Identify the period in which this work was made. Discuss ways in which it departs from the more typical artistics concern of it period. This is Donatello’s Mary Magdalene from the Early Renaissance period. In contrast to this period it has more medieval characteristics.
It has emotional impact and expressive features of a German pieta. It does not refer any specific model. It has emotional realism associated more with medieval models than with otherwise aloof and unemotional classical precedents or Renaissance contemporaries.Discuss how this painting reflects the artist’s understanding of the new theory of mathematical perspective.
This is Battle of San Romano from Early Renaissance Period by Paolo Uccello. Uccello’s obsession with perspective appealed to Lorenzo. The development of perspective intrigued the humanist, because perspective represented the rationalization of vision.In Battle of San Romano, Uccello created a composition that is made of immobilized solid forms. He foreshortened broken spears, lances and a fallen soldier and placed them along the orthogonals in a converging manner (meaning: Come together from different directions so as eventually to meet) to create base plane and then he placed larger volumes in measured intervals. The vanishing point, located by the horse's head, creates an illusion of depth; along with Niccolo's red and gold headdress and rearing white horse, they compel the viewer to focus on the pivotal and heroic figure.
Uccello designed these works to be hung above eye level, or approximately 7 feet from the ground. In person, it is apparent that Niccolo's arm and horse were intended to be viewed from below rather than at eye level, making him all the more imposing. This creates space to a landscape that resembles the low cultivated hillsides between Florence and Lucca. Uccello used three-dimensional form to satisfy his inventive and original imagination.Identify the building or its architect.
Discuss the ways in which the building exemplifies the ideals of the period in which it was created. This is Tempietto by Bramante made during the High Renaissance period. Bramante commissioned the tempietto to convey his vision of a temporal humanist authority. The building tempietto received its name because it looks like a small pagan temple from the middle ages. One of the main differences between the Early and High Renaissance styles of architecture was the former’s emphasis on detailing flat wall surfaces versus the latter’s sculptural handling of architectural masses.Bramante achieved a truly wonderful balance and harmony in the relationship of parts to one another and to the whole.
The balustrade echoes, in shorter beats, the colonnade’s rhythm and averts a too-rapid visual ascent to the drum. The drum’s pilasters repeat the ascending motif and lead the eye past the cornice to the dome’s exposed ribs. The use of light and shade around the columns, balustrade and across the rectangular windows alternating with shallow niches in the cella walls and drum enhances observer’s experiences of the building as an interrelated sculptural mass. Tempietto somewhat resembles a Greek tholos and although many greek models provided an inspiration for tempietto, the combination of parts and details was new and orginal, like classical tholos didn’t had a drum nor balustrade.Conceived as a tall domed cylinder projecting from the lower wider cylinder of its colonnade, this small building is a stand point of Renaissance that leads to High Renaissance. Round in plan and elevated on a base that isolates it from its surroundings, the tempietto contributes to future demands for an ideal church demonstrating the Unity, Uniformity and the Justice of God.
5- Whom did Pope Julius II commission to paint this work for his library? In what ways do the style and subject of the painting reflect the interests of its patron?This is School of Athens by Raphael made during the High Renaissance Period. Pope Julius II commissioned Raphael to make 4 frescoes that represent (Theology, law, Poetry and Philosophy). The Frescoes refer to the four branches of human knowledge and wisdom while pointing out the virtues and the learning appropriate to a pope. School of Athens fulfills the philosophy part of it and the desire of Julius II’s desire for recognition as both a spiritual and temporal leader.
It presented an image of the pope as wise, divinely, ordained religious authority. School of Athens is a congregation of the great philosophers and scientist of ancient world.Raphael depicted these luminaries-rediscovered by Renaissance thinkers conversing and explaining their various theories and ideas. Plato and Aristotle serve as the central figures around which Raphael carefully arranged others.
Plato holds his book Timaeus and points to Heaven while Aristotle with his book gestures towards the earth. Ancient philosophers concerned with ultimate mysteries are on Plato’s die while scientist concerned with nature and human affairs are with Aristotle. He presented many more philosophers like Pythaoras writes as a servant holds up the harmonic scale. At the right we could see students surround Euclid, who demonstrates a theorem. At the extreme right we could Raphael’s portrait between Zoroaster and Ptolemy.
Their self assurance and natural dignity convey the very nature of calm reason, that balance and measure the great Renaissance minds so admired the heart of philosophy. 7-Discuss each painter’s treatment of the theme of marriage in relation to the innovation and influences of Humanism and the ideals of Renaissance.This is Giovanni and his bride from the Compare and contrast the figures of Adam and Eve from these two works. Remember to discuss the relation to the artist’s use of material and the presentation of the body Massacio painted the Expulsion of Adam and Eve on fresco in 1425. The sharply slanted slanted light from an outside source creates a deep relief, with lights alongside darks and really helps to identify this painting as a whole.
Masaccio presented the figures moving with structural accuracy and with substantial bodily weight. Further the hazy atmospheric background suggests a space around and beyond the figures.Adam’s feet clearly in contact with the ground, mark the human presence on earth and the cry issuing from Eve’s mouth voices her severe mental and physical pain. The angel does not force them physically from Eden. Rather, they stumble on blindly, driven by the angel’s will and their own despair.
On the other hand we have the upper panel of Ghent altar piece painted by Jan Van Eyck on oil on wood in 1432. Eyck placed Adam and Eve, at left and right because they stand as the originators of sin in the world. Both figures are facing the center and they are covering themselves with leaves and Eve is holding a fruit that is not, in fact, the traditional apple.Above them are depictions in grisaille of Abel making a sacrifice of the first lamb of his flock to God and Cain presenting part of his crops as a farmer to the lord.
Light and shadow play delicately over their forms which stand out as though they had been sculpted in the round. We can see Adam and Eve, the first couple, whose posture and subtly rendered nakedness make them seem more actual than the main subject, which takes up several panels.
