The Blessed Lodovica Albertoni ( Fig )

The Baroque era spans a period of 150 years. During this time, baroque art had four distinct styles. I plan to focus on the Italian Baroque and the Protestant Baroque styles. While these styles share some similarities, they are also very different. The Italian Baroque style is often ornate and focused on religion with an emphasis on the need for the church’s guidance. The Protestant Baroque style is plain with no obvious religious messages and less need for guidance from the church. Both styles contain many amazing pieces of artwork, but I plan to focus on Bernini’s Baldacchino and Vermeer’s Woman Holding a Balance.

The masterworks of Bernini and Canova shared similarities along the lines of the sculptors’ works were crafted with precision and a keen eye for detail and were successful in giving their works a realistic effect. Both workers were masters in their own time and were able to manipulate marble to as though they were constructing a painting. They both incorporated classical forms in their works, depicting great scenes from mythical stories that could be viewed in great detail at a 360-degree angle.

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

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).

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 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.

As he describes his reasoning for delineating art history in three volumes, he states that for “painting and sculpture of former times, they must have developed on such similar lines that the that the history of one could stand for the history of the other with only a change in their names” (85). As he draws comparisons and explains why this assertion makes sense, he dismisses early Greek classical art as low quality and undeveloped. In doing so, he continues to equate it with the first period of Renaissance art, but lacks the warmth and context he gives artists like Giotto. While early Greek sculptures are simply described as “hard and lifeless,” Vasari notes that first period Renaissance art contains “glimmerings of excellence” (85, 89). Possibly due to a type of cultural shame, he needs to reinforce how much praise this art deserves in its innovation and struggle against outdated

Opening: Agnolo di Cosimo, better known as Agnolo Bronzino (1503–1572), was a 16th century Florentine painter of the mannerist movement. Bronzino was trained in the arts by Jacopo da Pontormo, and indeed, adapted many of his skills from his master. Eventually, Bronzino developed an avant garde style that would define the mannerist movement over the century. Bronzino was, and still remains today, renowned for his enigmatic courtly portraiture and allegorical narratives. For a good portion of his career he remained under the employment of Cosimo I de’ Medici, Duke of Florence (r. 1537–1569) [see Fig. 1]. Bronzino was first and foremost a portraitist, though, his allegorical art can by no means be discredited. In fact, his narrative artworks displayed

It was created during the Baroque period by Italian artist Gian Lorenzo Bernini. This well sculpted artwork depicts one of Saint Theresa’s most intense spiritual visions. In this sculpture, Bernini used the physical body to illustrate what Saint Teresa’s vision was about and to help the viewer better understand her experience. The sculpture shows an angel carrying a spear that is heading to Saint Teresa who seems to be in pain. Although Bernini used marble to create this amazing artwork; everything seems to have a different texture. For instance, the angels clothing looks much softer and thinner than Saint Teresa’s heavy looking

The Villa Borghese, owned by Cardinal Scipione Borghese, was a place where visitors would view, respond and discuss the immense collection of art, which brought together both antique and modern pieces of art. Many of the pieces were a mix of old and new works and artists were commissioned to “give unified fragments a character in the collection,” showing the new way of inventiveness at the end of the seventeenth century. During this specific time, artists such as Gian Lorenzo Bernini were huge influencers in the art world. His pieces Apollo and Daphne, 1623-4; Rape of Proserpina, 1621-2; and Hermaphrodite, unknown, depict the story of ancient myths, and were commissioned to be conversation pieces that generate multiple meanings, senses of realism, and juxtapositions. The Cardinal also trusted Bernini to create a bust of himself title Cardinal Scipione Borghese, in 1632. The piece was executed beautifully and portraying a lively Cardinal, so realistic in its depiction that the only thing missing was speech. The piece helped to endorse Scipione’s social positions and prestige. The spectators would discuss the different stories behind the pieces as they moved around and saw the changing points of view as well as marveled at Bernini’s ability to create artistic illusion and make marble look like leaves, skin, bark, and hair. Scipione’s Villa included a vast collection that displayed the history of artistic styles together by showcasing artists who created pieces that engaged viewers to see the life in

The aim of art is to represent not the outward appearance of things, but their inward significance – Aristotle. And this saying goes for Pietro Lorenzetti, Enthroned Virgin and Child with a Kneeling Donor and Angels. It is an Italian Proto Renaissance and International Gothic painting, painted on wood with tempera. The focus of this piece is on its religious meaning and significance rather than on depicting an accurate scene. We see this by the colors used and the positioning of the characters and who they are. As well as the reasoning being, this work was commissioned.

Please allow me to introduce myself. I am a former high school student of the Art Institute of Treviso, and a former college student of Nullo Pirazzoli and Manfredo Tafuri-- professors at the Institute of Architecture of Venice, valuable historians, and your estimable colleagues in books such as The Renaissance Portrait: From Donatello to Bellini, and Heresy, Culture, and Religion in Early Modern Italy: Contexts and Contestations. Those books along with your books Il Sogno della Pittura and L ’Italia delle Meraviglie are priceless treasures of our Italian culture. I thank you for writing those inestimable treasures—valuable books for college students and for art teachers. Even now that I live and

Art in the Baroque period was used to depict the religious tensions present at the time. Coincidentally, the philosophy of the time also played a key role in addressing the tensions that existed during the period. As a result of the focus on similar aspects of the society, there emerged numerous similarities between the artwork of the time and the ideas expressed by philosophers such as Descartes and Leibniz. It is critical to assess the views of the different philosophers in order to determine how the artwork was similar to their perceptions of the world. This essay addresses the views of Descartes in relation to the principles of Baroque art. In particular, the essay focuses on the works of Vermeer and Rembrandt, seeking to determine how their art relates to the philosophical views of Descartes.

The images of Madonna and Child (1425) and the Virgin Adoring the Christ Child with St. John the Baptist and Two Angels (1500-1520) show the transformations in painting accumulated by artists during the Renaissance period. In Michael Baxandall’s work Painting and Experience in the Fifteenth Century Italy he uses contracts between artists and commissioners to present a sort of timeline of differences between what people wanted in works of art during the fifteenth century.

There are four sculptures we will analyze in this research paper. All of them try to capture, in some way or another, both a realistic image of the human body as well as mimic a Greco-Roman approach to sculpture. In order of discussion, those sculptures are “Hercules and the Centaur Nessus (1599)” by Giovanni da Bologna, “The Fountain of Neptune by Bartolomeo Ammannati (1563)” and Benvenuto Cellini’s “Bust of Duke Cosimo I (1545). Last but not least would be“The Medici Chappel Statues (1520-1534),” by Michaelangelo. But before looking at