Art represented different things at different periods. They were expressions of people that had a purpose. When the Roman empire fell, its art survived and continued along with the influences of the Carolingian, Ottonian, Byzantine, and other local Germanic traditions that preceded but made up what we call the Romanesque art of the 1000-1200 A.D. This, likewise, preceded and influenced Gothic art which later emerged at the edge of the 13th century. Romanesque art mostly revolved around characters and stories taken from the Bible or religious teachings since this type of art started in monasteries and churches.
Early Italian Renaissance seems to be the leader in both of these. Masaccio alone shows outstanding command of both. His conquering of shadows can be best seen in his work entitled “Tribute”, and his artistry of perspective can be seen in “The Holy Trinity”. There are many similarities in these two as well as differences. It seems that no matter what time period the figures are always painted to match the characteristics of those in the area.
4) is another outstanding example of Raphael’s Roman portraits. At the centre of this harmonious composition Raphael adds a curious psychological note in the melancholy eyes that illuminate the cardinal’s pallid and exhausted countenance. The portrait has been drawn in accordance with Leonardo’s opinion that portraits can be drawn best with a dark background. A reference to dark backgrounds may remind the reader of Raphael’s Florentine period under the influence of Leonardo when he produced “Granduca Madonna” (fig. 5), the masterpiece where he was able to draw exquisite rhythmical modulations out of the motionless simplicity of the design.
In the sixteenth century Leonardo da Vinci created his most famous portrait of a Florentine lady with his sfumato managed to portray masterfully traces the beautiful girl. The Titian's fame is due to the pictures, which in his painting called "Young English" Titian can print these deep eyes in great detail. There was a rivalry between the bourgeoisie of that period, because everyone wanted to be eternalized, painters gave their portraits that eternal feeling with his art. The Catholic Church felt the need to portray their history thus attracting faithful with his realistic paintings impressed the faithful. With paintings and sculptures kept alive in the memory of the sacred episodes faithful.
The frescoes and mosaics of Chora are the best examples of last scene of Byzantine pictorial art in the 14th century. The dept in the vision, the way to give the movement and plastic value of the figures, elongation in the figures are the styles of this period. The church originally included the Infancy and Ministry of Christ and an broad cycle of the Life of the Virgin. One of the curious features of the mosaics and frescoes of the Chora is the little ‘tail like’ drapery with its upturned end, almost like a hook and it brings mind a personal signature. It can be interesting to claim that the artist of all of these scenes was probably the same person and he wanted to leave his signature on his work.
They are all formed using definite diagonal lines. These diagonals are used to create the precise forms within the paintings. In his painting ‘The City Rises’, the development of the painting “was his attempt at a great synthesis of labour, light and movement”. The way he was to do this was within the techniques of the painting. The primary processes that Boccioni used that many other modernist artists also used was the use of the vivid contrasting colours.
In ancient times the artist was confined by conventions of subjects and scenes, different techniques created the variety of the quality of the art (Boardman page 294). The skill of the painters themselves was shown in how well the used the techniques to convey the beautiful pieces of artwork that they released into the world. In 550BCE Athenian black-figured pottery was dominate and red-figure was just being invented (Burnstein page 131). So for Exekias’ black figured amphora he decided to go with the common and perfected technique with the added white color for the women’s’ skin color. Exekias’ conformation with the know black-figure technique had the viewers’ of this amphora take him seriously and not have to wonder about any different or new techniques like red-figure painting.
This adds to the overall composition of the painting as there are three windows as well - a possible reference to the Holy Trinity (the Father, the Son, and the Holy Ghost or Spirit) which is commonly present in Catholic Christian art. The composition of the painting can be best described as balanced, a common aspect of Leonardo Da Vinci’s work, as Christ’s body and head form an equilateral triangle. This type of composition is typical in Renaissance paintings, which use geometric forms and figures as a nod to Neo-Platonism and Ancient Greek ideals (Khan
In the painting the drapes are used to point out the painter`s departure from the traditional form of painting. In the era of Renaissance, the painters perfected the ideal of the human form but Picasso approach to the distortion of the ideal human form led to the remarkable work of art . The painting can be seen as a reflection of the artist`s fear of venereal disease, his perception of mysteriousness of sexual energy and his private affairs with women. The painting consists of an element of psychological anxiety communicated by the masked figures. The effort of labour that Picasso indulged in painting Les Demoiselles D Avignon which is although said to be incomplete work has definitely led to a certain sense of liberation of the artist through his work ,Les Demoiselles DAvignon.