The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
Standing back, the obvious differences between the two famous paintings is the colour and detail of the subject. Covered in lavish material that is highlighted in gold, Francis I looks royally powerful. Wearing a fur-trimmed suit, Durer’s self portrait has less of an extravagant look to it, completed with a back background. Both men were powerful with either authority or talent, and they both wanted to flaunt the viewer with their own cockiness that couldn’t be ignored. The king’s body is wide with decorated cloth that is studded with gold and silk. He wears a smirk under his pearly hat that could be taken as smug while surrounded by riches (Pomarède). Dürer, however does not have the cocky look, but instead has "Thus I, Albrecht Dürer from Nuremburg, painted myself with indelible colors at th...
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... painted in an Idealistic way with the portrait of King Francis I by shifting the proportions and making his shoulders broader than normal. Filling out the frame of the painting, the king’s head and neck look too small on the full body, conveying the idea of manliness and strength. Both artists strived to paint the portraits in a realistic way, but distorted the subject and lighting to heighten the feeling of power that both portraits present.
Both artists were popular in the Renaissance period because of their contrasting talents. Francis I by Jean Clouet expresses the king’s power through his vibrant and detailed garments. Albrecht Dürer’s self-portrait from 1500 expressed his own power through his manipulation of light and his strong pose. Although both paintings have clear differences with their style, both men are painted in great and very powerful sense.
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
...t. Instead of using symbolism, which is a major part of The Arnolfini Portrait, Velasquez strove to create a more snapshot-like painting, focusing more on capturing the natural allure of the royal family and the royal palace. Both artists were trying to capture and portray the personalities and lifestyles of a family, but each did it in their own way.
Albrecht Durer-Self Portrait at Age 28: This self-portrait was painted in 1500 shortly afore Durer’s 29th day of inchoation. In the painting Durer is visually perceived in a Christ like pose where he directly faces the viewer. Traditionally at the time this particular pose was reserved for portraits of Christ and typically artists would surmise a three quarters pose with the artist conventionally facing the right of the viewer. Durer’s visible hand is perhaps one of the most striking components of the painting, the placement can be thought of as pointing to the sacred heart of Christ. It should withal be noted that the placement of the fingers can be optically discerned as an “A” and a “D” betokening Albrecht Durer or Anno Domini. The set of Durer’s oc...
Although Winterhalter never received high praise from serious critics, his portraits were prized for their subtle intimacy. His popularity among royal and aristocratic patrons came from his ability to create the image his sitters wanted to project. According to Ormond, “He breathed life into the tired and debased conventions of Royal imagery”(51).
By paying attention to elements such as subject matter, light, form, and placement of figures, we can see how these enhance the ideals depicted by each form of art. As a result, we can understand how Neo-Classical art is an attempt to counter the values of Rococo. Rococo is a form of art directly targeted to the privileged. Because not everyone in society belongs to the aristocracy, the Neo-Classicist wanted to impose order as an alternative to the frivolous life style. As a result, we have to works of art that challenge each other’s ideals. The theme of infidelity versus loyalty and how one arrives at the decision made is animated in the works of Fragonard and David. However, it is important to note that there is no right or wrong form of art, although it may seem that this was the common perception of the time. In conclusion, both works of are similar in one important aspect; they are both works of art.
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
Albrecht Durer completed the “Master Engravings” in the years 1513 and 1514. With these three engravings (Knight, Death, and Devil, St. Jerome in His Study, and Melencolia I) he reached the high point of his artistic expression and concentration. each print represents a different philosophical perspective on the “worlds” respectively of action, spirit, and intellect. Although Durer himself evidently did not think of the three as a set, He sometimes sold or gave St. Jerome and Melencolia I as a pair.
Born May 21, 1471, in the city of Nuremberg (one of the strongest artistic and commercial centers in Europe during the 15th and 16th centuries), Albrecht Durer was an extremely gifted,versatile, influential, and artistically talented German artist of the Renaissance Period. Moreover, Durer was a gifted and skilled painter, draftsman, writer, printmaker, engraver, theorist, and mathematician from the city of Nuremberg. Additionally,Albrecht Durer apprenticed with his father, who was a goldsmith at the time, and also with the local painter Michael Wolgemut, whose workshop produced numerous woodcut illustrations for books and publications. As an admirer of his compatriot Martin Schongauer, Albrecht Dürer completely changed printmaking, and artistically elevated it to the level of an independent art form. Accordingly, Durer also expanded its tonal and dramatic range, and provided the imagery with a new and never before seen conceptual foundation.
The German renaissance took place during the sixteenth century in Europe. The Renaissance was a time of discovery and learning. The word "renaissance" means rebirth or revival. The German renaissance inspired just that, a revival and rebirth of education and art. The people of Europe became interested in art and music during the renaissance. Education was also changing as the people became more interested in sciences and philosophy. German art work from this time period was dominated by local and independent schools. German art was largely based on the Gothic international style. German art was also greatly influenced by work in the Netherlands, and became more influential as time went on. The German artist Albrecht Durer was widely known at this time for his drawings, painting, and prints. Albrecht Durer even had theoretical writings on art that influenced people in his country during the sixteenth century.
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.
He goes to great lengths to hide the portrait, himself, away and keep it from prying eyes, giving up his country home, and leaving parties early to make sure it was where he left it, undisturbed. He was so crazed with the possibility that someone would find the picture and find out his sec...
life to the Europeans during the 1300’s through the late 1500’s. Increased trade provided Europe
A portrait is normally a commissioned piece of work or a self-portrait. Often times the painting or other medium of a portrait shows the subject in their best refinery, perhaps a little more attractive than they usually appear. A person, no matter the time period, get’s a portrait done of themselves as a status symbol or to present
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
Art is a constantly evolving process. The previous style of work serves as a roadmap for what will follow. As often is the case with any form of growth, there exists a transitional period. Because of this evolution, there are traces of a style’s illustrious history embedded in the adaptive art’s metaphorical DNA. The transition from early to late Renaissance established two styles of art known as Baroque and Rococo. While, on the surface, the Rococo style can appear to be very similar to the work produced by Baroque artists, the two also demonstrate distinct differences in their use of subject and theme, the manner in which they created the art, and how that art was perceived in their time. These factors establish both styles from one another, making them unique.