Reflection

             During this quarter of art history, our class was exposed to many different artists, styles, and background information on a good number of famous works of art. Though I found many of these styles to be aesthetically pleasing and fascinating, the two periods of art that I found most intriguing were the Early Northern Renaissance and the Early Italian Renaissance. For both periods of art, it was the historical background and the aesthetic details of the artwork that I enjoyed learning about and viewing. In terms of historical background, the thing I found most interesting was the newfound drive in seemingly all of Europe to focus more on the individual than the group mentality. This force still kept with the heavy religious connotations throughout Europe, but it allowed for much more personal work, and a bigger emphasis on private patrons, both because the patrons were now wealthy enough to afford the commissions of these artworks, as well as the ability to have themselves depicted in holy scenarios, bringing them closer to God.

Art of the Early Northern Renaissance is fascinating because of the new emphasis on accurate and realistic lighting in paintings. Prior to this, artwork used the illusion of highlights and shadows to demonstrate a general light source. But in paintings such as the Ghent Altarpiece by Jan van Eyck, he created such detailed highlights and shadows that the light source is easy to identify. Van Eyck used the light source in the physical space of the painting, creating an even more identifiable and believable painting. This ties in greatly to the emphasis on details for which Northern artists of the time were known. Another appealing aspect of art of the Early Northern Renaissance was van Eyck’s and future artist’s use of oil paints. Van Eyck was often believed to be the creator of oil paint because of his extreme talents of manipulation of the medium, though we know that this practice came much earlier than van Eyck did. This technique allowed artists to emphasize many of the rich and luminous colors and textures involved in artwork concerned with religion.

In the Early Italian Renaissance, art upheld many of the same ideas, but along with the Early Northern Renaissance ideas and fascination with naturalism came the addition of idealism in art. Though not quite the classical perfection of the later High Renaissance, artists of the Early Italian Renaissance strove to create idealized versions of real people, bridging the gap between art styles. With this idealism came a slight case of unrealistic figures or situations, such as the body position of Venus in The Birth of Venus by Sandro Boticelli. The nude female figure’s stance would result in any normal person falling over, but in this perfect, ideal image, the woman is serenely held in this moment for all to admire her beauty. She looks like a real person, with curves and lines in all of the expected places, showing the continued interest in naturalism, but the entire composition is too perfect to not be an idealized version. 

Baroque vs. Renaissance David

As Europe’s religions, politics, economics, and countless other aspects of life started to shift during the 17^th century, so did the styles of art. Including some elements from the Renaissance style of art and rejecting others, the Baroque style emerged as a dramatic, beautiful, and powerful art movement. While Baroque art pushed against some of the conventions of the Renaissance, many of the elements of design carried over into the new art. For example, the church still played a significant and central role in the lives of European residents. The Catholic Church especially experienced an upsurge in interest and control through the Catholic Counter-Reformation. Beginning with the Council of Trent, the reformation affected art by putting forth strong purposes for its art and images. The art produced in relation to the church was hoped to help with one or more of several principles. The images should teach those faithful to the church about the involvement of the saints, be understood by the common man, and place an emphasis on the ritual of communion. Another similarity between Baroque art and Renaissance art is the influence of Classical forms and subject matter. Baroque art has less of an influence than the Renaissance did, but the compositions still use the classical styles seen in previous work. Lastly, the Baroque artists in Italy used many of the same materials for their artwork, including bronze and marble for statues, and oil paint on canvas. Some of the ways that Baroque art differs from Renaissance art are the darker color palette, which lends to the heightened drama and emotions as well as creating a higher contrast between light and dark colors. Baroque art focuses more on naturalism than did the Renaissance, creating a more realistic, and thus a more dramatic appearance.

A strong comparison of the Baroque style and the Renaissance style lies in the analysis of two statues of David, one by the Renaissance master Michelangelo, and the other by the Baroque master Bernini. Though of the same classical subject, and constructed from marble, the statues are strikingly different in form and presentation. Bernini’s David embraces the Baroque principle of heightened drama and emotion, showing the hero’s most engaged and dynamic position, mid-swing with his slingshot of rocks. Everything about the statue is filled with action, from his tensed face to the muscles on his legs. The body is depicted in a hero’s stance, and though very strong and powerful, the statue actually looks like a real person, instead of an idealized model. Michelangelo’s David is still portrayed as a hero, but in an idealized and stoic posture. While Bernini’s statue is in the thralls of action, Michelangelo’s work is leisurely standing, seemingly soaking in the glory of his victory over the giant. The influence of the Catholic Church also influenced art through its censorship, seen in the presence and absence of the nudity seen on the two statues. While the Renaissance work depicts a fully nude male figure, the Baroque piece has a bit more modesty with a slight piece of fabric to cover the genital area. 

Post #6

The Protestantism Reformation was a tumultuous time for people in Europe. While some people were fighting for their traditional religion of Catholicism and the ways of life in place for hundreds years, other people took a stand against the strong hand of the Pope and the Church. Leaders such as Martin Luther cried out against the excessive wealth, corruption, and worship of idols carried out by the Catholics. Those who stood behind him eventually brought about a change for those wanting to be a part of a new order or religion, the Protestants. Different regions and patrons supported and favored one religion over the other, often protecting a Protestant artist and his work from persecution by the Catholics. Other artists were not so lucky in finding aid and careers were ended.

Though holding different views, both Catholics and Protestants still focused heavily on religion as a primary subject matter. One of the most popular topics within the subject of religion was the idea of mortality and the original sin, as seen in many of the paintings and sculptures. Patrons wanted to see stories of Christ, just as before, and artists were taking huge strides towards naturalism. In contrast to the Catholic-centered art of sixteenth-century Italy, the art of sixteenth century Northern Europe takes a step away from the idealized and Classically based forms in favor of a more natural and life-like form.

A great example of a work of art showing differences between Catholic art and Protestant art, as well as the effects of the Protestant Reformation is Albrecht Durers’s “Four Apostles”. Though looking somewhat soft, each of the four apostles is portrayed in fairly natural way, showing realistic highlights and shadows of the wrinkles on their foreheads, to the manner of the alarming look in Paul’s eyes, staring directly at the viewer. The subject matter as well points to the shifting of religion and the effects of the Protestant Reformation. The apostle thought of most highly by the Catholics, Peter, the right hand man to the Pope, has been placed in the background of the painting, now fairly hidden from view. The apostles treasured most by the Protestants have been placed in the forefront of the painting, situated in positions of power and importance.

Another strong example of the differences between Catholic art and Protestant art around the Protestant Reformation is the similarities and differences between two representations of The Last Supper, by TIlman Riemenschneider and Leonardo Da Vinci, respectively. Riemenschneider’s piece is the intricately carved wooden Altarpiece of the Holy Blood, whose center panel illustrates the last supper between Christ and his disciples. The material choice speaks for the time, as wood became a very popular choice for artists, as well as showing how artists were moving towards naturalism. In his representation, Christ is situated at one end of the group of men, while Judas takes the center position. This also helps establish the fact that during this period of art, mortality, and the great sins were often depicted. So, Riemenschneider’s choice to place Judas as the focal point highlights the fact that he is one of the great sinners, and that art can and should show not only the idealized side of religion, but the sad, sinful things too. 

Post #4, Option #1

Michelangelo’s David, a marble statue of a nude male, demonstrates the power of a dynamic statue. Though the figure is obviously solid, it seems to breathe right off of the page as a living person would. This attribute was fairly common throughout the High Renaissance, period of art which took place roughly between the 1490’s to 1527, primarily in Italy. This era favored a hearkening back to the High Classical period in Rome in the ancient times, focusing on a combination of a high level of realism along with a very idealized view of things and people. Like art in the Early Renaissance, religion played a large part in the commission and subjects of the artwork. However, during the High Renaissance, private groups and individuals became more prominent commissioners of artwork. This increased the amount of portraits and other non-religious subjects. To understand and examine David, a wonderful example of artwork from the High Renaissance, one may compare the statue to a piece of art from the Early Renaissance. Before Michelangelo created David beginning in 1501, another famous artist interpreted the hero. The artist Donatello created a statue of David in beginning in 1446, which depicts a warrior male standing atop his armor, shining as the light reflects off its bronze exterior.

The material is one of the most striking differences between the two statues. Donatello’s bronze work is made of a very hearty, solid, and war-like material. Michelangelo’s statue of white marble seems much more majestic and luxurious because of the color and material. With the High Renaissance stressing an importance on the idealized and classical ideals of earlier times, the marble is a very clear choice, and illustrates the time very well. Scale, though not readily apparent in the pictures, is another big difference between the two David statues. Donatello’s Early Renaissance David stands slightly below the normal height of a man, let alone a great warrior, at only 5’2 1/4”. Michelangelo’s David depicts a more than idealized warrior, standing at a grandiose 17’ tall. This statue towers over viewers, displaying the ideal male and the epic proportions of the hero. The details of the sculpting on both statues are impressive, but it seems that they are aiming for different results. The body’s lines and shapes are a fairly realistic representation of a male on Donatello’s figure. However, on Michelangelo’s work, the details on the body seem almost too real, because they have been pushed to the ideal male body. The High Renaissance began to focus more on people, which is shown in Michelangelo’s David because of the lack of objects surrounding the figure. In Donatello’s David, the statue is adorned with the accessories of war, making an overall different composition.

In the text, it states that in many of the pieces in the High Renaissance, there is a dynamic unity. I see this very strongly in Michelangelo’s David, through the lifelike figure and overall composition of the statue. It seems to be alive all over. It is not as present in Donatello’s piece; it seems as though it is merely a statue.

Post #3

Greek and Roman gods and goddesses have been popular subjects in art even after Christianity became the prominent religion. Artists and the general public saw the depiction of these beings as a way to hearken back to Classicism and traditional forms of art. Sandro Boticelli, a painter, had a style similar to naturalism, but his works mimicked much of classical art in that it showed an idealized version of people, places and events. Birth of Venus depicts the coming of Venus into the world as a full-grown woman, though she and the other people in the painting appear to be more beautiful than normal people are. Through the use of bright colors, impossible body shapes and positions, and soft edges, Birth of Venus demonstrates the Renaissance time’s glorified view and ideal of beauty and female sexuality.

The ideal in beauty for a woman during the Renaissance was fair skin, blonde hair, and a slim, graceful figure. While all of the women in the painting exhibit these traits to some degree, it is Venus specifically who epitomizes the ideal in beauty. The painting overall uses a soft-edged line quality, but it is distinct and crisp enough to feel realistic. The people’s bodies specifically are edged in an outline, accentuating the perfect forms. Things like the sea and Venus’s hair are much softer in comparison.

The overall composition draws the eye to the main event, Venus, by making her the lightest thing in the picture, along with her shell. On the right side of the canvas are the darkest areas, showing the land, welcoming mortal and surrounding area to which Venus is traveling. In contrast, on the left side of the picture are two otherworldly beings, a god and a nymph, sending Venus to land. These individuals and surrounding area are overall much lighter in comparison to the right side of the page, perhaps demonstrating the purity of the gods and heaven to the darkness of humans and earth. Venus herself is the brightest object on the canvas both because she is the focus, but also to show that a perfect, ideal woman should be completely pure and good.

Venus’s body shape and posture expand even more on the artist’s attempts to show an ideal woman. While a slim, graceful figure was the height of perfection for women, Boticelli highlighted Venus’s neck and limbs, and distorted her posture so greatly that she is anatomically incorrect and in a physically impossible position. Her neck, arms, and torso are elongated beyond anatomical normality, giving the illusion of an extremely slim, poised body. Her weight would not be supported in her current position, as her single foot supports her body in its awkward tilted position. This position, however, helps take the viewer back to classical art again.

This painting, while in most ways shows the feminine ideal of purity, suggests something else entirely in examination of Venus’s pose. At first glance, the figure seems to be attempting to cover her nude body with her hands. And this may be the idea, but the way in which her hands and her body are arranged, her action seems to only draw attention towards her sexuality, not away.

The scale of the painting helps further draw the viewer’s eye towards Venus, as she is the most prominent element of the picture. Beyond that, the sea and the tree line allude to the size and scale of the painting, suggesting that Venus is emerging from the large, expansive sea to the stretch of land she is entering. The wind god and the nymph are the next largest people shown, and then next largest is the mortal welcoming Venus from the shore. Though the people on the side are easily distinguishable and in scale, it is obvious that Venus is the focus.

The detail work accentuates certain things, such as the clothing, and parts of the tree. However, this seems to make the simplicity of Venus and her shell even more striking in comparison. Her beauty comes from nature, and is all her own, without any need for fancy, ornate garments or trinkets. This is one more note that shows the ideal of feminine beauty in the Renaissance; though a beautiful woman looks lovely in pretty clothes, her true beauty should come from within her, and be natural. 

Post #2, The Northern Renaissance

When using art to understand an era, several lenses may be employed to grasp the full scope of the world and the ideas of the people who lived then. The acronym PERSIA, which stands for Politics, Economics, Religion, Social, Intellectual, and Aesthetic, offers a fairly comprehensive way to analyze these things. To understand the art, and thus the people living during the time of the Renaissance, and specifically the Northern Renaissance, we can look at the PERSIA elements.

Politically, the land in the North was divided among brothers of royalty, creating a fairly balanced network of rulers, though during this time war was a fairly usual part of life. Around the time of the Northern Renaissance, power began to shift from those born into wealth and a title to those who worked for their respect and money. This added to the idea of a more individualistic person populating the world of the Renaissance. Economically, Art during this time was considered a luxury, and was used as a sign of great wealth and power. Items such as illuminated manuscripts, and gold-thread tapestries were commissioned by wealthy families to flaunt their worth.

Religion played a huge role in the world of the Northern Renaissance, and was supposed to be the single-most valued idea in the life of every man, woman and child. So much of the art of this time depicts scenes of holy people, objects, or symbolism, showing the overwhelming dominance of this value in the people’s lives. The idea of visual communion, where, upon viewing something through the portal of the eye, a part of it is transmitted to the soul, was very popular during this time. Such a concept shows how valuable and powerful it would have been to people to have seen physical representations of holy persons, and why it so heavily occupied the world of art of this time.

Socially, artists occupied a very low place in the social hierarchy, and it was not until the emergence of Jan Van Eyck that artists began to sign and celebrate their work. Art as a whole, however, was beginning to emerge as a much more powerful tool and craft than had been appreciated in the years leading up to the Renaissance. Intellectually, as mentioned earlier, people were beginning to take more notice of themselves and their place in the world as individuals. This allowed the view of the common man to shift from that of a collective group mentality to a new independence and individuality that strongly affected art produced during this era.

Aesthetically, the art of the Northern Renaissance can be categorized and recognized by several characteristics. Firstly, the most common and popular types of art produced during this time were paintings, tapestries, illuminated manuscripts, and sculpture. These mediums, although not new to the world of art, were revolutionized by artists through the uses of innovative techniques and new approaches. The style of art from the Northern Renaissance, International Gothic, can be discerned by the idealized, graceful subjects, lavish details, and light, bright colors with heavy use of gold and other metallic colors. More importantly than the specific style is the mindset behind many of the super realistic works created during the Northern Renaissance. Artists like Jan Van Eyck helped shift art from the act of creating something that depicts a beautiful object, and instead showed us the world itself, a window to the world around us. A new level of realism was achieved through Van Eyck’s paintings, which astonish viewers even today. Another example of this practice is in the creation of illuminate manuscripts, the pictures of which were meant to be windows of scenes of holy people, instead of just a picture of the being. Artists were bringing the subjects of their paintings to life, and inviting the viewers to feel like a part of the picture and the experience.

Post #1: Introduction to Renaissance Art

Renaissance art continues to captivate and make impressions upon audiences around the world, despite it's age and the emergence of many contrasting styles since their creation. Why are these art forms still considered some of the greatest created, and held in such high regard? The works of art from the Renaissance to many are the classic forms of art, the beginning of a new style, the right style, for artists to follow. Classic forms of art create the base for future works, no matter if they are a visual work such as a painting, or a work of literature. Though people may not all read or enjoy War and Peace by Leo Tolstoy, it is held in high regard by literature lovers and everyday people alike because it is considered a classic masterpiece in it's area of art. In the same way, art from the Renaissance is considered classic, and many easily recognizable works of art are from this era. Also, pop culture's use of themes, people, and images from this era have helped further its grip on audiences to this day. The name of this blog, for example, stems from the popular comic books, television show, movies, and toys from the Teenage Mutant Ninja Turtles franchise, as the four turtles are named after well-known Renaissance artists; Leonardo, Michelangelo, Donatello, and Raphael.