Post #7 Baroque Art

The art that was created during the Baroque period in the seventeenth century deliberately chose to step away from styles and techniques that were popular throughout the Renaissance. However, there were some elements of Renaissance art that can still be seen within the Baroque period. Set side by side for comparison, Michelangelo's David (1501-04) and Bernini’s David (1623) show many of these similarities and differences. At first look it is clear that both artists were striving for a degree of naturalism. In both pieces, the David figures appear to be humanly proportionate and posed in very natural ways. Michelangelo choosing the classical contrapposto stance, showing how the weight is shifted to one leg. Bernini too shows this transfer of weight but does so by freezing his David in action, as he prepares to sling his stone. Both artists also chose the same medium, marble stone, for which to carve their pieces, making many of the difference more noticeable when in comparison. Neither artist chooses to incorporate paint, or color to the final statue, opting to stay with the color of the stone.The use of pure marble statues goes back to the classical period, an artistic period that has had a large influence on both the Renaissance and Baroque art as well. Michelangelo's David shows more influence of humanism, than Bernini's. In Michelangelo's David we can see that first he is nude, showing the human form freely. He has also been idealized, showing him in a "perfect" human from, in strength and youth, with fully toned and sculpted musculature. Baroque artists were not as heavily influenced by the ideas of humanism. As one can see, Bernini's David, along with much of Baroque art, has some way of covering figures so that they are not nude. Also his David is not idealized, there is a realism to his muscles, body age, and facial features. The art of the Renaissance is known for its focus on visual harmony and calming to the viewer. Michelangelo's David shows this in his very relaxed pose and the serene gaze. The styles of Baroque art rejected this ideal and instead chose to make art that was full of drama and emotion and tried to force viewer involvement when looking at a piece. Bernini does this in his David in a couple of ways. As mentioned before, the figure is frozen in motion, but like in much of Baroque art, Bernini chose to freeze his David at the utmost climax of activity. In this case right before David slings his stone at the giant Goliath. Bernini also is able to incorporate a sense of drama by  the facial expression he chooses to give the figure. By the look on his face the viewer can see the range of emotions David might have felt at that moment, from fear,or anger, or concentration, even faith. This kind of emotion and manipulation of the viewer into a similar emotional response is an element that is not present in the Michelangelo version of David.

Post #6 16th Century Art in Northern Europe

Albrect Durer was a true original. He was from Germany, where there was no artists guild system, allowing Durer to be less restrained as an artist than others who had to work their way up the ladder. He traveled and trained in Italy and when influenced by what he saw and learned there was able to mix the two different cultures in his life to do the most for him artistically. It is said that Durer was the first humanist artist in the north and even more impressive, that he is the first "artist" by modern definition. The level of personal fame he was able to achieve, the geographical reach his name had was a first of its kind. Durer was one of the first to utilize and take advantage of print making. Where an artist would make one piece to be viewed at one place, Durer could make a woodcut and print copy after copy to be seen all around. He was also mindful of making prints that were popular with people of the time, in order to help circulation. Some of the these, as seen in lecture, were the pre-protestant Adam and Eve and then the image of the rhinoceros. The rhinoceros is interesting because it was made from just a sketch Durer had and he, and most all of Germany, had never really seen one in real life. The result is still a decent representation of a real rhino. In the Adam and Eve, the Italian influences on Durer's art are much more apparent. First by seeing that the two figures are nude, with a large focus on the human body and anatomy. They are carefully proportioned, with a naturalism to the muscle definition and a realism to shadow and depth. The figures even stand in the contrapposto stance that was popular in the classical and southern Renaissance periods. Durer also did a number of self portraits and the earlier ones had very southern influence. They were set with him at a three quarter pose, very realistic use of color and strong attention to detail in areas of hair clothing and shadow.

The piece I would like to specifically look at is called Virgin and Child with Saint Anne and was created around 1519 by Albrecht Durer. The subject of this painting is direct and obvious, the three figures done in portrait fashion. They are composed in a triangle style similar to what was once popular in the south and the piece is very balanced and calm. All of the figures are naturally portrayed and there is a realism to the way there bodies are proportioned and interacting within the painting. There is strong attention to detail, common in the north, in things like the detail of the clothing, how it folds and interacts with the body, especially around Saint Anne's chin. There is also a visible change in textures between one garb to the next, another interest of northern renaissance artists. The subject matter of the piece retains its religious quality but is much more subdued than earlier religious pieces. There are no crucifixion scenes, obvious symbols, foreshadowing or stylized glows or halos added to either the mother or child, like we have seen in other paintings. There is the inclusion of a saint, and the virgin appears to be praying over the baby  is the way Durer chooses to communicate its religious context. They even look to be wearing more modern clothing than would be worn at biblical times, another popular style technique. Durer is sure to add his signature "AD" logo that he signs his work with. This is part of his way of elevating his status as an artist, something artists have been trying to do since the early renaissance, but he is the first to do it this way. Early renaissance artists wanted to show that there was theory, teaching and special skill within their profession. Durer believed this too, as he kept notes and wrote theories of his own, but he was also able to elevate himself personally, as an individual, to the point of fame. He not only signs his work, but has created a recognizable trademark that allows the viewer to know who made the piece they are looking at.

Post #5 Late Renaissance/Mannerism

Toward the later parts of the renaissance there was a shift from the ideals of the art that was created during the high renaissance. The importance of things like accurate human anatomy, harmony, balance and color were now purposefully ignored and skewed in favor of pieces that created tension in their composition and figures that became elongated and contorted. Just as humanism described the ways of old,  art historians would later call this new movement mannerism. Two paintings that really show the change from the high renaissance are Parmigianino’s Madonna with the Long Neck and Pontormo’s Entombment. The first thing I notice about these paintings are the figures and how they are composed. In the Madonna, her figure is stretched and elongated in an unnatural way, something that conflicts the high renaissance. You can see this in her neck and hands, and also the long leg on the figure to her left. Another thing that is interesting is just the sheer size of the Madonna figure. Looking at her legs and lap, if she were to stand, she would be a very tall, stretched and her proportions would not be one of a human. Finding a way to compact very large figures in a smaller space is use of the mannerist style. I have to talk about this Christ child that she holds in her lap because it is so noticeably bizarre. To start his size and the way his limbs have been elongated make him look like a toddler but with the head of an infant. He also appears lifeless, and I can very much appreciate the foreshadowing of the death of Christ in this way, but out of context, it is a very strange image to see the Madonna so serene, looking down at her giant lifeless baby. The way the emotions clash and the overall dark colors make the piece visually heavy. In the Entombment, there is not such a profound elongation to the figures, if any at all. However, it is still a very tense composition, mostly due to how the figures are posed. First person I notice in this painting is the individual in the squat position supporting Christ. Being on his tip toes, it gives the viewer a sense of unease, that he could fall at any time. The other two figures that are unsoundly posed are the lady in green at the top of the painting and the one with the pink cloth on her head. Both are so out stretched to the viewer to get a look at Christ that it seems like they could topple out of the painting and on the the floor. In all honesty I can't tell if they are supposed to be on the same ground as the foreground or if they are to be standing on something but the way that teeter is very unsettling, a big shift from the strive for harmony. What also really stands out about this painting is the use of color. During the high renaissance color was used to show things as naturally and realistic as they could. In this painting it appears that color is used more for the sake of color. As seen by the individual in the squat position who has a a strangely pink back, highlighted by his blue belly. There is an olive green hue to the skin of Christ that somewhat matches the cloth draped across his body that but does not appear to be a natural skin tone. It is interesting that there are splashes of green both top and bottom and then deep red flanking both sides of Christ, while pink swirls throughout. These two paintings show elements of mannerism in their use of elongated and over sized figures, unstable and unnatural poses, constricting large subject matter in smaller space and by giving the viewer an overall sense of tension, unease and melancholy.

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. 

Post #3 Formal Analysis

The piece I have chosen for my formal analysis is titled The Delivery of Keys to St. Peter by Pietro Perugino. The overall feeling I get from this piece is a sense of space and depth and there are a number of formal elements that contribute to this illusion. The largest being the way that the piece is composed. There are really two different parts to this piece of art, the front scene with the key exchange and then the courtyard and buildings created by linear perspective in the background. It is strange but when I look at this group gathered up front they look oddly two dimensional and flat, but only in connection with the receding courtyard. If I were to guess, I would think that this is a result of this form of calculated perspective being relatively new, and not that the artist did not know how to use this perspective (because the piece is incredibly successful), but more that it did not entirely blend with the current style. It looks like the front gathering was done first and comfortably within the artist's style and then the perspective and space was filled in to finish the piece. Perhaps it is the way that they are shown so tightly rowed across the whole front, when there is a vast space all around that makes me see this too. I am interested to know if anyone else feels this too.

 But as I said the overall feeling I get is depth, and that the figures only seem flat in connection with the courtyard because they are wonderfully rendered with a realism that was popular at the time. Each person has individual features and expressions, as well as different clothing. The use of line and highlight to show the drape and hang of cloth is very natural and as a viewer you can tell which parts are coming out toward you and which are receding, a real sense of space. The colors chosen for the clothing help in a couple of ways, first by having the figures stand out amongst each other but also to have them stand out in the piece against the white floor of the courtyard and the cooler colors of the background. The stark uses of red, yellow and even black draws the eye of the viewer. The figure that stands out to me is the man on his knee offering the key. The way that his body is positioned, his head is tilted and his hand touches his chest is all very natural and helps to show further depth. As the eye moves past this group the illusion only becomes stronger as the scale of the figures move gradually smaller and smaller as the move toward the buildings and beyond. Not only do they change in size but the intensity of their color is dulled and the details of their bodies blurred as it does in real life. This same effect is used on the landscape in the background, where the hill on the right closest to the viewer is lush and green, while the ones further and further back start blue and gradually move toward gray.  

There is a very central and symmetrical composition to this piece. Everything seems to expand outward from the doorway (vanishing point) of the central building. There is a noticeable "V" shape created by the sky from this point, as well as a reverse created by the lines of the courtyard. A number of lines lead the eye to this doorway, yet there is not much depicted at this area in the scene, instead it seems more of the artists intentions with this piece lie in the very foreground. The buildings and their placement is very vertically symmetrical, with each side getting an arch off the domed structure, as well as the free standing decorative arches. This gives a nice balance to the piece and a sense of harmony to it that was of important to artists of the time. The vertical symmetry carries rigidly from top to bottom of this piece as it splits the front most group into two, and may even run through the key that is being offered, bringing emphasis to where the two sides of everything in this piece meet.    

Post #2

The documentary Northern Renaissance: The Supreme Art was very interesting and informative in its description of the rise and progression of renaissance art. The most important artistic idea the video conveyed was one of extreme naturalism. This was first introduced through the Ghent alter piece and more specifically the image of Adam. Jan van Eyck, the head creator of the piece, was able to use paint to make the figures look as though their flesh was warm, their skin was tanned and they were people that one could touch if they tried. Detail on the smallest scale such as hair, veins, and wrinkles on the body, as well as light and shadow, are crucial in depicting such realism. He was able to paint in such a manner that the highlights and shadows he created with paint, glint in an eye or shine from a jewel, were the same as would occur naturally with the actual light source on the piece. He was able to make simple oil paint appear clear, translucent, and gleaming. According to the video, it was his consistent use of only oil paint that allowed him to create such convincing illusions of the natural world. Where earlier art might have incorporated gold leaf or included precious stones, van Eyck used paint to convey gold and jewels in an equally realistic way.

Painting was not the only art form to see a strive for naturalism. Sculpture was also moving to achieve this extreme. Much like van Eyck did for painting, a sculptor named Claus Sluter helped to move sculpture beyond its more common uses as an embellishment or decorative part of a building or structure.In his piece, The Well of Moses, Sluter was able to capture the natural and realistic qualities that were becoming popular in paint, except this time in stone. He was able to show muscle strain, the flow and hang of clothing as it would naturally drape on the body. The individuality of each figure is impressive, each in different body positions and wearing different facial expressions. Subtle and even drastic differences between mouths and eyes on the different figures separate them as individuals that could stand alone.

Culturally, there are two ideas that stand out as important during the renaissance. The first is the use of religious content throughout art. Many, if not most of the pieces created are the telling of biblical stories and interpretations. Much of the artwork decorated and was displayed inside of churches and cathedrals. The focus of naturalism lends itself to this subject because of the ability to portray holy figures as you might have seen them in life, a realistic visual image to go along with the stories of the faith. Also as a way to show the divinity of miraculous work in a natural way, such as the painting showing heaven come to earth that was highlighted in the video. After paintings had begun to grow, the second cultural idea that became popular was the ability of more modest families to have a portrait done. Having a portrait was a way for people to hold onto and pass down a likeness of people important to them. It was a way of preserving family history and legacy through generations. It is interesting that these images become popular because of their nonreligious motives and the ability for a more common person to desire and acquire them.

Post #1

The Renaissance is an amazing period in human history. I think that it is still held in such high regard today because of large and noticeable steps taken in all parts of life and how we understand it. The artwork is nearly unbelievable and stands as a high point of human achievement but is only a portion of all that was going on at that time. These men, as artists, were also very interested in biology, anatomy, architecture, astronomy, mechanics and made large headway on a number of now specific areas of knowledge. That is why I feel that the true masters, especially Leonardo Da Vinci, are held in such high regard still today. Because when you look at only at the art work he created, he would have still made his impact on history but then take into account all the other fields he covered and intellectual contributions he made throughout and after his life, it is amazing. Its genius. The artwork that survives from this period shows a glimpse in time when mankind started to figure "it" out, the fringe of modern and enlightened society. It shows in all things related to the time but nothing hits as fast or hard as viewing the art of the period. When you look at the Mona Lisa or the Sistine Chapel, then compare it to other earlier art the gap between becomes obvious. Maybe not "better" but impressive none the less and that makes the Renaissance special.