Art
As Baxandall points out, "a fifteenth century painting is a product of a social relationship," (p. 1). That social relationship was carefully forged and affected by a confluence of interests including those that are commercial, cultural, religious, and perceptual or aesthetic in nature. The relationship between client and artist was one constrained by social convention, legal tradition, and also the expedience of broader interests. Money has played a long-underestimated role in the history of art, notes Baxandall. For this reason, it helps to examine fifteenth century paintings in terms of not only their aesthetic values and symbolism but also in terms of how financial or class-based issues impacted issues like the materials used, how the artist was paid, and the size of the piece. Painting, Baxandall states, was "too important to be left to the painters," (p. 3). Two of the most important conventional characteristics of fifteenth century paintings that illustrate the "market ordering" transactions of art include the grouping of human figures in the composition and also the use of color -- what Baxandall refers to as the "splendor of hues," (82).
Grouping of human figures imparted meaning relative to gender norms and even cosmologies. Painters imbued their human groupings with an internal logic that reflected social conventions and proscribed norms. Botticelli's work is replete with examples of the use of human groupings to reflect "market ordering" transactions in art of the fifteenth century. For example, "The Liberal Arts Receiving a Young Man" depicts a tightly woven group of people in a distinctly secular setting. Here, gestures that used to be squarely within the province of religious hierarchy had become secularized in symbolic ways. The "straightforward form" welcomes the youth, highlighting the impending triumph of reason and science over religion that the Renaissance would come to represent throughout Europe (Baxandall 68). The shift of power and wealth from ecclesiastical sources to capitalist ones plays itself out meaningfully in frescoes and canvases like these.
Likewise, the resurgence of ancient Greco-Roman sensibilities, styles, and symbols represented a shifting "marketing ordering" of art and corresponded with the layout of human forms in linear composition....
Renaissance Art Within the broad gamut of Renaissance art throughout Europe, two sculptures remain outstanding and worthy of mutual comparison. Those two works of art are Michelangelo's statue of David and Donatello's same. The latter is the predecessor; Donatello's David predates Michelangelo's by about fifty years. Donatello's sculpture of David is considered to be of the Early Renaissance period, and was completed by about 1430 (Hudelson, n.d.). Michelangelo's David, on the
Renaissance Art Ghirlandaio's "Old Man with his Grandson" Ghirlandiao's Old Man with his Grandson The Renaissance marked a dramatic shift in artistic values and ideals as represented by Domenico Ghirlandaio's painting "Old Man with his Grandson." While the subject of Medieval art was strictly religious and lacked true perspective, Renaissance artists sought to recapture the artistic Humanism of the Classical World by incorporating reality through perspective. The Renaissance also saw a transition from
Renaissance Art Renaissance literally means 'rebirth' and the movement was specifically about rebirth of cultural ideas, spiritual views and artistic expression. The term, first coined by Vasari in 1550, is now used for the period from mid 14th to mid 16th centuries that was marked by a revolution in art, painting, sculpture and even literature. Renaissance gained prominence almost immediately with Bellini, Botticelli, Bruegel, da Vinci, Durer, Michelangelo, Raphael associating themselves
Art Cimabue's late Byzantine painting Madonna and Child Enthroned is on the surface and in many respects similar to Giotto's early Renaissance painting Madonna and Child Enthroned with Saints. In fact, only a generation or two separated these two painters. Cimabue painted his Maesta from 1280 and finished in 1285, whereas Giotto worked between 1305 and 1310 on the Ognissanti Madonna. Within this 40-year time span, great changes were taking place
Renaissance Art The objective of this study is to trace the compositional, stylistic and symbolic development of the story of the Last Supper by Leonardo Da Vinci and what makes Leonardo's work unique. Earlier examples will be cited including those of Andrea del Castagno or Domenico Ghirlandaio. The three sources will be annotated with a 10-sentence paragraph reviewing the source. Each annotation will include full sentences in essay format that detail
Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all." (Cole, xx) the purpose of the work during the renaissance was mostly likely for a prominent individual's bedroom furniture or a piece of wainscoting. Some art connoisseurs have considered that the detailed wasps at upper right may have been a link to the popular
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