The Sistine Chapel

Art in the early Renaissance began with artists such as Giotto, who was credited with beginning a new style of art that Masaccio had taken up and integrated into his art later in the Renaissance. This specific style, being the use of massive figures, relation of background/landscapes to figures, and visual representation of perspective, was utilized by Masaccio in his frescoes in the Brancacci chapel. Masaccio’s Tribute Money is showing a biblical tale ,as the renaissance was not entirely anti religion, but with subjects that are being made to look realistic through a use of perspective (vanishing point, horizon line, etc,) and it is said that Masaccio's work was said to be “ living, natural, and real”. Artists such as Uccello took this style and adapted it to also make his art more realistic by using figures to show the laws of perspective, while others like Pollaiuolo

Michelangelo’s art, which relied heavily on the human body reflected the Renaissance Period’s interest in humanism and the individual experience. Michelangelo often studied the human anatomy, and even looked at and dissected corpses. Great examples of this are two of his earlier sculptures; the Pietå and the David, revealed his true talent and also his disposition to bend rules of anatomy and proportion i the service of greater expressive power. His ability to portray humans in the Renaissance Period, which was his great talent, showing the values of the period though his sculptures and paintings, which appealed to the people of this period. Arguably his most well known work, the painting on the ceiling of the Sistine Chapel, which was painted to show humanity’s need for salvation offered by God through Jesus.

Florence is home to many wonderful painters and artists during the renaissance. The one who did the ceiling of the cathedral that is shown is Giorgio Vasari. he was a renaissance painter, architect, and author. This artifact shows how extravagant they had gotten with their art, using perspective, shading and the influences of humanism to paint. This shows the true art of this time period.

Because Duccio's work is a triptych, beautifully articulated figures have been added to the wings of the piece and above Christ himself. On the left wing, illustrated as a bishop, is Saint Nicholas, a religious figure known for secret gift-giving and working miracles. On the right is Saint Gregory (also Pope Gregory I), a monastic pope known as the "Doctor of the Church." Above the crucifixion scene is a representation of the risen Christ, flanked by two angels. This could serve as a reminder that eternal life exists after

Michelangelo painted a Holy Family on a round shape panel for the rich Florentine merchant Doni in approximately 1506. This painting is the only panel unanimously attributed to Michelangelo and it is best known as “Doni Tondo”. The traditional Florentine generally celebrated the birth of the child by using round panels. It was painted after the sculpture of “David”. It clearly reflects the experience of Michelangelo as a sculptor in the colors which shaped the volumes. The figures of this painting are almost like sculptures with clear outlines of the bodies. The use of the colors in this painting is perfectly coherent with the bright colors of the Sistine ceiling.

follows previous rules with the representation of divine figures in churches. The proportions of the piece utilizes the hierarchy scale with the most important figure--Christ. The figure of Christ is the largest image shown in the apse, and other figures such as the apostles, the four symbols of the evangelists, and the scenes from the New Testament are roughly the same size. The smallest figures appear in the windows--the sacrifice scenes with Cain and Abel. The artist employed a more decorative aspect to the drapery of the figures than a naturalistic

At every angle the eye seems to automatically focus on Christ even amongst other activity, “all roads lead to Christ.” Da Vinci’s depiction of the religious scene comes to life to give reverence to the event.

The ceiling fresco is also referred to as the Apotheose of Sant’Ignazio. He created this piece for viewers who enter the church and look up at the church, it would seem as if they were looking straight into the heavens. The fresco was created so that there would also be a transition from the architecture of the church to his painting. For example, the columns and walls of the church have been replicated into the painting to create a sense of reality for the viewer. The transition between the actual stone architecture and the painted surface seems to rise up infinitely into the heavens is imperceptible. Pozzo created this masterpiece to give the viewer a sense of realism, especially when they are looking at the figures. This piece has many brilliant strokes which give it the recognition it truly

Art during The Renaissance brought about a style of realism that led into the portrayal of perfection and movement associated with the Baroque art of the 17th century while continuing the undertones of religion affiliated with the Middle Ages. While people who share beliefs with Burckhardt would say that the perfection of the Renaissance style art was a drastic shift from the crude gothic art of Medieval Times, it still contained much of the religious overtones prevalent in its predecessors, depicting saints and Jesus Christ himself in much of it. There were several statues depicting David, from the biblical story of David and Goliath, and entire chapel ceiling painted by Michelangelo, and one

Leonardo’s scientific studies resulted in the paintings of rocks, plants, light and atmosphere. We can see hills, fields and the sky in the tree windows behind Christ. This is in a classical style, shown by the coffered ceiling which was introduced by ancient Greek and Romans and re-introduced again by Alberti. The orthogonals run from the coffered ceiling, the table and windows and from the disciples and their gestures which all then centres on Christ. The use of foreshortening in this painting is to emphasize the drama of the scene and to keep the figures in harmonious groups. As we can see on the third figure on the right, St Philip tries to deny that he would be the betrayer and to show this, his arm is foreshortened. While St Matthew, the fourth figure on the right, has his arms outflung which was made by foreshortening. This gesture was to help portray his horror, as well as his mouth opened talking to the 3 men to the left of him. There are other gestures that helped depict the idea of betrayal, as we can see on the left side of the painting where St Peter whispers to St. John’s ear while pushing Judas forward. All these gestures lead the viewers’ attention to the centre, where Christ is positioned. Behind Jesus, we can see the window where the natural light comes in which frames Christ’s head, like a halo. Christ’s position in the centre allowed him to be in front of the three windows, which symbolizes the Trinity. As well as that, we can see that he

The Sistine Chapel is one of the most beautiful artworks known to man, but who knew that so many secrets could be hidden in the artwork that covers the ceilings and walls of the sacred church. The Sistine Chapel was falling apart and after getting it fixed church needed someone to decorate the inside with the most intelligent strokes of a paint brush. After searching Pope Julius ll chose the famous artist Michelangelo to paint the ceiling of the Sistine Chapel. Michelangelo may or may not have wanted to paint the Sistine Chapel for the Pope. Symbols are everywhere in art; Michelangelo was able to put large and even some insulting symbols on the ceiling of the Sistine Chapel.

Like the famous works inside the Brancacci chapel, the Trinity is done in fresco. This technique is performed by applying the pigments directly onto a wet plaster wall. This medium would not have allowed Masaccio the luxury

The high renaissance time period introduced the world to arguably its best artists. Leonardo Da Vinci, Michelangelo, Raphael, and Titian ruled the grand community of artists at the time. Da Vinci and Michelangelo further succeeded because of their versatility. The high renaissance was marked by rival city-states and a continued trend of lavish spenders. Religious and political leaders spent great quantity of money to have their chapels, or any setting appear better than their rivals. Michelangelo’s artwork dominates over any other in the Sistine chapel. The Sistine chapel is the ideal place of where new popes are elected. Michelangelo brought along his love for sculpting in his paintings. There are about three hundred figures on the Sistine Chapel’s ceiling, and no two appear the same. Michelangelo’s artwork has an enormous variety of expression. Arguably Michelangelo’s best painting; The Creation of Adam perfectly represents his ideas. God is shown flying through the sky; while Adam is bound to the earth. Beneath the Lord’s left arm appears to be Eve, waiting to be born. The viewer’s eye follows the entire arm motion perfectly, which ends up pointing at Christ’s child face. Michelangelo’s figures differ greatly from Leonardo Da Vinci’s formal poses and gestures. Michelangelo’s figures include

Source: Brunelleschi, Filippo. "San Lorenzo (church). Medici Chapel. Tomb of Lorenzo De' Medici · Digital Public Library of America." DPLA: Digital Public Library of America. The university of Michigan. Libraries, 26 Nov. 2012. Web.

The crowning jewel of Mannerist Architecture is Saint Peter’s Basilica in Rome. This great structure is the out come of a series of classical revival styles that were established and developed during this course in history. This was a time where famous architects like Brunelleschi and Michelangelo were pushing boundaries and testing new waters. Architecture of the time was seeking to express the culture and religion through evermore ornamented and magnificent