Located in hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, competing for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Madonna with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative
To add to this his sculptures are discussed in today’s conversations. Finally, Michelangelo has introduced many different techniques that are still used in today’s society. Michelangelo’s artwork affects the modern-day society by playing a role in modern day art, daily life and even fashion. Michelangelo’s full name is Michelangelo di Lodovico Buonarroti Simoni and is Italian. He was born on March 6,1475 in Caprese, Italy and died on February 18, 1564 in Rome, Papal States.
With his friends Masaccio (a painter) and Brunelleschi (an architect), Donatello traveled Rome in the 1420s to study classical art. Once there, they measured and calculated the proportions of the art to fully capture the styles. Analyzing the Roman art also allowed the artists the discover the purpose of art. One value that Donatello gleaned from the classical art was the beauty of the human body. Classical art often depicted humans as beautiful, majestic creatures, and this was the aspect that Donatello applied to his own sculptures.
This concept helped pave the way for the Renaissance artist in the 15th century, such as Da Vinci and Michelangelo. He also designed great pieces of architecture, such as the Basilica of San Lorenzo and Ospedale Degli Innocenti. Filippo Brunelleschi reinvented linear perspective which had a huge impact on architectural drawings. It became a widespread concept at the time. Renaissance artist used this concept to create famous pieces of art.
As described by Edd Morris, “Gothic architecture marked the first time that beauty and aesthetic values had been incorporated into building design". Builders wanted to see who could construct the better, more decorative building and all for the prestige of the Christian region. This is where the pride toward religion began to blend with the creation of religious architecture. Gothic architecture is still very important and used constantly with designers, explained further here, “Artists still gather inspiration from gargoyles, architectural and religious features that were found in churches beginning with the 1200s’ (the rose, stained glass, ribbed vaulting), Gothic text (typography), Gothic floral elements (like the ‘Fleur de lys” Gothic symbol), Gothic cathedrals with pointed arches and high towers, Gothic religious paintings and much more. In some design works, the Gothic style is mainly used as inspiration to create unnatural creatures with masculine, forceful, tough, gloomy, sinister, and mysterious traits.” Many modern-day logos are inspired from gothic architecture and we don't even realize it.
Following the principles of pointillism, Seurat is able to define his shadows not by the traditional black, but by the color that they come into contact with. The women’s skirts represent the best illustration of this: the skirts from the women in the center appear to be forming a blue shadow on the ground. Here the mix of green results in a blue shadow, which does not follow the conventions of shadow forming. The representation and nature of light can be seen most clearly in Gustave Caillebotte’s Paris Street, Rainy Day in the shadows, and the stones of the street itself. Shadows here are also not black.
The imagery of the preceding Logos Hymn—including spirit becoming flesh and blood—is echoed throughout John’s account of this miracle. This passage is replete with symbolic devices, including Christ’s use of the word “woman” when he addresses his mother. What might simply seem like an offhanded, degrading response on Christ’s part, is actually his very sacred way of clarifying the important role played by Mary, and on a grander scale all women, in the salvation of humankind. Throughout the Bible, a “woman” is directly referred to as such at every major event—at the Creation, the Fall, the Incarnation, the Death, the Resurrection, and in an eschatological sense at the Second Coming. It is undeniably significant that Christ uses this title here, to symbolically reiterate Mary’s role as the means of the Incarnation, and as a witness of his divinity.
The Trinity gives the viewer a colossal portal to view the world, as Masaccio would have seen it in renaissance Italy. This spectacle shows the beautiful “elaborate” (Kloss, Lecture 13, 20:07) painted detail of a fictional multi leveled architecture presumably a chapel or a cathedral with emissive barrel vaulted ceilings; that is set over a skeleton set upon it’s burial crypt, that would be seen at ground level on this massive 22’ fresco, the skeleton which has been obscured over the years was rediscover in the last century (Kloss, Lecture 13, 22:16) I think Masaccio had some symbolic meaning on the ideology of death which could lead to an explanation as why it was covered. Above the tomb perched upon an “illusionistic platform” (Kloss, Lecture
Reem Krimly Dr. Jason Heitrick World Cultures II April 16, 2017 Research Paper Da Vinci’s Take on The Last Supper Introduction The Last Supper is one of the world’s most famous and widely recognized paintings painted by the multi-talented Italian inventor, sculptor, scientist, mathematician, architect and painter Leonardo Da Vinci. A prime example and product of Italian High Renaissance art, Da Vinci’s The Last Supper is a mural located in in the church of Santa Maria delle Grazie in Milan, Italy and painted in the 15th century. The painting depicts the religious scene of Jesus Christ in The Last Supper with his Apostles (Thought Co). This paper aims to examine The Last Supper as a painting, its painter, the artistic period it’s associated