The Italian Word Paragone

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.

They began to paint and sculpt human bodies which needed specific techniques of scaling and math. Historian William J. Connell, La Motta Chair in Seton Hall University, describes the common artistic features between Classical age and Renaissance. He explains, “Freestanding, larger-than-life-size statues of human beings were sculpted for the first time since antiquity” (3). During the Classical age, huge statues of human could be found in the history in which scientific ideas were required to design and to sculpt it appropriately. Artists of Renaissance revived the way of sculpting as well as painting of Greek and Roman culture where they used techniques from math as well as science. The influence of classical culture transformed the art and the way of making it by using scientific knowledge of drawing and sculpting, and provided it a sense human importance on the artistic works.

During this painting, Michelangelo didn’t have the drive he usually did, but when his greatest enemy, Perugino started to work on it with him, that drove him to another level. Michelangelo’s interest in portraying the human body, reflected how the people in this time period felt, and that made the people who viewed his art interested in his work. Also, his sculptures reflect how dramatic of a shift it was to the Renaissance Period from the Middle Ages, and shows how the

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

The Italian word paragone refers to a type of competitive comparison in an art-historical context. In the 16th century Italy, due to the development of artistic practice and theories, various theoretical discussions were raised among the art industry. Renaissance artists and theorists were preoccupied with the means and of various arts in the abstract. A debate was generated from the Italian Renaissance in which form of art (such as painting, sculpture, poetry, music and architecture, etc.) has supremacy on all others. The discussion of the relative merits that whether painting or sculpture was more convincing and descriptive form of art got unfolded in both Italy and the Low Countries like Flanders and the Netherlands. From that period, the example of paragone between painting and sculpture mainly involves paintings that emulate sculpture and sculptures that emulate painting. Both painters and sculptors made an interesting statement claiming about the superiority of one art over the other. These debates had laid a solid foundation of the modern system of fine arts. The ultimate goal of art at that time is about imitation, thus, the best means to arrive this goal had a more theoretical interest. On one hand, as a notable, one-of-a-kind sculptor from that period, the “divine” Michelangelo has proposed his treatise that sculptures champion the superior on paintings. He expressed his statement with the support of his increased engagement on sculpting. For the issue is

In the Bronze Age paintings and specially the Minoan we began to realize how realistic they look and how they are showing movement. We can see that in paintings of landscapes, sport events or even a story or a ritual. Some of the Minoan art is different from each other but some are quite similar in style, technique or in motifs. In this essay we will be showing the similarity of style between the Hagia Triada sarcophagus and the Minoan palace frescoes paintings.

One of the most obvious examples in which Greco Roman culture was displayed in the era of the Italian Renaissance was through the works of art; and more specifically the medium of sculpture. Take for example, the piece by Donatello, Saint Mark, this piece harkens back to the artwork of the Greek culture by having the character whom is sculpted to be positioned in the contrappasto style, where the audience may view “the drapery covering his body beneath, particularly his left knee as it projects forward… He is, in other words, a fully realized human form”; this technique was predominantly used by Greek artists, and was relatively abandoned by all other artists after the fall of the Greek empire to the Romans (Sayre, 2015). Yet, the artists of the Italian Renaissance saw the beauty and value of

The visual work I have chosen is the Bith of Venus and is one of the world’s most famous works of art. Painted by Sandro Botticelli between 1482 and 1485, it is the first example of painting on canvas. The written work I have chosen is the Stanze per la Giostra. It was written by Angelo Poliziano, written between 1475-8. Both works are examples from the Italian Renaissance era, during the Medici rule, and share the theme of beauty and humanism. The works I've selected share the same subject matter, Venus, and is the perfect example of beauty and humanism. She is the epitome of beauty and her birth from the sea is an example of her metamorphosis of humanism. For this paper, I will compare both works then discuss how the shared theme is seen in contemporary works. How does Venus and her beautiful metamorphosis fit into contemporary forms of beauty and humanism?

From Pollaiuolo creator of the engraving Battle of the Nudes to Michelangelo's David the human form was not about reality but idealism the ultimate portrayal of God's ultimate creation. This perfected view of the human form can also be seen later in Da Vinci's Vitruvian Man and Michelangelo's muscular figures whether male or female. Humanism’s affects did not stop there. The topics of paintings also began to change. Botticelli’s Primavera and The Birth of Venus depict this change clearly. Both show mythological themes. The focus on these themes inspired Raphael and Titan to develop their famous pieces as the early Renaissance became the High Renaissance. From here interesting occurrences began to evolve. Humanism itself develops a new school of thought known as Neo-Platonism; an idea that mixes ancient philosophy and Christian truth. For example, the reaction to Botticelli's creations was that of others trying to find a religious meaning within the mythological topic. Slowly however, even this will fade as the Mannerist style develops. Along with the movement toward secular and eventually erotic portrayals of art the artist began to enjoy a new status. Duke explains that they became “practitioners of the high-status liberal arts” someone to be sought after, someone to study and someone to stand in awe of. Humanism’s affect spread north but there

Many of us today have things in our culture that we appreciate without thinking about where they have come from. The things we enjoy so much could be from another culture, and even another place in time. This document will explore the influence of Italian Renaissance art on today's civilization, which has greatly changed the art of today.

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

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

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

Beginning with the Renaissance (1400-1600) we see a change in the subject matter being portrayed by artists of the time. We can attribute this change not only to the change in patrons, from the Christian church to wealthy bankers and politicians, but also to the growing body of scientific knowledge. “The Renaissance was

In these two exquisite works of art or shall we call them the grand master pieces of their era’s. Both Jacques-Louis David’s The Death of Marat and Michelangelo’s Pieta flawlessly reflects the untimely deaths of two significant figures that we know of today. The two figures comprised of Jesus Christ in Michelangelo’s Pieta and Jean-Paul Marat in Jacques-Louis David’s The Death of Marat. In the two pieces we see that the pair of artists portray the figures in a divine and yet virtuous way. One work of art almost mimicking the other, yet there is still some differences between the characteristics of each piece still making it its own individual self. In the following paragraphs we will be diving deeper into the similarities and differences