Andrea del Sarto

Italian High Renaissance artists achieved ideal of harmony and balance comparable with the works of ancient Greece or Rome. Renaissance Classicism was a form of art that removed the extraneous detail and showed the world as it was. Forms, colors and proportions, light and shade effects, spatial harmony, composition, perspective, anatomy - all are handled with total control and a level of accomplishment for which there are no real precedents. Leonardo da Vinci was a Florentine artist, one of the

The Methods and Motives of the Medici Collectors The Renaissance was an incredible period for artistic patronage. It seemed as though it was nearly impossible for any well-to-do private individual to avoid some level of interaction with the art world, whether they required art to furnish their lavish houses, or to create religious iconography, or even to provide gifts for family and friends. For a royal family, or a member of the nobility, the need for artistic patronage was considerably larger

Lucy Corvalan Instructor Matthies LA 121 December 2, 2016 Compare and Contrast: The Deposition from the Cross and The Entombment of Christ The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the

the Gods * Bramante –St. Peter’s, Rome; Tempieto * Correggio -Assumption * Da Vinci –Virgin (Madonna) of the Rocks; Virgin and Child with St. Anne and Infant St. John; Last Supper, Refectory; Mona Lisa * del Sarto, Andrea –Madonna of the Harpies * Giorgione –Pastoral Symphony; The Tempest * Michelangelo –Pieta/Dome, St. Peter’s, Rome; Bacchus; David; Moses, tomb of Julius II; Bound Slave; Prisoner; Sistine Chapel Ceiling: Creation of Adam,

Nicolas Poussin 1594-1665 Pictori philosopho (Blunt, 3), “Painter-philosopher” was a name given to Nicolas Poussin by Serous d’ Agincourt in 1782. Agincourt later found out that the name Pictori philosopho had already been given to the German artist Anton Raphael Mengas.      Nicolas Poussin was born in 1594 in the town of Les Andelys on the Seine. He came from a nobel family that was ruined by religious wars according to Giovanni Pietro Bellori. No actual proof of this

In 1874, an exhibition by members of the Private Company of Artists that consisted of Claude Monet (1840 -1926), Camille Pissarro (1830-1903), Pierre-Auguste Renoir (1841-1919), Berthe Morisot (1841-1895), Edgar Degas (1834 -1917), and Alfred Sisley (1839 -1899) perplexed society with the dematerialization of reality in their paintings and signaled the birth of Impressionism as a new movement. However, a decade later, the concept of capturing the immediate illusion had exhausted itself. The crisis

The Austrian neurologist Sigmund Freud (1865 – 1939) had been a tremendous cultural influence during the twentieth century, especially during its first half. Freud’s path-breaking work The Interpretation of Dreams came out in 1900, at the fag-end of the Victorian period. Subsequently, Freudian theories and ideas were employed to trace novel interpretations of pre-existing as well as newer literary texts. In the 1970s Freud’s thought was revised by Jacques Lacan from a linguistic standpoint. It was

An Analysis of Oedipus and Aristotle's Definition of the Tragic Hero Introduction In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The

Mannerism in Florence and Rome - considered to be more self- consciously "artificial" - derived from aspects of Raphael and Michelangelo - cold formalism was considered to be inner vision Rosso - (1494-1540), Italian painter, whose early works helped define Italian mannerism - later was a founder of French mannerism - was born Giovanni Battista di Jacopo di Guasparre in Florence - early work had odd perspectives, violent colors, and harsh lighting - 1523 Rosso moved to Rome, where

Chapter 9 Language and Literature There is a very close relationship between language and literature. The part of linguistics that studies the language of literature is termed LITERARY STYLISTICS. It focuses on the study of linguistic features related to literary style. 9.1 Theoretical background Our pursuit of style, the most elusive and fascinating phenomenon, has been enhanced by the constant studies of generations of scholars, “Style”, the phenomenon, has been recognized since