Why The Prodigy Artist Is Intrigued By Them

Raphael Sanzio was one of the most important artists of the Italian Renaissance. Raphael painted and designed many brilliant pieces of work and the stanzas inside the Vatican. He was a master at such necessities of modern art such as depth and perspective and the use of light and shadow, and was the turning point styles of paintings like the use of Madonnas in paintings. Through his short life, Raphael would make some of the most awe-inspiring, beautiful, and influential works of art during the Italian Renaissance.

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

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.

Filippo Brunelleschi was a genius at not only architecture, but at sculpture, woodcarving, drawing, and clock making. When the priests in Florence, Italy in 1418 were deciding on what they were going to do with the big hole they had in the roof of their cathedral, Brunelleschi volunteered to be the architect (King, 2013). His motivation was to help the church, however, he also knew that this would allow him to have never ending fame and a big salary once the job was complete. Even though he would not reveal his plan on how he would accomplish this extraordinary task, they accepted his as the supervisor of this great project.

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.

The setting in this fresco where philosophers gather and communicate can give us some cultural reflection. Such a reflection which functions like lens through which we grasp some glimpses of Raphael’s thought, we can have a valid analysis. An obstacle, as it turns out, is that many aspects in the fresco and visual messages, due to ambiguity, remained completely unanswered. This is especially true when it comes to unknown figures and why some philosophers look distracted whereas others immersed in their dialogue with their

Perspective plays an important role in understanding Masaccio’s frescos. Masaccio was born in 1401 and died unfortunately young in 1428. His full birth name is Tommasio di Ser Giovanni de Simone. He made a great contribution to Italian and Florentine art during the Quattrocento period of the Italian Renaissance. He worked alongside Filippo Brunelleschi an Italian architect and engineer. Together they created the idea of linear perspective with the influence of earlier artists such as Lorenzetti, Duccio and Giotto brothers. Linear perspective helps to form the impression of a three-dimensional space on a completely flat surface. This essay will compare ‘The Holy Trinity’ (fig. 1) by Masaccio and Raphael’s ‘The School of Athens’ (fig. 2). Both Masaccio and Raphael use linear perspective in their paintings to create a sense of depth and realism.

I decided to prepare this sheet as a short description of some of the important themes that we’ve taken up in lecture in the second half of the quarter. In preparation for our final, I would recommend reviewing your notes and textbook, putting together answers to each of these. Indeed, if you have good answers in your head (making use of examples shown in class) for each question, you should do well.

Michael Baxandall, the author of Painting and Experience in 15th Century Italy, talks about the influences that contributed to the creation and reception of 15th century Italian classical paintings. Specifically, he talks about the cultural impacts on the perceptions of the audience and the painter, mostly through the common religion, as well as what could affect those perceptions besides purely cultural influences. During the second half of the chapter, which held the most detailed information and the core of the chapter, he elaborated on Roman Catholicism’s major impact on what was painted and how it was viewed, as we can see through the many different forms of The Annunciation provided in pages 35, 52-54, and 56. Many priests, with high

In the early 17th through the late 18th century, Europe birthed "the golden age of painting and architecture in Italy." This golden age was named “The Baroque” and is defined by the highly ornate and extravagant style. Following the Renaissance, Baroque architects sought to use the Roman vocabulary found in the previous Renaissance era and created pieces that evoked emotion through drama and scale. St. Peter’s Baldachin was one of the most significant works built in the Baroque period. By analyzing the work’s embodiment of its cultural, religious, and political environment we see how this piece exemplifies the power, grandeur, and elegance of The Baroque.

The transverse oval design of Gian Lorenzo Bernini's glorious Jesuit novitiate church of Sant'Andrea al Quirinale in Rome is a mar vel of Baroque art and architecture. Ever since Rudolf Wittkower called our attention to Bernini's unique centralized oval space with its dominant psychological and spiri tual focus on the shorter axis from entrance to the main altar recess, its longer transverse axis blocked by pilasters at either end,1 scholars have searched for Bernini's source. For the most part, they agree that Sebastiano Serlio's method for constructing an oval, il lustrated in Tutte I'opere d'architettura et prospetiva, was Bernini's likely point of de parture.2 What has not been noticed, how ever, and remains to be elaborated is the remarkable

The arts during 1200’s-1300’s were highly influenced by many people, however two men made the biggest influence out of everyone. Saint Dominic and Saint Francis made a huge impact in many city’s architecture, marble sculptures, and paintings. In the city, the Pisa baptistry is one that can be a focal point when one wants to look at the architecture that made this time period a historical time. From the buildings exteriors to the hallways of the interiors, they were designed to have features from different aspects. Along with the baptistry, the pulpits that priest relayed their message from had massive marble sculptures in front of them. The sculptures shown historical events like the birth of Jesus. However, it is the close details that give it it’s unique look. Likewise, many art paintings of this time give insight of how Siant Dominic and Saint Francis.

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

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.