Wednesday, January 25, 2012
Post #4
Humanism is an idea that was at the core of most all renaissance creation. It makes sense, considering humans were the ones creating, that a philosophy celebrating and pushing all things human would be a driving force for these artists of the time. This drive brought more importance to other ideas and philosophies as well, a few being illusionism, naturalism, and realism, that show themselves clearly in the artwork created. This was not the first time these thoughts had been important in art, instead the rise of the renaissance was a revisit, refining and furthering of the classical period. One piece that I feel includes a majority of these ideas and influences well is Raphael's School of Athens. Starting with the composition of this piece, you can see the depth very realistically. There is a very set foreground, middle ground, and background. This illusion is furthered by the linear perspective, seen mostly in the arches, and the the use of atmospheric haze throughout. As the eye moves to what should be further back , the colors and details tend to fade and gray. The lines showing the folds and drape of the clothing are much crisper and defined in the figures and the bottom of the steps than those shown at the top. the same can be said for the decorative sculptures shown as they move further in the distance. This successful attempt to depict a scene with the illusion of depth and space the way it is seen in real life is humanism. The style of this piece is done in naturally, showing these figures as humanly proportionate individuals. As you scan the crowd one can decipher if the figure is male or female, old or young, and a number of other features included because of the detail. The way that the bodies interact with the surroundings is very natural, such as the man leaning on the steps, of the fellow slumped over the block, the viewer can see that there is weight where his head is resting. One of the largest changes during the renaissance was how the artist viewed himself and his craft. Their status began to change as they continued to stress that they were part of the liberal arts and that their work was theoretical and scholarly. This is especially important to this particular piece because of its setting and who Raphael has chosen to depict. The scene is a school for the philosophical teachings of both Aristotle and Plato, both of whom are shown at the top of the steps.Just as there is a school, theory, and teaching to sciences like philosophy, there is a shift toward viewing art in the same respect. Showing both Aristotle and Plato is an homage to their individual schools of thought and how they had influenced art in a number of ways. Raphael also chooses to show other influential humans, this time more contemporary. Portraits of Leonardo da Vinci (the face of Aristotle), Michaelangelo, and other famous renaissance men, including himself, are shown in the painting. Humanism is the center of a web of different interests, philosophies, and sciences that pushed art and artists to go further in the way they show the world through their art.
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I do like that you noted the realistic poses of the figures in this painting and how they naturally interact with the other objects in the painting."The fellow slumped over the block" was particularly apt. I think these naturalized poses were missing from the paintings of the Early Renaissance and also set Raphael apart from his contemporaries.
ReplyDeleteIn terms of classicism, I like that Raphael is not only highlighting classical philosophers, but also touching on classical mythology. A statue of Greek god Apollo, for example, is depicted on the left side of Raphael's painting. This inclusion is also an homage to the classical nude (which is very humanist in nature, since the nude is a celebration of the human body).
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I too think the way the people interacted with the environment was influenced by humanism. They were not ideally posing showing bulging muscles, but interacting with each other and the scenery as one would see a crowd in the real world.
ReplyDeleteI agree with you that this is a very convincing illusion of depth and space. If you compare the first picture the book has of this piece (at the beginning of the chapter) with the picture later on (directly face on), the first one gives you a little more context to see the picture in. It wasn't until I saw the first one again that I noticed the lower banister was painted and not part of the room. I like how you pointed out the atmospheric perspective and how that helps sell the illusion, rather than just stating the linear perspective.
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