Raphael's The School Of Athens Essay

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).

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.

Forty years of the Augustan Principate bring about significant changes in the legal, political and social circumstances of Roman women. Women of elite status, who had been bestowed public recognition as representatives of the Roman household and the female gender, are particularly affected by these changes. By examines the depictions of such elite women in literary records and survived artifacts, this essay attempts to reflect and contest the transformation of the female gender role during Augustus’ reign. The discussion will first focus on Augustus’s legislations concerns marriage and marital conduct, then elaborate on examples of aristocratic women from the Julio-Claudian family, particularly Livia and Julia the Elder, who wielded symbolic influence unprecedented in the Roman world.

1). In Plato’s Crito , the Laws of Athens offers many reasons why Socrates should not escape. If he was to escape he would be disobeying in three ways, one to his parents, two to those who have brought him up and three which is his agreement with his city. He should instead honor the laws more than honoring his parents because in theory the city that he is living, has raised shaped him to be who he is. “ We have given you birth, nurtured you, educateD you, we have given you and all other citizens a share of all the good things we could” ( p. 500). Just as a parent would upbring a child and give the child the best opportunities knowing it will not be reciprocated , as does the city. It acts as a servant to its citizens, giving opportunities to its people when they are of the age to vote, thus creating their own life paths. A citizen is not bound to one city, the city allows its citizens to leave if they are dissatisfied with the laws but those who decided to stay must obey the agreement with the city. In Socrates 's case he is choosing to honor his agreement with his country and the city he lives, even though he has been wronging accused, by not escaping .

It is always interesting to know how a singular topic can be treated so differently by two different artists. There is not only the more obvious difference of the techniques that have been employed, but there is also the difference in the way they perceive the topic. There is also the era and the region and influence of their background which has a direct impact on the work of Art that they produce. In this paper, we will try to develop an understanding regarding the difference that exist between a work that was developed in the Renaissance Period and one that came out in the Italian Baroque. The paper will try to find the ground on which they coincide and those on which they differ from each other.

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

Two main differences immediately apparent between Raphael’s School of Athens and Leonardo’s Adoration of the Magi are the compositions of the large figure groups within each painting and the state of completion. In the forty foot wide fresco of School of Athens, the figures are organized in a mathematically constructed arrangement. The heads of the figure group in the background create a central horizontal line across the fresco. The two smaller figure groups in the foreground on the left and right are arranged with slightly less linear organization however when compared to the figure group of Leonardo’s Adoration of the Magi

The Roman city Pompeii has provided history with many artifacts, scriptures, and mythology from the First Century c.e. The components of life from this time period have become the building blocks of today’s modern society. The great empires have provided the base for government, military, and industrialization. It has also provided the basic composition of roles a man and woman will play in the hierarchy and structures of early society. Exploring the artwork’s landscape, portraits, and scenes will provide a better understanding of the roles of sexes and the superiority of men in Pompeii’s socioeconomic and religious culture.

Sometime during the period of 594/3 to 570 B.C., the citizens of Athens gave one of their foremost statesmen, Solon, the task of creating new laws for them because of troubles that had been plaguing them. There are several theories as to when Solon's work was completed. The date of Solon's legislation has always been in question and a date that everyone agrees with has never been proposed. There is evidence for several different dates. The first is 594/3, the year in which Solon was the Eponymous archon in Athens. This argument has several claims to its defense but also many arguments against it. Another major date proposed is not so much a specific date as it is a span of time in which he may have started and/or

Daily life in Athens is full of activities as the people of Athens are known for their curiosity about many things and their love for knowledge: in arts, literature, architecture, medicine and trade (Hansen, 1991). On a daily basis, young adults are very keen to learn the most recent philosophy from their tutors and older ones, they gather to learn

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.

The names of the Teenage Mutant Ninja Turtles are familiar to everyone’s inner child: Michelangelo, Raphael, Donatello, and Leonardo. However, the actual people after whom the ninjas are named were resplendent artists of the fifteenth and sixteenth centuries, and each of these men had a profound effect on the trajectory of art. During the Renaissance (late 1400s-1600s), an era of society emerging towards a new way of considering the world through artistic study, the marvelous coalition of citizens that is the public was propelled out of the philosophical oppression of the Middle Ages. Moreover, this served as a pivotal time not only for traditional art, but for free and open thought in general. Because of the Renaissance 's lasting influences and the grandeur of change it commenced, it will remain embedded in history for so long as the human race continues to exist. In this period of transcendence, Greco-Roman culture and philosophy saw its return, the Catholic Church suffered a decline, art revolutionized itself, and academia returned to antiquity.

In society today, women’s hair doesn’t normally make a daily social or political statement, it played a much more important role in Ancient Rome. Roman women put a lot of thought and effort into their hair, as the aesthetics of it played a strong roll in whether society deemed them attractive, but that wasn’t all. While men of both Ancient Rome and now view this focus on physical appearance as purely a form of vanity it also went beyond the pleasing aesthetics of it, the hairstyles of Roman women were an extension of not just their own social and political standing, but that of their family. The physical appearance of these women were translated into sculpture and offered both the public and private a view of these important women. These sculptures, and sometimes even coins, weren’t just a pretty picture, they revealed intricacies into the political affiliations of the women, and would even espouse the traits and even the goddess that they wished to be associated with.

Plato was a philosopher who was born in Athens (470-390 BCE), and was also a student of Socrates. He felt that intelligence and one’s perception belonged to completely independent realms or realities. He believed that general concepts of knowledge were predestined, or placed in the soul before birth even occurred in living things. Plato believed that the cosmos was intelligible, and the the universe was mathematically understandable. He believes that mathematical objects could be seen as perfect forms. Forms, a doctoral of Plato, can be understood as an everyday object or idea, which does not, exists in the everyday realm, but merely is existent in the hypothetical realm or reality.