Renaissance Art PDF

 Identify key characteristics of Renaissance classic portraits. Lesson Understand the cultural significance of portraits in the Renaissance period. Analyze a selected portrait to determine how it reflects the values...

 Identify key characteristics of Renaissance classic portraits. Lesson Understand the cultural significance of portraits in the Renaissance period. Analyze a selected portrait to determine how it reflects the values and ideals of the Renaissance. Introduction to  Introduction A period of European civilization. The European arts, cultures, and intellectual landscape significantly shifted during the Renaissance, which lasted from the 14th to the 17th century. One noteworthy characteristic of this age is the invention of portraiture, which became an essential tool for conveying people's identity, position, and values. Renaissance arts are painting, sculpture, architecture, music, and literature produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. Early Renaissance Periods of Highly Renaissance Late Renaissance Early Renaissance This Early Renaissance is also known as the Quattrocento, derived from the Italian mille quattrocento, meaning 1400, and refers primarily to the period dominating the 15th century in Italian art. Early Renaissance artists began to create work intensified by knowledge of architecture, philosophy, theology, mathematics, science, and design. The innovations that emerged in art during this period would go on to cause reverberations, which continue to influence creative and cultural arenas today. Arts in The Early Renaissance art movement started in Florence, Italy, from the 1400 to 1495. It flourished and started in Florence, Italy, considered the culture.  Main Characteristics 1. Focus On Realism 2. Humanism ideal 3. Naturalism In Art 4. Fascination With Greek And Roman Antiquity 5. Illusionistic Techniques Were Applied 6. Linear Perspective Was Important 7. Color contrast  1424-1427 1426-1427 Artist: Masaccio. Artist: Masaccio. This fresco portrays a This fresco depicts the nude Adam and Eve as Holy Trinity. Christ, they are expelled from the crucified, is the central figure with God the Father Garden of Eden. standing behind him. 1420-1436 Artist: Filippo Brunelleschi Its red stone, emblematic of the Florentine love of stonework and Medici red, dominates the skyline with one of the world's most recognized and iconic views.  c.1438-1445 c.1455 1465-1474 Artist: Fra Angelico Artist: Piero della Francesca Artist: Andrea Mantegna This fresco, depicting the This painting, divided vertically This fresco depicts an illusory moment at which an angel down the center by Roman oculus, opening to reveal a announces to Mary that she columns, depicts the flagellation painted sky. The oculus is will be the mother of Jesus, of Christ in the background on ringed with figures looking has a classical simplicity. the left in contrast to three down into the room below. aristocratic Florentine men engaged in conversation in the foreground on the right.  c. 1480 Artist: Andrea Mantegna This remarkable image shows the dead Christ, lying upon a marble slab, his lower body shrouded by a piece of linen, as the stricken faces of St. John and the Virgin Mary peer over him. 1481-1482 Artist: Sandro Botticelli This masterpiece is a complex and mysterious allegorical work, depicting figures from classical Greek and Roman mythology in the garden of Venus.  1481-1482 1490 1482 Artist: Pietro Perugino Artist: Sandro Botticelli Artist: Domenico Ghirlandaio The scene is meant to embody the This seminal, iconic work, inspired by This tender portrait vividly evokes New Testament moment when Jesus the Roman poet Ovid's a moment of embrace, said to Saint Peter, "Upon this rock I will Metamorphoses (8 A.D.), focuses on juxtaposing a man toward the build my church... and I will give you the birth of Venus, the goddess of end of his life with a child at his the keys to the kingdom of heaven." love, riding her scallop shell as she beginning. arrives on land. High Renaissance It lasted from around 1495 to the sack of Rome in 1527. Art capital of Italy moved from Florence to Rome. The Papacy used art to beautify the city of Rome. The Pope commissioned most of the works. Focus on religious concerns. Linear Perspective Techniques of Sfumato Chiaroscuro  Techniques of A technique which allows for the creation LINEAR of a realistic illusion of depth and perspective in a work of art. PERSPECTIVE Techniques of SFUMATO Forms are rendered in a subtly soft way to create a ‘misty’ effect on the canvas.  Techniques of Having stark lights and darks in one painting (large range of values), usually with a single, dramatic light source and a dark background. Dito high artworks MANNERISM Also known as the Late Renaissance, Mannerism is regarded as a bridge between the High Renaissance and the Baroque period, which adopted the subset's ornate aesthetic and adapted it as extravagance. History of MANNERISM Mannerism is a style in European art that emerged in the later years of the Italian high renaissance around 1520, lasting until about 1580 in Italy, when the baroque style began to replace it. It is named after maniera, an Italian term for “style” or “manner,” and refers to a stylized, exaggerated approach to painting and sculpture While Mannerist artists were interested in the perfectionism portrayed by High Renaissance artists, they did not seek to replicate it. Instead, they exaggerated Renaissance principles, resulting in work that favors self-expressionism over the pursuit of idealism. MANNERISM STYLE Elongated bodies Compositions oblique with void in center Figures crowded around center Bodies distorted Figures cut out of the picture Expressive forms of arts rather than classical forms Characteristics of MANNERISM  Exaggerated Figures A primary way that Mannerist artists took High Renaissance techniques “a step further” is through exaggeration. Pioneered by Parmigianino, an Italian artist, Mannerists rejected realistic proportions and instead rendered figures with impossibly elongated limbs and oddly positioned bodies. These stretched and twisted forms were likely employed to suggest movement and heighten drama. Characteristics of MANNERISM Elaborate Decoration Lavish adornment is another way Mannerists pushed Renaissance sensibilities to their limits. Mannerist artists, in turn, revisited this interest in elaborate ornamentation, covering both canvases and sculptures in an overwhelming abundance of decorative elements. One artist who took this concept to astonishing new levels is Giuseppe Arcimboldo, a painter who crafted peculiar portraits of people made out of vegetation, animals, and found objects. Characteristics of MANNERISM  Artificial Color Mannerists abandoned the naturalistic colors used by High Renaissance painters and instead employed artificial—and often garish—tones. These unrealistic hues are particularly apparent in the work of Jacopo da Characteristics of Pontormo, an Italian artist whose saturated palette took the rich colors of the Renaissance to new heights. MANNERISM  JACOPO DA PONTORMO - ENTOMBMENT, 1528 THE APPENNINO (ITALIAN: COLOSSO APPENNINICO) a 35-foot-tall sculpture located in Villa Demidoff, part of the former Villa Medici at The composition represents a group of Pratolino, 7 miles north of Florence, Italy, is a sorrowed people centered around the limp stunning masterpiece. Created by the body of Jesus. The figures in the lower Flemish artist Giambologna between 1579 portion of the composition seem to plead and 1580, the Appennino personifies the the viewer for help in dealing with the Apennine mountain ranges and is sculpted weight of his body and their grief. There is in such a way that it appears to be on the no cross, as well as a natural surrounding, threshold between man and landscape, so it seems as if the scene is happening in with its smooth skin merging into the rough some sort of limbo. terrain. ABDUCTION OF THE SABINE WOMEN BY THE BURIAL OF THE COUNT OF ORGAZ BY EL GIAMBOLOGNA GRECO This monumental bronze sculpture depicts a chaotic scene of a battle, with figures twisting and turning in a dramatic and energetic commemorates the death of the patron of composition. Giambologna’s works the Santo Tomé church, the devout Gonzalo exemplified the characteristics of the Ruiz de Toledo, who had died some 250 Mannerist period, a time in which artists years earlier. According to legend, when he exploited the idea of beauty for beauty’s sake was laid to rest, St. Augustine and St. Stephen in works that showcased their artistic talent appeared and placed his body in the tomb. with figures composed of sinuous lines, graceful curves, exaggerated poses, and a hyper-elegance and preciousness that delighted viewers.  PARMIGIANINO - MADONNA WITH THE LONG NECK, BRONZINO - ELEANOR OF TOLEDO, 1545 1535-1540 As the title suggests, it represents Eleanor of Toledo, the wife of Cosimo I The Virgin Mary is represented de' Medici, Grand Duke of Tuscany, as a seating figure on a high alongside one of her sons. The pedestal in lavish attire, holding motherly pose is achieved with her baby Jesus on her lap, and the gesture and the pomegranate motif two are surrounded by six on her dress; to be more precise, angels. An enigmatic scene Eleanor embodies the Renaissance appears in the lower part of the ideal of a woman. The boy could be painting – it is a row of marble any of her sons - Francesco (born columns followed by the figure 1541), Giovanni (born 1543) or Garzia of St. Jerome. (born 1547). The portrait reflects formality due to the lack of warmth between mother and child. PAOLO VERONESE - WEDDING FEAST BENVENUTO CELLINI - PERSEUS AT CANA, 1563 WITH THE HEAD OF MEDUSA, 1545–1554 In 1562, the Black Monks of the Order of Saint Benedict commissioned Veronese to produce a monumental painting for the The artwork was based on a wall of the monastery's new refectory, famous mythological story of designed by the architect Andrea Palladio, Perseus beheading Medusa, a at the Basilica of San Giorgio Maggiore in snake-haired creature whose Venice. Veronese was extremely skillful and look turns each living being to was able to achieve the visual intensity of stone. The hero is depicted as the pictorial elements of the painting by nude, triumphant on top of the including sophisticated cultural codes and body of Medusa and holding symbolism which make the biblical story her head in his raised hand. relevant to the Renaissance viewer. Legacy of MANNERISM Mannerism is not held in the same esteem as the Golden Age's earlier work. Nevertheless, its distinctive aesthetic continues to enchant those who are aware of it, making it one of art history's most fascinating hidden gems. Thank you!! BUT THERE'S MORE, BRING OUT ONE HALF SHEET OF PAPER.