Finelli's Bust Of St. Peters Basilica

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

This painting is much more sensual than Giorgione’s painting due to Titian’s because he engages the woman with the audience by making her look straightforwardly at the audience and his use of chiaroscuro (Grabski, Józef).

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

Part One: Apollo and Daphne, a Baroque sculpture, was chiseled by Bernini during the time of the Catholic Reformation, or Counter-Reformation. The Catholic Reformation was when the Catholic Church began a movement to gain a larger following of Catholicism and reclaim power. As a result, church leaders (in this case Cardinal Borghese) commissioned works of art that had a sensory appeal and could evoke a more emotional response by capturing the attention of its observer. For this reason, Apollo and Daphne, a marble sculpture, engages the observer with its movement and dynamic portrayal of human bodies. With its attention to details such as texture and near life-like portrayal, Apollo and Daphne draws in the viewer just as the Catholic Reformation aimed to draw in followers of the church.

It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a

Furthermore, sculpting was known as a masculine skill because women were unlikely to endure the strength and flexibility needed to sculpt. Women were not allowed to see a man’s naked body either. Therefore, it was difficult for a woman to understand the man’s body in action. However, Properzia harmonized these abilities and made it apparent in her most famous marble sculpture Joseph and Potiphar’s Wife (1525-1526). Properzia enlisted in a competition against many male sculptors “to become one of a select team of sculptors, working in the Basilica of San Petronino, the main church of Bologna (Vickery, 2014). She won said competition. Although being a female sculptor had its obstructions; her masterpiece was hung in an unexclusive area

I was drawn to this time period as well as these two sculptures. As I researched both sculptures I was fascinated by how much respect the people of that time had for their women. Not only for what they could do for them, but also for what they looked like. They didn’t see the weight and size as a grotesque thing; but more as a thing of beauty. In

He took the body of Michelangelo’s Pieta (1500) and used it to create the body of Saint Teresa. However, Saint Teresa is clothed in flowing garments that depict her inner turmoil whereas Jesus is only wearing a cloth. The limp body of Saint Teresa demonstrates that she is giving her life over to God as the angel prepares to pierce her heart with the arrow. It represents that she is passing from one life into the next, a life full of God and the Holy Spirit, much as Jesus is passing from life on Earth into Heaven. Bernini also uses light to illuminate the body of Saint Teresa just as Michelangelo has done with Jesus. They both use light from the surrounding scene, but the difference is that Jesus is reflecting the light from around him due to the polishing and smoothness of the marble while in Bernini’s sculpture, the light comes from a window above to illuminate her face rather than her body that is clothed and creates shadows and

In the piece, San Zaccaria Altarpiece by Giovanni Bellini, the Madonna and Child are depicted on their throne. There is someone playing music while and four saints are standing around the throne. The scene is peaceful, as the Virgin holds her child, and the saints seem to protect her. Bellini is mostly recognized for his work in the late-fifteenth and early-sixteenth centuries, because of the religious images and sculptures. Most of his work included the Virgin and Child, and the San Zaccaria Altarpiece is no different. However, the figures are not the only thing that should be looked at, because there are some elements of architecture that are beautiful too. THe arches bring the eye to the center of focus, the Virgin and Child.

of the drill, which he later abandoned to give way to a new sharpness and firmness in the execution of the details in the sculpture. Even though Buonarroti was reticent to use superfluous adornments he did believe that certain aspects were better told in the details.

Indeed, it is not possible to imagine someone could compete with Gianlorenzo Bernini in feeling of the Baroque style in sculpture. Thus, the most prominent works of the artist, known for

Botticelli’s pieces is the work as a whole brings much more depth and intelligence to the nude

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.

This painting exemplifies many of the characteristics of Caravaggio’s paintings, which is typical in the Baroque period.

Leonardo Da vinci painted the “Mona Lisa” in 1503. The artist portrays a young woman, which acquires the concept of feminine youth and more essentially the concept of elegance. In relation to Agnolo firenzuola’s novel “On The Beauty Of Women” , the portrait attributes to major physical characteristics in which is considered to be genuine beauty by the modern man. Seeing the female portraiture of the italian renaissance, Firenzuola implies a specific interpretation by analyzing the modern woman. Through the famous paintings illustrated by Leonardo da Vinci, the Mona Lisa specifically supports the arguments and claims made by the poet’s correspondence to the beauty of women. Along with Da Vinci’s sticking features, the artist paints Firenzuola’s ideal beauty in comparability to the appearance of definitive grace. With his analyzations being extremely aesthetic, Firenzuolo activates criticizing aspects of the proportions of the figure, the placement of the figure’s position and the importance of the half length portrait of the feminine nature in relation to the portraiture of Mona Lisa.