Interpretation of Giovanni Bellini’s Madonna and Child

Benvenuto Cellini (1500 – 1571) was an autobiographer, goldsmith, musician, sculptor, and soldier. Cellini was born in Florence, Italy. Born of Giovanni Cellini and Maria Granacci, he was their second child. His name came from Old Italian 'welcome ' (bene 'well ' + venuto 'arrived '). It was commonly a name given to a much-desired and long-awaited child. His father Giovanni was a musician and maker of musical instruments, and in turn pressured Cellini into music from an early age. Cellini was not as passionate about playing the flute as his father wanted him to be, which often caused strife between the two. At the age of fifteen Cellini grew interested in goldsmithing, which his father objected to. Cellini ultimately convinced his

The two giants of High Renaissance painting in Venice were Giorgione and Titian. Both men studied with Giovanni Bellini and developed his style of exploring new forms of figural composition, increased the subtleties of texture and lighting, and produced a new language of landscape paintings. Compared to painting in Florence and Rome, Venetian artists preferred fuller, fleshier figures and softer, more atmospheric lighting. Titian’s subject matter covered a wide range of iconography, including altarpieces, individual Christian works, mythological scenes, allegories, and portraits. His pictures are also characterized by a richness in color, with many varieties of warm reds, and his use of glazes. Titian traveled around Italy a lot and had many friends in high places that introduced him to court. His patrons were among the most influential of the time, including members of nobility like Philip II of Spain as well as Charles V, who knighted Titian in 1533.

Tiziano Vecellio, also known as Titian was an Italian painter, born sometime around 1488 and died around 1576. Titian was one of the furthermost important members of the sixteenth century Venetian school. Titian’s painting career was prosperous from the start but over the years his style changed drastically and he retained a lifelong interest in color, which

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.

"After the death of Raphael, the sixteenth century saw a shift in the dominance in art from Florence and Rome to Venice in northern Italy." The only painter who was still of great importance for central Italy was Michelangelo, who finally died in 1564 and left the region around Florence and Rome behind with no more artists worth mentioning. Basing on the foundation laid down by Giovanni Bellini "Venice gradually took over the leadership in painting" .

In comparing Madonna and Child Enthroned With Angels and Saints by Taddeo Gaddi made in 1355 and The San Giobbe altarpiece by Giovanni Bellini made in 1480, Gaddi’s piece of work shows Mary and Child with two saints giving gifts and four kneeling saints that offer flowers. Bellini’s painting presents two angels as musicians surrounded by six saints. Although both paintings have identical subject matter, both masterpieces demonstrate different techniques and styles.

Michelangelo Buonarroti was a sculptor, architect, painter, and poet. He was, perhaps, the most potent force in the Italian High Renaissance. His work exerted a tremendous influence on his

Known as one of if not they best artists of his time Francesco Guardi is quite the artist. he is known for his later works, one of his bests know as the doges feasts which was a 12 canvas set of pure beauty. The painting was pictures of the election that took place in 1763 with the election of Dodge Alvise IV Mocenigo. Guardi captured this amazing moment for the future to witness, the election is a massive thing in italy. Its compared to the election in America but almost 2 times more bigger, its no joke to italy and he was there to capture and give the future a vivid

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

Also the crisp outlines of the jewel-colored shapes created by their clothing as well as the continuity of folds and gestures, creates a rhythmic pattern crisscrossing the surface showing the element of design (Stubblebine). The imagery in Madonna and Child is displayed in how the artist expresses himself, and how the artwork communicates with the viewer. The artist expresses himself in that the work is symbolic. It is symbolic in that it depicts the sacred realm and the account of Mary and the Child it also emphasized the thirteenth century devotional practice on experiencing the sacred figures as real (Stokstad 259). In addition, the work was created within a structured stylistic context of devotional images and icons, and was not created as a personal expression. The Madonna and Child painting communicates with the viewer, in that the sense of human interaction convinces the viewer that the two figures exist in real space and time (Tomkins 3) and the intimate interaction between the Child and the Madonna evokes a human response from the viewer. Duccio explored the world of sentiment and empathetic emotional response with a lyricism and sensitivity to color. Some examples of this is the tender gesture of the Child, the distant glaze of the Virgin, yet deeply moving expression, the use of drapery folds to describe the forms of the

Leonardo’s Family and kind of time line from his adoption and his younger age. “In the fifteenth century in Italy Leonardo da Vinci born on April 15, 1452. He was the son of Piero, notary from the village of Vinci, near Florence. Marriage to a woman called Albiera di Giovanni. As a child Leonardo keep in his room a collection of things that interested him: snakeskins, odd stones polished by water, birds eggs, skeletons of small animals, insects stuck on pins, tadpoles and strange plants. In 1466, at the age of fourteen, Leonardo was apprenticed to one of the most successful artists of his day, Andrea di Cione, known as Verrocchio. Verrocchio 's workshop was at the center of the intellectual currents of Florence, assuring the young Leonardo of an education in the humanities.” (Jay Williams. Pg.11-15)

Although Jan Van Eyck was one of the most influential artists during his time period, his work, Lucca Madonna is fairly unknown. Whilst researching Jan Van Eyck the work rarely appeared unless one research specifically the name.

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

During the Italian Renaissance, societal changes allowed for the introduction of high-class pieces of artwork into the elite community. Artists such as Michelangelo, and Botticelli flourished during this era, creating masterpieces that continue to relevant in this day, and age. One such painter, Paris Bordone played a very influential role in the renaissance and produced numerous works such as Annunciation, the Baptism of Christ, Bathsheba Bathing, with an African Servant, Chess Player, and A Portrait of a Lady. Born on July 5th, 1500, Bordone lived in Treviso before moving to Venice in his late adolescence. He applied for a brief apprenticeship with Renaissance giant Titian, and branched out as a painter by the 1520’s. There he began his career painting biblical portraits in Italy. Somewhere between 1534-1535, Bordone first gained recognition as an “maestro” for painting a canvas of the The Fisherman Presenting the Ring to Doge Gradenigo. This boosted his career, but also showcased his limitations as his usage of perspective in his painting created dwarfed backgrounds. However, this didn’t detract his fame as he became a famous name in Venetian cultural achievement. Bordone use of Mannerism lead to his crowning achievement, the Portrait of Giovanni Jacopo Caraglio in 1552. This piece of art embodies the four ideals of the Renaissance, as well as providing a critic of society. The Portrait of Giovanni Jacopo Caraglio was fabricated for master goldsmith Giovanni Jacopo