duchess is depicted as a personality. Both pictures are coded, but the way of presenting a woman and the major focuses are totally different in the two paintings. To understand the nature of these differences, it is necessary to get a closer look at both paintings.
Admittedly, Antonio del Pollaiuolo is one of the most significant painters of the fifteenth century who greatly influenced many painters of the epoch. He was not only a painter, but he was also a goldsmith (Rubin 62). It is important to note that his contemporaries appreciated his art and regarded him as “the chief master” (170). One of the reasons for such appreciation was Pollaiuollo’s technique and perfect style, which followed the major trends which ruled at that time.
For instance, in the fourteen century and at the beginning of the fifteenth century, “the profile form of a portrait head, largely inspired by antique coins,” was widespread (Le Goff n.p.). According to Seeff et al.
The convention of profile portraiture allowed nubile young women to be displayed for viewing without requiring them to meet the viewer “eye to eye,” thereby avoiding the transgression of visual intimacy thought essential to the maintenance of female public honor. (258)
It goes without saying that female honor was considered to be of primary importance, especially in portraits. It is also important to note that such profile portraits did not reveal personality, instead, the major focus was on social status and certain feminine values promulgated in contemporary society (King 123).
In the fifteenth century, women were largely characterized “by their costume: the cut, the cloth, the color of their garments,” which were to “display and distinguish their station and their status” (Rubin 108). Therefore, Pollaiuolo paid more attention to details like garment and jewelry, which were of major concern for potential viewers of the painting. Rubin drew an interesting parallel between the presentation of women in portraits and choosing a wife (108). In both cases, appearance (costume to a great extent) is in focus. It was believed that the way a young woman dressed characterized her virtues and status.
Admittedly, Pollaiuolo depicted his Young Woman to follow this tradition, which was still strong in 1475. As far as the artist’s technique is concerned, it is necessary to point out his precision. The media is tempera on wood. Pollaiuolo used lapis-lazuli blue color as a background which stressed the artist’s precision. It is necessary to point out that the young woman depicted cannot be regarded as a woman of classical beauty, but Pollaiuolo distracts viewers’ attention from this fact by emphasizing what is really important for viewers. The woman’s facial features do not draw as much attention as her exquisite velvet dress with gorgeous brocade, her jewelry, and fashionable haircut. In fact, this portrait can be regarded as a perfect advertisement “on the marriage market” (Rubin 108).
Pollaiuolo is not concerned with revealing the exact facial features of the woman. He does not reveal her personality, as well. He follows the accepted trend and reveals static figure of a woman who should be judged (and is actually judged) by her costume. It goes without saying that no other objects are depicted in order not to distract viewers’ attention from the woman’s status. Pollaiuolo does not embed hidden symbols (except codes of the garment of the woman). The picture perfectly serves its major aim to reveal the woman’s social status.
However, at the end of the fifteenth century and especially in the beginning of the sixteenth century such profile portraits were regarded as old fashioned since they “did not suit the growing Renaissance concern for individualism” (Le Goff). Titian who was working at that period shared the same meaning. He created portraits where he revealed personality of a person depicted. He also embedded many symbols into his portraits as well as into other pictures.
One of his renowned works, “Portrait of Eleonora Gonzaga della Rovere”, can be regarded as a great example of his Renaissance approach to portrait painting. First, it is necessary to note that Eleonora Gonzaga della Rovere, the Duchess of Urbino, and her husband were patrons of Titians (Freedman and Aretino 87). Admittedly, the artist was acquainted with the duchess and new her quite well. He knew the major traits of her character and could reveal them on his painting.
Notably, the portrait reveals the duchess’s personality. The duchess is depicted sitting at a window. Titian “faithfully rendered” his patroness “as she looked in her mid-forties, her oval face bearing the traces of her faded beauty” (Freedman and Aretino 87). The artists paid much attention to revealing the duchess’s facial features. Of course, this painting is not as formal and static as profile portrait of Pollaiuolo.
Nevertheless, it is necessary to point out that the duchess is motionless. According to Goffen.
Ladies stand or sit calmly with arms close to the body and legs together; there should be no flailing limbs, no energetic movement, no aggressive gestures. These are postures appropriate only for a man… (n.p.)
Goffen adds that contemporaries of the duchess “would describe her comportment and constrained movements as graceful (leggiadra)” and “leggiadria” is defined as a “natural law of womanly comportment” (n.p.).
Interestingly, Titians depicts the duchess’s costume in detail as well. Her splendid garment and jewelry are rendered perfectly. Nevertheless, the costume does not distract attention from the duchess and her individualism. The costume rather emphasizes the major traits of her character and her “spiritual virtues: decency, chastity, gentleness, modesty, honor, and prudence” (Freedman and Aretino 87).
Thus, Titian pays much attention to the duchess’s personal characteristics: her appearance, her character, her costume, and even her posture. All these details create the image of a noble and wise woman who is characterized by all the necessary virtues of a woman living in the fifteenth century.
Apart from Titian’s precision to details it is important to point out the characteristic feature of his portraits, symbolism. This symbolism is manifested in many details. For instance, even the colors are very informative. Aretino who described Titians work claimed that “the harmony of colors, which Titian’s brush has spread, renders visible from without the concord which, Eleonora, the handmaids of the noble spirit govern” (qtd. in Freedman and Aretino 88). Thus, black and green colors prevail in the portrait. Notably, black was a heraldic color of the duchess and, apart from this black symbolized “prudence and seriousness”, whereas green was a symbol of “hope and serene joy” (Freedman and Aretino 88).
Apart from specific use of color Titian embed other symbols. For example, there is a clock on the table beside the duchess. The clock was traditionally a symbol of “memento mori” and was associated with temporality, but also with wisdom (Freedman and Aretino 88). Titians also depicts little spaniel of the duchess. The appearance of the dog is symbolic as well. It is associated with loyalty.
Therefore, it is possible to note that the portrait of the duchess is not only mere rendering of the woman’s traits, but a philosophical representation of her virtues. Admittedly, Titian is recognized for his philosophic approach since “even his earlier paintings leave us in no doubt that he had a powerful and well-stored mind; and in his last pictures he becomes a profound philosopher” (Clark 84).
It goes without saying that Titians’ portrait differs greatly from that of Pollaiuolo. It renders not only the object, but reveals individualism of the woman, it is highly symbolic. However, it is impossible to state that Titians created a more sophisticated work of art. The two portraits are artworks which perfectly serve their aim. The major aim of Pollaiuolo was to reveal an image of a woman of certain status, who shares the major values of her contemporaries. The viewers were not interested in some traits of character, it was to see the costume of a girl which was the best manifestation of her character.
Titians, in his turn, was to render his object’s personality rather than simply depict some details of her garment. Titian’s portrait addresses the necessity to reveal the duchess’s virtues and her individuality. Titian’s symbolism is very helpful for this aim since numerous details reveal various facets of her personality. More so, rendering the entire figure was not regarded as a sign of indecency or the lack of virtue. Titian could also depict some more details in the background (details like the clock or the dog). These details also revealed some features of the duchess’s character.
It is necessary to add that the two artist’s visions were shaped by the conventions and traditions which ruled in the contemporary societies. Admittedly, when working on a portrait, the artist addresses, in the first place, the client’s desires and longings. When painting a portrait of a respectable woman the artists could not insult their objects but some bold artistic vision.
For instance, Pollaiuolo could not depict his Young Woman in other way, since only profile portraits were regarded as decent at that time. He should not distract the viewer’s attention from the costume of the woman, so no symbols could be depicted in the painting. The only codes available for Pollaiuolo were the details of the woman’s dress (which she chose herself).
It is important to note that despite the fact that Titians lived in society which was concerned with individualism, he could not render the duchess in motion, but was to reveal an image of a static though compelling woman. Admittedly, Titians had more artistic freedom and could use numerous symbols to enhance his idea, though the idea was not to go beyond the accepted conventions of the contemporary society.
Therefore, it is possible to claim that the two paintings address different aims and are shaped by the peculiarities of the epoch when they were created. Moreover, the significance of both paintings cannot be underestimated. The two pictures should be regarded as examples of major trends in art and society of the two quite different epochs.
Pollaiuolo is a representative of the fifteenth century Renaissance. At that time painters were free from conventions when depicting mythical images, but followed strict rules when painting portraits of respectable women. Titian who lived in the sixteenth century was more concerned with rendering individualism, just like any other artist.
In conclusion, it is necessary to state that the two portraits of two great artists of Renaissance are different. These differences are manifested in the way of rendering women and the way to make certain stresses. Thus, Pollaiuolo is more concerned with rendering social status of the woman, whereas Titian focuses on the woman’s individuality.
These differences are mainly due to the changes which were taking place in the society. The shift from some general form (manifested in costume) to content (features of character) which took place in the fifteenth and sixteenth centuries shaped the visual art to great extent. Therefore, nowadays people have an opportunity to trace the slightest changes in human society viewing paintings of such prominent artists as Pollaiuolo and Titian.
Works Cited
Clark, Kenneth. “The Artist Grows Old.” Daedalus 135.1 (2006): 77-90. MIT Press Journals Web.
Freedman, Luba and Pietro Aretino. Titian’s Portraits Through Aretino’s Lens. University Park, PA: Penn State Press, 1995.
King, Margaret L. The Renaissance in Europe. London: Laurence King Publishing, 2003.
Le Goff, Raichel. The Emergence of the Venetian Portrait. Raichel: Lecturer in Art History&International Art History Daily News with Raichel Le Goff. Web.
Rubin, Patricia Lee. Images and Identity in Fifteenth-Century Florence. New Haven, Conn.: Yale University Press, 2007.
Seeff, Adele F., Joan Hartman, University of Maryland, College Park. Center for Renaissance and Baroque Studies. Structures and Subjectivities: Attending to Early Modern Women. Newark, DE: University of Delaware Press, 2007.
Harlem renaissance is an era that witnessed the beginning of African American works of art and liberation. Although some of the cultural features demonstrated by the art remained long after the renaissance, the period lasted for about ten years. Before the renaissance, slavery was a common phenomenon amongst several African Americans who worked in mines and plantations. Moreover, during the period before and after the renaissance, the whites regarded various works of art practiced by African Americans as primitive and uncivilized. The use of OBSCURA cameras was one of the strategies that advanced the works of art that several artists of the time executed.
Remarkably, during the period, several artists engaged in various cultural works of art that had messages of liberation and equal treatment of Africans and other minority groups in the United States. The connotative and denotative messages conveyed by the artists took a new turn when James Van Der Zee started using his works of art to depict African Americans differently with his unique portraits. Imperatively, Van Der Zee was among the individuals who produced comprehensive information concerning the Harlem renaissance.
Mathew Brady and His Photography
Mathew Brady, a child, born and raised by Irish parents, was a famous photographer, who remains in the history of the United States long after his demise. The uniqueness of Mathew Brady started after he joined the portrait painting class of Mr. William Page. After acquiring the lessons on painting and later photography, Brady opened his studio, started offering photographic lessons, and introduced various types of photographs. Due to his unique photographs and the newness of his portraits, he soared and attained a high place in the photography field as well as in the field of painting. As such, he became one of the famous icons in the history of the United States. Imperatively, his famous works of art included the ones that took the form of small cards commonly known as ‘carte de visite’ that were convenient to several individuals.
With the increasing need for photographs and portraits and the rising interest in their use in conveyance of messages, the photographs and portraits produced by Mr. Brady attained high demand in the United States. 1Some of the famous works of art that Mr. Brady produced comprised portraits of renowned individuals such as Mr. Grant and President Lincoln alongside other popular soldiers.
It is notable for highlighting that Mr. Brady used his photographs and works of art to convey a message to various individuals in the society concerning the realities of life. 2 the use of ‘carte de visite’ by Mr. Brady on soldiers before entering the war zones was a clear indication that he valued family ties and the importance of love within the society. Daguerreotypes, ambrotype, albumen print, and carte de visite were some of the major styles and types of photographs used by Brady.
Brady’s type of photography majored on still objects and focused on the production of real elements or aspects of society. For instance, during the First World War, Brady took thousands of photographs that depicted the real state of affairs in the war zones. 3During his exhibition after the war, the majority of the photographs represented graphic images of soldiers at war, who were alive, injured, or dead. These images demonstrated the significance that Mr. Brady accorded to communicating matters that are factual and authentic to the society. Although the images were scary, their usefulness in communicating the realities of the war to thousands of individuals in the country is the fact that scholars and historians cannot underscore. As a result, thousands of the images that Mr. Brady took before, during, and after the war are in the national archives and provide a vivid memory and awareness on the effects of war.
Fig 1.A photograph of soldiers as taken by Brady before entering the war zone.
The Period before the Harlem Renaissance
Before the Harlem Renaissance, slavery was rife in several parts of the United States. Various African Americans worked in mines and plantations were they received harsh, inhumane treatment, and corporal punishment. Due to the difficulties in the kind of treatment that they received, many Africans died, and others opted to migrate to various parts of the country. Racism was a common challenge at the time, and various leaders planned murders and riots, which targeted Africans. 4The fact that several artists of the time used their portraits and paintings to demonstrate oppression and slavery clarify the presence of slavery, oppression, and mistreatment of Africans during the period. It is imperative to elaborate that the parts of the United States, which had pronounced effects of slavery, comprised the southern regions of the country. As a result, many African Americans moved to the northern regions away from these areas that practiced intense slavery and oppression.
The northern parts that a number of African Americans migrated to included Detroit and Harlem, formerly occupied by the whites. Mass migration of African Americans to places such as Harlem saw the cities that were formerly home to the whites become a residence to several Africans escaping from oppression and slavery. The resultant outcome of the mass immigration to places such as Harlem was a cultural renaissance that witnessed the production of various features of art that demonstrated some kind of freedom from oppression. Moreover, the artists of the time used their works of art, such as a poem, portraits, and drawings to express the importance of equality and fairness to all the citizens of the United States. Significantly, Harlem was the place where many individuals initiated campaigns that employed a combination of various works of art to advocate for freedom, the abolition of slavery, and equal treatment to all the citizens of the United States.
Jean Louis Agassiz
Jean Louis Agassiz was a professor of biology, who pioneered several theories in botany, zoology, and various aspects of biology. Born and raised in Switzerland, Louis later traveled and relocated to the United States as a professor of zoology and botany at Harvard University. Notably, Louis was a professor, who focused much of his works on the areas that concerned biology, zoology, and botany. Although much of the history concerning Louis relates to his work in the field of biology, some of his histories elucidate his perspective on the issues of slavery. 5From his works of art and statements, it is apparent that Louis Agassiz supported the notion that whites were superior over all the other individuals of the world. As a result, the majority of his works demonstrate some kind of bias that demean Africans and other colored individuals of the world as inferior to their white counterparts. Together with some of his colleagues in the university, which comprised individuals like Josiah Nott, they supported the concept of slavery and the rule of colored individuals in the world.
Ota Benga
Ota Benga, a pygmy from Congo, arrived in the United States during the early 20th century. Due to his appearance, various whites displayed him in zoos in reference to the evolution of man and the relevance it had on the Africans. 6The display of Ota Benga in various zoos such as the monkey zoo initiated an outcry from several African Americans, who looked at the act as demeaning. In addition, the display made Africans appear as lesser beings, which were lagging behind in development and evolution in relation to the whites. The implication of the act saw various individuals petition the leaders for freedom of the pygmy.
Several artists designed portraits of Ota Benga alongside other individuals mistreated and used them to champion for equality and fairness for everyone irrespective of their physical appearance. The outcry compelled the leaders to release the pygmy, Ota Benga, and hand him over to one of the protestant ministers, who took good care of the individual. The relevance of Ota Benga in the study of African American art stems from his illegal display in zoos during the era of slavery.
Fig 2.A photograph of Ota Benga, while he was in the United States.
The portrayal of African Americans during the Harlem Renaissance
During the Harlem renaissance, slavery diminished, and several individuals in the United States began treating the Africans fairly. Factors such as the First World War and uprisings initiated by Africans, as well as externalities, brought individuals together and initiated a feeling of unity amongst them. Artistic designs and portraits of the time depicted some form of freedom and the challenges that Africans had experienced in their long fight for freedom from slavery. In addition, the works of art continued advocating for equality and fair treatment of all individuals in the United States. Artists such as James Van Der Zee were at the forefront championing for fairness and equal treatment of African Americans in the United States. Therefore, the perceptions of several individuals in the United States changed during the Harlem renaissance, and the role played by the artists such as James Van Der Zee was instrumental in the rebirth.
James Van Der Zee
James Van Der Zee was one of the individuals who played a major role during the Harlem renaissance. Apart from documenting the whole process and providing a comprehensive report, Van Der Zee also produced portraits and famous works of art that advocated for freedom and abolition of slavery in the United States. Some of the primary achievements in his photography and fight for the abolition of slavery include the use of portraits of individuals like Marcus Garvey and Countee Cullen. These individuals used by Van Der Zee were very vocal in the fight against slavery and the poor treatment of African Americans in the United States. After establishing his studio in 1916, Van Der Zee worked tirelessly to produce portraits and famous works of art that played an integral role in conveying the desired message of liberation and freedom from oppression. Fundamentally, hundreds of photos that Van Der Zee took during the First World War when he rose to fame are still in high demand even in the present times.
Several images produced after the Harlem renaissance by Van Der Zee demonstrate African Americans, who are free from oppression. Moreover, many of his photos and portraits highlight individuals who are enjoying life and living lifestyles that are different from the periods of slavery and oppression. For instance, the use of a couple in raccoon coats in which the man is partially inside the car.
The image presents African Americans as liberated and living presentable lives that every citizen in the United States admires. From the works of art produced by the artists in Harlem, it is evident that the renaissance changed the perspectives of the citizens and considerations that Africans were primitive and inferior to their white counterparts. Furthermore, in his photographs, he tries to employ what he thinks should be there so that the portrait becomes appealing and more presentable before the target audience. As a result, the role played by Van Der Zee in the rebirth using his portraits and works of art facilitated changes in the mindsets of several whites in the United States.
Periods of the Photographs Before and During the Harlem Renaissance
Before the Harlem Renaissance, many artists depicted African Americans as primitive and uncivilized. Moreover, the period demonstrated Africans as individuals who were inferior as opposed to their white counterparts. For instance, Jean Agassiz, the artist before the renaissance, viewed African Americans as individuals, who were inferior and supported slavery. Contrastingly, Mr. Van Der Zee, the artists, who did a lot of his work during the renaissance, demonstrated the sophistication that African Americans presented during the period. 7From the two scenarios before and during the Harlem renaissance, it is apparent that there was a change in the manner in which the society looked at African Americans.
The works of art designed by the artists before and during the Harlem renaissance depict the real state of affairs during the two periods. From their works of art, while the artists present before renaissance highlighted issues of slavery and oppression, those present during renaissance presented the sophistication that African Americans demonstrated.
After James Van Der Zee portrayed Africans as sophisticated individuals, who lived adorable lifestyles using his works of art, he created a positive impression from several individuals in the United States. The positive impression occasioned because of the positive images and portraits used by Van Der Zee in his works of art to present African Americans in a different manner. As a result, many whites, who initially believed that Africans were uncivilized and primitive, slowly changed their mindsets and started looking at Africans as equal beings. 8Through his works of art such as the painting that showed Africans owning cars and living in good houses, Van Der Zee expressed a message that Africans required were supposed to live a good and presentable life. By using these portraits, Van Der Zee conveyed a message concerning the betterment of the lifestyles of the African Americans, who had just acquired freedom from slavery.
Fig 4. Photograph taken by Van Der Zee displaying the sophisticated living standards of African Americans.
Pablo Picasso
Pablo Picasso was a famous painter and sculptor from Spain, who made a pronounced impact in the world of art. Like several other painters and sculptors of the time, Picasso used his work to express messages and inform the world on the events that occurred during the period. In his works, Picasso developed several paintings majorly influenced by the various places he went to and his experiences. 9Conversely, Picasso had perceptions before and after the Harlem renaissance concerning Africans and slavery. Basing on his past knowledge concerning the issues of Africans and slavery, he did very little to demonstrate his perspective concerning the issues. However, after artists such as James Van Der Zee produced several portraits that demonstrated Africans in a sophisticated manner, his perception changed. The implication of the changed attitude occasions from the fact that Van Der Zee changed the view that individuals had concerning African Americans and slavery.
Carl Van Vechten
Born and raised in the United States, Carl Van Vechten became one of the renowned artists in the country’s history. Unlike many other individuals of the time, who held the notion that Africans were lesser and inferior to the whites, Carl Van Vechten believed that everybody deserved equal treatment and respect. As a result, he was among the major players, who facilitated the Harlem renaissance. In his works of art, Carl Van Vechten expresses his perspective concerning African Americans and the importance of living together in unity.
10From the artistic works that Carl Van Vechten did, it is apparent that he disliked racism and encouraged love and passion amongst individuals of different races. Some of the major blacks supported by the artist include Langston Hughes, Wallace Thurman, and Richard Wright. It is important to elucidate that Carl Van Vechten is very relevant in the study of African American art research. The relevance is evident as he was among the artists who played an important role in changing the mindsets of individuals concerning African Americans in the United States during the Harlem renaissance.
Conclusions
Harlem renaissance was a rebirth that saw many individuals change their attitudes and perceptions concerning African Americans. Before the renaissance, several people all over the world thought that Africans were inferior to the whites and therefore justified slavery. In an attempt to justify slavery, artists such as Agassiz, explain that the whites had to rule over other individuals of color in society. Conversely, when James Van Der Zee started using his works of art to present Africans in a different and more sophisticated way, the perceptions of many individuals changed. Together with artists such as Carl, Van Der Zee advocated for better lives using art. From the study, it is clear that the changes occasioned by the rebirth were significant since many African Americans acquired freedom from slavery, oppression, and unfair treatment initially subjected to them by the whites. Therefore, the role played by the artists before and during the Harlem renaissance had an impact on the lives of African Americans and their rebirth in the United States.
explain that the whites had to rule over other individuals of colour in the society. Conversely, when James Van Der Zee started using his works of art to present Africans in a different and more sophisticated way, the perceptions of many individuals changed. Together with artists such as Carl, Van Der Zee advocated for better lives using art. From the study, it is clear that the changes occasioned by the rebirth were significant since many African Americans acquired freedom from slavery, oppression, and unfair treatment initially subjected to them by the whites. Therefore, the role played by the artists before and during the Harlem renaissance had an impact in the lives of African Americans and their rebirth in the United States.
Reference List
Bancel, Nicholas, Thomas David, and Dominic Thomas. 2014. The Invention of Race: Scientific and Popular Representations. New York: Routledge. Web.
Bloom, Harold. 2004. The Harlem Renaissance. Philadelphia: Chelsea House Publishers. Web.
Carroll, Anne Elizabeth. 2007. Word, Image, and the New Negro: Representation and Identity in the Harlem Renaissance. Bloomington: Indiana Univ. Press. Web.
Farebrother, Rachel. 2009. The Collage Aesthetic in the Harlem Renaissance. Farnham: Ashgate. Web.
Gates, Henry Louis, and Evelyn Brooks Higginbotham. 2009. Harlem Renaissance Lives from the African American National Biography. London: Oxford University Press. Web.
Huggins, Nathan. 2007. Harlem Renaissance. London: Oxford University Press. Web.
Locke, Alain. 1925. The New Negro. New York: Simon and Schuster. Web.
Ogbar, Jeffrey, and Ogbonna Green. 2010. The Harlem Renaissance Revisited Politics, Arts, and Letters. Baltimore: Johns Hopkins University Press. Web.
Smith, Shawn Michelle. 2004. Photography on the Color Line W.E.B. Du Bois, Race, and Visual Culture. Durham: Duke University Press. Web.
Soto, Michael. 2008. Teaching the Harlem Renaissance: Course Design and Classroom Strategies. New York: Oxford University Press. Web.
Van Der Zee, James, Owen Dodson, and Camille Billops. 1978. The Harlem Book of the Dead. New York: Morgan & Morgan. Web.
Worth, Richard. 2009. The Harlem Renaissance: An Explosion of African-American Culture. Berkeley Heights: Enslow Publishers. Web.
In the world art history, the period of 1400-1500 is referred to as “Renaissance” due to the certain style in painting, sculpture, and architecture, which was preceded by Medieval style and followed by Early Modern European style. However, while nearly everyone knows the features and essence of the Italian Renaissance, the Northern Renaissance associated with France, Burgundy and Flanders are way less recognized in public. Nevertheless, the artists of these countries made significant contributions to world art development, leaving their masterpieces as a priceless heritage for the culture of mankind.
One of the most recognized figures of Northern Renaissance of 1400-1500 is a Flemish painter Jean Van Eyck. His contribution to world art is hard to overestimate, and his works still astonish their viewers. The little number of artist’s paintings are connected with one style and theme. While the Italian Renaissance is characterized by a great divergence of themes from religious to mythological and to historical, the Northern Renaissance is more focused on a religious theme, with Flemish being particularly interested in combining religious and secular motifs in their works (Gardner and Kleiner 576).
This specific feature can also be traced in Van Eyck’s works. For instance, in the artist’s work Giovanni Arnolfini and His Bride a man and a woman are taking marriage, which is an ancient custom deriving from human relationships; however, the place and some attributes in the painting associate this ceremony with church and religion. Another distinguishing feature of this painting is the inclusion of some customary Flemish elements, such as clogs and candle for the marriage (Gardner and Kleiner 578).
These details give Van Eyck’s works as an individual character, attributed to a certain region. As for the painter’s style, the typical feature that is also traditional for the Italian Renaissance is special attention to details and atmospheric perspective. These features, as well as the use of Classicism palette, can be noticed in such paintings as Man in a Red Turban, Ghent Altarpiece, and others.
Another representative of Northern Renaissance, but of its later heritage is the world known German artist Albrecht Dürer. While analyzing the artist’s style of painting, it is unavoidable to draw a parallel between this artist and his Italian contemporary, Leonardo Da Vinci. Being a traveler, which was a rare thing at that time, Dürer wrote a diary, noting down his ideas about perspective, paramount human body proportions and other themes accordant with those studied by Leonardo (Gardner and Kleiner 631).
The fact that the artist traveled a lot can probably explain the numerous borrowings he made from Italian artists. In specific, the theme of human body proportions is well-reflected in the engraving The Fall of Men (Adam and Eve); the brilliant use of color and attention to details in oils, characteristic of Michelangelo and Da Vinci, are brightly presented in Dürer’s The Four Apostles. Moreover, all the artist’s works show his masterful knowledge of the light and shade combination technique (probably derived from the famous Italian chiaroscuro).
The painter also demonstrated his skills of showing a wide variety of textures in oils. In general, it can be stated that the style of Dürer is very similar to that of Italian Renaissance artists. The personal contribution of the artist lies more in his studies and numerous records of his studies and of art theory concepts (Gardner and Kleiner 634).
The later style dominating in both fine arts and architecture is Baroque, a more modernized version of Renaissance ideas, but still attached to classical themes and ideas. One of the brightest representatives of this style is the Italian artist and gifted architect Gianlorenzo Bernini. His projects, masterfully designed and performed, serve as hallmarks of Baroque style. One of the artist’s specific features is the exclusive way of showing movement.
His sculptures are different from those traditionally steady and obviously depicted from posing figures of Renaissance; Bernini showed the different characters of his sculptures by means of showing the dynamics in various forms. One of the brightest examples is his sculpture of David with energetic dynamics (Gardner and Kleiner 664).
Made of marble, the sculpture is extremely different from the previous versions performed by earlier artists; Bernini’s David is more aggressive, more expressive, and more complex, with rather an expressive face. It needs to be noted that Bernini’s vision of facial expression is rather innovative for his time. While the majority of artists depicted figures with blank looks and no concrete expressiveness, Bernini gives emotions and facial expression a crucial role in his works. One of the examples is the Ecstasy of Saint Teresa, with suffering and resignation on the face of Teresa and joyful peace on angel’s face. The presentation of this work points to another characteristic feature of Bernini’s works, the combination of various materials. Indeed, the background of the marble sculpture is decorated with pieces of a Baroque pediment and completed with polychrome marble (Gardner and Kleiner 665).
Motion and dynamics are also well-demonstrated in this work, as well in some architectural objects of the artist (Gardner and Kleiner 665). For instance, the lines and perspectives of Saint Perer’s suggest the dynamic character of the building, with various materials being used for various elements.
Works Cited
Kleiner, Fred and Gardner, Helen. Gardner’s Art Through the Ages: A Global History. Mason, OH: Cengage learning, 2009. Print.
