The first painting we saw was called La era, o El Verano. This very large painting, displayed peasants that were taking a break after harvesting the wheat. This picture displays the ordinary people of Spain, and a typical Spanish tradition, the siesta. Another tapestry we saw and that we discussed in class was the Las floreras o La Primavera. Similar to the last painting, the Parasol was designed for the dining room of the Prince and Princess of Asturias.
Bernini catapulted the baroque style of sculpture, adding movement and emotion that was ahead of his time. Bernini was an inspiration to a variety of artists, including some of his biggest rivals. Bernini has been known to study his sitter thoroughly through their daily lives as to catch their most natural face, and accentuate the right features to make it still look life like. His approach is faster and spontaneous than others. Bernini has a painterly effect to his sculptures and is his signature style.
There were two great artists that shaped this period – Michelangelo Buonarroti and Andrea Palladio. Michelangelo used the concept of instability in the creation of the Laurentian Library. He constructed columns that appeared to be supported on consoles. This gave the illusion that the weight of the building was carried on very weak elements. Pope Paul III admlired Michelangelo’s work so much that he employed him to create the Palazzo Farnese, the pope’s own family residence.
Many more of Brunelleschi’s artworks involve religion. He liked to use linear perspective in his designs such as domes. Brunelleschi became a well-known architect and engineer. He designed many churches and other buildings including: San Lorenzo, Cathedral of Santa Mara del Fiore, Pazzi Chapel, Ospedale degli Innocenti, and the Church of Santo Spirito. Brunelleschi designed the domes and/or the columns for some of these buildings.
Cimabue and Giotto painting have a great symbolism behind their paintings and what it means for them. Comparing both of the paintings, Cimabue is the first Italian painter that created the Renaissance style of the Virgin and Child Enthroned in Florence, Italy in 1280 which was twelve feet tall and was created with a wood panel and gold. The gold was flattened and glued down onto the painting. The gold that was all over the painting
Although this section of the panel was horrific, it was a section that was quite successful and catching to the eye. Vasari would follow this piece with another work that he had worked on for Francesco del Pugliese, which was much more of a calmer image depicting various stories that he would call fantastic. After this, Vasari introduces another painting, this time for Filippo Strozzi, that involved a monster figure yet again, but gave this work more of a sense of beauty. Unlike the earlier painting, Piero chose to empower the one who was in battle with the monster, giving a sense of hopefulness and strength, as opposed to the sense of powerlessness and vulnerability that a monster would normally give a person. I believe that the works of art that Vasari mentioned corresponds with the way that Piero would change how he were to execute these paintings, also corresponding with the way his own mental state was altering – with every painting, it seemed as if the strangeness of his personality spilled onto the
The Martyrdom of St. Erasmus was painted by Nicholas Poussin, a French painter, in the year of 1628. Nicolas Poussin (1594-1665) was an important painter of the French Baroque period and and the founder of French classical painting in 17th century. He admired Renaissance masters Raphael and Titian, and was obsessed with the study of Greek and Roman cultural heritage. Most of Poussin 's works are based on myth, history, and religious stories. Although it is not large, it is meticulously crafted.
Pablo Picasso was a well known but misunderstood artist. His homeland of Spain was the inspiration for his mural that he painted for the 1937 World Fair in Paris. Guernica is named after a small village in northern Spain that was the center of a bombing by the German Luftwaffe during the Spanish Civil War. According to PBS’ article Guernica: Testimony of War, the artist was in a sullen, frustrated mood while trying to find inspiration for his mural. This created discontentment with his work.
Both are portraits of women Picasso once loved, and surprisingly are completely different, if not opposite. “Olga Khoklova in Mantilla” (Fig. 4) was executed with oil on canvas in 1917 (Museo Picasso Malaga). This realistic piece is a detailed portrait that has a somewhat grayish tone -intense use of whites and shading. There exists some contrast between the red on the top of the mantilla and the white and greenish of the walls, as well as between the darks and lights.
It is Picasso’s statement to the world that he was breaking with the current and traditional norm and expectation. He dared to invent and remake representation. The Demoiselles was his salon painting. Created in 1907, the painting the two and half metre long, claiming for shock and impact. The painting features Iberian style of Picasso’s native Spain.