...Renaissance: Linear Perspective Maurice Young ART/101 July 21, 2013 Sara Shreve Renaissance: Linear Perspective One of the major roles of the artist is to enable the viewer to see the world in a new and innovative way. This task was a major challenge for the Renaissance artist before the 14th century on account of the artist not having the eyes to see or the skills to introduce the world to linear perspective. Smarthistory (2013) states that linear perspective “creates an illusion of space from a single, fixed viewpoint. This suggests a renewed focus on the individual viewer, and we know that individualism is an important part of the Humanism of the Renaissance” (para. 3). Although beautiful and true to the style of the time, before the Early Renaissance period artist did not paint in three dimensional however, some artist did try to create illusions of space and depth to show the world realistically during the late 1300s unsuccessfully (Op-Art.co.uk, 2012). A list of Renaissance artists took full command of creating three-dimensional illusions on canvases and in their victory we see the world in a new and innovative way. [pic] Fig. 1 1486 Birth of Venus Botticelli Galleria degli Uffizi Sandro Botticelli (1445- 1510) was an Italian painter who studied under the direction Filippo Lippi who was a master painter during the Florentine Renaissance. Lippi taught Botticelli linear perspective along with a linear sense of form for...
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...Swane Cho Third Midterm Section 1 Propaganda requires thought and organization for its success. It needs a solid vision so that the desired social achievement is reached. Therefore, art is considered to be a part of political, social and religious contexts. It is a means of communication to a mass group of people, so that ideologies may be linked within society. Throughout history, wealthy and strong societies used art as a function to control the structures of society and its identification politically, socially and religiously. During Venetia’s and Rome’s renaissance, each city used art as propaganda to further their desired message among the people. In Venetia’s case, they believed they were superior to Rome and Florence due to their commercial sea trading power. They were wealthy and had political self-sufficiency and an individual identity from the spoils of war and trade. Their wealth translated into the display of the arts. Venetians did a lot to exploit the propaganda of their continuous conflict between the Turks. It was to display the power of their military ability and capability. Also, propaganda was used to uphold themselves as the main defenders of the Christian faith against Islam’s further expansion. Ultimately, while they promoted religious contexts, Venetians wanted their commercial power to be revealed. Venice wanted a clear figuration of their state. They had a visualization of a political ideal and they wanted to bring that imagery to...
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...their own unique way. According to the Britannica Concise Encyclopedia (2012), art is created visually, through ability or creativity. Imagination paves the way to the ability to create artwork. The Crystal Reference Encyclopedia (2005) simply defines art as skill. Everyone has a skill that he or she can do well; most of these skills can be portrayed as art. Making shelves, welding, painting, and tattooing are all a form of art. The Hutchinson Unabridged Encyclopedia (2013) states art is, “all the processes and products of human skill, imagination, and invention.” Technological creations, recipes from scratch, songs made with a guitar, and children’s drawings is art using skills, imagination, and inventing. Painting The painting by Paolo Veronese is titled Mars and Venus United by Love, and was created in the 1570s. This piece of art is created with a canvas, and using various colors of oil paint. This painting portrays a semi-nude Venus participating in a love ceremony with Mars. A...
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...and all of the people, animals, and décor. All of the pieces seem to work in harmony to create union; whereas The Mona Lisa seems to be in more disarray. She has a river in her backdrop which on one side seems to be completely chaotic and on the other side seems to be completely tranquil. The proportion in The Mona Lisa is very dramatic and only apparent if you pay attention to the background. In The Wedding Feast at Cana it is scaled down considerably. It gives a more realistic affect as if you are one of the guests walking upon this wedding and not at all like The Mona Lisa where it looks like you are trying to line up a professional photo. Works Cited da Vinci, Leonardo. The Mona Lisa. n.d. Louvre. Web. 12 September 2012. Veronese. The Wedding Feast at Cana. n.d. Louvre. Web. 12 September...
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...Abraham Janssen van Nuyssen, The Dead Christ in the Tomb with Two Angels (ca. 1610) Oil on canvas, 45 3/8 in. x 58 in. The Metropolitan Museum of Art, NY Europe experienced tremendous change in sentiment towards the Catholic Church during the 16th century. Many clergy seemed comfortable pushing the value of spirituality and humility on the masses, while they seemed to live the lives of nobility. This did not go unnoticed by the laity, who were growing weary of the corruption and hypocrisy. Disenchanted Catholics, jaded by the Church’s excesses and abuses of power began finding satisfaction in the Protestant movement which had spawned in 1517, and promised a return to the true values of spirituality. As the Catholic Church realized their membership was hemorrhaging, the leadership convened the Council of Trent in 1545 to address the corruption and abuses staining their reputation and driving their followers away. The Council of Trent was a major step taken in the Catholic Church’s attempt to “clean house”, and improve their damaged reputation. As a result, there were numerous reforms and actions undertaken by the Church to put an end to the apparent secularism which had begun to creep into and spread through their organization. This shift from spirituality, and acceptance thereof, could merely be a reflection of the changing culture as humanism and individualism had begun to pervade society. This growing secularist sentiment within the Church leadership, and the resultant...
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...the main figure of the painting but his mother is at the center. Mary is painted in a soft blue in contrast to the pale Christ. She has a look of sorrow and her left hand is out stretched like she is questioning why this has happened. Two small angels are also in the painting, one holds Jesus’ hand while the other inspects the crown of thorns. Carracci was one of the most admired painters of his time and helped create the Baroque style (Christiansen, Keith. 2003).He was a prominent figure in the movement against Mannerism. He founded the Accademia degli Incamminati (“Academy of the Progressives”) with his brother and cousin. This academy championed a return to nature coupled with the study of the great painters Correggio, Titian and Veronese. Late in the fifteenth century the Carracci’s were painting the most innovative pictures in Europe. Annibale created a new broken brushwork style to capture movement and the effects of light on form (Christiansen, Keith....
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...My Monologue In the pitiful longevity of my life, I have never experienced such angst, such disquietude, such pain… until that destined trice. The unforeseeable deaths of Romeo and Juliet have plagued my mind and very conscious. Day after day, I cannot relieve my soul of the burden it carries, enthralling every gruelling waking hour. Each night is an endless night. I have always conceded the fact that I was not the one at fault, but my perception constantly remains in an eternal libido. Argh…! This guilt, this weight, this affliction, just when is this façade going to cease. I now wander the endless labyrinth that is my humanity, slumping from one end to the other, was my life was worth the exorbitant sacrifice? … No! No! What am I spluttering?...
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...Name: Course: Professor: Date: A Historical Survey of Art and its Influence on Contemporary Art Linear perspective involves representation of real objects in two-dimensional form through converging surface edges on multiple points that resonate well with the viewer. Contrapposto is an image of skewed human figure displacing the actual weight dispersion for an artistic effect. Foreshortening allows an artist to make an object seem closer than it is. Illusionism comprises of the ability to interpret artistic depictions as a real object. Classicism includes artwork based on ancient Greek or Roman artistic and cultural principles. Cennino Cennini, through Il Libro del l’Arte, argues a novice artist requires the best works of their precursors to enrich their artistic skill. Imitation fortifies skills through repeated reproduction of the chosen work. However, a trainee artist should focus on one piece of art to thoroughly gain the desired skill sets. Imitation eventually begets emulation through a natural inculcation of the expert's skills. Emulating the work of an accomplished artist provides a young artist with a base to develop individual skills. Masaccio (Tommaso Guidi) introduced linear perspective through The Holy Trinity on Tempera as a primary medium. Donatello sculpted Mary Magdalene on stone providing a reference that exemplified intricate detailing in art. Andrea Mantegna inspired the importance of detail to paintings through the altarpiece...
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...most qualified to be the one featured in this museum financed by the Holy Roman Emperor himself. Let me tell you a little about myself. I was born on June 28, 1577 in Siegen, Westphalia, to my parents Jan Rubens and Maria Pypelincks. After my father’s death, I moved with my family to Antwerp, Belgium. I was raised as a Catholic and received a humanist education, with Latin and classical literature included in my education. Once I turned fourteen, I began studying under Tobias Verhaecht, who taught me how to paint. I also looked to Adam van Noort and Otto van Veen as a source of study. Once I completed my apprenticeship in 1598, I joined the Guild of St. Luke. I moved to Italy in 1600 to study paintings from famous artists, such as Titian, Veronese, and Tintoretto. I also traveled...
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...At this time, Delacroix could know Velásquez by the Géricault’s copies, but waited 1824 to talk about Spanish impasto in his Journal. During this waiting, he looks to Veronese and Rubens in the Louvre: two separate styles visible in his first monumental painting, explaining the difference between the top and the bottom, an eclecticism not yet assimilated in Dante, which will resolve in the Chios by the Spanish experience. This one reached its peak with the Death of Sardanapalus. Then, in the Liberty, Delacroix has found the balance searched since the Virgin of the Sacred...
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...Il Pavimento del Duomo As one first walks into the main cathedral of Siena, Italy the decoration comes across as very busy and it is difficult to decide what to look at first. The eyes are drawn to, of course, the black and white marble stripes that dominate a the inside of the cathedral or the 172 marble heads of popes past looking down. However, this is not the marble in which Giorgio Vasari, Italian artist and art historian from the sixteenth century, commented on during his time in Siena. After The 2500 square meters of marble floor is certainly one of the main features of the cathedral, as it has a total of 56 decorative panels as well as more than sixty different decorative frames created by roughly forty different artists (“The most beautiful, largest and most magnificent floor that was ever made!”). The detailed decoration of the floor seems to have started in the second half of the fourteenth century, right after they gave up on trying to enlarge the cathedral, and continued through the sixteenth century. The floors, which are only fully visible about ten weeks out of each year, continue telling the stories that are visible first from the front façade. Interestingly, none of the fifteen panels in the nave are particularly religious. Along the left and right isles are depictions of ten sibyls holding goods such as scrolls and books, which symbolize knowledge. Each sibyl is telling the stories of the coming of the Virgin Mary and her son, Jesus Christ, clearly representing...
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...What Were the Characteristics of the Renaissance? In very simple terms, the Italian Renaissance re-established Western art according to the principles of classical Greek art, especially Greek sculpture and painting, which provided much of the basis for the Grand Tour, and which remained unchallenged until Pablo Picasso and Cubism. From the early 14th century, in their search for a new set of artistic values and a response to the courtly International Gothic style, Italian artists and thinkers became inspired by the ideas and forms of ancient Greece and Rome. This was perfectly in tune with their desire to create a universal, even noble, form of art which could express the new and more confident mood of the times. Renaissance Philosophy of Humanism Above all, Renaissance art was driven by the new notion of "Humanism," a philosophy which had been the foundation for many of the achievements (eg. democracy) of pagan ancient Greece. Humanism downplayed religious and secular dogma and instead attached the greatest importance to the dignity and worth of the individual. Effect of Humanism on Art In the visual arts, humanism stood for (1) the emergence of the individual figure, in place of stereotyped, or symbolic figures. (2) Greater realism and consequent attention to detail, as reflected in the development of linear perspective and the increasing realism of human faces and bodies; this new approach helps to explain why classical sculpture was so revered, and why Byzantine art...
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...Prof Triff AH May 7, 2015 Wolf and Fox Hunt The aspect of painted works of art, which makes them such immensely significant historical artifacts, is their tendency to reflect the social, cultural and political values of their particular artist as well as the time period and region in which they originate. The Baroque era of 17th century Europe was certainly no exception to this trend and, over a relatively short period, an entire generation of talented painters would rise to fame across the continent, names which are still as recognizable today as they were hundreds of years ago, such as Caravaggio, Titian and Veronese. While their paintings are the only thing left behind from the legacies of these great figures, they say a great deal about the artist themselves and what factors impacted their creative prowess, which is absolutely essential in cultivating modern historians’ understanding of this time period and its norms. In terms of Baroque artists who were influential across Europe both in an artistic, stylistic and political sense, one must look no further than the great Peter Paul Rubens. Rubens was infamous for his highly naturalistic, very movement and color driven works that do an excellent job of highlighting the realistic beauty of a scene while also bringing out a certain veristic appearance in depicted figures, which result in a breathtaking visual display, drawing the viewer’s attention to various points of interest across its composition...
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...In the Studio with Jeremy Sutton: Educator Guide Subject Visual Art: Painting Grades 6 ‐ 12 Standards Addressed Artistic Perception, Creative Expression, Aesthetic Valuing Teaching with KQED Media Using video in the classroom can breathe life and meaning into any lesson. In the arts, video can be particularly effective for introducing large concepts, aspects of the creative process, and key arts‐ related vocabulary to introduce students to discipline‐based and concept‐based study. Using media in the classroom helps connect students with artists and promotes critical viewing skills and media awareness. For more information about using media in the classroom download KQED’s Media Tips teaching tool (a direct link is provided in the resource section of this guide). Using KQED media in the classroom allows student to virtually visit a local artist, while listening to firsthand information about the artist’s practice. In order to present KQED media to your entire class, you will need a projector and computer with the capacity to stream video. Alternatively, assign students to watch the video on their own or in groups. After soliciting student responses to the video, continue the lesson by implementing hands‐on or discussion activities to deepen the impact of the media – ideas are provided in this guide. Making the Most of Media The following activity ideas may be used in the classroom after viewing the KQED video In the Studio with Jeremy Sutton. Drawing...
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...L'armonia sonora: Continuo Orchestration in Monteverdi's orfeo Author(s): Stephen Stubbs Source: Early Music, Vol. 22, No. 1, Monteverdi II (Feb., 1994), pp. 86-89+91-93+95-98 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128484 . Accessed: 17/11/2014 09:47 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org This content downloaded from 159.242.187.205 on Mon, 17 Nov 2014 09:47:06 AM All use subject to JSTOR Terms and Conditions matters Performing StephenStubbs L'armonia in sonora: continuo orchestration Monteverdi's Orfeo n performing Italian music of the early 17th century, the modern interpretermust often answer the question, 'Which instrument or combination of instruments should realizethe bass?'Severalpublications from the first decade of the 17thcentury shed light on the norms and expectations of execution and instrumentation of...
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