There are many similarities and differences in the art work from Italy and other European cities during the 15th and 16th century. Some of the difference and similarities can be found in the area of content and form from works of art during this time. Works of art from Matthias Grunewald, Masaccio, Albrecht Durer and Antonia Del Pollaiuolo along with Robert Smythson show ways in which media, iconology, and subject matter, along with composition and expression are also areas in which works of art from this time can be similar but yet so different. So, in the work of art by Matthias Grunewald titled Isenheim Altarpiece (closed) and Masaccio’s Trinity with the Virgin, Saint John the Evangelist, and Donors we can see these differences unfold. For instance …show more content…
both these paintings take on religious content with Jesus on the cross. However, the compositions are different in these two pieces. In Masaccio’s painting we see we a symmetrical balance in some of the characteristics. Such as in the pillars, and the way the two members kneel in front of the pillars. And then the use of one-point linear, or renaissance, perspective. Besides the obvious clothing style difference between these two pieces, in Grunewald’s piece we do not see the same symmetrical balance. Therefore this piece has asymmetrical characteristics. Also in this piece I feel he uses more of an atmospheric perspective because the pieces that appear further back, are harder to make out what they are. And because of the use of the greyish-blue in the back of the bottom part of this altarpiece. Another difference in these two pieces of artwork is the use of colors. Masaccio’s piece takes on a more “dull” pale, lighter color tone while Grunewald uses darker but brighter colors to make up his work of art. Another set of work of art that these difference and similarities can be found is in Albrecht Durer’s Four Horsemen of the Apocalypse and Antonio Del Pollaiuolo’s Battle of the Nudes.
Durer’s piece is a woodcut work of art while Pollaiuolo’s is an engraving. Both pieces seem to be some form of a battle, or war scene. In Durer’s work of art unlike Pollaiuolo’s piece the men are riding horses, and have some form of clothing on. But then when we look at the subject matter of these two pieces we also see some more differences. Pollaiuolo’s piece places a emphasizes on the human anatomy, the human body and form. Hine, the fact they are all nude. And then in Durer’s piece, I feel uses more of a symbolic means to get his story across. From the angel with wings flying across the top in the sky, to the bottom left corner the lion, with the man’s head inside, with what seams to be a crown on top of his head. And then with expressions in Battle of the Nudes we see a unified expression, the same on every figure where as in The Four Horsemen of the Apocalypse we see more drama, from the fierce, strong, battle faces of the men on the horse, the fear on the faces of the people on the ground to the smile of the angel in the
sky. And lastly, if we look at Robert Smythson’s Hardwick Hall and Palladio’s Villa Rotunda we once again see these differences and similarities take place. Both of these are architectural masterpieces. The Villa Rotunda focuses around the use of a circular dome, and around it symmetrical features, but the use of squares and rectangles. Both pieces are grand, and have pillars in the front. However, also in the Villa Rotunda, there is the use of curved arches, and triangle shaped roofs. Where as in Hardwick Hall we see many windows, but all in rectangular, square shapes. And with flat roofs, taking on more of a perpendicular gothic style of architecture. In these works of art we see differences, and similarities in media, composition, and even expressions. All of which make it stand out for its time whether it be from Italy or other European cites.
present in both paintings. El Greco presented both St. John and St. Francis with a very
In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
During the 15th century, Europe started to have different cultural traditions that impacted the type artwork of artwork that was produced. There are several elements that have evolved during this time. Two artworks will be compared so that we will be able to evaluate how various techniques that are used can be used to portray the meaning of the painting as well as how the audience views the scene as well. One of the paintings that we will compare is a Annunciation panel (from the Merode Triptych), which was painted by Robert Campin in 1426. This painting will be compared to Holy Trinity, which was created by Masaccio in 1425. By comparing these two paintings, we will get a sense of what themes and ideals were valued during this time period.
The paintings by Duccio and Giotto firmly set in place a benchmark for where artwork in the years around 1300 began to develop. These artworks show how paintings began to evolve into more symbolic, naturalistic, and dramatic scenes, depicting events in life and religion. The paintings of Duccio and Giotto are similar in the sense that their paintings were then, in the sense of more modern words, “special effects” of their time. They show vivid colors with meaning and symbolism, atmospheric characters that exist in space, and composition that is well thought out. Overall, these two artists become a pinnacle of art that illustrates Italian paintings in the years around 1300.
During the late sixteenth century a new style of art, known as Mannerist, emerged through out Italy as a result of the Protestant Reformation. Mannerist distorted art was justified because it served mid way between the ideal, natural, symmetrical and the real, artificial, and unbalanced. The religious and political upheaval lead to the distinct Mannerist style know for being stylish, cultured, and elegant. Mannerist art is thought provoking, asking the viewer to ponder and respond to the spatial challenges and meaning found in the painting, sculpture, and architectural work. Mannerist painting and sculpture are characterized by complicated compositions, distorted figure styles, and complex allegorical interpretations. Meanwhile Mannerist architecture often employs classical elements in a new and unusual way that defies traditional formulas.
The depiction of Madonna and Christ is among the most ancient and common in Christian iconography and has an extensive number of variations because apart from its symbolic religious functions, it allows one to interpret the link between mother and child in many aspects. (8)
While paintings in the Renaissance and beyond still had a ways to go in terms of technique and perspective, the progress made in Italy during this time period was astounding. Painters were able to convey emotions and feelings like never before, showing the world that they could transport them to scenes they had only seen in flat, Byzantine images. In a time of straining to make art look real, the use of perspective was the key.
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
With the ending of the medieval age during the 15th century, many European nations began to experience a new artistic revolution. Often mislabeled as simply the “Renaissance,” this period of renewed interest in arts had unique distinguishing factors for every individual region. The two most popular Renaissance are the Italian Renaissance and the Northern Renaissance, including France, England, and Germany etc. Although both were similar in that they emphasized a greater utilization of techniques to create more realistic photos, portrayed religious themes, and were inspired by the Classic era, the Northern and Italian Renaissance had two clear differences. The two movements were primarily different due to the mediums used to create the art and
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
Located in a hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, vying for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Virgin Mary with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative