Correggio

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

Art in the early Renaissance began with artists such as Giotto, who was credited with beginning a new style of art that Masaccio had taken up and integrated into his art later in the Renaissance. This specific style, being the use of massive figures, relation of background/landscapes to figures, and visual representation of perspective, was utilized by Masaccio in his frescoes in the Brancacci chapel. Masaccio’s Tribute Money is showing a biblical tale ,as the renaissance was not entirely anti religion, but with subjects that are being made to look realistic through a use of perspective (vanishing point, horizon line, etc,) and it is said that Masaccio's work was said to be “ living, natural, and real”. Artists such as Uccello took this style and adapted it to also make his art more realistic by using figures to show the laws of perspective, while others like Pollaiuolo

Nowra’s play is set in a ‘burnt out theatre’. Discuss the importance of setting and imagery in conveying Nowra’s idea on 'Cosi'.

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

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.

Michelangelo painted a Holy Family on a round shape panel for the rich Florentine merchant Doni in approximately 1506. This painting is the only panel unanimously attributed to Michelangelo and it is best known as “Doni Tondo”. The traditional Florentine generally celebrated the birth of the child by using round panels. It was painted after the sculpture of “David”. It clearly reflects the experience of Michelangelo as a sculptor in the colors which shaped the volumes. The figures of this painting are almost like sculptures with clear outlines of the bodies. The use of the colors in this painting is perfectly coherent with the bright colors of the Sistine ceiling.

In the years to come, Raphael painted an additional fresco cycle for the Vatican, located in the stanza d’Eliodoro (“Room of Heliodorus, The miracle of bolsena, The Repulse pf Attila from Rome and the liberation of saint peter. During the same time, the ambitious painter produced a successful series of “Madonna” paintings in his own art studio. The famed Madonna of the chair and Sistine Madonna were among them. By 1514, Raphael had achieved fame for his work at the Vatican and was able to hire a crew of assistants to help him finish painting frescoes in the Stanza dell’Incendio, freeing him up to focus on other projects. While Raphael continued to accept commissions – including portraits of Popes Julius II and Leo X – and his largest painting on canvas, The Transfiguration (commissioned in 1517), he had by this time begun to work on architecture. After architect Donato Bramante died in 1514, the pope hired Raphael as his chief architect. Under this appointment, Raphael created the design for a chapel and an area within Saint Peters new basilica. Raphael’s architectural work was not limited to religious buildings. It also extended to designing

Annunciation, the fresco, clearly demonstrates the focus on religion in the 15th century. The fresco is part of numerous frescos that were commissioned by the abbot of the Dominican monastery of San Marco. The purpose of the fresco was to give religious reminders and instill piety into the monks who were dedicating their lives to prayer. There is even an inscription at the bottom of the work that reminds the monks to say a Hail Mary when they pass the work. Fra Angelico was greatly influenced by two Gothic artists Gentile da Fabriano and Masaccio. The influence of Fabriano is evident in the drapery and detail of Gabriel's wings which give a decorative style to the fresco. The influence of Masaccio can be seen in the use of realistic depth. The work also uses linear perspective which can be seen in the line between garden and the architecture. However, the lighting and the proportions of the figures within the architecture are irrational. It could be said that these artistic 'mistakes' were

Times of religious upheaval and need for urbanization following the Renaissance gave rise to the production of lavish artworks during the Baroque era in Italy. Characterized by intense emotion and dynamism, Baroque art reflected the power of Roman antiquity but typified the renewed piety of Roman Catholics. The opulent urbanization projects patronized by the church culminated in the verisimilitude of Baroque paintings. One painting that reflects such change is Saint John the Baptist Preaching by Mattia Preti, also known as Il Calabrese. Preti was born in 1613 in Taverna, Calabria to a modest family with ecclesiastical connections. Preti was well traveled around Italy and was exposed to artworks from the likes of Correggio, Mantegna, and

An example of the Medici support to artists involves The Dome of Santa Maria del Fiore. The dome of the chapel was built so large that no architect knew how to complete the rooftop structure and was a humiliating point in Florentine history. A contest to see who could develop a solution to complete the dome was won by a Florentine engineer named Brunelleschi, who felt he had found the solution. With the successful completion of the chapel, support from Cosimo de Medici and the holy consecration performed by the Pope, a great structure was once again a source of pride to the Florentines and the

Likewise, Donatello's marble sculpture of David also possesses a religious theme, as it depicts the biblical figure David and portrays his youthful courage and triumph over his enemies. This in itself aided in the projection of Florentine beliefs and dreams, both religious and secular, as Florence was often in conflict with other cities. Additionally, this pieces clearly exhibits Donatello's profound understanding of sculptural adornment and classic form through his use of naturalism, which gives the sculpture a sense of liveliness and emotion. Furthermore, the fresco displaying Saint. Peter healing the sick with his shadow, painted inside the Church of Santa Maria del Carmine by Masaccio, shares much of the same theme and reveals similar form as the two previously discussed artworks. Naturally, Masaccio's fresco revolves around the same central theme, religion, as it portrays a portion of the distinguished St. Peter's life and details a specific scene from the Book of Matthew. However, most notable is Masaccio's use of realism, which is most evident through the representation of life-like

Giovanni Bellini, (born c. 1430, Venice [Italy]—died 1516, Venice), Italian painter who, in his work, reflects the increasing interest of the Venetian artistic milieu in the stylistic innovations and concerns of the Renaissance (metmuseum). Bellini was one of the most influential Venetian artists. He lived and worked in Venice all his life; his career spanned 65 years. Little is known about Bellini’s family. Bellini’s father, Jacopo, a painter was a pupil of the Gentile da Fabriano, in any case, Jacopo introduced the principles of the Florentine Renaissance to Venice before either of his sons (Britannica). Jacopo strove to ensure that his sons would become distinguished painters as well and, it is said, often pitted them each other.

On March 6th, 1475 Leonardo di Buonarrota and Francesca Neri had their second out of five sons in the small village of Caprese, Italy. They named him Michelangelo di Lodovivo Buonarroti Simoni. But soon after being birthed Michelangelo moved to Florence, Italy with his family.

     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

With the continuous growth of paintings and artists, prestige for art increased dramatically to the point in which religious aspects were shown through landscapes, portraits, and temperas. This then allowed the creation of new styles and mathematical input that manifested everyday life with religious aspects. One such artist was Giovanni Bellini who introduced bright, rich, strong colors into his palette and landscapes that expressed the happiness, calmness, and prosperity that Italy carried throughout the Renaissance. These characteristics and styles of paintings subsequently became a popular Venetian cornerstone. Other important figures in the Italian Renaissance that demonstrated the movement?s ideas through their ingenious paintings and architectural methods were Pier Della Francesca and Leon Battista Alberti. Francesca, who was and expert in mathematics, developed the art form of perspective. Alberti, on the other hand, as an architect developed the pediment which became popular throughout the entire Renaissance. His monasteries and churches depicted many of the religious ideas, as evident in one of his famous works, the Santa Maria Novella. All in all, the use of the common religious themes such as the annunciation, adoration, Crucifixion, and the popular Madonna