Italian_Renaissance_Art

Name University Course Tutor Date Italian Renaissance Art Italian renaissance was among the most productive times in arts’ history. It is in this period that a lot of outstanding pieces of art both in the fields of painting, architecture and sculpture were designed. During the early years of the 15th century, great innovations in the above fields were made in Florence that marked the start of a new era in the arts history. Some of the great innovators included: Masaccio, Brunelleschi and Donatello. Masaccio was involved in painting, Brunelleschi in architecture while Donatello was involved in sculpture. Aspects in the development of Italian renaissance art. The art works in Renaissance period served as an example of the creativity that existed during the period. The works have proved to be mysterious to both critics and historians of art because of the numerous interpretations they have received through centuries. Renaissance evolved through different stages which included: Early Renaissance which occurred between 1400 and 1475 AD, High Renaissance that took place between 1475 and 1525 AD and Late Renaissance that took place between 1525 and 1600 AD. A lot of Renaissance changes occurred during this periods. (Barnes 2006, p. 500) Early Renaissance arts. According to Connors 2004, p.199 artists during this period believed that art could not remain static, but should advance forward. It is because of this Roman and Greek art, architecture and literature styles were studied. Ancient artists examined the various techniques that were used by artists in the ancient Rome and Greek after which they used the ideas in coming up with modern art. Unlike artists of medieval period whose focus was in heavenly creatures, the artists’ attention was the human body. They came up with realistic expressions about the human figure, a concept that came to be referred to as Realism. Other painters such as Masaccio still painted spiritual themes but his paintings contained saints who had common clothes and also there expression was natural. Renaissance artworks contained drawing of people who were involved in their day to day activities like dancing, eating and many other things. (Crewe 2002, p.200) It is during this period that the concept of linear perspective was introduced and became a major preoccupation to many painters including two architects: Brunelleschi and Alberti who hypothesized the subject. It helped in achieving realistic space effect in a painting. Brunelleschi had done a lot of studies about the piazza and octagonal baptistery located in Florence Cathedral and it is said that it’s through his help that Masaccio was able to create his popular Trompe l’oeil niche. Some artists became so obsessed with this perspective and went along experimenting in many paintings using this perspective. One of the most popular paintings that came out of this art works was the Battle of San Romano that used broken weapons and fields on the hills to bring about the linear perspective. It is through this perspective that painters were able to come up with an illusion of space together with distance on a flat surface. (Hampton 2003, p.219) The contemporary ideas came to be embraced and the focus was shifted from worldly things through the church influence. Some artists started questioning the church as believe in religion was decreasing which was reflected in the artistic works. An example is the “Arnolfini portrait” that was done by Jan Van Eyck that contained a couple that was getting married inside a room. The woman in the picture was also pregnant. Such ideas as people getting married in rooms and women getting pregnant before they were married were unusual. (Seidel 2002, p. 97) High Renaissance Art Characteristics. Attention was shifted to human anatomy paintings during this period. It was aimed at painting humans to appear as natural as possible. Humanists had supposed that humankind was incomparable since it was understood that it linked the human world with the religious world. Human principles such as secularism were promoted and people became more concerned about self improvement and started doing things in their own ways. Most of the paintings that were done during this period contained people who were studying instead of worshiping. (Goffen 1999, p.207) Late Renaissance art characteristics. They were mostly concerned with style/manner than substance. There was no innovativeness because artists were only out to out do those of high Renaissance period. It used colors that were loud and themes that appeared strange. Human beings were portrayed with abnormally long limbs. People became tormented by the paintings which became one of the characteristics of Italian resurgence art. Paintings of nude people were painted in positions that were considered ungraceful. Some of the popular artists of this period included: Giorgio together with Giovanni although there was Michelangelo an artist from High renaissance period who still continued painting. (Massi 2006, p.503) Renaissance and science. According to Jacobs 1999, p.529 arts and science closely related to each other. Both artists and scientists tried to understand the physical world. The paintings became of much importance in fields such as Science where human paintings made the study of human body possible and mathematics. Perspective involved coming up with a three dimensional delusion on a two dimensional plane. Although this effect had previously been achieved by other painters through the use of empirical means, the mathematical method made it easier. This method became one of the major tools that were used in the art. (Goffen 1999, p.207) Last supper painting of Leonardo da Vinci. Leonardo da Vinci was working for Duke Milan when he painted the painting. He did so because his employer: Duke asked him to paint that particular religious scene and so he decided to paint it. The painting was done on a wall of a dinning hall of Santa Maria covenant in Italy. It measures 460 by 880 cm. It took him three years to finish the painting. The painting appears remarkable because of the human and identifiable emotions that are displayed by disciples and the adorable idea of last supper. This painting was a visual translation of an event that took place on an evening before Christ was betrayed by one of the disciples of his where he had gathered them around the table and narrated to them that he knew what was about to happen after which he washed their feet which symbolized equality before God’s eyes. (Crewe 2002, p.200) In the picture is Christ together with his disciples who can be divided into 4 groups. The first group consists of: Lesser, Bartholomew and James who appear surprised. Andrew appears to lift up his hands up with a frightened gesture. The second group consists of: Simon Peter, Judas and john. Judas is in possession of a silver bag in his hand while he is reaching for bread with the other. Simon is leaning on John with a knife on his Right hand which symbolizes his defense for Jesus while John appears to have passed out. The third group consists of Thomas, Philip and James the Great. They both appear shock with Thomas’s hand raised, Philip appearing to be requesting for some explanation, while James appears to be recoiling from Christ in terror. The forth Group comprises of Mathew, Simon and Thaddeus who appear to be conversing to one another. It is recorded in Luke 22:23 that they were asking themselves who amongst them was likely to be the one who was going to betray Jesus. The painting appears to be falling apart because the inventor used new materials instead of Tempera on a wet plaster. Jesus in the painting lacks feet because in the year 1650 there was a mission to insert a door into to the dining hall and it was decided that it’s in the middle of the wall where it could be appropriately inserted as a result, the feet of Jesus were removed. (Luchs 2001, p.948) The other painting that he did was the portrait of Lisa del Giocondo. It was an oil paint on a wooden panel which measured 77 by 53 cm. It came up from a more humble beginning although it later became famous. It was commissioned by Lisa’s Husband who was at the time a merchant to celebrate their second born son and to be used in beautifying their new home. Although it did not grace the house, Leonardo kept the painting until his death after which it was passed on to his heir Salai. It was later sold to King Francois by Salai’s heir and since then, it has continued to be a public treasure. (Luchs 2001, p.948) Masaccio His first painting was the San Giovenale Altarpiece which was revealed in 1961 in a church called San Giovenale that is next to Masaccio’s place of birth. It is a representation of the Virgin Mary with a child together with angels in the middle panel, Blaise and St. Bartholomew on the panel that is on the left and to the right panel is St. Juvenal together with Anthony. Although the painting has lost most of the original frames, Masaccio’s idea of expressing three-dimensionality using volumetric figures with foreshortened forms has been noted. His second work was collaboration with Masolino in the painting of the Virgin and child together with Saint Anne. Masolino did the painting of St. Anne and angels while Masaccio did the painting of the child together with the virgin on the throne. References Barnes, B. (2006). The Living Image in Renaissance Art. Renaissance Quarterly, 59(2), 500. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5021355867 Connors, J. (2004). The Italian Renaissance Palace Facade: Structures of Authority, Surfaces of Sense. Renaissance Quarterly, 57(1), 199. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5018484410 Crewe, J. (2002). Anthony Grafton. Leon Battista Alberti: Master Builder of the Italian Renaissance. Italian Culture, 20(1-2), 200. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5007664244 Goffen, R. (1999). Balancing Acts: Reading Sources and Weighing Evidence in Recent Italian Renaissance Art History. Renaissance Quarterly, 52(1), 207. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5001255989 Hampton, T. (2003). Fictions of the Pose: Rembrandt against the Italian Renaissance & the Absence of Grace Sprezzatura and Suspicion in Two Renaissance Courtesy Books. 219. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5002006594 Jacobs, F. H. (1999). Women in Italian Renaissance Art: Gender, Representation, Identity. Renaissance Quarterly, 52(2), 529. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5001283250 Luchs, A. (2001). The Poetics of Portraiture in the Italian Renaissance. Renaissance Quarterly, 54(3), 948. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5000883497 Massi, N. (2006). Augustine in the Italian Renaissance: Art and Philosophy from Petrarch to Michelangelo. Renaissance Quarterly, 59(2), 503. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5021355875 Seidel, E. (2002). The Concept of Philosophy in the Sixteenth Century: Leone Ebreo and the Italian Renaissance. European Judaism, 35(2), 97. Retrieved May 19, 2010, from Questia database: http://www.questia.com/PM.qst'a=o&d=5002515902