Bellini, Doge Leonardo Loredan The subject of the Doge Leonardo Loredan by Giovanni Bellini, (1501) is naturally a portrait of the painting’s title, which was painted upon his ascension to the position as head of the Venetian state in 1501. According to Kloss (2011), the word Doge is the Venetian word for Duke. The context reflects the political climate in Italy when the Doge, (Head of State) had limited power from a constitutional charter and was elected for life to the office from the aristocracy by his peers. Customarily, Doges who were elected were older and not expected to live very long; thereby not allowing one person to remain in power for a lengthy period of time. Doge Leonardo Loredan surpassed his life expectancy and lived for twenty years: during one of the most dangerous periods for the survival of the Venetian Republic. The Papal States, the Holy Roman Empire, the French, and other powerful enemies, were arrayed against Venice. Venice 's long power and richness made it many enemies but the Republic during this period, closed ranks around Doge Loredan, and steadfastly held off the combined enemies. Partly through luck, partly through courageous action and survived that …show more content…
Kloss describes the positioning of the subject in relation to the sunlight and its illumination of the Doge’s pupils; he suggests that the subject looking toward the sun late in the day alludes to his age and wisdom (L19, 04:38). As discussed by Kloss (2011) referring to the depiction of the doge’s garments, Bellini’s “palette is vivid, but subdued; it 's a restricted palette, in the wonderful cape with its damask, which is woven with golden thread. Quite extraordinary! It 's a strong pattern, but it is subdued in color. And the same is true in his doge 's cap. This is the typical ducal cap with the horn shape on the back of it” (L19,
The development of Italian painting in the years around the 1300 or the proto-renaissance is in some sense the rebirth of art and culture. The painters of Renaissance Italy usually attached to particular courts and with loyalties to certain cities, still explored the extensive span of Italy. Many of the Italian painters grew artistically during this time, which is noticeable in Duccio’s painting compared to Giotto’s. In the renaissance period it was highly popularized to mainly draw depictions of religious figures, which is what the concentration of Duccio’s artwork mainly was. Before the painting of the Betrayal of Christ, Duccio’s paintings were highly composed and reliant upon the ancient tradition of icon painting. In the time around 1300 Duccio took steps toward depicting images in a more naturalistic form; Whereas, Giotto, in the 1300’s, was already established as painting more three-dimensional and naturalistic forms.
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.
During the Italian Renaissance Raphael was one of the most influential artists. He painted many brilliant pieces, mastering the use of depth, perspective, and the use of shadow and light. Throughout his life, Raphael used the Madonna as a reoccurring subject in his work. One example of this subject is the Madonna of the Candelabra. This dark shadowy portrayal exemplifies the pure and humanistic ideals of the Madonna that made Raphael’s versions so well known and loved throughout the ages. The timeless beauty and grace that he captured and the realistic qualities of his work are unparalleled.
Alessandro Allori reproduces the view of a young man in 3/4s view in his portrait of Francesco de Medici (c. 1560). Every element of the portrait, from its dominant red key to the intricate gold embroidery of the sitter’s costume connotes virtue.This rectangular composition presents a young virtuous man deserving of his power and wealth. More importantly, it exposes the attitudes of the painter and patron as towards what virtues qualified a man as deserving privilege and power.
The Venetian Renaissance: Giovanni Bellini & Titian's The Feast of the Gods. Perf. Dr. Beth Harris and Dr. Stephen Zucker. Smarthistory.org. Smart History. Web. 28 Mar. 2011. This video was very informational in providing expert opinions on Bellini's painting, "Feast of the gods". This source was used in providing professional criticism on this painting.
As for Mona Lisa herself; she arguably bears strong resemblance to depictions of the Virgin Mary. During the early 16th century, the Virgin Mary was idolized as the ideal woman. The Mona Lisa is a remarkable work of art for a number of reasons, yet there is one is particular in which rightfully draws attention; which is Mona Lisa 's forehead. Leonardo da Vinci sets focus on Mona Lisa 's forehead, her missing eyebrows, and her skull. Leonardo shows that under Mona Lisa skin, there is a skull. This is a remarkable accomplishment for oil on
Tiziano Vecellio, known as Titian, was an Italian 16th century Venetian painter. Biographies were written when Titian was alive; however his birthday is still unknown. One account was written by a close friend of his, Lodovico Dolce who says in his book, “Dialogue on Painting” that Titian was about twenty years old in 1507 when he was working on his painting “Fondaco dei Tedeschi.” However, in a letter Titian wrote to the king of Spain in 1571 he claims to be ninety-five years old, putting his birth year in 1477. If this was true, Titian would have been around one-hundred years old at the time of his death. Based off of the chronology of his works, it is more likely that Titian was born around 1490 and died in 1576. When Titian was about ten years old, he and his brother went to Venice to live with their uncle and to start an apprenticeship with a painter. At this time two of the leading artists were Giovanni Bellini and Gentile Bellini. Sebastian Zuccato, a family friend and painter arranged for the two to work with these two painters. While working with the Bellini’s, Titian was introduced to Giorgio da Castelfranco, later known as Giorgione. Titian and Giorgione collaborated on many works and he was a major influence on Titian’s tonal approach to painting as well as his landscape style. The two artists worked in such a similar manner that the line between them has been hard to distinguish. It is hardest to tell the two apart in their pastoral landscapes in which the beauty of nature is celebrated alongside love and music. With Giorgione dying in 1510 and Giovanni Bellini dying in 1516 Titian no longer faced any rivals in the Venetian School. It was at this time that Titian moved on from his early Giorgionesqu...
Florence during Lorenzo de Medici’s time was a city of contradictions: artistic brilliance sprouted from the squalor of the city’s crowed streets and autocrats ruled over republican institutions. Florence fostered both the grandeur of Botticelli’s Primavera and the harsh realism of Machiavelli’s the prince. Lorenzo de Medici, the de facto ruler of the city, best embodied such contradictions. He was both a Machiavelli, using menace, betrayal, cajoles and schemes to exert power, and a Michelangelo, a poet and artist stimulating the onset of the Renaissance.
In Donatello’s and Michelangelo’s David, done in the late 1420’s and 1501. Donatello’s statue was casted in bronze and Michelangelo’sin marble, they both portrayed David before/after the battle with Goliath. These statue were a return to ancient Greece and Rome’s beauty and respect of the body not the soul. Though these David statue’s portrayed a section of the David in the bible it was not meant to connect the real realm with the divine one but it was more of representing the power of Florence as an individual’s liberties and freedom (a humanistic belief). On Leonardo’s Mona Lisa, a painting done in 1503-1516 in Milan (probably the most famous painting in the world). This painting was done with oil on panel. The reason in why this is a humanistic artwork is because of its intention and the portraying of beauty. This painting is not a painting of any goddess but of an ordinary peasant women. Leonardo depicted Mona Lisa as the standard beauty of that time. It represents the philosophy of the humanism by focusing on the human being and realism. It also shows nature, which is shown in the background. Da Vinci’s painting was not to ponder on whether she represented anything divine, but to see the beauty at the
In his Introduction to the work of Vasari, George Bull gives a detailed overview of how Lives was influenced by the historical circumstances in 16th century Italy, with particular reference to the newly established role of the artist in society. Although written significantly after Vasari's own work, the introduction given
Raphael’s The Marriage of the Virgin is a typical High Renaissance painting from the early 16th century because of it’s style, sense of a three dimensions, and the subject. The subject is the competition of suitors for Mary and she would marry the one who’s rod miraculously bloomed, in which ended the marriage between the Virgin Mary and Saint Joseph, that Raphael depicts. This was painted as an attempt to create a balanced, harmonious and movement of a religious event that we associate with of that time. If we use the linear perspective system, we can trace the line back to a centrally place temple that allows us to venture around the figures placed on the steps and then even further through the doorway that shows the sky behind. The use
During the Italian Renaissance Donatello contributed perspective, realism and the focus on human anatomy.“He was able to bring sculpture to life by infusing it with narrative, and by combining realism with powerful emotion. His sculptures are full of energy and thought, as if ready to spring into action.” (http://www.visual-arts-cork.com/old-masters/donatello.htm (CITE PLEASE) Yet there is little information on Donatello’s childhood, there is still plenty to learn from. It is assumed that Donatello was born in 1386, in Florence Italy. He died on the 13th of December in 1466, in Florence Italy. His father’s name is Niccolo di Betto Bardi and his mother's name is Orsa Bardi. Donatello was born under the name Donato di Niccolò di Betto Bardi, but as time went on he adopted his nickname Donatello. He was taught by Lorenzo Ghiberti in Florence. Lorenzo Ghiberti was a Florence metalsmith and sculptor. Together, in 1403 they worked on the doors of Florentine Baptistery. Lorenzo Ghiberti taught Donatello the art of working with bronze and created relief. Than in 1407, Donatello left Lorenzo Ghiberti and went his own ways, Donatello was 21 years old. Today, Donatello is seen as one of the greatest sculptors in the
One of da Vinci’s many achievements was the “Mona Lisa”. This painting is awed by everyone in the world, and is hands-down one of the best paintings ever done by mankind. In the painting you can really see the realism and how Leonardo uses linear perspective and proportion. The “Mona Lisa” was painted from about 1503 to around 1506. The woman in this painting was everyone's favorite painting to look at during the Renaissance and because of the way da Vinci blended colors, and the way he took time to focus on the
Both the Lady and the Mona Lisa are white European women who came from, what looks like, higher class families who were born, bred, and educated according to the customs and standards of the era and come from privileged backgrounds. Both are wearing veils over their hair and both wearing dark colored dresses with long sleeves. Their hands are seen in both portraits, just above the waist. Both women were part of the Renaissance that affected their home regions in similar ways, the ideas going back and forth between the north and south, both influencing each other in significant
The first piece that I’m going to analyse has devalued the pre-existing art piece. The original painting of ‘Mona Lisa’ by Leonardo Da Vinci was appropriated by Fat Cat Art. Svetlana Petrova the creator of Fat cat art produces her artwork by photographing her ginger cat then using Photoshop to add the ginger cat into iconic paintings then printing the image and painting the picture on canvas. The reasoning of Fat cat art’s Mona Lisa was to give Mona Lisa’s smile a meaning. Although this artwork doesn’t have any political, social or religious meaning although I do admire the humour it emphasizes and the work that it took to perfectly place the cat in the painting