enaissance Art
Within the broad gamut of enaissance 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 enaissance period, and was completed by about 1430 (Hudelson, n.d.). Michelangelo's David, on the other hand, was completed in the early 1500s. It represents, and perhaps epitomizes, the culmination of the Italian enaissance: the period known as the High enaissance (Hudelson, n.d.). Yet, both Donatello and Michelangelo were accomplished Italian artists. Both Michelangelo and Donatello spearheaded enaissance art movements in their depictions of the Biblical hero David. Their respective sculptures capture the physique and form of the masculine David, while also revealing the most perfected artistic techniques known at that time. The subject matter…...

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References

Baskins, C.L. (1993). Donatello's bronze David: Grillanda, Goliath, Groom? Studies in Iconography 15. Retrieved online: http://tufts.academia.edu/CristelleBaskins/Papers/209007/Donatellos_Bronze_David_Grillanda_Goliath_Groom

Hudelson, P. (n.d.). "Donatello's David vs. Michelangelo's David." Retrieved online:  http://www2.palomar.edu/users/mhudelson/StudyGuides/DontlovsMichel_WA.html 

"Michelangelo's David," (n.d.). Retrieved online: http://vlsi.colorado.edu/~rbloem/david.html

enaissance Art
Ghirlandaio's "Old Man with his Grandson"

Ghirlandiao's Old Man with his Grandson

The enaissance 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, enaissance artists sought to recapture the artistic Humanism of the Classical World by incorporating reality through perspective. The enaissance also saw a transition from the strictly religious topics to a more human-centered focus. Ghirlandaio's "Old Man with his Grandson" exemplifies these values and ideals in a physical form.

In the tradition of the Classical World, enaissance artists sought to capture realistic human forms and Domenico Ghirlandaio's "Old Man with his Grandson," portrays just such a realistic scene in which an old man is seated with his grandson on his lap. Both the old man and the child are wearing clothing appropriate to the time and…...

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References

Ghirlandaio, Domenico. (1490). Old Man with his Grandson [Painting]. Retrieved from   / ghirland/domenico/7panel/08oldman.htmlhttp://www.wga.hu/frames-e.html?/html/g 

enaissance Art
enaissance 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. enaissance gained prominence almost immediately with Bellini, Botticelli, Bruegel, da Vinci, Durer, Michelangelo, aphael associating themselves with the movement. Though the origins of enaissance can be traced to Florence, Italy, there is no consensus on the exact period when this rebirth took place. Some believe that it started in 14th century as early as 1337 with the death of Giotto while others feel it originated in the 15th century. Similarly historians largely fail to agree on the exact period when enaissance ended. But it is largely felt that enaissance Art died somewhere between the death of…...

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References

Peter Murray, The Art of the Renaissance. Praeger: New York 1963

George Sarton, Ferdinand Schevill, James Westfall Thompson; The Civilization of the Renaissance. The University of Chicago Press, Chicago 1929

Renaissance Artists": Retrieved online 9th October 2004:

http://www.mce.k12tn.net/renaissance/renaissanceartists.htm

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…...

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 in Italian art as well as history and culture in general. These changes become evident when analyzing the differences between Cimabue's and Giotto's differing renditions of the Madonna enthroned. In particular, Giotto's painting whispers of the emerging naturalism and realism that would become hallmarks of the Renaissance.

The Byzantine style can be described fairly as being two-dimensional in scope, as the human figures are rendered flatly on the canvas. Moreover, one of the distinguishing features of Byzantine art is the liberal…...

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 what the link explores and how it is organized.

Art & Critique

The website 'Art & Critique' examines how the work of Leonardo Da Vinci entitled "The Last Supper" serves to unite "a personal interpretation of the event with a display of some general Renaissance aesthetic principles." (Art & Critique, 2012, p.1) It is reported that there is the confrontation of "an idiosyncratic vision" and in contrast a "generalist, if not dogmatic principle." (Art & Critique, 2012, p. 1) The writer of…...

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Bibliography

Leonardo Da Vinci: The Last Supper (2012) Art & Critique. Retrieved from:  http://artandcritique.com/leonardo-da-vinci-the-last-supper/ 

Leonardo da Vinci's Last Supper (2014) Italian Renaissance. Retrieved from:  http://www.italianrenaissance.org/a-closer-look-leonardo-da-vincis-last-supper/ 

The Last Supper & Santa Maria delle Grazie (2007) Leonardoa Milano. Retrieved from:  http://www.leonardoamilano.org/english/last_supper.php

Renaissance Art Response
The word renaissance means a complete change in modes of art, literature, music, and architecture, as well as an altered sense of morality and ethicality during a given period of time. This change stems from an expansion of thought and with that a new sense of what matters in the world. Every type of art developed and changed throughout the Renaissance period, including literature, music, and visual arts, namely paintings and sculpture. One of the finest artists who came out of the European Renaissance was Rembrandt van Rijn. Rembrandt is unique in all of Renaissance artistry in that he was primarily interested in painting people that he knew rather than historic figures or events although he did also paint Biblical scenes which he felt particularly connected to.

The piece I focused on is a self-portrait of the artist Rembrandt van Rijn, more commonly known as simply Rembrandt, from 1663.…...

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Works Cited

Hughes, Robert. "The God of Realism." The New York Review of Books. 53(6), 2006. Print.

Van de Wetering, Ernst. Rembrandt: the Painter at Work, Amsterdam University Press, 2000.

Print.

Bernini's statuary group is a combination of lyric and mimetic representation depicting both a mythical episode and vital energy which is best felt when looking at Persephone's hand pushing against Pluto's face. In fact, even this apparently simple detail is dual in the sense that on one hand, it is meant to give the impression of despair and struggle, and on the other, this gesture results in creases in Pluto's skin. Bernini's sculpture incorporates the twisting pose belonging to Mannerism, a reaction to the perfection of forms that can be identified during the Renaissance in the works of its greatest exponents, such as Michelangelo, Leonardo da Vinci and Raphael.

The middle ages were marked by strictness imposed by the Catholic Church which exerted control over society. Artistic expression was reduced to a minimum because the doctrine of the church encouraged religious meditation, and austerity. The end of the middle ages brought…...

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Works Cited

Barolsky, Paul.As in Ovid, So in Renaissance Art. Renaissance Quarterly, Vol. 51, No. 2 (Summer, 1998), pp. 451-474

Huber, Lorraine G. The High Renaissance period 1495-1520.

Available:  http://www.abstractloft.com/expressionist/artcrit.html 

Johnson, Paul. (2003). The Roman Climax of Art and Its Confused Aftermath. In Art: A New History. Harper Collins. 273-310.

Renaissance Art Patrons and Their Effect on History
The great works of art that hang on the walls of some of the great museums of the world are not there because the artist wished for the world to behold their particular brilliance. It is true that greats such as Michelangelo and da Vinci were brilliant in their own right, but they would not have been able to produce as they did unless they had patrons who commissioned many of their works. Royalty were not alone in being able to afford the works that brilliant masters produced, though they were patrons at times. Private, wealthy persons who wanted to be remembered for their wealth and stature were the most prolific patrons. Even into the modern day, there are patrons of the arts who commission paintings, sculptures, buildings and other works that otherwise would not be produced. It is a tradition that has…...

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Works Cited

Jones, Jonathon. "Arts Cuts? Pah -- Let's Hear it for Patrons." Guardian, 9 June, 2010. Web.

Reiss, Sheryl E., & David G. Wilkins. Beyond Isabella: Secular Women Patrons of the Art in Renaissance Italy, 2009. Kirksville, MO: Truman State University Press.

Sassi, Janet. "Art Patronage Played Role in 20th Century Minimalist Movement." Inside Fordham. Web.

Stockton. "Survey of Western Art: Baroque Art." 2010. Web.

Renaissance Sculpture
The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as "Il Divino," that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J.M. Olson challenges the very existence of a "High Renaissance," on the grounds that "the term is artificial, a qualitative judgment of 'High' signifying the best," (149). Surely, there are noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is…...

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Works Cited

Avery, Charles. Florentine Renaissance Sculpture. London: Charles Avery, 1970.

Copplestone, Trewin. Michelangelo. New York: Regency House, 1996.

Olson, Roberta J.M. Italian Renaissance Sculpture. London: Thames and Hudson, 1992.

Sullivan, Mary Ann. "Images of David by Donatello." 1999. 24 Apr. 2003.  http://www.bluffton.edu/~sullivanm/bargello/david.html .

enaissance Art eflection
The Birth and Evolution of Beauty

Perspectives on form and beauty have changed over the span of hundreds of years, from unrealistic expectations in anatomy to that of more lifelike depictions. Of course, no story on beauty can ever be told without the use of Venus and the changes she undergoes throughout the years during the enaissance. Botticelli gave Venus life, Bronzino beatified her to a goddess-like pedestal, and Cambiaso shadowed her in humanity. It is through these artists' eyes that one can see the progression of beauty throughout the enaissance years.

Earlier enaissance artists sought to epitomize and define beauty as "an order or arrangement such that nothing can be altered except for the worse" (Haughton, N.). While the movement brought along by the enaissance certainly aimed to focus toward a realistic depiction of beauty, this was not always so defined during Botticelli's time. If one looked at Botticelli's…...

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Resources

Haughton, N. (2004). Perceptions of beauty in Renaissance art. Journal of Cosmetic Dermatology, 3(4), 229-233. doi:10.1111/j.1473-2130.2004.00142.x

Hughes, R. (2001). WHEN BEAUTY WAS VIRTUE. Time, 158(27), 91. Retrieved from EBSCOhost.

Lakeside Publishing Group, L. (2009). Italian Renaissance Art. Style of Italian Art in the Renaissance, 1. Retrieved from EBSCOhost.

itual and pageantry also surround the architecture and buildings of the time, as the article on the Medici indicates. The architecture of the enaissance is rich in art and tradition, making it some of the most memorable architecture in the world. Without art, this would not be the case, as the buildings celebrate the beauty of design and balance as well as form and function. Clearly, art permeates every aspect of the enaissance world, from the pageants and rituals that were so common, to the pageantry of the buildings that represent the time.

Not only do these pieces indicate the importance of religion in enaissance society, they indicate that rites, and rites of passage are common throughout the world, even in uncivilized countries, which indicates this is a very common social form of worship and custom. We still observe many rites of passage in society today, from "sweet 16" birthday parties…...

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References

Kertzer, D.I. Ritual, politics, and power.

Platius, a.J. Emblems of the city: Civic Pageantry and the rhetoric of urbanism.

Terry. Benchmarks of kings.

The festival of San Giovanni.

To counterpoint that, the third author discusses the many images of childbirth that were created during the enaissance, also handcrafted, which helped celebrate babies coming into the world. It is not impossible to imagine that some of these images, often created to give mothers comfort before and after the birth, could have been created by the very same artists and craftsmen who were creating tools for torture and pain during the same time.
It is interesting to note how different the uses of art and artistic talent were during this time. Today, it seems a juxtaposition for an artist to create tools used to maim and kill another human, but at the time, it was commonplace and even "normal," as these essays indicate.

eferences

Musacchio, J.M. The art and ritual of childbirth in enaissance Italy.

Sheridan, a. Discipline and punish: Birth of the prison.

Terry, a. The craft of torture: Bronze sculptures and the…...

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References

Musacchio, J.M. The art and ritual of childbirth in Renaissance Italy.

Sheridan, a. Discipline and punish: Birth of the prison.

Terry, a. The craft of torture: Bronze sculptures and the punishment of sexual offence.

Images of adolescent itself are no longer as carefree and fun as they were during the decade when Ferris Bueller was such a cultural icon. Today, the teens of television shows like the OC are cynical beyond their years, rather than careless about their future. Also, the image of the World Trade Towers has become a loaded cultural symbol for both liberals and conservatives. For liberals such as Michael Moore in Fahrenheit 9/11, the Towers symbolize the Republican establishment's stupidity (as President Bush does not even react to the bombing while it happens, but continues reading a children's book) while for conservatives, the bombing of the Towers represents the failure of diversity and tolerance, and the need to return to the supposed true, core American values of Christianity and insularity. The Towers that once symbolized the New York skyline for all New Yorkers now divide Americans on the right and…...

aphael: Artist of the enaissance
aphael was the son of Giovanni Santi, an educated man that was able to provide his young son with a remarkable life exposed to much art, many artistic geniuses, and the remarkable culture of the Umbrian court. aphael was blessed during his childhood in terms of wealth and culture and would never have to know the life of a struggling artist nor the sense of begging for handouts or working in squalor. However, aphael did suffer great tragedy: his mother died when he was eight years old and his father died three years later when aphael was eleven years old. Thus, as a tender child, aphael was no stranger to tragedy, something that no doubt instilled his life, making an imprint on him as an artist. One thing that aphael's father did before his death that had a profound influence on the child and how he…...

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References

Fineartarchives.org. (2014). The Triumph of Galatea . Retrieved from fineartarchives.org:  http://fineartarchives.com/raphael-the-triumph-of-galatea/ 

Finnan, V. (2014). Raphael Biography. Retrieved from italian-renaissance-art.com:  http://www.italian-renaissance-art.com/Raphael-Tapestries.html 

Nationalgallery.org.uk. (2014). The Ansidei Madonna. Retrieved from nationalgallery.org.uk:   uffizi.org. (2014). Madonna of the Goldfinch by Raphael. Retrieved from Uffizi.org:  http://www.uffizi.org/artworks/madonna-of-the-goldfinch-by-raphael/ http://www.nationalgallery.org.uk/paintings/raphael-the-ansidei-madonna 

Vam.ac.uk. (2014). The Raphael Cartoons: What is a Cartoon? Retrieved from vam.ac.uk:  http://www.vam.ac.uk/content/articles/t/raphael-cartoons-what-is-a-cartoon/

Art's Transformative Influence on Societal Values and Beliefs

Art, in its multifaceted forms, serves as a potent catalyst in shaping the values and beliefs that permeate societies. It possesses the transformative power to reflect, challenge, and evolve the ethical, moral, and cultural fabric of human experience. Throughout history, art has borne witness to societal shifts and has played an integral role in fostering progress and empowering individuals and communities.

Reflecting Societal Values:

Art often mirrors the dominant values and beliefs of a particular time and place. Artists draw inspiration from their surroundings, capturing the hopes, fears, aspirations, and prejudices of their contemporaries. By....