The Renaissance was an era of great achievements in science and art that originated in the Italian states of the 15th century and lasted until the 17th century. It symbolized the transition from the Middle Ages to early Modernism, which began with the era of Enlightenment. This paper aims to examine the documentary Renaissance Italy by Phil Sheppard and give it a detailed, valuable, and comprehensive critical assessment.
The main point of this educational documentary is to describe Renaissance Italy. It consists of several chapters, each revealing a specific topic. At the very beginning, in the State Cities chapter, the documentary introduces the phenomena of Italian State Cities, which had different types of governance. These were Venice and Florence with the Republican government, the duchy of Milan, the kingdom of Naples, and cities that obeyed the rule of the Catholic Church with its capital in Rome.
In the Society chapter, a brief description of Italian society is given. Authors note that the Catholic Church had the most considerable influence on the community. In contrast, the nobility and the Trade Guilds, whose heads were ambassadors to the city government, represented secular power. The Florentine Wool Guild, with more than 200 enterprises, was the most powerful. It is interesting to note that the phenomenon of Family Bonds is said to derive from these ages. It implied the creation and strengthening of the business ties between families through illegal but popular marriage contracts. It is also notable that the social status of a man of that time was determined by how well he was dressed, where he lived, what he ate, and how he made a living.
Then, in the Political Structure and Conflicts chapter, the protracted conflict between Venice and Milan named Lombardy Wars of 1423-1454 is represented, as well as the Italian Wars of 1494-1559. The next section, Cultural Achievements, speaks of Humanists, who collected and translated the works of the classics Francesca Petrarca, Dante Alighieri, and Giovanni Boccaccio. Authors emphasize that the development of science, literature, art, and architecture was sponsored solely by the powerful.
The chapter Significant Individuals speaks of Galileo Galilei, Lucrecia Borgia, and Nicola Machiavelli, whose book The Prince depicted Italian politicians of the time. Finally, the last chapters are named Art and Architecture and Spread of Renaissance Culture, and review the conquest of Italy by Francois I and the spread of the Renaissance culture in France and throughout Europe.
It should be mentioned that the documentary has some weak points. Firstly, the Renaissance should have been displayed in the context of the preceding and following periods the Middle Ages and the era of Enlightenment. The historical context makes it possible to realize the beauty of transition from the darkness of the Middle Ages, when art subordinated to the Church, to a secular period of the Renaissance.
During this period, arts were developing most actively, while the Middle Ages were characterized by the appearance of authentic literary and musical genres. The era of Enlightenment also gave rise to a galaxy of prominent philosophers, thinkers, and politicians, who proclaimed the triumph of an educated mind over the darkness of ignorance. Moreover, the Enlightenment period is widely considered as the noon of civilized humanity, while the Renaissance is often called the dawn.
Additionally, the Renaissance architecture discussion in the Art and Architecture chapter was not persuasive enough. The most famous masterpiece of Renaissance architecture, which is the Doges Palace in Venice, was not mentioned at all. It was constructed between 1309 and 1424 and combined Moroccan mosaics facade decoration and open arcade galleries of the first and second floors built from Carrara marble. The palace amazes with the richness of interior design and accommodates many famous paintings of that period.
Besides, the directors did not represent the contribution of astrophysicists Copernicus and Galileo Galilei to the Renaissance heritage in relevant details. Indeed, Copernicus was not an Italian scientist since he was a Polish one. Nonetheless, Galileo Galilei heavily relied on Copernicus discoveries in his findings. Galilei and Copernicus made the first step in the direction of science from alchemy that substituted science in the Middle Ages. Copernicus was the first to suggest that the Earth revolves around the Sun, thus, presenting a heliocentric picture of the world as opposed to the geocentric views recognized by the Church.
Some attention was paid to the genius of Leonardo Da Vinci and the development of art. But directors provided insufficient arguments when speaking of the art of that period. Particularly, they did not mention that in the Renaissance era, the concept of linear perspective was introduced, which designated the shift from flat images of the Middle Ages to volumetric images of the Renaissance. Da Vinci also contributed to the development of art as the first artisan who mixed paints with olive oil.
This invention allowed him to obtain more delicate contours of human figures and made it possible to combine more colors enriching and widening the available color palette. Besides, it was not stated in the film that master experimented with the proportions of faces and exposure, showing incredible attention to detail and background, and worked on the emotional expressiveness of his characters.
Thus, a critical analysis of the Renaissance Italy documentary was presented. To summarize, the documentary exposed the main features of the Italian political and social structure of that time in great detail. However, the authors did not pay enough attention to the development of architecture, art, and science. Besides, they did not discuss the role of the Renaissance era with other eras and did not represent the contribution of Galileo Galilei and Leonardo Da Vinci in relevant details.
The first work of art to be analyzed in this paper is the Head of the Virgin in Three-Quarter View Facing Right by Leonardo da Vinci. The very first thing to define in the work is what kind of art it belongs to. It can be said that the painting represents realism, which can be proved by the natural and three-dimensional view of the depicted head. However, some elements of mannerism are present too, expressed with the light and smoky style of painting. Leonardo tried to depict things just like they are in real life; however, he was a perfectionist of forms and textures. This explains the double nature of the painting from the perspective of style.
The painting was created in 1508-1512. It constituted a part of Leonardos great heritage, and was kept with other paintings, planes, schemes and codes of the author. Some researchers find the depicted face very similar to the face of a virgin in another painting of the artist called Virgin and Child with Saint Anne . Therefore, this painting can be considered as an initial version of the figure (Frazer, 1).
The painting absolutely represents the manner of its creator. The size of the picture is not too big: 8 by 6, 12 inches (Berman, 1). However, as far as all the Leonardos paintings excerpt for oil ones reminded sketches, Head of the Virgin in Three-Quarter View Facing Right might have been a separate work. Da Vinci used chalks and charcoal for the painting.
The technique applied is called sfumato, which was popular at the period of Renaissance. This technique allowed the artist make the painting extremely smooth because of the great attention to transitions between light and shadows. What is more, to achieve the mentioned effect, the artist blurred the vivid lines into shapeless stains. This technique was used by da Vinci in most of his paintings.
One of the remarkable features of the painting is the line quality, which is soft and often waving. These lines help the artist to be precise with the form, making it voluminous and lively. Indeed, the depicted face face has a firm classical, sculptural quality composed of large, simple planes (Rackow, 1). In addition, the whole work can be viewed as a number of light and dark areas, which flow one from another. This is due to the exceptional unity achieved by the artist. Even when viewed from distance, the painting remains unified and complex.
All the visual effects, created by Leonardo, point to his intentions about the picture. Obviously, the artist wanted to draw a kind face with an angels ease. The lightness and transparence of the materials and technique used create a light and dreamy mood for the image. Being a great inventor and scientist, da Vinci tried to find the secrets of visual effects. Head of the Virgin in Three-Quarter View Facing Right proves that he succeeded.
Apart from the many mentioned merits, the painting is very significant for the world art and history of art. It represents the style of painting and materials, which are not used anymore and will barely be used in the future. The hand-made portrait, drawn to perfection, is a real treasure for connoisseurs of art. In fact, being a part of Renaissance culture, this particular painting is one of the best visual representatives of the time.
Another remarkable heritage of the Renaissance art is a sheet with paintings of Michelangelo Buonarotti. The sheet contains the Studies for the Libyan Sibyl and the Studies for the Libyan Sibyl and a small Sketch for a Seated Figure. They belong to the period of 1508-1512, when the painter was developing sketches for a great project. Michelangelo was supposed to paint the famous Sistine Ceiling in Vatican Palace (Green, 1), and the analyzed picture served as a previous version of one of the figures. After it served its aim, Michelangelo kept it with his other works, and after his death it became the property of family of Buonarotti.
Concerning the style of the work, it can be stated with no hesitation that the painting is realistic. The explanation for this is the fact that the ceiling design was one of the most responsible projects in Michelangelos life. Therefore, the author had to work out the smallest details. He wanted the people, their postures, gestures, and expressions look natural and close to life. That is why we can see fingers and parts of body painted several times; Michelangelo was improving his style upon perfection.
The artist used chalk for this painting. Obviously, it cannot be viewed as a completed work, as far as the figures are not composed, and there is no unity in the painting. Therefore, it is more rational to analyze the work by parts. The most completed one is the figure of a person standing with a back to the viewer. It may sound strange for some viewers, but the Michelangelo wanted to depict a woman.
However, the body proportions and muscles seem to point to the painters miscalculation or lack of knowledge. The explanation for this phenomenon is the cultural background of the time. In Renaissance period women led a modest way of life, and were deeply believing. Posing naked for painters was unacceptable, and therefore Michelangelo had to work with a male model for this sketch (Coney, 1). The precise masculine forms once more prove the realistic nature of the painting.
Concerning the tools used to achieve the present visual effect, it can be said that Michelangelo used the emphasis on shape. Instead of spending time on intensifying the contrast, the painter preferred working on shapes, paying attention to the smallest details. This also determines the perfection of form, which is three-dimensional and looks lively. In addition, the line quality suggests using only thin lines, which makes the depicted figure look more complex and natural. However, the right hand of the woman is more detailed than all the other objects; in addition, the value difference is much higher at that area. The hand is painted closely to chiaroscuro technique, where light and shade are contrasted. This is probably because the author wanted to make the hand perfect and spent more time on it.
In comparison with other works of the period, the painting has a similar style. The technique of painting demands concentration and attention to details, and Michelangelo performed excellently. However, the work is not complete, and has several drawbacks, such as masculine shapes of the female body. Still, it allows us seeing the painting on Vatican ceiling in preparation, analyze all the stages of its creation, and access it critically.
The third work of art, which is to be discussed in this paper, belongs to a Dutch painter, Frans Hals. The oil painting has a double name; to be more precise, it can be called either Young Man and Woman in an Inn or Yonker Ramp and His Sweetheart . The painting is dated by 1623.
Unlike the formerly analyzed works, the painting of Hals represents mannerism. This is obvious because of the works technique and visual effects. The materials used for the picture are oil paintings and canvas. It has to be said that the technique of painting is rather controversial. As one of the critics of early XIX century noted, The speed of the painting is bewildering, but the brush strokes are dashed on the canvas with perfect sureness in spite of it (Unknown, 1).
Indeed, the lines of the painting are rather dynamic, sometimes even nervous; however, the general effect of the picture is rather smooth. It should be noted, that while the face of the man, which looks rather textural, reminds more of the impressionists technique with short and light strokes, the face of the woman and the rest of the picture have the Renaissance smooth texture, achieved by patient work on details.
An interesting point about the painting is the use of colors. In the picture with warm palette Hals uses two stains of cool blue. This is probably a try to balance the composition, which is rather heavy at the bottom and too spaced above the peoples heads. The color values are mostly dark; however, some areas in the picture are very light. One of such areas is the face of the woman and her hand, which are unreasonably highlighted, as they should be placed in shadow. The brightness of the elements makes them seem to be placed before, not next to the young man.
Another controversial detail about the painting is the discrepancy of the womans facial expression and posture. While the face of the lady expresses joy and delight, her hand is rather tense. Comparing to the man, who looks naturally, the woman seems to be nervous because of her gestures. However, one of the authors suggests that this was a compositional plan. He claims that Hals created a diagonal leading from the mans upraised right arm, to his sweethearts hand, down to this left hand under the dogs chin (Borofsky, 1). This point of view justifies the choice of forms, but makes the emotional value of the image rather doubtful.
All the mentioned controversies are now a subject for criticism and evaluation for anyone interested in art. However, despite some doubtful nuances, the paintings merit is great. It represents the ideas and moods of the period; in addition, it constitutes a part of Dutch artistic heritage. This gives us an opportunity to compare the tendencies of one period in different countries. While some of the painters worked in special schools or took apprenticeship in different masters, others, like Hals, worked alone. Thus, his painting does not only represent the style of the period, but also shows the individual approach of the painter to the art. One more precious feature of the picture is the depiction of elements of clothes and other objects, which lets the viewer be acquainted with the social life of middle class of that time.
The next work out of the six analyzed in the paper is dated by 1610-1614. Its author, Domenikos Theotokopoulos, is more popular as El Greco, a famous Spanish artist of Renaissance period. This oil painting, called Saint Jerome as Cardinal is one of the numerous various versions of Saint Jerome depiction by the author. Saint Jerome is known for having translated the Bible from Greek to Latin; therefore, in this picture of El Greco the man is depicted with his hands lying on the book, which is probably the result of his work, the Vulgate (Grace, 1).
The style of this painting suggests that the artist was working in mannerism. Despite the elements of realistic painting, such St, Jeromes as wrinkles or hair, the general technique represents a very individual manner, not obeying to any stylistic rules of the time.
In spite of the religious context of the work, it was not aimed at serving any purpose connected to religion. The original depiction of Saint Jerome is expressed in shape, color, space, and form. The composition of the painting is rather plain: the sitting figure of Saint Jerome with his head drawn from the front view and his hands lying on an open book. The background solution seems to be primitive at first sight: El Greco simply filled it with pure black hue. However, in fact this is a tool for creating a certain visual effect. Using the undiluted black for the background is an attribute of the chiaroscuro technique, which developed in late Renaissance. The technique was aimed at creating an additional contrast in the image. Indeed, the very first impression Saint Jerome as Cardinal makes is being extremely contrastive. The contrast of color values, together with the contrast between the light and dark areas makes the picture very sharp.
It should also be noted, that, despite the fact that the background is black, the figure does not look like cut out of the paper. This is because of the three-dimensional form of Saint Jerome and the cloth, achieved with working on half shadows. Another remarkable point about the picture is the variety of textures demonstrated in it. El Greco painted skin with all its imperfections like wrinkles; the white sleeves differ from the red cape; and, most noticeably, the hair and the beard have a very natural texture. This proves the high level of artists skills and application of different techniques to different objects in the image.
One of the distinguishing features of the painting is the obvious distortion of proportions. Indeed, we can see a prolonged head and unnaturally long arms, while the shoulders are wide enough (Brown, 127). This makes an impression of a tall and strong, yet very slim man. However, the painter might have applied this technique to show the majesty of the depicted character.
It is needless to say that the painting is very precious from the point of view of art. It has an original style, and at the same time performs an educational function, showing the viewer the person of Saint Jerome. El Greco achieved a very impressive result by improving his skills and putting his ideas on canvas. The number of techniques applied and the depth of the work make its merit for the world hard to overestimate.
The next work of art analyzed in this paper is different I conception, though belongs to the same period of time in art history. The reason for that is the fact that this work is a sculpture. The personality of our analysis is the world famous artist and sculptor Michelangelo, and his work with even greater popularity called La Pietà .
Curved in 1498, the sculpture is told to be made from a marble, which was selected by the artist in Carrara pits (Kidney, 1). The name of the work, translated as pity , determines its character and mood. The sculpture is of a definite religious character, and depicts a well-known scene. The sculpture depicts Mary holding the dead body of Jesus, and it was made by a contract with a French Cardinal. Initially, in 1499, the sculpture was located in San Pietro, in the Chapel of Santa Petronilla.
The intention of Michelangelo was definitely to make the work as realistic as possible, which leaves no place for mannerism in this sculpture. The outstanding feature of the sculpture is the lightness and precision of all the forms presented. The author showed the knowledge of anatomy, proportion, and composition. Mary, holding Jesus, with every inch of her body expresses sorrow and hopelessness.
Besides the facial expression, which contributes to this mood, Michelangelo involved the clothing in creating the mood. The streaming cloth underlines the Marys posture and every curve of her body. In contrast, the body of Christ is uncovered; however, the sculptor manages to make it by no means less expressive. Every muscle and bone of his body look as realistic as possible. Indeed, No corpse could more completely resemble the dead than does this (Kren, 1).
One of the most burning arguments nowadays are concentrated around the choice of Marys face for this work. Obviously, she looks younger than Jesus, her son. Many critics call it a mismatch because Michelangelo was only 23 while working on the sculpture. However, then a question occurs: can there be a mistake in such a perfectly exquisite work? One of the possible explanations for such choice of Michelangelo is his will to make the work more philosophical. Mary could have represented the world of mortals, who are the children of God. In addition, she could have been depicted like an angel, a half holy woman, who had a special mission on Earth. Another version is that Michelangelo had his own vision of the scene, where Mary had the feeling of piece and pity more than a passionate grief.
Due to the well designed composition, the sculpture definitely has a great unity. The bodies and the cloth complete each other, united in a sole marble figure. One of the contributing factors in this case is the homogeneous texture of the sculpture. Michelangelo made the marble perfectly smooth even in the smallest details, which points to a high level of mastery.
The merit of the sculpture is impossible to put in words. For more than five centuries, it impresses the viewers with its realistic and natural forms, softness and precision of creation, and emotional depth. Michelangelo managed to create one of the most remembered scenes from the traditional Passion of Christ. The sculpture barely has some competitors among its contemporaries and among modern works.
The next, and the last of the analyzed works, is the painting called Four Apostles , created in 1526. Its author, Albrecht Durer, was a representative of Renaissance art, and one of the most successful developers of it. The painter represents Germany, which signals about some individual features present in his style of painting. The analyzed work is an oil painting on canvas, and the more detailed description of the manner of its performance is given below.
On the left panel the painter depicted the apostles John the Evangelist and Peter. The right panel depicts the evangelist Mark and apostle Paul (Gizzarelli, 1). The four figures are holding different attributes of Christian religion, such as the Bible, the sword, and the key. Some of the critics perceive these details as a part of the authors plan concerning the paintings purpose. For instance, the painting is treated as a reproach to the secular powers not to conceal the divine word in seductive human interpretation (Bowl, 1). The painting was initially located in Nuremberg, the Durers native town.
Typical of other Renaissance paintings, this one has an outstanding smooth texture. It has to be added, that there is an obvious mannerism in this painting. The author avoided sharp forms and lines, preferring to make all the details of the painting smooth and rather smoky. That is why the line quality is soft, which was a helping tool for achieving such an effect.
Indeed, the brush strokes are impossible to notice, the transitions between light and shadows are invisible. However, the mild character of the whole painting is contrasted with the solely black background in the upper part of the picture. This background creates a contrast with colors and with light, making the forms more vivid and voluminous. In addition, the heads of the apostles on the black look rather mysterious and even menacing in some respect.
An interesting detail about the painting is the choice of colors. The left panel contains the red cloak, which makes this part bright and warm. In contrast, the right panel contains a light blue cloak, which makes this part less intense and cool. The same kind of contrast can be noticed when the painting is viewed from bottom to top: the floor is cool and pale, while the faces of apostles on the black background look warm and rather bright.
Such solution for color intensity and quality contributes to the general composition of the painting, making it more complex and unified. In addition, there is no compositional center in this work. The viewer watches either the upper or the lower part; in other case, the left or the right one. However, there is no object or area that holds the whole composition together. This, however, does not prove an impediment to the works unity.
The significance of the analyzed painting in the history of art is great. As it was mentioned before, Durer was a German, which means that this work is a part of a puzzle, from which the world art of that period consisted. Today we have an opportunity to analyze this work and compare it with others. Its completeness, depth of character and purity of technique makes the painting competitive with the other works of art of the period.
Works Cited
Berman, Greta. A Study in Contrasts: Two Master Artists Celebrate Life. The Julliard Journal Online 18(6). 2003. Web.
Bacchus and Ariadne, the painting created around 1520, is an outstanding example of Titians art and talent. In this paper, the analysis of the work is presented along with the initial observations about the colors used in it and the depicted characters. The historical context of sixteenth-century art is offered to show how the period shaped the works of Titian and other painters. It is also necessary to mention that the period of the Renaissance and its characteristics also played a significant role in the paintings features. The paper encloses the information about the artists biography and its possible relation to Bacchus and Ariadne as well. The analysis shows that Titian made a vital contribution to the works of the period and his ideas are relevant to todays audience.
Personal Observations and Initial Thoughts
My first impression of the work was that the painting is vibrant in color; it presents different tones of blue, orange, and brown. The use of many pigments was a distinctive feature of the Venetian paintings of that time. Another aspect that caught my attention was the dynamic postures and movement shown in the work. At first, I did not understand the meaning that the author tried to convey, which made the theme of the painting unclear. The aspect that has a particular interest to me is the items that the people pictured in the work are holding. We can see that one of the men has snakes on his body, another has tambourines in his hands; one person is even carrying the leg with a hoof. We can also notice the young child in the foreground dragging a cows head. The peoples facial expressions are remarkable too as they express a variety of emotions from calmness to fear and rage.
Historical Context of the Sixteenth Century Art
The painting was created during the Renaissance in the sixteenth century. Its early period was associated with civil wars and plague, which created challenges for the painters. However, starting with the fifteenth century, there was a revival in individualism, and naturalism in artists works, including Titian ( Renaissance art, 2017). It is necessary to mention that this historical period was the time of extensive humanistic studies, which means that the paintings of the Renaissance should be analyzed with the use of poetry and classical literature. It can be traced in Bacchus and Ariadne as well because Titian utilized several narratives and visuals of antiquity to compose the scene. It is also vital that the art market in the early sixteenth century started to acquire the features of a free market, which allowed for certain freedom for the painters as they were able to sell their works to those who wanted to buy them.
The sixteenth century became an outstanding period in Venetian style painting as the works of the era were in contrast with traditional Italian art. In Bacchus and Ariadne, the tendency may be traced through the utilization of bright colors and the depiction of sensuality. It is necessary to mention that the use of pigments became popular during that time with increased prosperity, making the new artworks more vibrant compared to the older ones.
Insights from Titians Biography
Titians biography can provide insights into his painting. For example, Wethey (2018) notes that Titian was largely influenced by his teacher, Giovanni Bellini. Under his guidance, he was exposed to works of Flemish painters and learned the techniques they used. For example, in Bacchus and Ariadne, we can see how the skyline is softened with the use of oils. It is also necessary to mention that the artist was a son of the modest official, which may have allowed him to have a good upbringing. In the painting, we can trace Titians intellectual work as he combined the narratives from different sources to create the story, which proves that the painter was an educated person. Another detail of the painting that may be related to Titians biography is Bacchus frozen figure in contrast to the movement of the crowd. It may be a reference to the short period when the painter did not create works, while other artists were working on their masterpieces.
Stylistic Characteristics of Renaissance in Titians Work
Renaissance was the period of humanism, which was reflected in many works of that time. In visual arts, it was defined by the emergence of individual characters among symbolic ones, great attention to detail including the realistic depiction of humans bodies and faces, and the emphasis on virtuous action. Bacchus and Ariadne reflect these characteristics of the period as well, being, in fact, an outstanding work of that time.
For example, the couple is surrounded by symbolic figures; characters are designed to carry a specific meaning through the items they are holding. Although the painting presents a large group of people, the attention to detail is notable. In the work, the author carefully depicts riffles on clothes to emphasize the movement in the scene. We can also see that Titian portrays smaller details too, including body muscles, as well as leaves on the trees and other parts of the scenery. Facial expressions are notable as well since the author wanted to present the emotions of the characters in detail to convey the background of the work. Finally, the concept of virtuous action that expresses the idea of individuals responsibility for their destiny is transferred through Bacchuss decision to leave his chariot and talk to Ariadne, which was the start of their relationships. Moreover, the artists of the period presented the theme of antiquity, which is the primary topic of Titians work as it is based on mythological stories.
The Relevance for Todays Audiences
The work is relevant for todays audiences as it presents the story of betrayal and love, while not making the scene overly romantic. Titian shows that although there is always a place for love, the world is not perfect and there is also a place for violence. At the same time, the contrast between good and evil is necessary for the picture to be full. By making Bacchus the central figure of the painting, Titian conveys the idea that love can be stronger than circumstances, in this case, presented by Ariadnes pain and fear, and the noisy crowd that attempts to interrupt the scene. The painting conveys the sense of threat by showing the animals body parts but underlines that the viewer should not concentrate on negative aspects as they are designed to add contrast to the story.
The painter also shows that each individual has their role and meaning. In the painting, we can see that the presence of each character conveys some idea regardless of them being depicted in the center of the scene or its background. Titian teaches us to seek symbolism in details, showing that even small items may tell us a lot about the story. The painter wants the viewer to explore the alternative meaning of ordinary objects.
Post-Analysis Reflection
The analysis helped me to gain a more profound understanding of the painting. For example, Heller (2017) explains that the artwork has a mythological background. It presents the moment when Bacchus falls in love with Ariadne, who had been abandoned by Theseus. Notably, the work might not be understandable at the first site as it was inspired by several mythological stories. The items that Bacchus retinue is carrying represent the theme of anguish and have many symbolic meanings, conveying the feeling of excitement. In my opinion, Bacchus retinue shows the contrast between the peacefulness of the moment of incipient love and the retinues joyfulness accompanied with violent energy. The analysis also explained the use of vivid colors, which surprised me at first sight but appeared to be the result of the rise of prosperity. Moreover, after researching the painting and Titian, I realized that the artwork has a significant value as it presents the artists outstanding skills, including his ability to utilize his intellectual capacities to design the scene.
Conclusion
Bacchus and Ariadne is the painting created by the outstanding artist of the Renaissance period. It presents the ideas of humanism, individualism, and naturalism and shows that understanding the symbols displayed in the work may be crucial. The painting is based on contrast as it conveys the theme of love, betrayal, joy, and violence. It is relevant for todays audiences as it shows that the role of each individual and details may be crucial and that each story is incomplete without the contrast between the good and the evil.
References
Heller, W. (2017). Rescuing Ariadne. Early Music, 45(3), 377391.
The Middle Ages was a period that lasted from the fifth to the fifteenth century and was marked by a strong religious influence and a feudal system of administration. On the other side, the Renaissance, which lasted from the 14th through the 17th century, was a time of tremendous cultural and intellectual advancement (Cooney, 2000). The Renaissances emphasis on individualism is a crucial distinction between these two periods. The Renaissance saw a shift towards individualism and the birth of humanism. In contrast, the medieval period was defined by a heavy emphasis on the collective and the role of the Church in society (Cooney, 2000). The Renaissances shift in emphasis from religion to secularism is another significant distinction.
While religion dominated many facets of life in the Middle Ages, there was a growing interest in secular pursuits like science, art, and literature during the Renaissance. Theologian and philosopher St. Thomas Aquinas was born in Italy in 1225 and was also known as Thomas of Aquin or Aquino (Cooney, 2000). He is regarded as one of the most significant characters in Catholicism, and his writings greatly influenced the development of Western philosophy and theology (Cooney, 2000). His Summa Theologica, a thorough book on the foundations of Christian theology that is still extensively studied today, is what he is most famous for. Aquinas argued in this book that faith and reason are not at odds with one another but operate best together (Cooney, 2000). Additionally, he created the Five Ways of proving the existence of God, which have grown to be a cornerstone of the Catholic Churchs doctrine.
Dutch Renaissance humanist Erasmus of Rotterdam was also a Catholic priest, social critic, educator, and theologian. One of the most influential humanists of the Renaissance, he contributed significantly to his days intellectual and religious life. He is well known for his Greek New Testament, which he utilized to create the first authoritative Greek text of the New Testament using the most recent scholarship (Cooney, 2000). Additionally, Erasmus produced several significant works on education, such as On Civility in Children and The Education of a Christian Prince. In these writings, he highlighted the value of classical education and the need for people to be well-rounded and culturally aware.
Italian polymath, scientist, engineer, inventor, and architect Leonardo da Vinci lived during the Renaissance. He is recognized as both one of the most talented individuals and one of the most important Renaissance figures. Although The Last Supper and the Mona Lisa are among his best-known works of art, he also contributed substantially to science, engineering, and construction. Leonardo, regarded as one of the greatest painters of all time, was a talented and inventive artist (Cooney, 2000). However, he was also a scientist, philosopher, and inventor, and his journals show that he was keen on various subjects, from human anatomy to bird flying.
Leonardo da Vinci is the most intriguing of these personalities. He was a scientist, engineer, and inventor, in addition to being an artist. His journals reveal his intense interest and breadth of knowledge, and his masterpieces like The Vitruvian Man, The Last Supper, and the Mona Lisa are still admired today. Leonardos ideas and inventions have lasting influenced art, science, and technology. Because of his capacity to make connections between various fields of knowledge and think creatively and unconventionally, he is recognized as one of the most important figures of the Renaissance.
Reference
Cooney, W. (2000). From Augustine and Aquinas to Leonardo and Michelangelo: Coming out of the aesthetic Dark Ages. In The Quest for Meaning. University Press of America.
Analyzing art works of the renaissance period, the list of names of the most popular artists of that time would not be complete without Leonardo da Vinci, and Michelangelo Buonarroti. David, which considered as one of Michelangelos most famous works, is a 5.17 m. marble statue depicting the biblical King David before his battle with Goliath. The statue created through the period 1501-504, is currently set in Galleria dellAccademia, in Florence, Italy.
Comparison
In a different category of art works, the Vitruvian man, is not less important work in the renaissance period, a drawing depicting the human proportions shown through an image of a man standing in a circle and in a square. The pen and ink drawing was completed by 1490, and currently is stored in Galleria dellAccademia, in Venice, Italy.
In that regard, this paper analyzes the aforementioned works in terms of craft and communication, as well as provides a brief comparison of the techniques used in delivering the works messages.
Analyzing the statue of David in terms of craft, it should be mentioned that the mastery of Michelangelo was in anatomically portraying a human body in details. The difficulty can be seen in providing such level of details from a rather thin piece of stone. The selection was made by another artist, Agostino di Duccio, in 1463. The level of details can be seen in such elements as the veins on the hand carrying the stone, and the demonstration of every muscle curve. Accordingly, body can be seen a little disproportionate, which is visible in a larger upper part of the body, a disproportion that was assumed to be intentional for a view from distance below, through which it should be corrected.
The Vitruvian man is also connected to proportions, and despite the apparent simplicity of the drawing, all of the proportions are well calculated and were documented previously in a passage from Roman architect Vitruvius (Marcus Vitruvius Pollio), form which the title of the work was derived. The position in a circle and a square was also of a major importance, where square is rotated for 45 degrees to form an octagram, one of the most spread cannons of proportions in ancient and classical architecture, and a an important religious symbol; every important Christian church has dome placed on an octagram, and gematric value of Greek spelling for Jesus, ™—£Ÿ¥£ = 888 associates the number 8 (octagram) with Jesus Christ (Bowman, 2008).
In the statue of David the main message was in portraying the emotions of tension before the battle between David and Goliath. Such tension was expressed in the pose of David, the intensity of the muscles, and the facial expression. Accordingly, the usage of a white marble represented a contrast between the simplicity and the grandiosity of the statue, where the latter was amplified by the statues size. Accordingly, the concept of ideal art was represented in the work, where the statue was based on the conception of the author, rather than on a visual perception.
The Vitruvian man is different in terms of message, as it can be seen from the accurate transfer of proportions, in that the work bears a scientific aspect. As with other Da Vincis sketches, the drawing has scientific sense, in addition to the artistic. Nevertheless, it is also stated that Leonardo also intended to relate man to nature, believing that the workings of the human body to be an analogy for the workings of the universe (Gorman, 2002). I that regard, it can be seen that the work used symbolism to transfer such basic idea.
Conclusion
It can be seen that both works, although different in nature and message have a common idea of the representation of the human body. Each of the artists used their own means to show the beauty through proportions. Additionally, it can be seen that their approaches differ in terms of world outlook, where the depiction of David as a biblical character, is related to religion, while Leonardo related his work to the nature.
The world know Michelangelo as a Renaissance painter, poet and architect. All his works without exception are masterpieces of art that inspired many other artist of that period. Anyway, his real talent was brightly revealed in art of sculpture. As a sculptor, Buonarroti created numerous chef doeuvres that became the symbol of Renaissance epoch. In his David, Bacchus, and The Rome Pieta, he concentrated on the depiction of human body which is the central theme of that period (Kleiner, 2009). Hence, Michelangelo represented the human figure without in its most natural appearance thus emphasizing the beauty of the nude and human body.
All three sculptures were made from marble blocks from different and over the usual human size. The material he used inspired him thus passionately curving the solid marble in order to find out what God put inside (Steve et. al. 2007). Hence, Bacchus, the god of wine with cup near his lips and little faun beside his left hand, is almost 2 meters height; David is even higher 13 feet high that is much considerably overcomes natural human size (Steve et. al. 2007). This great difference in sizes was explained by Michelangelos intention to humanize God who looked like a mere man and to extol the human who similar to a god. Rome Pieta also includes some divine motives thus presenting the Pieta of Mary with dead body of the Christ on her knees. Here again, we can see that priority was given to the forms and sizes.
All figures embody a deep meaning symbolism that was revealed though poses and details, face expressions and proportions. Hence, all the lines thoroughly curved from the marble express were done on purpose. Thus, Davids face was created with a fined caution where each line bears some special message and meaning. A special consideration needs David mouth which is perhaps the most perfectly modeled mouth in all sculpture. The most striking thing about it is the form of it is highly symmetrical and the line between lower and upper lip is neither thin not thick (Puthan 2003) Further, the face expression of Mary in The Rome Pieta also mattered. Here, Mary mother of 33 years-old Jesus looks like a teenager with ideal features and innocent and sad look. By this, Michelangelo emphasized the insight youthfulness of the virgin who was always ready to help his son. As for Bacchus, the expression on his face shows his light-heartedness and indifference thus showing his superiority over the humans.
If comparing David and Bacchus, there observed a tangible difference in pose and frame. Thus, Bacchus, with his smooth muscles and his drum belly considerably contrast with strong and muscular figure of David. Even the poses symbolize their different origin. So, in this respect, Michelangelos God are resemble humans rather than powerful divine creatures whereas men were imaged as noble and strong (Steve et al. 2007).
As it can be viewed, most of the sculptures of the artist were nude. However, the nudity in his works did not symbolize sexuality of eroticism but partially. On the contrary, by this device Michelangelo wanted to reveal all the beauties of the human body and its relief that empowers him to create the contrast between the light and the shadow. Working with forms, he was able to show the strength of David, sufferings of Jesus and unconcerned life of Bacchus. Therefore, Michelangelo may be regarded as the conqueror of marble and the connoisseur of human body.
Reference
Kleiner, F. S. (2009). Gardners Art Through the Ages: The Western Perspective. US: Cengage Learning.
Puthan, B. (2003) The Sculptors Way: A Guide to Modeling and Sculpture Us: Courier Dover Publications.
Steves, R., and Openshaw, G. (2007) Rick Steves Florence and Tuscany 2008 US: Avalon Travel.
The Renaissance replaced the Middle Ages and was characterized by many significant changes. A considerable number of changes occurred in religion, which in that period occupied an important place in the development of Europe. Under the influence of this and other factors, there were also changes in politics. The Renaissance profoundly impacted these aspects of life and led to severe changes. At the same time, the English Renaissance was of decisive importance in the religious and political development of the country.
An essential characteristic of the Renaissance was the departure from the theocratic worldview of the Middle Ages, which concerned most areas of life. Humanism and a secular worldview began to spread during this era, significantly diminishing religions role. The emergence and spread of new philosophical ideas and movements thus weakened the position of the Vatican. The development of new worldviews, culture, and technology, combined with the liberalization of religion, also impacted the polity, giving more independence to European countries. In general, the influence of this era contributed to the growth of religious and political identities in many European countries.
The English Renaissance led to a series of changes in the religious and political life of the country. The English Reformation, carried out in the 16th century by Henry VIII, was one of the most significant events in this regard. It was characterized by a break with the Roman Catholic Church and led to the emergence of the Anglican Church. Politically, it led to the independence of England from the Vatican and a substantial increase in royal power. Thus, the English Renaissance led to the emergence and development of a new direction of religion and the political strengthening of domestic authority.
The declining influence of the Vatican during the Renaissance was a determining factor in the development of individual countries. The English Renaissance began later compared to continental Europe, but it had substantial consequences. The emergence of new directions of religious thinking in England led to a reformation of the church. These changes, in turn, led to a rebalancing of power in the political aspect. Overall, the changes of this era made the country more independent and significantly reduced external political influence.
The book Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian by Rona Goffen explores the nature of competition among the masters of the 16th century European art. The thesis below summarizes this article by Rona Goffen.
The regional competition with both the dead and the living and the endless desire to surpass (and revive) classical antiquity inspired most of these great artists to produce exemplary artworks.
The author explains how most of the artists made the Renaissance Era a new beginning in modern art. Their artworks surpassed all the paintings and sculptures from classical antiquity. This book explains why competition was a fundamental force during the period. According to Goffen (148), the serene and exceptional masterpieces of the era owed much to rivalry and endless brawling .
How the Author Uses Visual Examples to Support the Thesis
The author begins by explaining how the commissioning of Michelangelos Battle of Cascina and Leonardos Battle of Anghiari set the two artists against one another (Goffen 144). The author uses these works to support the above thesis. According to Goffen (152), Leonardo began working on the Battle of Anghiari in1503. Michelangelo was supposed to come up with a similar work one year later. This chapter describes how Michelangelo did not have a clear understanding of the subject. However, he was aware of Leonardos ongoing work. Michelangelo included a horseman in his painting (Goffen 149). Leonardo had also used a similar approach for his painting. This description explains how Michelangelo must have borrowed some ideas from Leonardos paintings.
According to the author, Leonardo influenced many artists and sculptors such as Michelangelo and Raphael. The author describes Leonardos Battle of Anghiari as a bellicose version of Madonna and Child and Saint Anne (Goffen 157). The artist also reveals a sense of individuality in most of his caricatures. Michelangelos cartoon Battle of Cascina also presents individual bodies. The people presented in the cartoon are nude. This approach deviates from Leonardos idea of unity. The article also explains how Michelangelo replicates most of Leonardos themes in the Battle of Cascina. The two artworks portray struggling masses of riders and horses (Goffen 159). This description explains why competition was a major force during the development and production of these works of art.
Personal Response to the Reading
This chapter is worth reading because it examines how different artists produced great works of art during the Renaissance Period. The author uses the best accounts and examples to explain how competition became a common practice during the Renaissance Era. The author uses some works of art to examine how these artists competed with one another (Goffen 144). This competition enabled the artists to come up with excellent masterpieces. This book helps the reader understand how rivalry made the Renaissance Period successful. The book also explains how the desire to compete and surpass any work of art from an earlier era propelled every aspect of the Renaissance Period (Goffen 157). I have also understood why competition was common during the Renaissance Period.
The article examines how competition inspired most of the Renaissance artists (Goffen 164). Goffen also gives a detailed analysis of the outstanding artists from the era. The book also presents some of the outstanding artworks from Renaissance Era. The book recognizes most of the 16th century paintings and sculptures as useful works of art (Goffen 168). I am planning to read widely in order to understand why most of these artists succeeded during the Renaissance Period.
Renaissance is the era of intellectual and artistic flourishing, which began in Italy in the 14th century. Everything that was created in the Renaissance still impresses and interests people today. The Renaissances highlight is that sciences, crafts, and arts began to develop in all European countries. Culture has revealed new aspects of human identity. There were such famous figures as Dante and Shakespeare, Michelangelo, and Leonardo da Vinci. They became famous due to their glorification of the beauty of nature and man with all their passions and flaws. Architecture and literature of the Renaissance era played a significant role in the development of society as well.
The key distinguishing feature of the philosophy of a Renaissance man was the focus on human feelings, the internal and external beauty of a person, his abilities, and potential. Humanism and the desire to emphasize a human personality were the main philosophies of the Renaissance. However, based on historical evidence, it can be concluded that cultural and social values tend to change over time.
Most of Europes ideas have not been preserved, and common ideas and ideals have mostly changed to a sufficient extent. This paper will compare attitudes towards people and their social values, the perception of art and beauty in Renaissance society and modern society.
Attitude Towards People and Social Values
The center of changes in this era is a man: his image and his life position are changing. Human beings became the focus of thought and action, enabling the exploration of individuality, responsibility, personal development, education, and the surrounding environment. It became necessary to find self, find your own personality. According to the Renaissance vision, people were initially endowed with free will and freedom of choice.
It was considered that a man determines his own future by his own decision: he can become a lower, unreasonable being, and can become a higher, divine being. In his works, Pico Della Mirandola claims that in a man, there is nothing greater than his mind and soul (Borghesi, Papio, & Riva, 2012). Thus, one of the most important theses of the whole philosophy of the Renaissance regarding people was as follows: the destiny of a man is in the hands of this man himself since he is clothed with free will.
There was a huge desire to realize in life and work as an individual. It was considered valuable not just to exist or live and follow certain traditions, but it became essential to be different and stand out with humanism. Confidence in the uniqueness of human nature is reflected in the works of most figures of that era. For instance, the tragedy of Hamlet is a clear reflection of a humanist drama.
In her book, Ágnes Heller (2016) discussed the concept of a man with the development of family relations, the emergence of individuality, relation to power, and more, and asserted that the culture and the society integrally shape human portrayal. Social norms reflected the desire to comprehend harmony and achieve people living in peace and enjoying the world around them. Pop (2016) cited a German philosopher, who referred to humanism as the ideal of culture that was thought to be destroyed by modern technological progress (p. 215).
The values of contemporary Europe have changed substantially since the Renaissance era. Heller (2016) claims that if a modern man appeared in the society described by the humanists of that time, he or she would feel as if in prison. Nowadays, in modern societies, close attention is paid to human rights, democracy, and the rule of law, liberty, and equality. However, these advanced concepts are derived from the humanistic approach (European Values, n.d.).
Modern European values involve globalism, universality, progress, multiculturalism, political pluralism, etc. Todays European values system is based on the principles formulated by the French Revolution freedom, equality, and brotherhood. In particular, this implied personal and civil liberties, democracy, citizens equality before the law, equal taxation, and binding of the state to the Constitution.
As a consequence of the further progressive development of the system of European values, at the turn of the 20th century, the European civilization reached the apogee of its heyday and power that faced, however, with new challenges in the face of socialism and nationalism. Modern values shifted from individualism to the public interest as democracy helped to eliminate dictatorship and ensure the peoples voices were heard and taken into account, thus increasing trust and justice in the rule of law (European Values, n.d.).
Despite the elimination of pure humanism, it served as a base for modern social values. But still, the attitude towards a person during Renaissance and in recent days in society is different: todays Europe preference is given to more practical and realistic values. It can be explained by the change of values and other contributing factors such as technical progress, industrial revolutions, and others that have led to the fact that social ideals have changed beyond recognition. More to the point, one may note the shift of focus from elevated issues to more materially-minded sentiments. People tend to be engaged in various social activities, thus paying little attention to their inner world. As a result, society itself, attitudes to people, and art significantly change.
Perception of Art and Beauty in Society
The perception of beauty has considerably changed throughout time. The concept of art, as well as of beauty, are commonly influenced by a historical, technological, and social framework. One of the main ideas revealed in the works of Renaissance art is the demonstration of Utopia and the desire to show the beauty of a surrounding world, albeit in a somewhat distorted form. Another focus of renaissance art was on the nature of the human body.
For example, a famous masterpiece David by Italian sculptor, poet, and architect Michelangelo, depicted a marble sculpture of the standing nude male. The perception of beauty also was natural as women were appreciated for ample curves, blonde hair, and a natural look. The paintings and written works of talented people who lived during the early Renaissance are known today, and many of them are exhibited in the largest museums in Europe. Brucker (2015) remarks, for example, that Florentine art has had a significant impact on the development of the culture of subsequent generations.
During the Renaissance, a man was perceived in all his integrity, and his material nature was interesting for artists of that time no less than his spiritual qualities. Most clearly, attention to the human body manifested itself in the Renaissances art, thus declaring the revival of interest in the beauty of the human body, reliance on the ancient ideals, and realistic proportions characteristic features of works of art of the time Brucker (2015).
Therefore, in Leonardo da Vinci, Michelangelo, and other outstanding artists and sculptors, the image of a man as a being of the flesh, bodily, and beautiful creature became a condition for expressing the spiritual world of a person. The attitude to a man as to some miracle and even as the center of the universe, in general, became decisive in the perception of art. Therefore, the Renaissance symbol can be expressed through words learned by the philosophers of this time from ancient works: a great miracle is a man.
All the art of this era was close to the original world based on beauty as the top priority. For example, it turned out that if a master draws an object, he put all his forces and all his skill to make this object most like its original. Nevertheless, in the center of art and the center of the world, there was a person and nature as art tried to depict the close and inseparable unity of a man and nature, as stated by Osborn (2016). Artists imprinting the world were looking for the most suitable means for a realistic picture that shows that the sphere of art was not only transformed in favor of a man, but it was also moving forward in terms of new technologies along with means of expressiveness.
Modern European art differs significantly from the art of the early Renaissance. Regarding techniques, contemporary art uses a huge variety of styles and techniques, starting from surrealism to conceptual art. Today, the reference is given to the display of realism, and ideas closely related to the political, economic, or national characteristics of a particular country are traced in the works of many contemporary artists and sculptors. Cloning, gender, sexuality, ethnicity, race, human rights, war, or perhaps the high price of some goods at a given location may identify contemporary art. This emphasis on various external issues seems to be intensifying.
Another significant distinction between the two epochs is that during the Renaissance, art was directly associated with the aesthetic concepts of beauty, purity, and transcendence. In other words, it was related to high values, not war. The destruction of this distinction is an important aspect of contemporary art. Modern art often intersects with the surrounding world, and it is not limited to the choice of materials or methods.
It can use both traditional techniques, such as painting, drawing, sculpture, and unconventional forms such as performance, installations, video, etc. Attractiveness is also perceived differently. Now women are encouraged to look thin, wear makeup, and have surgical manipulations to fit society. As Osborn (2016) noted, social factors are the primary determiners of beauty and attractiveness. Therefore, all the changes, which take place in society today, as a rule, are displayed in art.
From the arguments provided above, it is possible to say that the difference in the perception of culture and beauty between the two epochs is quite evident. The Renaissance is rather important for the history of world culture as it most fully reflects the ideal of a man, the harmonious, and free being in art. All this nourished the culture of that time and had preserved plenty of provisions up to nowadays, particularly determining the place of a man in life and his value. One of the key factors that determine this difference is a shift in social norms and priorities and the emergence of such a genre as realism.
Even though the art of the Renaissance is still highly valued, it isnt easy to find similarities in the culture of modernity and that era. On the other hand, Sapsed & Tschang (2014) in their research concluded that two very different epochs, each a crucible for creativity, were in many ways only separated by the types of technologies, and to some extent, by the manner of technological mediation, but not by the types and needs of human creativity (p. 140). They suggest that combination and repetition are the two essential practices of creative work used both now and then.
Conclusion
In conclusion, it should be emphasized that attitudes toward people and social values and the depiction of art and beauty are not preserved until today. If the Renaissance epoch was characterized by the idea of a man as the most important figure in society and art, then the modern world focuses on a man as a part of a democratic society that has a certain set of rights. While the Renaissance proposed beauty and purity of art, nowadays, reality with its politics, economics, and social aspects is closely associated with the contemporary art that reflects all the mentioned issues. However, modern social values take their roots from humanistic philosophy and successfully maintain modern society. As for art, Renaissance art has significantly changed due to technological progress, but still reflects the same human needs.
References
Borghesi, F., Papio, M., & Riva, M. (2012). Pico Della Mirandola: Oration on the dignity of man: A new translation and commentary. New York, NY: Cambridge University Press.
Brucker, G. A. (2015). The civic world of early Renaissance Florence. Princeton, NJ: Princeton University Press.
Heller, A. (2016). Renaissance man. New York, NY: Routledge.
Osborn, D. R. (2016). Renaissance beauty = todays ugly: What appearance factors determine attractiveness judgments? Journal of Human Behavior in the Social Environment, 26(16), 437-446.
Pop, M. (Ed.). (2014). Values of the human person: Contemporary challenges. Bucharest, Romania: University of Bucharest.
Sapsed, J., & Tschang, F. T. (2014). Art is long, innovation is short: Lessons from the Renaissance and the digital age. Technological Forecasting and Social Change, 83, 127-141.
The Renaissance is an epoch of the development of European countries. This era is the time of an unprecedented burgeoning of art, an era of geographical and scientific discoveries, and the development of banking, trade, and crafts. Among the main characteristics of Renaissance art are skillful brushwork, integrated compositions, perspective, color, the dexterous use of light and shadow, emotion, and scrupulousness in the work. Mythological and biblical characters were often depicted by artists of that period.
The first vital characteristic of Renaissance art is the human body which was the primary source of inspiration and the object of research. Artists and scientists deified the human body, making it an epitome of life and beauty (Rubin, 2019, p.783). Hence, artists were constantly improving their knowledge and skills by studying the human body. This was manifested in the elegantly precise details of the body, muscles, and the understanding of motor skills. Among the characteristics of works of painters and sculptors of that period are complex poses, gestures and facial expressions, and harmonious and expressive colors. The similarity with reality reached such an extent that the characters depicted in the works seemed alive; physical perfection reflected the prevailing idea at that time that man was created in the likeness of God. Unlike the works of the Middle Ages, the gods were personified and depicted as people, with features that were inherent in man.
Another vital characteristic of Renaissance art is the thorough mathematical construction of space and objects in the paintings. The Renaissance perspective system was born in the XIII century, which led to changes in the concepts of painting. The idea of perspective includes the visual distortion of the proportions and shape of real bodies in their perception. Many paintings of the Renaissance era show that the incorporation of optical projections for producing certain features led to more realistic depictions of objects (Falco, 2016, p.266). Convinced that the visible world obeys the laws of nature, artists began to use scientific knowledge and various tools at their disposal in their works. The size of the bodies, the brightness of the color, and the distinctness of the shapes and borders decrease or increase according to the distance of the bodies.
In addition to inventing a direct perspective, the Renaissance discovered new themes in art and created new genres. The artists often painted ordinary women, making them look pure and preserving their features in the portraits for better similarity. Painters also depicted themselves and the local people. For example, Lodewijk Toeput depicted various banquets which would emphasize the status of sophisticated elites in Renaissance Italy through the nature and consumption of food (Fisher, 2018, p.136). Thus, not only religious but also trivial events have become a worthy subject for art.
Hence, the love of life, human beauty, and innate curiosity of the Renaissance artists often transmitted into a propensity for details, for the image of various objects with which artists filled their compositions. They painted every detail of both the foreground and background with the utmost care, paying close attention to every ornament, every feather in the angels wings, and every curl on the persons head. The art of the Renaissance, represented by the masters of painting and their immortal works, might serve as an example of uncompromising hard work and high spirituality, striving for the highest values of humanity.
References
Falco, C. M. (2016). Optics in our time. Springer.
Fisher, A. (2018). In food and landscape: Proceedings of the 2017 Oxford Symposium on food and cookery. Prospect Books.
Rubin, P. L. (2019). Seen from behind: Perspectives on the male body and Renaissance Art. Yale University Press.
