The Doryphoros broke the mold for the art world allowing all artists to experiment on their own to try to create their own form of one of the best known sculptures of the ancient classical era in Western Art and an early example of Greek classical contrapposto. Contrapposto is a term most commonly used in art to describe a human figure standing so that its shoulders and arms twist off-axis from the hips and legs. This gives the figure a more relaxed and less stiff appearance. The Doryphoros is an example of human iconography, Polykleitos was granted fame for this piece because of his attempts to formulate a canon or rule, to make sure that everything was in proportions of the human figure. Making a canon for this work, would be generalizing a formula so the work may be repeated.
Michelangelo used marble to create the 13’5” sculpture. He was commissioned in 1501 by the Florentines. David of Michelangelo represents emotional power and the athletic ideal of antiquity. It’s a representation of right over might. He is staring into space psychologically preparing for The danger that lies ahead.
In fact, Michelangelo's David was created specifically to reflect these values, as Florence commissioned the work as a symbol of its triumphs over far stronger and larger rivals. [4] While it was not explicitly declared as such, one can infer that Bernini's David was most likely created with a similar purpose in mind. Even a passing glance at the statue reveals the fiery and forceful style of
someone with absolute authority, power and will. Historically we know that Ozymandias (Ramses II) claimed to be God. The Holy Quraan also mentions Ozymandias’ claim to be God over his people (Ch79:24, Saheeh International). Islamically the title of King of Kings is reserved for God Almighty alone. Thus we can see that his arrogance and ego reached such a level that he thought of himself as god and forgot that he was a mere mortal.
Sistine Chapel Michelangelo’s Sistine Chapel, during the Renaissance period, there were many great artistic achievements that were incredible. Michelangelo Buonarroti was one of the most famous personalities from this era. He was an accomplished artist, sculptor, architect, and poet who created many astounding works. Some of his great accomplishments were his sculptures of David and the Pieta. He is probably most remembered for painting the ceiling at the Sistine Chapel in Rome.
The Etruscan believed that every physical phenomenon was a clear act of divine power and this power could be dissuaded or persuaded to favor human acts. The Etruscan had a god for everything: The sun, Catha and Usil; a civil god, Selvans; Turan, the goddess of love; there was a god for war, a god for the moon, etc. The Etruscan afterlife was negative, gods were hostile and were said to bring misfortune, so their religion was centered on interpreting the will of the gods and satisfying it. The Egyptian's had a large belief in the afterlife, and also believed heavy in divine right. They believed that every human being was composed of physical and spiritual parts or aspects.
He used these observations to depict realism in his art, and he used his imagination and skill to make his paintings as real and lifelike as humanly possible. With sculpture Leonardo believed there were limits, with painting, he had endless possibilities, and with these endless possibilities at his fingertips he could add certain symbols, and characteristics. One of these things was geometric shapes, they were a staple of the renaissance and a common theme in Leonardo’s paintings. Often times a triangle can be seen, which is a universal sign of the holy trinity. Another detail Leonardo would add is something a little more humanistic; he would give each being their own personal traits and facial features.
The fact that these paintings and statues had been moved to the Palazzo della Signoria introduced the idea of state symbolism. Michelangelo’s David is the most popular of all, which later replaced Judith on the left entrance of the Palazzo. David is famous for its drastic realism and the idea of him being an ordinary man and a hero much like Hercules. This statue suggests that the
Characteristic of Renaissance was that not only humans were portrayed with incredible male physiques and Jesus is portrayed as a greek bodybuilder and resembles the Greek sun god Apollo, but shows also that Jesus and the rest of the people are same size, not like medieval paintings. Influences of the time were represented in this fresco, such as Dante’s character in his epic poem Divine Comedy: Charon, the greek ferryman of river Styx in hell. Dante also describes in his epic poem the greek judge of the underworld: Minos, which is painted by Michelangelo as the Pope’s Master of Ceremonies, Biagio da Cesena, for criticizing Michelangelo’s fresco due to nudity in holy place. PARAGRAPH II: ANATOMY With the revival of classic ideas, the study of anatomy was brought up as well. Michelangelo depicts human
In Homer's lyrical verses and in his use of detail, diction, and imagery, he paints his own portrait of a classic hero through the brave deeds as well as the human flaws of Hector and Achilles that eventually lead to the downfall of proud and powerful Hector. The first characteristic that is assigned to a classic hero by Homer is the fact that they are strong and brave, and may even have god-like qualities. To emphasize this, Homer deliberately and repeatedly adds adjectives that praise the two heroes before their names almost every time he refers to them. While Achilles is usually depicted as swift and godlike, Homer portrays Hector as bright, dazzling and dignified. Homer uses phrases like, "...noble bright-helmeted Hector..."(398;Book 22), "...man-killing Hector..." (149;Book 6), and "Resplendent Hector..."(146;Book 6) to describe the Trojan soldier, while he praises Hector's Greek opponent with such expressions as "Achilles, peer of the plume-waving war god..."(145;Book 22) and "...Achilles, swift of foot..."(182;Book 1).