Italian Renaissance art was heavy on symmetry and balance and giving the subjects a sense of mass and volume by using knowledge of the underlying anatomy of the human figure. This allowed for more realistic art with shadows and motion in sharp contrast to the flat art of the Middle Ages. A fine example of this is another work of Michelangelo’s from the Sistine Chapel, titled the Creation of Adam. Northern Renaissance art, while also more realistic than previous movements, focused heavily on the minute surface details and naturalism. A kind of documentary nature takes hold in this kind of art, as if the painters are capturing a moment in time, much the way a photograph would.
Altarpieces were commonly commissioned to artists during the renaissance in Italy. Both of the altarpieces I compared were in the Philadelphia Museum of Art. The altarpiece paintings I looked at were Dosso Dossi’s Altarpiece
What I enjoyed the most from this painting is its great size as well as its variety of objects and figures, which open your mind and allow you to use your imagination. This painting also caught my attention because it is painted in a wall, that has some crack and bumps, which gives you a scary sensation and creates a tense environment. I considered it very interesting because as you get closer to the picture, you find more details that amazes you and adds to your eagerness of knowing the message and the behind it. The message delivered by this painting is very complex, which can be understood in different way, depending on the point of view and perspective. The colors being used are all dark colors, especially green and dark blue that creates a cold, dark, gloomy, negative which work very well in the world of mythology or an unreal world.
Many individuals were gifted with artistic skill and creativity. I will talk about how the Mediterranean influenced the Northern Artists such as Albrecht Dürer, Peter Paul Rubens, Simon Vouet and Anthony van Dyck. I will pick one famous piece of each and explain how they used Baroque or Italian features. Albrecht Dürer was born May 21, 1471 in the Franconian city of Nuremberg, one of the artistic and commercial centers in Europe during the 15th and 16th centuries. He was a painter, draftsman and writer but his greatest artistic impact was in the medium of printmaking.
The Contrast and Influence of Michelangelo and Da Vinci Charity Alexander ART 101: Art Appreciation Mrs. Willis February 08, 2013 The Contrast Page 1 In a world where the art of the past is considered to influence both the past and the future artists of the age, one would be remised to not include an examination of the works of Leonardo Da Vinci and Michelangelo. These two artists greatly influenced the art and artists of the 16th century in Italy and Europe. Their works have been examined and used as examples of various techniques and subject matters. The first set of works to examine would be that of Michelangelo’s Leda and the Swan and Da Vinci’s Lady with the Ermine. In Michelangelo’s Leda and the Swan, the subject matter is the story of how Zeus, a Greek god, took the form of a swan and seduced Leda, who then gave birth to two children of Zeus, Helen and Polydeuces.
The subject matters are usually different; the Italian Renaissance art prefers classical mythology and religious scenes, but the Northern Renaissance art favors domestic interiors, portraits along with religious scenes. We will take a closer look at the difference by using two paintings from these two time period: The Last Judgment by Michelangelo
476, para. 1) Bramante’s Tempietto kicked off the move towards the High Renaissance era. With Michelangelo’s painting of the Sistine Chapel, it has been noted that Bramante suggested that he use scaffolding that could be suspended from the ceiling to properly paint the roof of the Chapel. Michelangelo later decided to create his own scaffold because he did not want anything marking the area that would be painted. (Nickerson, 2008) Bramante then used Michelangelo’s style when he needed a scaffold for St. Peter’s.
After reading the name of the painting, one can tell that this is a depiction of when Gabriel approached Mary and told her that she will give birth to the Son of God. This certain depiction made by Van Cleve is derived from Luke 1:26-38 (DiTolla). In The Annunciation, van Cleve uses even composition, curved shapes, and a use of contrasting colors to distinguish Gabriel and Mary from the other aspects of the painting. The Annunciation was painted in 1525, during a time period called the Renaissance. The Renaissance (meaning rebirth) was a time period in Europe following the Middle Ages with a revival of interest in the classical learning and values of Ancient Greece and Rome.
Hope Hultgren Art 100 November 7, 2011 Comparison of the Crucifixion In this essay I will compare and contrast two works of art. The first is The Crucifixion, a panel from the Isenheim Altarpiece (Matthias Gruenwald, 1510-15). The second is Crucifixion (Pietro Perugino, C.1485). They are both oil paintings on wood panels, have essentially the same title, were completed in around the same time period, and are about the same subject matter (the crucifixion of Jesus Christ), but they are two totally different works of art. The crucifixion has been portrayed in art a countless amount of times through the centuries, and in a myriad of different ways; with Gruenwald and Perugino’s paintings as just one example of this.
During the early part of the Italian Renaissance the architecture began to change as well. Instead of continuing the same style of the Gothic architecture from the middle ages, architect Filippo Brunelleschi combined the style of the dome and pointed arches to create a cathedral dome, which resembled a lantern shape. Another change or evolution of