Perugino's Delivery Of The Keys To Saint Peter

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

First, it is tempera on panel, which possibly could explain many imperfections. But what really catches your attention in Gentile’s painting is an absolute lack of air, along with irrational usage of space. It seems like the artist was stacking human figures in the painting, so that everybody’s face would be shown. There we can see a greater deal of International Gothic style (straight lines, look-alike faces, awkward/illogical body positions, etc.) Still the most significant difference between Rogier’s work and Gentile’s work is the usage of space, presence of atmosphere. While going up the hill, in “Adoration of the Magi”, all the details stay the same as if there was no air. It’s impossible to ignore artist’s very primitive light/shadow usage: not only it’s extremely difficult imagine where the light source is, but you can’t even find a single rational shadow. Rogier van Weyden’s “St. Luke drawing the Virgin” surely excelled the painting of Gentile da Fabriano in many aspects.

Painted on a panel, this painting was done in tempera, a pigment dissolved in egg. The chief medium till the late 1400s, tempera dries very quickly and when it does it gives a flat and dry appearance. This painting has sharp brushstrokes that do not fuse together and the forms have very sharp edges. All this is attributed partly to his style, and partly to the limitations of his medium. Artists at this time did not know much about the study of perspective, and Barna di Siena’s image reflects this flatness and lack of dimension. Not only are there different people on different scales supposedly in the same plane, even individual

The rectangular pattern of the tiles in back of the Italian Renaissance painting underlines the geometric arrangement of the figures in the foreground and the background. All of the images of the people look carefully 'placed' by the artist. Not only was interest in classical era sculpture and architecture revived during the Renaissance in Italy, but also interest in math and science, and the near-mathematical precision of the painting reflects this fact.

Artists that concentrated on the Baroque style of painting had an uncanny ability to display their style more so than the artists of the Renaissance era. In respect to their different approach towards shape, room, and work of art, the differences in their styles resulted in dissimilar descriptions. Renaissance and Baroque seem to concentrate towards the treatment of space, appearance, and color. This uniqueness affects the description of a painting and therefore it cannot be seen. More so, than in comparing Perugino's Christ delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio's exchange of St. Paul from the Baroque style.

Art is the cultural element that encompasses the achievements of an era. Giotto di Bondone’s Lamentation, painted in 1305, demonstrates the beginning of naturalism and the shift away from feudalism during the Early Renaissance period, while Caravaggio’s Entombment, painted in 1603, exhibits the advancement of naturalism into a more dramatic, emotional form called tenebrism during the Baroque period. Both of these painting were new for time, and they display certain similarities and distinct differences.

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

The Italian and Northern Renaissance share a few common things in terms of their artwork. However, they also have many differences. I will be focusing on the differences between these two renaissances. Some of the differences include the main forms of medium that they used, their subject matter, and what each era was known for. I will be talking about these three differences, and will also provide examples.

Another change that occurred during the Italian Renaissance was the artistic perspective of this world. People were no longer painting two dimensional art, and non logical portraits. A new technique, chiaroscuros a technique that involved light and shadows, gave their paintings more depth and a realistic imagery. They also made their paintings more realistic by making the objects relative to one another. They emphasised emotions and belief in a universe full of harmony.

The painting depicts real people doing everyday things, like studying. Classical Antiquity was greatly displayed through another painting it depicts a normal person holding a balance. In the Middle Ages this would have been frowned upon because they discouraged the making of realistic paintings (Follett software). Realistic paintings would not have been introduced to the Renaissance without the humanists studying classical antiquity.

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.

In this painting, Da Vinci portrays a simple, ordinary woman. The Mona Lisa is one of the most well-known of Da Vinci’s work. As the title suggests, the subject of the painting is an ordinary woman named Lisa Gherardini. The painting is the most characteristic of the smile the subject held on her face, creating a joyful atmosphere. One of the main art technique found in this painting is the use of light and shadow. Mona Lisa’s hair, the skin color and the clothing on Mona Lisa, were all illustrated using dramatic contrast between the light and the dark, accompanied by the variation of tones and colors, to make the subject appear to be glowing. Landscape, to Da Vinci, symbolizes nature’s wildness, the immense and pureness of human life. The background of this painting, which consists of Rocky Mountains, rivers, valleys, add on more naturalistic elements to the entire paintings. To sum up, the art techniques used in the Mona lisa resonated with the naturalistic artistic style at that moment and was used to highlight the main character- Mona Lisa, conveying

Once again we see the use of a gold background with contrasting colors. The use of Pink and blue hues contrast nicely while still being aesthetically pleasant, much like the various contrasting colors Lorenzetti used in The Crucifixion. Lorenzetti was a master of depicting detailed fabric and reliefs, evident in both of these works. By zooming in on the high-resolution pictures provided, we can see the minute details that add a sense of visual texture to the paintings. In both of the paintings, no one is looking directly at the viewer.

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

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