In both these pieces of art we see the same subject matter Pieta. Both sculptures were created using the carving method which is a subtractive processes (136). Tilman Riemenschneider's sculpture was done with wood. On the other hand Michelangelo's sculpture was done with stone.
Both of these sculptures were done in the round. This means that they can be viewed from all angles and are not attached to the a background (135). In both sculptures there are some very interesting disproportions. Both sculptures depict Mary larger than her son.
In Michelangelo's sculpture specifically the way he sculpted her was to symbolized different things. For instance her beauty and young age showed he purity (280). As well her grander stature than her son
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She had been trained in her earlier years by her mother to be a healer, which included working with herbs and native plants of the area. It is through this practice, many people hired her to help cure them, other family members, animals, and also to drive of bad curses. She earned a reputation for helping others but was also seen as a danger to the community. She had the knowledge through her books and power of her healing skills which was not very typical of the average women of this time era.
Each sculpture shows the creativty between the two artist. The sculptures tells a story as well paints a picture. They both depicts the thrower about to release his discus. The torso shows the muscular description in motion from other sculptures. They show humanism which characteriz mankind of society.
People have told stories with marble, as well as ink. The focus of the Renaissance was the arts. Artists had evolved their skillsets since the Middle Ages, for example, their paintings weren’t 2D and they focused on people rather than just gods. The detail of sculptures and paintings became more realistic than it had been during the Middle Ages. In Michelangelo's sculpture David completed in 1504, he sculpted an image of David from David and Goliath holding a slingshot, before he kills the beast with a stone.
there were numerous differences between art in the Italian renaissance and the Northern Europe renaissance. While Italian artists were known for their cultural achievements, Northern artists were known more for their rapid development in the arts. Italian artists created detailed human figures that were symmetrical, balanced, and maintain a linear perspective, whereas Northern artists created landscapes and paid more attention to surface detail. Italian artists focused their work mainly around classic mythology and scenes from the bible. Northern artists also worked on religious scenes, but they also incorporated detailed domestic interiors and portraits.
Political figures in art has always been an important part of our history, culture and artistic representation, Roman and Byzantine art is a classic case of these representations. The Equestrian Statue of Marcus Aurelius and Justinian as World Conqueror are two examples that demonstrate the power and prestige of these political authorities. First, Equestrian Statue of Marcus Aurelius from the Roman, Italy (173-176 CE) measures 11’6” high, cast in bronze. Secondly, Justinian as World conqueror from Byzantium period measures 13” x 11” entire panel, center panel 7” x 5” and 1” deep. The creator of the equestrian statue is unknown, however, the creator of Justinian’s ivory relief was probably made by the imperial work of Constantinople.
She was intelligent and had courage to go her own way. She was a wife, a mother and lover but at the same time a cold hearted ruler that tried to eliminate everyone that stood in her way not caring if it was a stranger or a family member. We don’t have a lot of resources out of her personal perspective but the resources that we do have, paint a picture of a strong woman that lost and regained her throne, was able to make choices that helped expand her countries wealth and territory. She was resourceful with knowledge about Alchemy, Politics, different cultures and languages. She survived the death of her first love and even though afterwards she loved again she was a changed person, colder and more focused on personal gains that anything else.
They were a great one for sympathy and pity. They could not be seen as buyers or sellers or creating or settling an establishment. She was illustrated as a dark-skinned with a strong body and thick lips and sometimes ugly. She was the mother figure or more like mother earth, stronger than her man and less feminine than white women. She made more progress in comparison to other women because of her effort and devotion and loyalty to the masters.
The Lamentation vs The Deposition Art is a practice that is constantly evolving around the world. Art practices during the Renaissance in Italy and in Northern Europe depict similar themes, but artists express their understanding of narratives differently. Giotto di Bondone, an artist during the Renaissance in Italy, and Rogier van der Weyden, an artist during the Renaissance in Northern Europe, depict the crucifixion of Christ in two similar, yet distinct manners. Giotto created The Lamentation in 1305 and van der Weyden created The Deposition in 1435. The strategies each artist uses in their work highlight the important factors that influenced artists in each region.
These understandable themes allow Michelangelo’s viewers to relate to the paintings at a personal level. Michelangelo and Reb Saunders can be compared to each other by how others comprehend their ideas. Reb Saunders is not understood by others because of his complex and peculiar thinking. Michelangelo, on the other hand, is easy to comprehend because of his personal style of
At age 17, Michelangelo had begun to dissect corpses from the local church graveyard to gain a much deeper understanding of the human body. Michelangelo had to be extremely cautious when examining corpses seeing as the act was strictly banned by the church, making the act illegal. Nonetheless, Michelangelo still had an amazing understanding of the human body and its proportions were extremely critical to his success rate as a sculptor and artist. Michelangelo’s incredibly realistic sculptures showed finely chiseled veins, wrinkles, muscles, bones, and nerves. Such skill was and still is unsurpassed till this day in the 21st century.
She had multiple marriages (like the Wife of Bath) and her husbands were both wealthy, older men. So it is clear that some women today share the same ethics as the Wife of
Michelangelo was the first Italian artist to depict the duo in such a position. Furthermore, Michelangelo differed from previous
¬¬As Michelangelo’s David is made in years 1501-04, and is detailed from the penetrating veins, furrowed brows and the muscles, we can know that this sculpture was made during the High Renaissance, as in this period it is known to be during fifteen hundreds, and that in this period they make their art more detailed than in ancient Greek and Rome to make it look more realistic. On the other hand as Bernini’s David is made during 1623-24, extra details in both face and drapery, and the movement depicted, we can know that this sculpture was made during baroque art period, as in this period they used exaggerated motion and details to produce drama, tension, and grandeur in art, and is known to be during sixteen hundreds. In conclusion, as Bernini’s David is made during the Baroque period, where it used to be more detailed and highlights motion, as we noticed in the sculpture; unlike Michelangelo’s David which is made during the renaissance period, where it used to be detailed but not much and didn’t depict movements. From those differences that are between both sculptures and there periods we can determine that Bernini’s David is more expressive than Michelangelo’s
At the first glance of two pieces of art, a viewer might have a hard time distinguishing similarities and differences between the two, but Wölfflin’s principles opens up a proper analysis to view resemblances and distinctions that reflect the artworks. In Rapheal’s “School of Athens”(1509) and Perugino’s “Delivery of the Keys”(1481), Wölfflin’s principles can be applied to point out clear contrasts between the two pieces of art. Through Wölfflin’s principles, “School of Athens” can be categorized in the principles of painterly, recession, open form, and unity while “Delivery of the Keys” can be categorized into his principles of linear, planar, closed form, and multiplicity. Focusing on the distinctions between linear vs. painterly, Raphael’s and Perugino’s paintings fall into different ends of the spectrum. In “School of Athens” by Raphael, the characters seem to mix and blend in with each other.