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Renaissance vs medieval art
Renaissance vs medieval art
Key concept of change between Medieval and Renaissance in art
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Artistic styles are constantly changing. Incidentally, most famous artists tend to be masters of a specific style of art. Every period of art is influenced by the former periods, creating a blurred line where the periods end and beginning. The artists who work in between two distinct periods create a noteworthy blend of both styles. One such artist, Giovanni di Paolo, worked with influences from both the Medieval and Renaissance periods. Medieval and Renaissance art are completely different styles, but Paolo worked to create his own style that fused the two. Medieval art describes the period spanning from Early Christian art all the way to Gothic art. With so many different styles included in this span, come different standards. Paolo focuses on perspective, which was one of the elements that began in Medieval art, but was perfected in Renaissance art. The Renaissance occurred in Europe as literally the rebirth of classical Greek and Roman ideals. Typical early Renaissance art incorporates perspective and realism (Kleiner). Paolo was born at the end of the Medieval period, and although his influences are unknown, it can be inferred that Medieval masters along with Early Renaissance learning influenced him (Damiani). The Medieval and Renaissance periods lasted a significant amount of time, and their overlap is relatively small, but this is when Paolo thrived. Artists were becoming independent artists with individual techniques instead of artisans. Throughout his career, Paolo painted book illuminations as well as panel paintings. Although Renaissance art marked a decline in sacred art, Scenes from the life of St. John the Baptist are a series of six panels that show Paolo’s developing style. Included in these is figure one, St. Joh...
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Moffitt, John F. Painterly perspective and piety religious uses of the vanishing point, from the 15th to the 18th century. Jefferson, NC: McFarland & Co., 2008. Print.
Moxom, Philip S. "The Boyhood of John the Baptist." The Biblical World, Vol. 10, No. 6. (Dec., 1897), pp. 454-461. JSTOR. University of Chicago, Dec. 1897. Web. 20 Oct. 2009. .
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Zuffi, Stefano. Gospel Figures in Art. Minneapolis: Getty Trust Publications: J. Paul Getty Museum, 2003. Print.
Kleiner, Fred, Gardner's Art through the Ages: A Global History, Fourteenth Edition The Middle Ages, Book B (Boston: Wadsworth, 2013), 348.
The painting is of a young St. John the Baptist preaching to his congregation. St. John is an important figure in Catholicism not only for his preaching and baptisms in the River Jordan, but for his role as the last prophet and the forerunner of Jesus Christ. His preaching foretells the coming of Christ as the Messiah, and thereupon Christ’s baptism, the voice from Heaven told St. John that Jesus was God’s son. This piece by Calabrese captures John at the height of his oration. Fixed atop a decrepit tree trunk yet grappling for stability, John is shown here in his ascetic attire composed of camel hair, holding his staff and scroll bearing the words “Ecce Agnus Dei,” which translates into Beho...
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
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Turner, Jane. "Bellini, Giovanni." The Dictionary of Art. Vol. 3. New York: Grove, 1996. 657-68. Print. This book provided a wealth of knowledge and information regarding everything involving the artist Giovanni Bellini. The information was extremely detailed and was used in writing both the biography and analyses.
Stanton, Graham. Gospel Truth?: New Light on Jesus and the Gospels. Valley Forge, PA: Trinity Press International, 1995. Paperback.
Van Eyck’s work of the Ghent Altarpiece was not simply a representation of symbols that alluded to Christianity. Van Eyck’s vivid sense of the actual world allowed him to be able to reconstruct reality along with its endless limitations. His audience was so extensively involved with his paintings that it may seem almost esoteric. T...
Baptist Publication Society, 1886). Clarke, Adam; ed. ; pp. 63-63. Clarke's Commentary (New York: Abingdon-Cokesbury Press, 2003). no date. Criswell, W. A. & Co., W. A. Expository Notes on the Gospel of Matthew (Grand Rapids: Zondervan).
Much of the art created during the Renaissance was geared toward religion, and with Michelangelo this was no exception. By th...
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.
Johnson, Brian D. "Thomas and marturia: John 20:24-31." Proceedings (Grand Rapids, Mich.) 25, (January 1, 2005): 172.. ATLA Religion Database with ATLASerials, EBSCOhost (accessed April 10, 2014).
The Spiritual in Art : Abstract Painting 1895 – 1985 (New York: Los Angeles County Museum of Art/Abbeville Press, 1985)
Michelangelo was arguably one of the most influential artists of his time and all time. He was also known as the “il divino,” meaning “ the divine” (Harris). Many people often think of Michelangelo as just a painter, but he was also a sculptor, poet, and architect. He achieved many of his greatest works at young ages, and died when he was 89. Most of his greatest works were done during the “High Renaissance.” The High Renaissance was a period that began sometime in the 1490’s and ended in 1527. It was the climax of visual arts in the Italian Renaissance, and contains some of the best works of art such as the marble statue of “David” and “The Last Judgement” on the ceiling of the Sistine Chapel both done by Michelangelo. The most popular