Balachi In St. Peter's Balchi

When Pope Julius II heard about the artist’s accomplishments, he commissioned Michelangelo to create his tomb. However, Pope Julius turns his focus in funding to rebuild St. Peter’s Basilica. Rome was overpassing a difficult time, and the Pope wanted to return it to its powerful roots. Michelangelo unhappy about the Pope not paying back for the stone, returned to Florence. Yet, the Pope

Florence is home to many wonderful painters and artists during the renaissance. The one who did the ceiling of the cathedral that is shown is Giorgio Vasari. he was a renaissance painter, architect, and author. This artifact shows how extravagant they had gotten with their art, using perspective, shading and the influences of humanism to paint. This shows the true art of this time period.

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

One of the world’s most famous architects and engineers was born in the Italian city state of Florence sometime in 1377. Although he had a huge influence on building design and construction, and on art, we don’t know a lot about Filippo Brunelleschi’s early life. Nonetheless, he left buildings and artwork that still exist today, and he had two biographers who provided information about his work, from these we can learn a lot about this Renaissance genius. His most important work, the ll Duomo di Firenze (the Dome of the Florence Cathedral), was finished in 1436 and remains as one of the greatest symbols of the period. Before he started building this revolutionary structure, Brunelleschi studied the architecture of Roman buildings and monuments.

This paper gives a comparative visual analysis of two artworks from the same period; “David Slaying Goliath”, by Peter Paul Rubens, c. 1616 and “The Sense of Touch”, by Jusepe de Ribera, c. 1615-1616. Despite the fact that the artworks are from the same period, they are both unique in terms of details and the themes they represent. This visual analysis compares and contrasts the way in which the artists employed the different characteristics of the baroque movement to come up with their unique compositions.

It is always interesting to know how a singular topic can be treated so differently by two different artists. There is not only the more obvious difference of the techniques that have been employed, but there is also the difference in the way they perceive the topic. There is also the era and the region and influence of their background which has a direct impact on the work of Art that they produce. In this paper, we will try to develop an understanding regarding the difference that exist between a work that was developed in the Renaissance Period and one that came out in the Italian Baroque. The paper will try to find the ground on which they coincide and those on which they differ from each other.

Among the great artists of this period was Filippo Brunelleschi, a true "renaissance man." This young artist, initially trained as a goldsmith, competed in a contest to test the skill of artists in creating bronze works to adorn the doors of te Florence Cathedral baptistery. Bunelleschi's initial work was a powerful, emotional, raw rendition of Abraham's sacrifice of his son, Isaac. His work exhibited extreme skill and conveyed the story in an explosive manner, leading him to the final round of this competition. While his biographer claims that Brunelleschi forfeited the commission to the other competitor after being asked to share the responsibility, the truth behind this statement is not known. It is, however, known that he will forever be regarded for one of his greatest masterpieces of all time... the dome of the Florence cathedral. The development of the Cathedral was delayed, as no architect could quite solve the problem of how to safely, effectively construct the massive dome. Brunelleschi solved this issue by creating an intricate set of interlocking vertical and horizontal ribs, also creating a temporary support system that could be

A contest was designed to encourage the greatest architects to create plans for what the cathedral’s ceiling would look like. Ultimately, an artist named Filippo Brunelleschi won, and was responsible for the building of the Duomo in Florence. Upon first glance, the building of the Duomo may not strike people as a monumental or important event in history. However, it is important to remember the Duomo was constructed in Florence, where flying buttresses -an architectural design that carried the weight of roofs on large buildings to the ground- were illegal. Construction of the Duomo took place from 1420 to 1436, and required Brunelleschi to engineer a support system for the roof, previously thought impossible. Traveling back to the Italian Renaissance would allow me to witness architectural history. I would be able to observe Brunelleschi’s imagination come to life, question his methods of thinking, and watch the development of the Duomo create new opportunities for architects in the

The Metropolitan Museum of Art or The Met, for short, can be described as a place of extraordinary value to the study of the fine arts. The Met was established in order to encourage the study, application, and practice of the fine arts. As a result, numerous professors advise their students to visit The Met. Thus, it is for this reason on the 18th of March that my brother and I traveled to the museum with the purpose to analyze artwork from the Italian Renaissance, especially those that were created in the fifteenth and sixteenth centuries. Upon obtaining entry to the Metropolitan Museum of Art, I was intrigued by the vast amounts of artwork present before me and immediately began bask in the beauty of the sculptures, paintings, and sarcophaguses.

Andrea de Pozzo, born in 1642 in Trento, Italy, was a famous Italian Jesuit painter, architect, stage designer, and art theoretician of the late seventeenth century. Pozzo specialized in ‘quadratura’and ‘di sotto in su’ techniques; a system of perspective where the focal lines start from the corner and meet each other at the center of the piece. At the age of 17, his father sent him for artistic training under Palma il Giovane. In 1662, he trained under an unrecognized painter from the workshop of Andrea Sacchi, who taught him the techniques of Roman Baroque art. As devoted Pozzo was to his art, he was just as devoted to the church. In 1675, he designed frescos for the church of San Francisco Saverio in Mondovi. Some of his contribution to the church also included ceiling paintings. Pozzo established a strong reputation ceiling he painted in the Church of St. Ignazio which was known as the Glorification of Saint Ignatius (or Nave Fresco).

Great pieces of architecture like The Dome of the Rock in Jerusalem and the Church of San Vitale in Ravenna, Italy are important to Byzantine and Islamic Art. Both structures were not just places of worship, but showed the power of the men behind them and the growth of the culture at this time. San Vitale which was constructed under the Bishop Ecclesius around 540 to 548 A.D. and was erected to show the power and achievements of Emperor Justinian. The banker Julius Argenteus provided the funds for San Vitale, and it was dedicated to Bishop Maximian. The Dome of the Rock was built in Jerusalem by Caliph Abd al-Malik “to mark the triumph of Islam in Jerusalem on a site sacred to Muslims, Christians, and Jews”(Gardner and Kleiner B: 285). It is

Without the guidance and support of Lorenzo Medici, a patron of the arts who lived in Florence (1449-1492), the art and architecture of the fifteenth century and its influence on later art would not be as great as it is today. Guided by the way he was raised, those he had around him, and what he did for the art community, even as a young patron, de’ Medici changed the time period itself. Earning the title Lorenzo de’ Magnifico for his success promoting and supporting artists, and not because of his political leadership, Lorenzo Medici made an important contribution to the world of art and architecture as one of the time’s major patrons. Throughout this research paper, I will write about several different aspects of de’ Medici’s life. First

Conflict and Art: Renaissance to Modern Day The three works selected in this paper are: Judith Beheading Holofernes, The Death of Lucretia, and Le Dejeuner Sur I’herbe. Each artwork comes from a different era; the three eras being Baroque, Neoclassical, and Modernism. Judith Beheading Holofernes is a painting by Artermisa Gentileschi during the Baroque era of art in Italia. This painting is her visual of a scene told in The Book of Judith.

This mosaic was created in 547 and is located on the north sanctuary wall in the church of San Vitale located in Ravenna, Italy. In the mosaic you can see Justinian nimbed, wearing a large jeweled crown and a purple cloak, which represents him as the head of state. He is a carrying a golden paten, which is being donated to the San Vitale. On Justinian’s left, one would see Bishop Maximianus holding a jeweled cross as well as a churchman holding a jewel-covered book. To Justinian’s right, one will see government officials and barbarian mercenary soldiers (Stokstad and Cothren 175).

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.