Pietro Cavallini (1259-1330) was an Italian painter and mosaic originator who was viewed as the best fresco craftsman of all times. His work was in a large portion of the acclaimed temples. Pietro's artistic creations were said to be devastated and painted over. " Both the recently revealed frescoes and Cavallini's other known works showed that Cavallini's was at that point utilizing viewpoint and painting normal representation of energize subjects - people, holy messengers, creatures "."The Last Judgment" was one of the main compositions to survive which was found first and foremost of the twentieth century and was concealed to save it. Cimabue (1240-1302 Italian otherwise called Cenni di Pepo or Cenni di Pepi, was a Florentine painter and
maker of mosaics. Cimabue is one of the first extraordinary Italian painters to break from the Italo-Byzantine style, in spite of the fact that despite everything he depended on Byzantine models. Just Cimabue's last work, the mosaic of St. John the Evangelist, in the Duomo of Pisa, is dated (1301–02). The huge Crucifix, in S. Domenico, Arezzo, is by and large acknowledged as his most punctual work and datable before 1272. Duccio di Buonoegna (1255-1260) was an Italian painter. Duccio was said to be considered as the father of Sienese works of art and the author of Western Art. It was trusted that he concentrated on under Cimabue. Duccio's artistic creation style looked like the work of Byzantium workmanship. He worked for the most part with shade and egg tempera and like a large portion of his counterparts he painted religious topics. He has affected Simone Martini and the siblings Ambrogio and Pietro Lorenzetti, among others. Berlinghiero Berlinghieri, otherwise called Berlinghiero of Lucca was an Italian painter of the mid thirteenth century. Bonaventura was the child of the painter Berlinghiero of the Berlinghieri group of Lombardian painters. The Pescia work is one of the most punctual known pictorial stories of the holy person of Assisi.
Throughout the Renaissance, religion played a large role in the society. It was very common to make Christian-related paintings, for example, the crucifixion of the Christ or lamentations in late medieval Christ paintings at that time in order to spread the religion . Further explored by André Malraux, it is known within this period that art was made intentionally to tell a story, depicting a civilization through fiction, whereas their aesthetic value takes second place. One example that related to this argument is “The Lamentation with Saints and a Donor” by Bartolommeo Di Giovanni, a late Renaissance painting, made around 1480 – 1510 CE, a piece found in one ofs one of the collections at thein Art Gallery of Ontario Museum. This piece depicts
Giorgione or Giorgio Barbarelli da Castelfranco was born in 1477 or 1478, the exact date is not known, in Castelfranco. Even though there were no more than about twenty paintings officially associated with him, of which only about six are attributed to him without doubt, his originality was so powerful that these few works have come to represent not only the first stage in the Venice High Renaissance, but a new trend in Italian art as well. Surviving documentation of his life and work is sparse.
In Michelangelo and the Pope's Ceiling Ross King gives a penetrating look into the life of Michelangelo Buonarroti during the four years he spends painting the ceiling of the Sistine Chapel. At a scale of nearly five thousand and eight hundred square feet and almost seventy feet above the ground, this would be an incredible task for the artist. He faces many challenges, mentally and physically, during the process, but still finishes the ceiling in an incredibly short amount of time considering the size of his work. Michelangelo is renowned for his moody temper and reclusive lifestyle. Most people find him to be an extremely difficult person, due partially to his lack of concern for anyone but himself, and to his undaunted stubborn nature. The one man with whom he will despise and contend with all his life was Pope Julius II; he is also the man who commissions him to paint the ceiling. Ross King's purpose in writing this book is to detail Michelangelo's magnificent struggle with personal, political, and artistic difficulties during the painting of the Sistine ceiling. He also gives an engaging portrait of society and politics during the early sixteenth century.
The portrait of Giuliano de Medici by Raphael, a tempera and oil on canvas, can be dated back to around 1515 (Fig. 2).25 The portrait includes a background depiction of Florence, which is revealed behind a green curtain. As part of a marriage arrangement with Philiberte of Savoy, it is not surprising that Florence would be depicted as an asset of Giuliano's. However, the picture was painted shortly after the carnival of 1513, and it highlights the sort of relationship that the Medici family wanted to re-establish with the city and its people, using public rituals to achieve this. Giuliano's gaze is directed to the part of the curtain revealing the city, thus asserting his status as legitimate ruler, watching over the people of Florence. This painting and the carnival of 1513 convey similar messages. When Girolamo Macchietti executed a portrait of Lorenzo the Magnificent, he used a similar device (Fig. 3). Lorenzo stands tall with Florence in the background, and he looks forward benevolently. What the Medici attempted to achieve with public rituals, they successfully managed to reflect in their portraiture. With their backs turned to the city, they would have appeared to contemporaries as larger-than-life leaders protecting Florence's interests and history. The link between the two portraits is interesting because the carnival of 1513 was a clear attempt at
Donatello Donatello’s real name is Donato di Niccolo di Betto Bardi (1386-1466). Donatello was a master of sculpture in bronze and marble and was one of the greatest Italian Renaissance artists of his time. A lot is known about his life and career, but little is known about his character and personality. He never married and seems to be a man of simple tastes. Patrons often found him hard to deal with and he demanded a lot of artistic freedom.
Giotto di Bondone (1266-1337) is widely considered to be the father of florentine painting, and indeed even the originator of the rebirth of Italian painting of the Trecento period. His style and genius permeated the social consciousness in the late 13th and early 14th Centuries and persisted to influence and inspire the work of great masters of the age and continued to affect the face of Italian painting right up to 15th Century and beyond. His followers, known as the Giotteschi, were those influential artists who were emulated by Bondone and sought to emulate his genius through their own works. Giotto’s incredible range of works and the speed at which he created them force us to recognise that the use of assistants and pupils for the completion was commissions was a frequent occurrence and we can clearly see the hand of illustrious students such as Maso di Banco and Taddeo Gaddi in several of the old master’s works. Giotto single-handedly redirected the entire conception of form and narrative away from the iconic, highly formal Duecento tradition, and thus rendered the prospect of artists trying to return to the previous stylistic form nearly impossible. It was this revolutionary impact on the world of art that Giotto’s followers responded to so emphatically. Followers such as Bernardo Daddi, Jacopo del Casentino and Masaccio admired several key innovations instigated by the Master and carried it through into their own works long after the time of Bondone.
However, in Michelangelo’s “Last Judgment” each figure preserves its own individuality and both the single figure and the groups need their own background. In the depths of the scene figures are rising from their graves. Naked skeletons are covered with new flesh and dead men help each other to rise from the earth.
Michelangelo Merisi da Caravaggio better known as simply Caravaggio was an Italian Baroque master painter born in Italy around 1571. After he apprenticed with a painter in Milan, he moved to Rome, where he lived for most of his life. His work influenced painters around Europe. He’s most known for his gruesome subjects and use of Tenebrism, which was a technique that used heavy shadow to emphasize light areas. His life was filled with great controversy. He was known for being violent, with “drastic mood swings and a love for drinking and gambling”. (N.A., "Caravaggio”) In 1606, Caravaggio killed a Roman pimp named Ranuccio Tomassoni. Historians don’t know why Caravaggio killed him only that Caravaggio fled Rome after the incident. His violence didn’t stop until his death in 1610. The cause of his death was unknown until 2010, when a team of scientists discovered high levels of lead that would have driven him mad.
Art, by definition, is “something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings”. Throughout history, one way that art has been used is to reflect a multitude of ideas and beliefs. Christian beliefs and ideas have been portrayed in artwork since the beginning of Christianity, although, it was not always acceptable to do so. The idea of the final judgement is a Christian idea that has been displayed in art repeatedly in a variety of ways. Michelangelo’s fresco the Last Judgment (1536-1541) is a piece that visualizes this idea. Since the time it was finished, this significant piece found in the Sistine Chapel has been continuously critiqued and analyzed. Many Christians struggle to interpret the event of a final judgment after reading it through Scripture. In analyzing Michelangelo’s piece, it is similar difficult to determine what he exactly meant to portray and what the various part of his masterpiece represent exactly. Many have examined this piece and made different regarding what exactly the various figures and objects are supposed to represent. The diverse interpretations of this work further shows the idea that when Christian ideas are reflected through artwork, it is hard to ascertain exactly what an artist intended to demonstrate. In addition, the controversies surrounding this piece represent the idea that when Christian ideas are revealed through art, there is potential for disagreement regarding what should and should not be included in Christian art. Michelangelo’s Last Judgment is just an example of what results when Christianity is brought into art.
As we read through the third chapter of "The Last Judgment and The Critics" from Bernadine Barnes's Michelangelo's Last Judgment - The Renaissance Response, it is striking to see the two completely opposite views on the fresco by the sixteenth century critics, where " those who approved of it saw it as the height of Renaissance art; those who disapproved saw it as an unsuitable use of art" and that "it was censured as the work of an arrogant man, and it was justified as a work that made celestial figures more beautiful than natural" (71). The Last Judgment dealt with an especially evocative subject, and Michelangelo engaged viewers by creating highly imaginative scenes tempering fear with hope and by referring to contemporary events. The painting's original, elite audience--the papal court and a handful of distinguished lay persons--was sophisticated about art and poetry, almost exclusively male, and orthodox in its religious beliefs. That audience later broadened and included artists allowed into the Chapel to copy Michelangelo's work. These artists helped to create another, less sophisticated audience; one that knew the fresco only through reproductions and written descriptions.
In this research paper I will be looking at two different artworks by the same artist. The two I will be looking at are the Sistine Chapel Ceiling (1508-1512) and The Last Judgment (1534). Both of these painting are painted in the Sistine chapel which is located in the Vatican. I am going to attempt to evaluate these two pieces of art painted by Michelangelo and explain the cultural and religious aspects of them. I will also look to other scholars to get their perspective and their reactions to the paintings. The last step of my research will be to formulate a theory about the relationship between culture and religion and use my topic to help defend my theory.
Michelangelo di Ludovico Buonarroti Simoni was a painter, sculptor, architect, and poet. He was born on March 6, 1475 in, Caprese, Italy. He was the 2nd born of five sons. He passed away at the age of 88 years old on February 18th, 1564. He was one of the most famous Italian Renaissance artist. He became an apprentice to a painter before studying sculpture gardens of the power in the Medici family. Michelangelo had several works in his time. His most popular sculptures were “Pieta” and “David” Some of his painting are “Sistine Chapel” and “Last Judgment” The pieta painting had showed the “Virgin Mary holding of her son Jesus after he
Another masterpiece from our beloved Michelangelo, representing the Last Judgment. This really large fresco covers the altar wall of the Sistine Chapel with 392 in-motion human shapes and other decorations, representing the last day of the Earth according to the book of Revelation (John the Evangelist). Buonarroti was really a good worker, it took him something like 6 years to finish this 14 x 12 meters piece of art.
The Last Supper is one of the greatest work of art created by Italian inventor and innovator Leonardo de Vinci. The famous piece of work is located in Milan Italy on the wall of Santa Maria delle Grazie. Last Supper is proof of de Vinci astonishing artistic talent and vision. Da Vinci uses both, along with his perception of the Holy Scriptures, and gives reality to the last moments before Jesus’ betrayal.
“The painter will produce pictures of little worth if he takes for his standard the pictures of others… Giotto the Florentine, who was not content with imitating the works of Cimabue, his master… he excelled not only all the masters of his time but all those of many centuries past…” 3