Essay about Boticelli's La Primavera

The document shows Leonardo da Vinci's Mona Lisa which is believed to be a portrait of Lisa Gheradini, The wife of a wealthy Florentine merchant. The art in the Renaissance was detailed and beautiful. '' One begins to know the names of the artist… feel stronger emotions in the subjects… see well-defines landscapes, natural folds in drapery, and three-dimensional figures.'' Because the art in the Renaissance had symbolic representation, it was easier to understand the

Botticelli was able to master these techniques due to being taught by another prominent Renaissance artist, Filippo Lippi. First, there is a lot of detail. For example, there are hundreds of different types of flowers and leaves in the meadow. Upon looking closely at the clothing of the different characters, one can see the immense detail used by Botticelli in the tassels and fabric of the clothing. Furthermore, the flower detail connecting Flora to Chloris is a small detail that has a deeper emblematic meaning. The standing positions of characters give off a vibe of elegance and grace to viewers; according to Dr. Harris an Art Historian from Khan Academy, "She (Venus) tilts her head to one side and holds up her drapery and motions with her hands and looks directly at us," (Harris). The position of Venus is very elegant and inviting to viewers. Also, Botticelli portrayed the subject matter in a naturalistic way, a common convention of the Renaissance. Botticelli paid attention to the canon of proportions or the standard for symmetry of the face and body as evidenced by the similarities between the La Primavera and other Renaissance paintings, all of which depict the standards of beauty of the time or what was ideal beauty. Formally speaking, Botticelli went against the conventions of the

The art of Fernando Botero is widely known, revered, paraphrased, imitated and copied, For many, his characteristic rounded, sensuous forms of the human figure, animals, still lifes and landscapes represent the most easily identifiable examples of the modern art of Latin America. For others, he is a cultural hero.To travel with Botero in his native Colombia is to come to realize that he is often seen less as an artist and more as a popular cult figure. In his native Medellín he is mobbed by people wanting to see him, touch him or have him sign his name to whatever substance they happen to be carrying. On the other hand, Botero's work has been discredited by those theorists of modern art whose tastes are dictated more

Gioachino Rossini, like many great composers, was born in the right place at the right time. The musical firmament was still mourning the loss of Wolfgang Mozart in 1792 when Rossini was born. His parents were both gifted musicians, and young Gioachino was in a music conservatory by the age of 14. Rossini composed ten operas within the following seven years and had established himself as a gifted composer in the opera buffa style. This genre of comic opera was strikingly different from the rigorous opera seria, but it still managed to acquire some noticeable traits. Primarily, the arias in opera buffe shirk the da capo style of the seria mold. The subject matter deals frequently

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

From everything that can be appreciated about this piece and where it came from its most appreciative characteristics come from the beauties of how it captures the presence of the art in the transition from the Early Renaissance time period into the true Renaissance. During this time period the artwork focused to idealize the beauties of nature and perfection. From all of the miniscule details to the overall composition of the piece there are many aspects which this piece shows that represent the beauties that art found during the time frame it was made. We have looked at many paintings of sacra conversazione within our studies which gives us the ability to look specifically

Giacomo Puccini has written a number of operas, including Turandot, Gianni Schicchi, and Madama Butterfly. La Bohème is said to be “one of the most successful and enchanting operas ever written.” Written in the romantic period, the text and score interrelations play an important role in an overall aesthetically and historically pleasing opera. In a story of love found and love lost, Puccini uses text and score to create empathy for the characters of La Boheme. Puccini does so particularly in the aria Donde lieta uscì, sung by Mimi towards the end of Act III.

The work of art that I have chosen to write about, is the Three Miracles of Saint Zenobius (1500-10). This painting is part of a bigger collection that depicts scenes from the life of Saint Zenobius. It’s sister pieces are spread out in different parts of the world, such places as, London, Dresden and New York itself. The painter of this entire collection is Sandro Botticelli (1445-1510) and he belongs to the Early part of the Renaissance. It is worth to note, that Botticelli was taught by Filippo Lippi. Fra Filippo Lippi was a prominent artist of his time and he painted his work with great color and as well with a narrative quality. Botticelli himself made a name for himself by his artistic style and to his contribution to painting the frescoes of the Sistine Chapel and even though his most notable work of art was the Birth of Venus that was created eighteen years prior to the Three Miracles, this piece of work takes a different approach than his other paintings. The painting itself resembles the Scenes from the life of Saint John the Baptist (1490/95) and it could be said that Botticelli was inspired by it.

“From prostitute to sibyl to mystic to celibate nun to passive helpmeet to feminist icon to the matriarch of divinity’s secret dynasty.” (James Carroll “Who is Mary Magdalene”) What we know for sure is that Mary Magdalene was a former sinner that became a leading figure in Jesus’ followers. She stayed by Jesus’ side, to the end, she visited him at his tomb, and was the first person that Jesus “appeared after his resurrection and the first to preach the “Good News” of that miracle.” During the time period of this painting Mary Magdalene, a sinner and prostitute, illustrated “the very essence of spiritual conversion.” (Ebert-Schifferer 63) It’s no stretch to say that the painting is meant to show the moment at which Mary changes her ways, and becomes “married to the word of god”. The conversion of Mary was a new concept to Rome, The book “Caravaggio: The Artist and His Work” claims that this painting is the first to depict it.

 The two portraits are associated with mysteries that have baffled analysts and historians for many years. First, the identity of the women was vastly unknown. The exact identity of the woman in the Mona Lisa has remained a mystery. While searching for answers, historians sought to know the time when the portrait was created. According to them, the portrait must have been created when Francesco Del Giocondo and his wife purchased a house in 1503 or during the birth of their son in 1502. Thus, some analysts conclude that the portrait was dedicated to the wife of Francesco Del Giocondo. The nature of clothing often backs the argument. The gown and scarf represented an aristocratic status. The

His many works include the “Palazzo di Parte Guelfa,” the “Rotonda degli Angeli,” and the “Ponte a Mare at Pisa.” There is however some debate to whether Brunelleschi was responsible for the original designs for the Pitti Palace. After his death he was buried in Santa Maria del Fiore. However, his tomb was not discovered until 1972 (Lombroso 5).

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

The painting was a commissioned work for the Medici Family of Florence, a powerful political and financial family which would later go on to become an influential royal house for centuries. Throughout the painting, there is evidence of movement and a prevailing sense you

Masaccio was not named among the painters ‘who have been illustrious in our age’ in Fazio’s De viris illustribus. Nor was Masaccio included among ‘the best masters who have existed for a good while back’ in the list of artists by whom the Florentine merchant Giovanni Rucellai owned works in c. 1470. This omission, however, presumably reflected the difficulty of acquiring panel paintings by Masaccio, which inevitably have always been rare, rather than an opinion that Masaccio was not one of ‘the best masters’ (Ahl 158).