"On Painting" Summary and Analysis, Leon Battista Alberti Essay

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

On Painting by Leon Alberti is, in essence, a book of guidelines for novice painters. Alberti explains that since paintings are meant to represent things that are seen, they need also be approached this way. In his theory, he breaks up the way of painting into three important components circumscription, composition, and the reception of light. Within these three are guidelines for the portrayal of subjects, spaces and emotion.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

Michael Baxandall, the author of Painting and Experience in 15th Century Italy, talks about the influences that contributed to the creation and reception of 15th century Italian classical paintings. Specifically, he talks about the cultural impacts on the perceptions of the audience and the painter, mostly through the common religion, as well as what could affect those perceptions besides purely cultural influences. During the second half of the chapter, which held the most detailed information and the core of the chapter, he elaborated on Roman Catholicism’s major impact on what was painted and how it was viewed, as we can see through the many different forms of The Annunciation provided in pages 35, 52-54, and 56. Many priests, with high

Bernini’s Genius is a Smithsonian magazine article discussing the aspects of Gian Lorenzo Bernini’s life and ideology that affected his art. Author Arthur Lubow argues that Gian Bernini was indeed a gifted painter, but he painted with a dual goal in mind. Bernini wanted his art to be adored and his name to be remembered forever as one of the greats. He addresses this theory by breaking down who he made art for, how he depicted the images, and what he made art out of. Together, Lubow shows that Bernini valued fame and fortune above the craft of his work, and he kept his skill up so that his popularity would not decrease.

I , Leon Battista Alberti am interested in building your new Villa. What i could possibly do for you is certainly do as you say. I have also researched things about you how your one of the most creative rulers and patron of art and letters . I have seen some of the buildings you have created which are very splendid. When i see your work i am so surprised how you put so much hard work in your buildings , it just amazes me so much but now I would like to tell you some information about myself. I Leon Battista Alberti am one of the best Italian humanist, architects , linguist , philosopher , and a cryptographer. Most of the people know me as a poet and architect. When I was a young child , my father got me into mathematical training. I also came from a very rich family , so you could say I was one of the rich boys and liked

As sentient beings, people seek to create tangible displays of their beliefs, emotions, experiences, and so forth. While various methods of individual expression have been conceived throughout humanity’s astoundingly long history, some of the most enduring and venerable means are those that appeal most directly to the audience’s sense of sight. Visual pieces of art often reflect the beliefs of the artists who created them, whether the origins of influences upon artists come from their own culture, personal history, etc., or that of someone else. Consequently, many artists obtain inspiration from ancient mythology, as well as from beliefs that are characteristic of the time period in which their works are given birth. Although Bronzino’s Allegory

The Painters and Clients Fifteenth-Century in Italy by Baxandall, clarifies how the style of painting in any society reflects the visual skills and propensities that develop out of daily life. He attempted to recuperate the expectation of painters and audience, the things they would have thought would be vital and the things they would have underappreciate. Baxandall considered different kinds of knowledge to compose a picture of Quattrocento. [Ibid, 64] Italian paintings of the fifteenth century in some sense encapsulate, reflect, or offer information about the protocol governing how people interact with each other.

Why do we read Vasari’s Lives? Surely not for the historical accuracy of the data he provides us nor for his scientific approach to the artist’s biographies. We read what we consider a masterpiece of Italian literature mainly because, instead of concentrating on long tedious enumeration, exegetical and philological details or monotonous galleries of portraits, Vasari preferred to choose according to his taste, to stick to what he was given to know, to carefully consider and judge the paintings with his intelligence, sensibility and enthusiasm. This explains why it is interesting to analyse even a scanty biography as the one of Lorenzo Lotto in both the editions of the lives. Lotto’s biography may be considered especially interesting in order to understand how an artist, who developed his own pictorial poetic, diametrically different from that of his fellow citizens, and who worked mainly in peripheral centres, entered the ranks of those painters, sculptors and architects whose memory Vasari has sought to preserve.

In his 1873 portrait, The Dying Mazzini (30 1/8” X 39 ½”, Providence, RISD Museum), Italian realist painter Silvestro Lega captures the final hours of Mazzini Morente’s life. In this painting, rather than depict the terror of death, a topic which people dislike and always associate with separation, fear, agony and sadness, Lega shows an incredibly peaceful and serene scene of dying Mazzini. With his eyes closed, Mazzini lies on a bed and is propped up against a pair of white pillows. His whole body is wrapped up in a piece of gray plaid shawl with only his hands exposed—left hand softly resting on his right. In this essay, I will show you how Lega

It was quite natural for Pietro Rosini, thanks to his profound passion for art and to the knowledge that his family - art dealers from generations - transmitted to him, to become an expert in fine art. He decided to leave his family’s Rosini Gallery to explore, together with his wife Anna Maria, new perspectives in the fields of art and culture. Afterwards, Pietro and Annamaria Rosini inaugurated their art gallery “La Tavolozza” in Riccione – and later also in Rimini, in piazza de Ferrari and via Bertola.

When we look at the history of the Middle Ages and the Renaissance, we always like to use the confinement of thinking and the liberation of ideas to sum up the two, especially in the art, the medieval paintings are often used in dark colors, deformed three-dimensional concept Showing the real world, and often less a bit human nature. And after the Renaissance, the painting masters are the opposite of it. I am not here to comment on their good or bad, but from the artistic point of view, to explore whether a good form of art needs to reflect the community and a wide range of civilizations

"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.

Like Vitruvius, Leon Battista Alberti (A.d. 1404-1472), a draftsman whose On The Art of Building in Ten Books had an extraordinary impact on all expressions of the human experience in the Renaissance, considered decoration as something extra or connected: "...ornament may be characterized as a manifestation of assistant light and supplement to excellence. From this it tails, I accept, that excellence is some intrinsic property, to be suffused all through the group of that which may be called wonderful; while decoration, instead of being inalienable, has the character of something appended or extra." But he is foremost on account of his meaning of magnificence, which he considered target: "When you make judgments on magnificence, you don't take after insignificant extravagant, yet the workings of a contemplated staff that is inherent in the psyche."

“Painting today is pure intuition and luck and taking advantage of what happens when you splash the stuff down. “- Francis Bacon. However when I learnt more about history of art and the way each movement and happenings in the world inspired artist to make new works, I was able to see much more than just a canvas with random paints and sketches. The interesting part about this concept is that each piece of art could be interpreted in many different ways. In contemporary art there isn’t right and wrong, each of us view and find different meanings and connections with artworks.