A Closer Look at iovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome

At the crest of the Church of the Gesù in Rome, an aureate burst attracts an equivalent infinity of attention to the infinity of light that it emits. Borne of Italian baroque painter Giovanni Battista “Baciccio” Gaulli, this aureate burst is the center of the illusionistic ceiling fresco Triumph of the Name of Jesus. It is initially unclear what is being beheld, but it demands attention nonetheless. By simultaneously depicting and inciting the spectacle of this aureate burst, Gaulli arouses a discussion of the nature of visual representation and the fundamental role of a viewer. Gaulli asserts his position as an artist and emphasizes the viewer’s duty to an image—and to an artist—by demanding the viewer to include themselves among the enamored

For my research paper, I decided to focus entirely around one piece of artwork conceived by Agnolo di Cosimo, or better known as Il Bronzino (1503–1572). Specifically, the aim of my paper sought to thoroughly analyze and interpret Bronzino’s Allegory of Happiness (ca. 1564), a work he produced during his advanced years. In Chapter 22, we received a mere glimpse at Bronzino’s magnificent work in that of Venus, Cupid, Folly, and Time (14th Ed., p. 634). This earlier piece (ca. 1546) was admittedly disconcerting, though, the scene certainly demonstrated Bronzino’s sheer aptitude as an allegorical mastermind. Kate also recommended to us in Lecture 22.6 that a mannerist artwork would be well suited for our research paper, considering

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

Usually the artist is commissioned by patronage or the sitter to paint an image of their physical body appearance with intention to bring out their individuality, what they present and what they value. It also serves as a mnemonical tool of remembering (Morrisson, 2004). Predominantly, portraiture was commissioned by people belonging to higher social rank and individuals who occupied the important role in the society. One of the greatest artists that arise from the Renaissance Italy was Sandro Botticelli, born in 1444 in city of Florence. He was apprenticed by patronage of the very powerful family the Medici, who were rulers of the city and central in the movement of humanism. Humanism brought back to life the classical antiquity of the ancient Greek and Rome. Some of his most famous paintings are; The Birth of Venus and Primavera (Long, 2008). In comparison to his vast art collection, his work in portraiture was very limited and some examples are Portrait of Giuliano de’ Medici 1477, Potrait of a Woman 1475 and Potrait of a Lady 1475, (Gromling & Lingesleben, 1998). In this essay I will analyse the Botticelli’s Portrait of a Lady (1475), of a women named Smeralda Brandini and incorporate the dialogue activity ideas for portrait reading (Mckennee et al., 1994). The above portrait was previously owned by Parisian collector Comte de Pourtales. After him was in Dante Gabriel Rossetti’s possession, the painter and collector who later donated it to the Victoria and

“No painter can paint well without a thorough knowledge of geometry” (qtd. in Butterfield 27). The Italian Renaissance is famous for its art which includes unique style of painting and sculpting, however, the Renaissance made significant remark on the use of scientific techniques which also can be considered as the influence of classical ideas. Although, classical ideas were not advanced like in the Renaissance, it provided the foundation for the Renaissance to revive it again. The Italian Renaissance transformed the manner of viewing the arts. Before, most people in Italy were bounded by religious thoughts and beliefs. Renaissance helped people to shift their mind and behavior towards the secular ideas, instead of vague ideology like

Barna understands space to the extent that the bench in the middle of the composition looks right, and his main point should be centrally located to draw the viewers’ attention more than the subsidiary aspects, but he falls short in the substantial, realistic way Fra Carnevale clearly masters. Although Carnveale’s space is less important in terms of the way he portrays his characters, his use of architecture and his return to antiquity in space is beautiful and masterful in a way Barna’s gold leaf background could never accomplish. The dynamic of time and accomplishment between when the two paintings were made is exactly what Vasari talks about in his transition from the first period to the second period. As Vasari says, the second period can be characterized by “improvement in invention and execution with better design and style and greater accuracy,” so does Fra Carnevale’s work fulfill that statement. Fra Carnevale’s work perfectly encapsulates Vasari’s idea of improvements in design, style, and accuracy. His architectural elements and overall naturalism of the environment are stunning and clearly symbolize a transition from the first to the second period as described by

Then we view the sculptures of the Boar and Hunting Dogs which were originally in the garden of a home in a city in the Bay of Naples. We also view the large fresco of the Garden Scene (see Fig. 2), which feels like a time warp back in time to Pompeii. The Garden Scene displays the beauty of nature with the various plants and birds present, and the two heads hanging on posts seem to be looking out to the viewer and protecting the garden. After the garden pieces we then are welcomed to the indoors of the Bay of Naples’ homes.

Giovanni di Paolo’s The Annunciation and Expulsion from Paradise is currently in the National Gallery of Art in Washington DC, was finished in 1435 CE, and is made of tempera on panel. This Sienese panel from the start of the Italian Renaissance is believed to be one of five from the lower part of the altarpiece. Giovanni di Paolo uses golden texture to display divinity, line to illustrate architectural perspective, and a strategic use of scale throughout the composition in order to portray the importance of the religious context. His personal artistic stylization, the experimentation of the Italian Renaissance but still firmly painting with Medieval Pictorial Tradition, and the use of symbolism can also demonstrate the religious meaning of the piece. Furthermore, in the context of Giovanni di Paolo’s The Annunciation and Expulsion from Paradise, the conversation between monetary and cultural value and the controversy of art being exhibited in its country of origin will be discussed.

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

Cyriacus Pizzecolli was a true Renaissance man. At age 30 he felt the calling preserve the history around him that he saw being ruined right before his eyes. As an international trader and traveler he knew first hand why the ancient remains were being destroyed, wether it be from poor construction and improper maintenance to people stealing the items. He had a passion for preserving ancient history few others shared, and he knew that if he didn't do something to preserve it, no one would. When Cyriacus “noticed” the “Arch of Trajan” in his hometown he began to wonder what possible secrets it could hold to the birth and history of his city, Ancona. The discovery of what kind of history his own town might have lead him on a life-long journey to learn the history of other cities and the stories they are able to tell.

Religion plays a significant role in artworks produced in Renaissance Italy, particularly due to the fact that many of which are commissioned by the church or wealthy families for public spaces. But do we see an equal influence on artworks displayed in public spaces and private ones? In this essay, we seek to examine techniques of visual storytelling and the use of perspective in artworks from the Renaissance Italy and discuss the influence of religion on Renaissance Italian art in the public and private realm. To begin with, it is important to understand the mechanics behind the production of works during the period.

Many of us today have things in our culture that we appreciate without thinking about where they have come from. The things we enjoy so much could be from another culture, and even another place in time. This document will explore the influence of Italian Renaissance art on today's civilization, which has greatly changed the art of today.

In the early 17th through the late 18th century, Europe birthed "the golden age of painting and architecture in Italy." This golden age was named “The Baroque” and is defined by the highly ornate and extravagant style. Following the Renaissance, Baroque architects sought to use the Roman vocabulary found in the previous Renaissance era and created pieces that evoked emotion through drama and scale. St. Peter’s Baldachin was one of the most significant works built in the Baroque period. By analyzing the work’s embodiment of its cultural, religious, and political environment we see how this piece exemplifies the power, grandeur, and elegance of The Baroque.

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

Interior of the Pantheon, Rome (1734) is a remarkable painting by Giovanni Paolo Panini who is best known for his prospects on Rome in which he focussed on the city's famous sites. His works largely have a fancy and unreal adornment feature of capriccio themes. The Pantheon is a former Roman temple which is now a church in Rome. It is one of the best preserved Ancient Roman Buildings which is also popular for the geometric wonder that it is. It demonstrates the theory of 2:3 correlation between the volume of a cylinder and a sphere.