The story of David versus Goliath, as told in I Samuel 17:28-51, tells the tale of David, a humble Shepherd boy who kills the giant Goliath with a sling and a stone. The Biblical character of David has been the subject of many works of art by some of the world’s most famous sculptures. The young David has been depicted in marble by such Italian artists as Donatello, Michelangelo, and Bernini. Michelangelo and Donatello, probably the most respected artists of the Renaissance period made their sculptures in fashion typical for that period with due respect for Greek influences. Their “David” is depicted nude and in classic muscular form.
Artists and Architects in Italy began looking at ancient artefacts, structures and scriptures for inspiration in seek of a new ‘truth’ and thus Humanism was born. This study of classical culture shifted man’s interest from religion to himself as the human body became the subject of interest as they believed that “man is the measure of all things” in stark contrast to the prior emphasis on the secular. Humanism, similar to its Greek predecessor, sought to find the order of the universe and also a new order of architectural language. Figure 1. Marcus Vitruvius ‘De Architectura’ (The Ten books on Architecture), 15BC Figure 1.
3/22/2012 “Icarus” The myth of Icarus is a fascinating Greek story. The myth is about Daedalus and Icarus, father and son. Daedalus is and architectural genius, his work and ingenuity is recognized by the king Minos. The king wishes to design a building that will be able to contain the mythical monster Minotaur. Daedalus is hired to create and build this edifice he does and creates a maze like interior that cannot be figured out.
Michelangelo depicts David as a strong, godlike figure, emphasizing the size of his hands and feet. As one of the first nude sculptures since the Greek and Roman times, “David” portrays a scene in the Bible story of David & Goliath, where man defeats the supernatural. “The Last Supper” by Italian artist and scientist Leonardo da Vinci conveys the Renaissance belief that accuracy is more important than the abstract. By slanting the walls and opening the windows in the painting, da Vinci gives the viewer an illusion of depth, which makes the piece more realistic. The famous Santa Maria del Fiore (or “Duomo of Florence”), by Italian architect Filippo Brunelleschi, conveys the humanistic concept of reviving the past because the shapes, columns, and proportion of the Duomo were all in imitation of ancient Roman architecture.
Bramante and Aesthetics of High Renaissance April 29, 2013 The importance of architecture of Bramante and how we evaluate how architecture represents the attitudes and the aesthetics of the high Renaissance area by allowing us to see the artistic side of high Renaissance from different point of views. Bramante was a very classical artist and used antiquity in his work when it came to his art and his architecture. Without types of art into day’s culture and or museum we would not know what masterpices are or what a well known Vatican building would be or a templeton. For that matter the importance of architecuter in the high renaissance is the matter of how our culture and our socity as evolved over centuries and how we today still have some of that in process to show the amazing work of amazing people. Bramante was a natural when it came to humanistic values and he knew the roman models and style of the architectural aspects of each.
Formal Analysis Today, the Sphinx of Hatshepsut, (ca.1479-1458 B.C.) is located at The Metropolitan Museum of Art in New York. It is believed that the statue was originally located in Western Thebes, Deir el-Behri, with the body of a lion and Hatshepsut's face, nemes headdress and ceremonial beard; it “protected” the royal funerary temple. The statue also has a bull tail that “represented the procreative power of ancient Egyptian royalty”. The large sphinx is made of granite with traces of yellow and blue paint.
,.kMichelangelo di Lodovico Buonarroti Simoni was born on March 6, 1475 and dies on February 18, 1564. He is truly the greatest italian sculptor, painter, architect, poet and engineer to have ever lived. Michelangelo never liked to consider himself a painter, he preferred to be revered for his work as an architect in the later years of his life. The Sistine Chapel is known worldwide and is the most famous chapel in the official residence of the Pope in Vatican city. Michelangelo’s representation of the Genesis covers twelve thousand square feet and took him four years to paint the amazing frescos.
He went to work under another sculptor hired by Lorenzo de Medici. When Michelangelo was 21, he went to Rome, where he was commissioned to carve a group of marble statues showing the Virgin Mary supporting the dead Christ on her knees. His sculpture was called Madonna Della Pieta, and it made Michelangelo famous. A few years later, in 1501, he accepted a commission for a statue of David. He took on the challenge of carving this beautiful work out of a “huge oblong chunk of pure white unflawed Carrara marble – some 18 feet high and weighing several tons – that had been badly block out and then abandoned by an earlier sculptor” (Coughlan 85).
One of the types of art during this time was painting and sculpting. Michelangelo and Leonardo da Vinci were two of the most famous painter/sculptors of the Italian Renaissance. Michelangelo was born in 1475 and accomplished many of the famous works of all time before his death in 1564. Some of his works are the painting on the ceiling of the Sistine Chapel and he also did many nude sculptures. Another famous painter of this time was Leonardo da Vinci.
Thus, I think Mona Lisa is the most suitable artwork for me to mediate different meanings produced since the Renaissance until the postmodern world. The Renaissance’s painter Leonardo Da Vinci finished the portrait in between 1503-1504. There are multiple hypotheses about why the portrait was created: some of them says that it is a self- portrait of the painter by noting that the eyes, nose- tip and mouth of Mona Lisa actually line up with a known self portrait of Leonardo Da Vinci. Other claims that the sitter and the painter had a special rapport. Thus, the sitter appeared to look at the viewer (actually the painter) straight in the eye with ease.