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The impact of the Renaissance on art and architecture
Michelangelo analysis paper
The influence of the Renaissance on art
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In this research paper I will be looking at two different artworks by the same artist. The two I will be looking at are the Sistine Chapel Ceiling (1508-1512) and The Last Judgment (1534). Both of these painting are painted in the Sistine chapel which is located in the Vatican. I am going to attempt to evaluate these two pieces of art painted by Michelangelo and explain the cultural and religious aspects of them. I will also look to other scholars to get their perspective and their reactions to the paintings. The last step of my research will be to formulate a theory about the relationship between culture and religion and use my topic to help defend my theory.
Michelangelo was born in a time in which the church had a great influence on most things that people did in their everyday life. He grew up in a wealthy family and was exposed to people of high position. The paintings and sculptures that Michelangelo created were strongly related to the Bible, and showed his respect and knowledge of the religion and culture he was brought up in. Starting with the Sistine Chapel ceiling, it has paintings that start with the creation of the world all the way to the flood and drunkenness of Noah. Michelangelo took four years to paint the ceiling and broke down different aspects of the earlier parts of the Bible throughout the ceiling. The most prominent paintings that are on the ceiling would have to be where God’s hand reaches out to Adam’s hand. This shows that Michelangelo views man and God as having a relationship where they know each other. Man can reach out to God, while God reaches down to man. With that being said, I believe this shows that the way in which man encounters God in this painting was a form of the ontological type. In ...
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...Henri Zerner. Italian Art 1500-1600. (Englewood Cliffs, New Jersey: Prentice-Hall, 1990), pp. 122.
Partridge, Loren W., Gianluigi Colalucci, Fabrizio Mancinelli, and Francesco Buranelli. Michelangelo--the Last Judgment: A glorious restoration. (New York: Harry N. Abrams, 1997), pp. 8.
Seymour, Charles, and Buonarroti Michelangelo. Michelangelo, the Sistine Chapel ceiling: Illustrations, introductory essays, backgrounds and sources, critical essays.( New York: Norton, 1995), pp. 172-173.
Tillich, Paul, and Robert C. Kimball. Theology of culture. (London [u.a.: Oxford Univ. P, 1964), pp. 10-48.
Vasari, Giorgio. Life of Michelangelo. [Translated by Gaston du C. de Vere.] (New York: St. Pauls, 2003), pp. 69-132.
Zawie, Nathan. "Michelangelo's Last Judgment." Michelangelo's Last Judgment. 28 Sept. 2013 .
Sistine chapel choir consisted of 24male singers who sang in four parts which were a breakdown of the voice into soprano, alto, tenor, and bass.And other higher voice were heard sing by men in the falsetto which was consisted of six per part.the ideal according to the church music of catholic liturgical tradition was to have unaccompanied voice singing directly from heart of singer to the ear of GOD.
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
With the different styles of artists’ works planned to be showcased in this exhibition I hope viewers will be able to see what sorts of artworks were being done during the Renaissance that do not consist of works done by Michelangelo, da Vinci, Donatello, or Raphael. With a topic not usually covered when studying about Renaissance artist, I hope viewers will be able to not only learn about the interesting stories of famous Martyrdoms, but also learn about some of the lesser known Renaissance artists and their styles. Paintings of angles and landscapes from the Renaissance may look pretty but with these different and shocking pieces I hope to create an exhibition that will not soon fade away from visitor’s memories after they leave the National Gallery.
Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance art . 6th ed. Upper Saddle River, N.J.: Prentice Hall, 2006.
4).14 Painted on the ceiling of the Sistine Chapel in Vatican City between 1508 and 1512, Michelangelo’s series represent several narratives from the bible. This painting is considered to be the most outstanding series of illustrations depicting biblical stories that were ever produced. It has also been suggested that the figures in the frescoes reflect Michelangelo’s personal Humanist philosophies. He believed that “the body should be celebrated as a reflection of both divine beauty and the beauty of the human soul”.15 The Creation of Adam, in particular, demonstrates the exact moment when God stretches out his finger and gives life to Adam, the first human. In this image, Adam on the left is portrayed completely nude as he sits languidly on the Earth. On the right, God’s presence appears assertive while he floats amongst several biblical figures in the sky. As their fingers do not touch, it is indicated that Adam is yet to receive the gift of intellect and
Adamo, Rossella Vodret, and Michelangelo Merisi Da Caravaggio. Caravaggio: The Complete Works. Cinisello Balsamo, Milano: Silvana, 2010. Print.
In this paper I'm focusing mainly on Renaissance art work, since that was the assignment, but I feel it's important to also mention the other important parts of the Renaissance, architecture, science, politics and religion.
Art, by definition, is “something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings”. Throughout history, one way that art has been used is to reflect a multitude of ideas and beliefs. Christian beliefs and ideas have been portrayed in artwork since the beginning of Christianity, although, it was not always acceptable to do so. The idea of the final judgement is a Christian idea that has been displayed in art repeatedly in a variety of ways. Michelangelo’s fresco the Last Judgment (1536-1541) is a piece that visualizes this idea. Since the time it was finished, this significant piece found in the Sistine Chapel has been continuously critiqued and analyzed. Many Christians struggle to interpret the event of a final judgment after reading it through Scripture. In analyzing Michelangelo’s piece, it is similar difficult to determine what he exactly meant to portray and what the various part of his masterpiece represent exactly. Many have examined this piece and made different regarding what exactly the various figures and objects are supposed to represent. The diverse interpretations of this work further shows the idea that when Christian ideas are reflected through artwork, it is hard to ascertain exactly what an artist intended to demonstrate. In addition, the controversies surrounding this piece represent the idea that when Christian ideas are revealed through art, there is potential for disagreement regarding what should and should not be included in Christian art. Michelangelo’s Last Judgment is just an example of what results when Christianity is brought into art.
Although he initially resisted this commission—on the grounds that he was a sculptor and not a painter—Pope Julius eventually offered enough money where Mike caved. Michelangelo’s “modest scheme of twelve apostles in niches” [10] from the book of Genesis is “an act of worship and proclamation,” rather than an expression of form or intellect [11]. In the Creation of Adam, for example, the image of God and Adam’s near-touching hands depicts a man’s relationship to God and serves as a symbol of humanity [12]. Adam, seemingly indifferent, extends a drooping hand to God, who outstretches a powerful, masculine arm from the sky, surrounded by angels and a red cloak that strangely resembles a human brain [6]. This potentially suggests that God attempts to impart divine knowledge onto man; or, perhaps, it is a subtle jab at the church’s rejection of science. In addition, a set of Kabbalistic messages are hidden within figures whose poses spell out letters in the Hebrew alphabet. For example, David and Goliath form the Jewish letter “gimel,” which symbolizes strength [6]. This serves as an attempt to bridge Judaism and Catholicism at a time when Christianity dominated. Despite investing four years in completing the ceiling panels, Michelangelo disliked his patron, Pope Julius II [13]. In fact, the pope’s aggressive tactics and fight for power earned him the
Interestingly, he also refers to Donatello as a ‘craftsman’. The correlation between the artist or sculptor and craftsman is an important aspect in Italian Renaissance art. The craftsman was something more than just an artist. This person was talented and considered by others in Italian Renaissance society as exceptional or as Vasari’s title suggests, ‘the most excellent’. They were also tradespeople rather than just artists. This is because they created works for other people, which often meant they expressed other people’s ideas. Through an analysis of Vasari’s biography on Donatello, this essay will explore the importance of culture in Renaissance Italian society, an examination of Vasari’s biography of Donatello as a historical document and the ways in which Vasari portrays Donatello, which ultimately was significant for future Renaissance craftsmen. This paper will analyze the life of Donatello through Vasari’s The Lives of the Most Excellent Painters, Sculptors and Architects to show the importance of Donatello not only as an artist but also as a
Much of the art created during the Renaissance was geared toward religion, and with Michelangelo this was no exception. By th...
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.
They exemplify “the good...bad...famous and...obscure; the decision being taken by God must be the most momentous of all decisions ever taken; the painter must convincingly imagine Hell for those who receive thumbs-down on God’s final judgement; at the same time he must convincingly imagine Heaven for those who are saved” (3). This depicts that the painter perceives the afterlife in this manner, and shows Heaven and Hell through the people and colors, lighter and closer to jesus for Heaven, and darker and closer to Hell for the individuals with the “thumbs down” judgement. This evaluation ties in within the historical context of the painting. The Last Judgement “covers the wall behind the altar in the Sistine Chapel. The work depicts the second coming of Christ and, although the artist is clearly inspired by the Bible, it is his own imaginative vision that prevails in this painting” (4). This shows that even though Michelangelo was ordered by the Pope and inspired by the Bible to paint this artwork, this painting is based off of Renaissance ideals, due to his “imaginative vision” that prevails in the
Art is important to religion in many different ways. Perhaps none has analyzed how art and religion have influenced and affected each other through the ages. Pictures painted of past events that help to bring back the feeling and importance of the past have been forgotten by some. To the one’s that haven’t forgotten are able to see the event’s as the bible says they happened. Not only can you see the events, but it also allows the younger students of the church to understand the events. The use of images of God became widespread after the second century. This religious art has defiantly been around for centuries and plays an important role to the history of religion as well as the future.
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