Italian Renaissance Art Notes Sheet

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Characteristics of Italian Renaissance Art Realism & Expression First nudes since classical times. Expulsion from the Garden Masaccio, 1427 Perspective Most artists in Medieval Europe had Perspective never actually seen Perspective! heaven, so the Perspective! background was left Perspective!! Perspective! to the imagination and Perspective! the teachings of the Perspective! church. When people became more interested in the world around them and the ideas of other people rather than heaven and the teachings of the Church, landscapes and buildings began to show up in paintings. Renaissance painters needed to be able to translate the three-dimensional world around them onto the two- dimensional surface of a painting, called the "picture plane." The solution was "linear perspective," the idea that converging lines meet at a single vanishing point and all shapes get smaller in all directions with increasing distance from the eye. Classicism The first major revival of classicism occurred during the Renaissance. Focus on the Individual Sculptors, artists, and architects combined classical ideas with the humanists idea of emphasis on the individual. Florentine sculptor Donatello’s David Michelangelo’s David exemplifies the idealistic human body and the Renaissance focus on the individual. Use of Light and Shadowing Sfumato Chiaroscuro Sfumato means “to tone down” or “to evaporate like smoke.” the use of strong contrasts between light and dark The most prominent practitioner of sfumato was Leonard da Vinci, who described sfumato as “without lines or borders, in the manner of smoke or beyond the focus plane.” Artemisia Gentileschi Judith Slaying Holofernes (1614–20) Oil on canvas Leonardo da Vinci Galleria degli Ufﬁzi, Florence. Mona Lisa.

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THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists.
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3 LEONARDO Di Strinati Tancredi ING.Key
THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE THEORETICAL BACKGROUND The Impossible Exhibitions project derives from an instance of cultural democracy that has its precursors in Paul Valéry, Walter Benjamin and André Malraux. The project is also born of the awareness that in the age of the digital reproducibility of the work of art, the concepts of safeguarding and (cultural and economic) evaluation of the artistic patrimony inevitably enter not only the work as itself, but also its reproduction: “For a hundred years here, as soon as the history of art has escaped specialists, it has been the history of what can be photographed” (André Malraux). When one artist's work is spread over various museums, churches and private collections in different continents, it becomes almost impossible to mount monograph exhibitions that give a significant overall vision of the great past artist's work. It is even harder to create great exhibitions due to the museum directors’ growing – and understandable – unwillingness to loan the works, as well as the exorbitant costs of insurance and special security measures, which are inevitable for works of incalculable value. Impossible Exhibitions start from these premises. Chicago, Loyola University Museum of Art, 2005 Naples, San Domenico Maggiore, 2013/2014 THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE PROJECT In a single exhibition space, Impossible Exhibitions present a painter's entire oeuvre in the form of very high definition reproductions, making use of digital technology permitting reproductions that fully correspond to the original works. Utmost detail resolution, the rigorously 1:1 format (Leonardo's Last Supper reproduction occupies around 45 square meters!), the correct print tone – certified by a renowned art scholar – make these reproductions extraordinarily close to the originals.
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Destructive Pigment Characterization
Looking for common fingerprints in Leonardo’s pupils through non- destructive pigment characterization LETIZIA BONIZZONI 1*, MARCO GARGANO 1, NICOLA LUDWIG 1, MARCO MARTINI 2, ANNA GALLI 2, 3 1 Dipartimento di Fisica, Università degli Studi di Milano, , via Celoria 16, 20133 Milano (Italy) 2 Dipartimento di Scienza dei Materiali, Università degli Studi di Milano-Bicocca, via R. Cozzi 55, 20125 Milano (Italy) and INFN, Sezione Milano-Bicocca. 3 CNR-IFN,piazza L. da Vinci, 20132 Milano (Italy). *Corresponding author: [email protected] Abstract Non-invasive, portable analytical techniques are becoming increasingly widespread for the study and conservation in the field of cultural heritage, proving that a good data handling, supported by a deep knowledge of the techniques themselves, and the right synergy can give surprisingly substantial results when using portable but reliable instrumentation. In this work, pigment characterization was carried out on twenty-one Leonardesque paintings applying in situ XRF and FORS analyses. In-depth data evaluation allowed to get information on the colour palette and the painting technique of the different authors and workshops. Particular attention was paid to green pigments (for which a deeper study of possible pigments and alterations was performed with FORS analyses), flesh tones (for which a comparison with available data from cross sections was made) and ground preparation. Keywords pXRF, FORS, pigments, Leonardo’s workshop, Italian Renaissance INTRODUCTION “Tristo è quel discepolo che non ava[n]za il suo maestro” - Poor is the pupil who does not surpass his master - Leonardo da Vinci, Libro di Pittura, about 1493 1. 1 The influence of Leonardo on his peers during his activity in Milan (1482-1499 and 1506/8-1512/3) has been deep and a multitude of painters is grouped under the name of leonardeschi , but it is necessary to distinguish between his direct pupils and those who adopted his manner, fascinated by his works even outside his circle.
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Classicism, Modernism, Postmodernism, and Importance of Communication
Classicism, Modernism, Postmodernism, and Importance of Communication Taylor Stevenson Art History II Prof Jason Bernagozzi Midterm Exam March 09, 2016 Art and societies have long since been integrated, with both realms reflecting each other through understandings, values, and ideas. When either realm changes its ideologies, the other realm tends to reflect those changes in a similar form. This is prevalent in the understanding of art movements over the course of history, especially with three periods of art: Classicism, Modernism, and Post Modernism. Through these art movement periods, we can see how ideologies of the artist have evolved from working for other professions that use art as a means to an end, to using art as a way to communicate their own ideas, to creating art for the viewer to decide on the meaning. Many artworks that were taken from (or inspired by) Greek and Roman cultural art are considered to be classical. This may be because at this point in time, the societies behind these works of art have established an aesthetic standard that serves as a fundamental basis for other art movements. The Editors of Encyclopædia Britannica note “’classic’ is also sometimes used to refer to a stage of development that some historians have identified as a regular feature of what they have seen as the cyclical development of all styles.” When applied to art (especially art in the western/European world), these “classic” greek and roman roots placed emphasis on a realistic form, and line over color in two dimensional pieces1. Sculptures of these times, while considered important, did not necessarily translate into the aesthetic view of the next generation.
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Renaissance and Baroque Art
Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio.
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Janson. History of Art. Chapter 16: The
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Leonardo and Sfumato Author(S): Alexander Nagel Source: RES: Anthropology and Aesthetics, No
The President and Fellows of Harvard College Peabody Museum of Archaeology and Ethnology Leonardo and sfumato Author(s): Alexander Nagel Source: RES: Anthropology and Aesthetics, No. 24 (Autumn, 1993), pp. 7-20 Published by: The President and Fellows of Harvard College acting through the Peabody Museum of Archaeology and Ethnology Stable URL: http://www.jstor.org/stable/20166875 . Accessed: 06/12/2014 22:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, J. Paul Getty Trust are collaborating with JSTOR to digitize, preserve and extend access to RES: Anthropology and Aesthetics. http://www.jstor.org This content downloaded from 128.95.104.66 on Sat, 6 Dec 2014 22:26:32 PM All use subject to JSTOR Terms and Conditions Leonardo and sfumato ALEXANDERNAGEL Le cas particulier de L?onard de Vinci nous propose une de used, it almost always appears as an adjectival past ces co?ncidences remarquables qui exigent de nous un participle of the verb. Thus, Vasari describes the softer retour sur nos habitudes et comme un r?veil de d'esprit style made possible by oil painting as a "sfumata notre attention au milieu des id?es nous furent qui maniera," the humanist Daniele Barbaro speaks of transmises.
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Leonardo Da Vinci: the Experience of Art
2019-2020 SEASON LOUVRE AUDITORIUM LEONARDO DA VINCI: THE EXPERIENCE OF ART FRIDAY 25 OCTOBER 2019 LEONARDO DA VINCI: THE EXPERIENCE OF ART SYMPOSIUM ORGANISED TO COINCIDE WITH THe “LEONARDO DA VINCI” EXHIBITION (IN THE HAll NAPOLÉON UNTIL 24 FEBRUARY 2020) In collaboration with the C2RMF, the CNRS, the E-RIHS and IPERION-CH Scientific and organising committee: Vincent Delieuvin, Musée du Louvre Louis Frank, Musée du Louvre Michel Menu, C2RMF Bruno Mottin, C2RMF Élisabeth Ravaud, C2RMF The Louvre’s Leonardo exhibition and recent unveiling of IPERION CH (Integrated Platform for the European Research Infrastructure On Cultural Heritage) provide the perfect opportunity to present the public with the latest findings of studies on Leonardo’s oeuvre. The fruit of ten years of research carried out across various institutions, these new discoveries will allow greater insight into Leonardo’s unparalleled technique. PROGRAMME 10 a.m. Introduction by Isabelle Pallot-Frossard, C2RMF, and Dominique de Font-Réaulx, Musée du Louvre Morning Chair: Vincent Delieuvin, Musée du Louvre 10:15 a.m. Leonardo’s science and encyclopedic models of his time by Carmen C. Bambach, Metropolitan Museum of Art, New York 10:45 a.m. Recent investigations into the Windsor Leonardos by Martin Clayton, Royal Collection Trust, Windsor Castle 2 11:15 a.m. Three “preparatory cartoons” attributed to Leonardo: the “Portrait of Isabella d’Este”, the “Nude Mona Lisa” and “Head of a Child in Three-Quarter View” by Bruno Mottin, C2RMF 11:45 a.m. Conservation techniques and the shortcomings of literary texts: Giorgio Vasari, a case study by Louis Frank, Musée du Louvre, and Leticia Leratti, painter and sculptor 12 p.m.
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6. After Modernity: Rohmer's Classicism and Universalism
6. After Modernity: Rohmer’s Classicism and Universalism Grosoli, Marco, Eric Rohmer’s Film Theory (1948-1953). From ‘école Schérer’ to ‘Politique des auteurs’. Amsterdam: Amsterdam University Press, 2018 doi: 10.5117/978946298580/ch06 Abstract From the outset of his career, Eric Rohmer made no secret of his preference for classicism, as far as both aesthetics in general and cinematic aesthetics in particular are concerned. One must hasten to add, however, that he never really conceived of “classic” and “modern” as two opposite concepts. Rather, he maintained that what is truly classic is also truly modern, because in either case genuine art is primarily about achieving a certain harmony with nature. What he exactly meant by this forms the main subject matter of this chapter, which also clarifies the degree to which Rohmer’s aesthetics can be called “universalist” and “anti-evolutionist”, and why. In addition, Rohmer’s views on the key notions of authorship and mise en scene are also summarily sketched. Keywords: Rohmer, classic, modern, universalism, aesthetics 6.1. Beyond modern art Rohmer’s attachment to classical tragedy is a clear token of his overt classi- cism, which can hardly be accounted for as orthodox and one-dimensional. For him, ‘classicism’ and ‘modernity’ are not necessarily opposite. In order to clarify this issue, it is again useful to draw upon Kant, since the critic’s classicism and his peculiar, idiosyncratic Kantism ultimately shed a decisive light on each other. For one thing, Rohmer does not connect cinema and Kantian aesthetics in a straightforward way. Contrary to what the previous chapter(s) might have suggested, in spite of cinema’s capability to attain artistic and natural beauty and to tackle freedom, it would be too simplistic to maintain that Rohmer regarded cinema simply as the perfect match to Kant’s ideas on aesthetics.
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The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R.
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The Evolution of Renaissance Classicism
The Evolution of Renaissance Classicism From "World History Encyclopedia" Copyright 2011 by ABC-CLIO,LLC The term "Renaissance classicism" refers to a fundamental attribute of the period that scholars refer to as the European Renaissance, roughly 1400–1600. Renaissance classicism was an intellectual movement that sought to mimic the literature, rhetoric, art, and philosophy of the ancient world, specifically ancient Rome. Scholars, politicians, and philosophers looked to ancient literary and artistic models for inspiration, and in turn this love of the classical world is termed classicism. The interest in the classical world was not new in the fifteenth century. In fact, there were powerful classicist themes in medieval Europe’s scholarship, law, and art. However, when eighteenth- and nineteenth- century scholars sought to find the origins of their modern secular worldview, instead of pointing to the medieval classicists they pointed to the Italian (and other) classicists of the fifteenth and sixteenth centuries. Most notable among these modern scholars was the historian Jacob Burckhardt (1818–1897). Burckhardt claimed that the model of ancient Rome sparked a more secular individualistic society in Renaissance Italy. Burckhardt’s rosy view of the Renaissance generally ignored the importance of religion, the horrors of incessant warfare, and the agonies of daily life during the period. Nevertheless, his research did point to the importance of classicism in the intellectual life of the Renaissance, a point on which later scholars elaborated. > ELEGANCES OF THE LATIN LANGUAGE Lorenzo Valla’s (1407–1457) Elegances of the Latin Language (1444) is a paean to the ancient Roman orators. In this section, Valla castigates the medieval period for what he believes to be a lack of learning and an ignorance of the classical world.
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The Image of Early Netherlandish Art in the Long Nineteenth Century
ALISON HOKANSON & EDWARD H. WOUK The past is always present: The image of early Netherlandish art in the long nineteenth century In 1881, the American collector Stephen Whitney Phoenix bequeathed to the Metropolitan Museum of Art in New York a painting by the artist Wilhelm (Guillaume) Koller (1829- 1884/1885) entitled Hugo van der Goes painting the portrait of Mary of Burgundy (fĳig. 1). Koller, who trained in Vienna and Düsseldorf, moved in 1856 to Belgium, where he exhibited this painting at the Brussels Salon of 1872.1 The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely 1 Charles the Bold (1433-1477), who married Margaret after the death of Mary’s mother, Wilhelm (Guillaume) Koller, Hugo 2 van der Goes painting the portrait Isabella of Bourbon (1434-1465). Koller’s painting offfered nineteenth-century audiences of Mary of Burgundy, ca. 1872, an appealing, if fĳictional, image of an esteemed northern European artist depicting a oil on panel, 59.4 x 86.4 cm, New York, The Metropolitan moment in the domestic life of a noble dynasty closely identifĳied with the history and Museum of Art, inv. 81.1.662. heritage of Belgium.3 146 Oud Holland 2020 - 3/4 volume 133 Downloaded from Brill.com09/27/2021 04:53:44PM via free access Koller specialized in genre scenes celebrating fĳifteenth- and ixteenth-centurys European culture, and particularly that of present-day Belgium, Austria, and Germany.
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