The Lamentation (The Pieta) by Gioacchino Assereto is located in the Cummer Museum in Jacksonville. The Lamentation is a subject we have covered multiple times in class, describing the scene right after Christ is removed from the cross, where a group of figures mourn his death. There is not too much biographical information on Assereto, so in this paper I will analyze the technical elements, the history of the Lamentation, and the influence of Caravaggio to his work. Assereto Gioacchino was born in 1600 in Genoa. He studied with Luciano Borzone when he was 12 and at 14 he entered the studio of Andrea Ansaldo. Many of his early paintings were close in style to Bernardo Strozzi and to contemporary works by Ansaldo, Giulio Benso and Giovanni …show more content…
Apparently her was unimpressed by the work and confirmed the belief in his art. The influence of Caravaggio established his interest in realism, completely rejecting mannerism. He was influenced by the different possibilities of compositions that depend on chiaroscuro instead of a diverse color palette. He moved away from his refined early works that had vividly colored narratives to a bolder, violent style e.g. Death of Cato. He was most likely exposed to the works of northern Caravaggesque painters such as Gerrit van Honthorst and Matthias Stom while in …show more content…
Usually the body of Christ is stretched out on the ground or being held up by others. The lamentation scene is similar to the Pieta, which describes a more devotional aspect of the scene, with the Virgin alone with Christ’s body, e.g. Annibale Carracci’s Pieta. The Lamentation depicts more of a dynamic narrative. The people present in the narrative are usually: the Virgin Mary, St. John the Evangelist, and Mary Magdalene. These are the same figures present in the Descent from the cross, or the
“I’ll be out of here and away from all you knaves for one time anyway, as not a month will pass before you’ll see whether I’m nobody or a somebody.” The story of Bianco Alfani reflected the nature of 14th century Florentine society where, as Alfani remarked, the election to public office could make or destroy a person. In late 14th century and early 15th century Florence, decreased population and expanding commerce provided a favorable environment for ambitious individuals. The real life examples of Buonaccorso Pitti and Gregorio Dati demonstrated the positive role of ambition in Florence. Pitti, a nobleman had an extremely successful career, partaking in military campaigns, holding public office in Florence and being an ambassador to foreign courts. Gregorio Dati, the grandson of purse venders, engaged in commerce, rising in social standing which culminated with his election to public office. Holding office was a definitive sign of success and recognition in Florence. In contrast was the tale Bianco Alfani, a deemed man unworthy of office. As told by Piero Veneziano, Alfani was the chief jailor in Florence who was duped into believing he had been named captain of the town of Norcia. Alfani publicly made a fool of himself, spending all his money and creating a great fanfare over his supposed appointment. Comparing the lives of Pitti and Dati to the story of Bianco Alfani illustrates how economic and social change in 14th century Florence produced a culture centered on reputation and commerce. For men like Pitti and Dati, who flourished within the constraints of Florentine society, their reward was election to office, a public mark of acceptance and social standing. Those who were ambitious but failed to abide by the values o...
La Pietà of Giovanni Della Robbia is amazing religious glazed and painted terracotta dated 1510-1520. It was mainly intended to introduce the meaning of the Bible story to large and mainly illiterate audiences. One of the things that this image can tell us about life in western civilization is how much the artists were focused on translating the bible and trying to understand it without the help of the Catholic Church through art and humanism. La Pietà is one of the richest and best known collections of Della Robbia sculptures at the springtime of the renaissance. The creator of the sculpture is Giovanni Della Robbia; the first and epic of a dynasty of important pottery artists, decorators, potters, and terracotta workers. Della Robbia developed a unique pottery glaze that made his creations much more durable in the outdoors and therefore much suitable for use on the exterior of buildings. This was an extraordinarily formal and refined technique that immediately met with great success, so much so that the Della Robbia family’s work flourished for over one hundred years. It uniquely combines archaeometric and stylistic time-related information about the renaissance age in Western Civilization. In its context, La Pietà was created in the 15th century, the renaissance age , when there was a surge in artistic, literary, and scientific activity , especially in Florence, the third largest city in Europe, an independent republic where the Italian Renaissance began, and a banking and commercial capital after London and Constantinople. The renaissance era when this sculptured was created was also marked by few major events such as: religious problems in church, Erasmus publishing Greek edition of the New Treatment ...
Berlinghiero and Giotto were both Italian painters. Berlinghiero was from Lucca, which is near Pisa. He established a family of painters there and was actively painting from twelve hundred twenty-eight until his death in twelve hundred thirty-six. Giotto was a native of Florence, although he travelled during his career.
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
Giovanni Pietro Rizzoli also known as Giampietrino spent the vast majority of his known career developing drawings and paintings of nude women from roman mythology under the leadership of the great Leonardo Da Vinci. Under the influential scope of Leonardo, Giampietrino replicated myriad artworks of leonardo’s displaying the importance of honoring the great artists of the late fifteenth and sixteenth centuries, especially those such as Leonardo who remain a significant figure in the discourse of the canon of art in contemporary art society. Although he developed his own techniques and manipulations to refine his own work and bring forth a change in the development of the renaissance and baroque style of art, Giampietrino closely followed the methods taught in the Lombard school of art and those of his mentor Leonardo Da Vinci. Giampietrino’s similar style of painting to Leonardo can cogently be seen in his painting Lucretia and a plethora of other paintings, which convey the influence of the Lombard school from the incorporated formal elements such as color, form, content, and subjec...
Michelangelo was born in Caprese, Italy on March 6th 1475. His family was politically prominent as his family had large land property. His father was a banker and was looking to his son to engage in his businesses. As a young boy, he has ambitions of becoming a sculptor, but his father was very discouraging of this. He wanted his son to live up to the family name and take up his father’s businesses. Michelangelo became friends with Francesco Granacci, who introduced him to Domenico Ghirlandio(biography.com). Michelangelo and his father got into a series of arguments until eventually they arranged for him to study under Ghirlandaio at the age of thirteen. Ghirlandaio watched Michelangelo work and recognized his talent for the art and recommended him into an apprenticeship for the Medici family palace studio after only one year of at the workshop. The Medici’s were very rich from making the finest cloths. Lorenzo, which was one of the most famous of the family had a soft side for art and is credited for helping the Italian Renaissance become a time of illustrious art and sculpting. At ...
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
To conclude, at first, it may seem logical for one to hold Giovanni Bellori to be true; believing that Caravaggio truly was an innovative painter, due to his usage of realism, tenebrism and lack of linear perspective. However, these claims are simply inaccurate, as multiple artists had already performed such feats, including Northern Europeans such as Durer, and Mannerists such as Tintoretto. Therefore one must realize that Bellori’s statement cannot be an entirely valid assumption. Yet, one must not forget, that at the same time, Giovanni happens to be correct in his assumption that Caravaggio’s lack of Rubenesque vibrancy helps to liven up his imagery. All in all, though Caravaggio was quite effective in his employment of Bellori’s aforementioned “advances”, none of these prove to be unique from the artworks and styles preceding him.
Scaff, Susan von Rohr. “The Virgin Annunciate in Italian Art of the Late Middle Ages and Renaissance.” College Literature Summer 2002: 109-23. Wilson Select Full Text Plus. Melville Library, SUNY Stony Brook, Stony Brook, NY. 9 Mar. 2003 <http://www.sunysb.edu/library>.
Sandro Botticelli was born as Alessandro Fillipeli in the year of 1444. He was the son of a tanner (someone who tans animal hides). He lived in the city of Florence, Italy which was a very busy place during the Renaissance. Italy was the epicenter of the Renaissance and many famous Renaissance artisans and inventors came from Italy. Sandro Botticelli was a painter and started painting at the ag...
Von Rohr Scaff, S. 2002. The Virgin Annunciate in Italian Art of the Late Middle Ages and Renaissance. College Literature. 29(3):109-123.
The Lamentation by Christus has the figures emotionally withdrawn, and the muted colors only added to that effect. Christus’s decisions, however, ultimately makes the painting less interesting for the viewers as there is no drama or use of bright colors. Crivelli’s La Pieta, on the other hand, humanizes the characters in the bible in a way that makes the viewer sympathize for them, as it focuses on the emotions of people. Neither paintings are objectively better than the other as Christianity was a major subject of discussion during their
Schauer, Julie. "Artventures." : Caravaggio and the Moment of Mary Magdalen. N.P., 5 Dec. 2011. Web. 30 Mar. 2014.
The book is called, Lifetimes "Anne Frank", the book was written by Richard Tames. The book is about Anne Frank, it tells you how Anne Frank and her family went into hiding from a war for two years, and how they survived during the war. The book also tells you a little bit about Anne Franks accomplishments. While I was searching for a book to read, I saw the book, and I read some of the pages. Before I read the book, I didn’t know anything about Anne Frank, and I don’t regret reading the book, because Anne Frank's life is very interesting. I was interested on how she got famous, what mad her famous, and how she survived during the war.
Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).