Ghent Altarpiece The Ghent Altarpiece is considered by scholars to be one of the most ambitious and complex paintings of the 15th century. Its detailed panels convey its sacred matter with such realism that art historians mark it as the start of the Northern Renaissance. The altarpiece, also known as the “Adoration of the Lamb”, was begun in 1425. The exterior frame of the altarpiece indicates it was started by painter Hubert van Eyck who died before he could finish, and then completed by his brother Jan van Eyck in 1432. The painting was then acquired by a wealthy patron Jodocus Vijd for placement in the Church of Saint John, Ghent, Belgium.
Leonardo experimented with oils in his paintings along with versatile colors to build up depth and layers. Leonard is later referred to the Duke of Milan by Lorenzo de' Medici were he paints the most famous fresco in history "The Last Supper" and later going on to another famous piece "Mona Lisa". After the passing of Leonardo it was discovered that he had many ideas of machines, tanks and helicopters that could be based on todays ingenuity. Leonardo was even curious about plant and animal life, studying anatomy with corpses that also involved in dissection and research. Leonardo displayed very advanced ideas that are common
Northern and Italian Renaissance Northern Renaissance Jan van Eyck “Ghent Altarpiece” (open and closed) 1432 (Kleiner, p. 402-403). A world famous Netherlandish painter, and the author of one of the largest retables of the 15th century. “Ghent Altarpiece” revealed political and social connections that prevailed in that period. The top-center exterior panels depict a husband and a wife – two donors, piously gazing at Ghent’s patron saints. In the left and right top panel van Eyck depicted Zachariah and Micah – Old Testament prophets.
This oil painting is called Salome with the Head of St John the Baptist painted by an Italian artist, Luini Bernardino. He started the creation of the painting in 1510 and it ended the year he died, 1532. In Salome with the Head of St John the Baptist, the figures emerge from a dark background and fill the foreground. The bright light is shining on both Salome and the decapitated head of St John the Baptist which calls attention on both of them. It also intensifies the tragic death of St John the Baptist and increases the dramatic impact of the painting.
JEAN DUPAS Jean Dupas was born in Bordeaux, France in 1882 and died in 1964. He was a designer, poster artist, decorator and painter. His paintings are the most closely associated with the Art Deco period. Dupas worked in Rome, Italy in 1910 for two years where he produced ‘Le Danse’ (on the right), a smaller part of a bigger painting ‘Le Pigeons Blanc’ which won a gold medal when it was presented in Salon des Artistes Français in 1922. This work was inspired by Inges “Turkish bath” and it is on eof the first examples of Art Deco painting due to the way the figures have been drawn; arabesque-ish long necks, bent wrists, almost sculptural.
Uccello's earliest known paintings, representing the creation of the animals and the creation of man, are part of a large outdoor fresco series of the Old Testament scenes in the Green Cloister of S. Maria Novella, Florence. The figures have a rhythm and sculptural strength, and they are set in a decorative yet natural environment of plants with animals, showing Ghiberti's influence and very like his Creation panel in the Gates of Paradise of the Florentine Baptistery. As the gates were designed in 1425 or later, Uccello's frescoes are usually thought to have been made after his return from Venice, but they may date from just before he went there and reflect other designs by Ghiberti, since a small copy of Uccello's lost St. Peter mosaic in Venice already seems to show his more mature Renaissance style. It is clear in his frescoed equestrian monument of Sir John Hawkwood in the Cathedral of Florence. On a base seen from below, illustrating the new rules of perspective,
[xxi] Inside, there is a triptych by the famous painter, Andrea Montegna. Other churches include the Gothic Sant?Anastasia, containing a painting by Titian and one of Europe?s oldest libraries, San Fermo Maggiore, SS. Nazzaro and Celso, and San Giorgio in Braida. Verona also produced its share of painters. Antonio Pisanello painted many courtly frescoes in the 14th and 15th centuries.
He left amazing art behind soon died of an unknown cause in 1488. Although he was a great painter, as a sculptor, it is accurate to say there were many beautiful works of his own in which it could be styled as Renaissance art. During his career, Verrocchio’s famous works include the “Equestrian Statue of Colleoni” and “Christ and Doubting Thomas”. In the bronze Colleoni statue, the style goes back to the Classical era of art but Verrocchio adds realism and expression. He is showing emotion in the horse and leadership of Bartolomeo Colleoni.
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.