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Influences on Renaissance art
Influences on Renaissance art
The history of portraiture
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One of the most notable artistic aspects that blossomed from the Renaissance was the art of portraiture. Many factors contributed to the development of a Renaissance portrait, such as social status and gender. It was through these portraits that artists constructed the ideal persona of Renaissance men and women, enforcing expectations of physical beauty and proper behavior. Renaissance artists were not just trying to record the likeness of a person, but also interpret the message of the human face. During this time period, the main focus was on the subject of the painting instead and replaced the artist as the predominant figure. This paper will further examine the use of Renaissance portraits in their portrayal of both genders and how that contributed to their expected roles in society.
For portraiture, the Renaissance brought the art form a resurging interest in human motives and the human character. Returning to Classical ideals, especially those found in Roman portraiture, artists were now trying to give their subjects a convincing appearance of realism. However, in the Renaissance, artists began exploring new ways to represent their subjects, expanding from the traditional profile view to a more dynamic three-quarter view. Portraits started to express actions of depth and significance in the figures featured in the paintings. An example of these new techniques can be seen in Leonardo da Vinci’s Ginerva de’ Benci (Fig. 3). As a “quattrocento portrait raised to a new power”, this piece shows how the artist now approached portraiture with “the contours more delicate and the sense of the face as a relief surface is more pronounced”. They tried to give their figures a larger sense of grandeur, more dramatic compositions that were...
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...decorate the chambers of newlyweds, usually as an instruction to the new bride of how she should please her husband like in the Venus of Urbino (Fig. 4).
The art of portraiture saw resurgence during the Renaissance as individuals and families who experienced newfound wealth wanted a way to commemorate themselves and their achievements. Although both genders were painted frequently, the meaning behind each differed. The portrait was a way for men to showcase their personalities and authority. It offered them the chance to solidify their political power and establish the supremacy of their lineage and ancestor. For women, portraiture was a chance to instruct them on their roles as a mother and wife. Since men still remained the main form of patron, most portraits of women were allegorical figures of the ideal Renaissance woman that every man in that period desired.
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
Male artists were the only people who were producing art at that time, with women being their preferred subject matter. Because of this, it was easy to identify that the portrayal of women in these works was actually how men perceived women to be in reality. The art produced reflects the dominant patriarchal values formed in Europe in this era. The binary opposition evident in the artwork was a reflection of the male
Through the analysis of Thérésia Cabarus’s portrait, Amy Freund attempts to examine Cabarus’s failure to “create a feminine version of political agency through portraiture” in order to provide insight into the unfulfilled promises of female citizenship during the French Revolution. She asserts that, through the use of a combination of imagery associated with revolutionary femininity, including the emphasis on the sitter’s physical passivity and sentimental attachments, and conventions usually associated with male portraiture, Cabarrus and Laneuville, the painter, attempted to present her portrait as an argument for women to be granted an active role in revolutionary politics. Freund suggests that the portrait failed to achieve its goals because it recalled the Terror and the disunity of France in addition to invoking the “anxiety surrounding the increased visibility of women in post-Thermidorean social life and visual representation.” Because of its relative failure, Freund considers Cabarrus’s portrait a symbol of the “possibilities and limitations of female agency in Revolutionary portraiture and politics” as well as a shift in portraiture; as she remarks, “portraiture after 1789 shouldered the burdens formerly borne by history
Aristotle once claimed that, “The aim of art is to represent not the outward appearance of things, but their inward significance.” Artists, such as Louise-Elizabeth Vigée Le Brun and Mary Cassatt, captured not only the way things physically appeared on the outside, but also the emotions that were transpiring on the inside. A part no always visible to the viewer. While both artists, Le Brun and Cassatt, worked within the perimeters of their artistic cultures --the 18th century in which female artists were excluded and the 19th century, in which women were artistically limited-- they were able to capture the loving relationship between mother and child, but in works such as Marie Antoinette and Her Children and Mother Nursing her Child 1898,
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
Sofonisba Anguissola was one of the most prominent female painters of the Renaissance. Not only was she one of only four women mentioned by Giorgio Vasari in his famous Lives of the Artists, she also paved the way for later female artists. One may look at Sofonisba’s upbringing and assume that her talents were a result of her wealth and family background. However, if investigated more carefully through both analytical secondary sources and primary sources, it becomes clear that Sofonisba’s painting abilities formed because of her talent, not her wealth. Sofonisba integrated herself into the artistic community and used her second-class status as a female painter to accelerate her career: because she was not able to study as an apprentice in a workshop, her models were usually family members, she pioneered the style of genre painting. Historian Joan Kelly argues in her essay, “Did Women Have a Renaissance?” that women did not experience a Renaissance during the actual Renaissance. Sofonisba’s training and connections were extremely helpful to launch her career, refuting Kelly’s argument that women only were taught “charm” during the Renaissance. In addition, Sofonisba married her second husband for love, not for money, debunking Kelly’s argument that marriages during the Renaissance were not based on love. Though Sofonisba’s life as a woman is a unique case in terms of wealth and profession, her success and fame, talent, and marriage (van dyck?) disprove Kelly’s argument that women did not have a Renaissance during the Renaissance.
While America was just in its infancy during the late eighteenth century and into the nineteenth century, expanding and competing for its own national identity, there were ideals of manhood competing for dominance amidst the chaos. A couple of notions of masculinity were brought to the New World straight from Europe; the idea that men were to work hard for success and value family, while others maintained wealth and landownership as the characteristics of a man. However, the eminence of industrialization soon made these notions obsolete. Without these longstanding notions, American men were left in a crisis without an identity. It is within this framework that specific paintings serve as material expressions and vehicles for gendering beliefs and constructs.
When a young toddler begins to speak, naming things they see around them, it is because they saw their parents do it. As they grow into a teenagers, they give names to things based on what they have heard from their friends and social media. This pattern carries into adulthood. The way we identify things reflects the progression of understanding art featuring woman, as explored in John Berger’s Ways of Seeing. He presents the idea in chapter three that woman were portrayed in art since the beginning and how it transcends to modern times. His main points surround the portrayal of woman throughout the ages and what effects it has had on our view of women not only paintings, but as humans in society. The ideas of women are contradictory because it is facilitated by men and the way they see women. Berger talks about this concept, and much more in chapter three of Ways of Seeing.
Across Europe, between 1400 and 1650, there were women present in all major styles of time. They worked along side of great artists and were developing new techniques and styles. Women also played a very important role in the Renaissance. Although not as well documented as their male counterparts, women worked along with the other great masters, were just as innovating, and were key in developing new techniques.
In Women in Black at the Opera (1880) by Cassatt, the woman character has an active and aggressive looking. This is a major point of the painting because, during the ninetieth century, women were not normally portrayed with the “power of the gaze.” In this particular painting, the woman is holding the opera-glasses, the stereotypical instrument of male specular power. In the other hand, The Loge (1874) by Renoir portrays a lovely woman at the opera and positions her clearly as the object of the masculine viewer’s gaze, both inside and outside the paintings. Even though she is the focal point of the painting, it is the male companion who has the privilege of holding the opera glasses, hence, the power of the gaze. This clearly shows how women and men artists could represent different points of view, even in the same context. Consequently, how the meaning of same space or location can change depending on the role, power, and activity of the character that is being
Her chief arguing points and evidence relate to the constriction of female sexuality in comparison to male sexuality; women’s economic and political roles; women’s access to power, agency, and land; the cultural roles of women in shaping their society; and, finally, contemporary ideology about women. For her, the change in privacy and public life in the Renaissance escalated the modern division of the sexes, thus firmly making the woman into a beautiful
When concerning the home front of 19th century Europe, women were “the cult of domesticity” and were highly regarded as wives, mothers, and part of the working class. A lofty character was necessary in completing the demanding tasks surrounding the home life. Images of women ranging from newspapers to fine art all displayed the univ...
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
People use art to display the beauty found in the world and, because of this, women have been subject to objection through paintings and photography all throughout history. Whether it is a commissioned oil painting from the 17th century or an advertisement from the 20th century, there will always be some type of image that objectifies women. In the book Ways of Seeing John Berger states that a woman “comes to consider the surveyor and surveyed within her as the two constituent yet always distinct elements of her identity as a woman,” (Ways of Seeing 46). Berger is saying that women know they are seen as an object purely because they are women. Women in paintings and photography are objectified for the pleasure of the viewer, they are illustrated for the surveyor’s specifications, so in essence the picture is a better representation of the owner than the subject.
...s this shows her feminity as a women it also portrays her as being a temptress because of the exposure of her breast. Unlike the woman being almost completely covered but being shown in a tempting way in relation to her feminity, the man on the other side is completely exposed in order to demonstrate the youthfulness and strength of his body. Which the Romans used in artworks as a form of political advertising to show that a man that had a masculine body, young and strong, could be a leader. The man’s exposure of skin is considered as positive form of dispaying his masculinity while the woman’s lack of exposure except for her breast can be viewed as tempting through her feminity and disapproved. This shows the gender indiffernece of feminity and masculinity, where masculinity is portrayed in positive forms while femininity has only negative aspects to be protryed in.