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Early Renaissance, "Tribute Money" by Masaccio
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| Masaccio (his name meant ugly one) |
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– Fresco painted in 1425 in the city of Florence
– Designed as a narrative painting, to tell a story
– Subject matter is a story from the Bible, in which Jesus is confronted by a tax collector, who is asking him to pay his taxes. Jesus, who was poor and without money, tells his disciple Peter to get the money out of the mouth of a fish. Peter gets the money from the fish’s mouth (at left) and pays the tax collector (at right). |
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| – Spatially, the painting was constructed using systematic overlapping (flat overlapping objects in 2 dimensional space), with the exception of the architecture which showed the beginnings of scientific (one-point) perspective, which is three dimensional. The figures are still, appear “set in stone,” and are not moving freely in 3 dimensional space. |
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– A fresco on the wall of a church
– Subject matter is primarily Biblical (the Holy Trinity stands for “God the Father, God the Son, God the Holy Spirit”) with the Virgin Mary and St. John the Beloved under the cross. Two present day figures (the donor who commissioned the painting and his wife) are also shown in an architectural setting that is Greco-Roman. (Portraits of ordinary people were used.) |
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| Early Renaissance "Holy Trinity" by Masaccio |
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| – Spatially it shows the typically flat, still figures of the Early Renaissance along with the addition of architecture that shows early development of scientific perspective. |
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| Early Renaissance "Crucifixion" Perugino |
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– A wooden panel painting using tempra paint, which is water based
– A polyptych or triptych, intended as an altar painting which could be closed up to protect it from the smoke of candles and incense |
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The subject matter is Biblical, showing the crucified Christ on the cross, with his mother, the Virgin Mary, and St. John the Beloved standing below. St. Jerome with his symbol the lion, is at the left; and Mary Magdalene, formerly a prostitute, is on the right, with her symbol the urn (to hold incense or perfume).
– Spatially there is the use of systematic overlapping in the stones around the figures, and the figures are very still and static and not moving about freely in space (typical of Early Renaissance painting). |
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– Perugino had a tendency to idealize his faces more than Masaccio and Ghirlandio, and he tended to use the Greco-Roman ideal of beauty as is seen in the classical marble sculpture found throughout Rome.
– Perugino also invented certain “Peruginesque” painting elements, such as the whispy tree and the S-shaped curve seen in drapery and in the poses of human figures.
– Perugino was the teacher of Raphael and after Perugino’s death, Raphael inherited his studio in Rome. |
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| Early Renaissance "The Giving of the keys to St. Peter" Perugino |
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– A fresco painting hung in the Sistine Chapel at the Vatican in Rome. The Vatican is a separate city-state within Rome and is the seat of the Catholic church, where the Pope lives.
– The painting was commissioned to celebrate the completion of construction of St. Peter’s Basilica, the main sanctuary of the Vatican City. |
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| {http://www.flashcardmachine.com/card_images/493048.jpg|center|center} |
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– Spatially, the foreground uses systematic overlapping while the piazza and architectural structures show the beginnings of scientific (one-point) perspective. The focal point is in the middle of the doorway and the lines of the piazza and architecture recede to that point. While the figures in the foreground are flat, overlapped shapes, the figures in the stoning scene are meant to occupy 3 dimensional space, although their anatomy and poses and are convincingly natural.
– Perugino uses portraits for the figures in the foreground and includes his whispy trees in the background.. |
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| Early Renaissance "Old Man with Child" Ghirlandio |
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– A panel painting using tempra colors
– Subject matter is present day, since the artist and old man were close friends. |
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| – Ghirlandio takes great pains to detail every distortion of the old man’s nose, and puts the nose in the center of the painting. The purpose for this was to say that man’s outer shell may be ugly, but that is unimportant if man is made in the image of God. Man’s Godliness must be found in his inner qualities, and that Godliness can be evidenced by the love for a child. |
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| -Spatially, the receding road and mountains at the right are constructed using systematic overlapping. |
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| Early Renaissance "Last Supper" Ghirlandio |
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| – A fresco located on a refectory (dining room) wall in a monastery |
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| – Spatially, the composition uses systematic overlapping. The figures are still and set in stone and the middle distance is hidden by the wall. |
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Leonardo
“The Virgin and Child with St. Anne”
High Renaissance |
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| – This preliminary drawing and painting show some of Leonardo’s contributions to High Renaissance painting – that is, chiaroscuro (the balance of light and shadow) in which figures are bathed in darkness with light shining from a consistent sun-source that defines only essential parts of the forms; volumetric composition in which Leonardo uses the pyramid to show figures occupying 3 dimensional space; correct anatomy which comes from Leonardo’s dissecting cadavers found in paupers’ graves; and his interest in science in general, particularly empirical science (the science of observation) in which he uses studies of botany, geology, meteorology, etc., in his paintings |
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| – Subject matter includes the Virgin Mary and Christ Child with St. Ann, who is the mother of the Virgin. In the drawing is the figure of St. John the Baptist, who is Jesus’ cousin. But he is replaced in the painting by the sacrificial lamb, who symbolizes Jesus, since Jesus died to save men’s souls. Leonardo adds the negative element of having the baby Jesus look as if he is trying to pull off the ears of the sacrificial lamb as a joke, which the church didn’t find amusing. As a result of this irreverence toward the church, Pope Julius II gave up on Leonardo and stopped giving him commissions. |
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– The setting is on a rocky ledge overlooking the Cararra marble quarry outside of Florence. This gave him the opportunity to use chiaroscuro in the rocky landscape and give the painting a smokey look called “sfumato” in Italian.
– The space is three dimensional. |
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Leonardo
“Madonna of the Rocks”
High Renaissance |
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– Subject is of the Virgin Mary and the Christ Child with St. John the Baptist at left and a wingless angel at right. Jesus is blessing St. John with two fingers of his right hand, which is how the pope blesses.
– The negative twist to the subject matter is seen in the right hand of the angel seemingly attached to his left arm. |
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– Typical of paintings of this time, the Virgin and St. John look knowingly at Jesus, since they have knowledge of his identify and foreknowledge of his death on a cross. Other figures, however, don’t have that knowledge and look elsewhere in the painting.
– The setting is in the marble quarry, seen in the Virgin and Child with St. Ann painting. Now however, the view is more intimate and the light through the rocks is an opportunity for a dramatic effect.
– A wooden panel painting |
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Michelangelo
“The Creation of Adam”
High Renaissance |
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– A section of a fresco painted on the Sistine Chapel ceiling (1508-1511), which shows the “Twenty Generations of Christ” starting with Adam, the first man and father of all humankind.
– The painting was commissioned by Pope Julius II, who conceived of the Renaissance and gave it the name. |
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– Greco-Roman architecture is used as a compositional element and the artist uses nude youths from the original Greco-Roman Olympics, in which young men competed athletically in the nude.
– Present day aspects are seen primarily in the acorns (from the oak tree) that were part of Julius II’s family crest. The painting was a tribute to Julius. |
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| – Michelangelo shows off his knowledge of anatomy (taken from anatomical studies of dissecting cadavers). He shows that he can paint figures occupying 3 dimensional space in a convincingly lifelike manner. |
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“The Last Judgement”
Michelangelo
High Renaissance |
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– A fresco painted on the far wall of the Sistine Chapel (1536-45), showing a scene from the book of Revelation in the New Testament of the Bible, where the world comes to an end. Christ is orchestrating what happens to the souls of men who are good and those who are evil.
– The work was painted during the Mannerist Period, however Michelangelo was never a Mannerist painter. |
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| – At the bottom of the painting is hell, represented by demons and a boat image that will take souls into the greater depths of hell. |
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| – Michelangelo shows that he is capable of painting convincingly lifelike figures who can fly in any direction and thereby fully occupy 3 dimensional space. |
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Raphael "Marriage of the Virgin"
High Renaissance |
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| – A relatively early work by Raphael showing Pope Julius II marrying the Virgin Mary and her earthly husband Joseph. Julius II is present day, while the marriage of the Virgin is Biblical. The scene is actually a legend of how the Virgin could marry a mere human. The story says that Joseph and other suitors were given sticks and the man whose stick bloomed was allowed to marry the Virgin. Joseph, whose stick bloomed, won the competition. |
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– The painting is meant to represent a modernization of The Giving of the Keys to St. Peter, by Perugino
– Raphael shows that he copies Perugino’s style, and that he didn’t have much to offer at that time regarding figures occupying 3D space. At the back is a stylized version of St. Peter’s Basilica. |
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"The Transfiguration" Raphael H
High Renaissance |
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| – Shows that Raphael had figured out what it meant to be a High Renaissance painter. The scene at the top is Biblical, showing Jesus on a mountain with 3 of his disciples when suddenly from a cloud appeared the prophets Moses and Elijah, who foretold his coming in the Old Testament. Jesus rises up into the cloud and shows himself as a spiritual being for the first time, thus being transfigured into a spiritual being. The disciples fall over in fear, shielding themselves from the heavenly light. |
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| – Much of the bottom part of the painting was done by Raphael’s student, Andrea del Sarto, who took over Raphael’s studio after he died. It was the students of Andrea who became the Mannerist painters. |
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– At the bottom are people who are posing artificially (such as the Greco-Roman female at the front) and others who are reacting to the event of the Transfiguration. Among this second ground is an epileptic child with his father. A man is pointing to the Transfiguration as if to say that if you believe it that, the demon inside of you will be cast out.
– Raphael uses the spiral as a way of achieving dramatic 3-dimensional form. |
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| Mannerism Portormo "The visitation" |
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– Pontormo was part of the first generation of Mannerist artists, who were in great shock by the events of the time and were very pessimistic and depressed.
– Drawing from the work of Raphael, he painted a Biblical scene of the Virgin visiting her cousin Elizabeth, who as an old woman became pregnant with St. John the Baptist. But the setting is one of chaos and non-sense. The two women are in a Greco-Roman architectural niche surrounded by confused and dazed figures, and on top of the niche is the Sacrifice of Isaac, painted in a non-sensical manner.
– The space of this painting and others in Mannerism is stylized, more 2D than 3D, since space is confused and you can’t tell where you are. |
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| “Joseph’s Flight Out of Egypt” Portormo Mannerism |
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– Pontormo puts in every negative element that he can think of to show that the old Renaissance order is dead. A dying man in the top left, dead and dying trees, Joseph who looks haggard talking to elders who look worse, a three-headed baby, etc.
– He is using the work of Andrea, Raphael and others but is distorting their forms and making them look skeletal, sick, or dead. |
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| Parmigianino Mannerism "The Madonna of Long Neck" |
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– Artist was part of the second generation of Mannerists who were more upbeat and optimistic than the first.
– He uses distortion, but for the sake of beauty and grace
– He was admiringly called “Little Raphael” while he was alive |
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– He shows the Virgin in a see-through gown, as this painting was done for Pope Clement, who brought women into the Vatican and broke his vow of chastity
– He uses a prophet on the right and wingless angels with an urn on the left as design elements, as this was an artificial and superficial style. |
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| Parmigianino Mannerism "Madonna of the Rose" |
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– Was painted for Pope Clement
– Shows a wealthy woman and child and you have to look farther to realize that it is the Virgin and Child
– The Christ Child has his hand on the world as it was known at the time.
– The Virgin’s dress is see-through as was the previous work. |
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Manet
“Woman at the Bar”
Impressionism |
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| Painted by Manet, the originator of Impressionism. His art form was not based on religion or politics. It was simply based on optics, since artists were trying to find a new direction for art after the invention of the camera threatened to put them out of a job. Manet devised a new concept of seeing, based on the color patch. The idea of Impressionism was to see and paint life as floating patches of color. This concept flattened up space and took painting into flat, two dimensionality. |
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– Elements in the painting were painted as surface patches of paint, as Manet was not interested in painting optical reality in three dimensional terms. He was also uninterested in exact detail, but rather in a hazy perception of form that was “painterly” in its approach. For example, the chandelier looked more like dots and flecks of paint than it did an actual chandelier.
– The Impressionist painters worked together as a school, with Manet as the teacher, until Manet died in 1878. With Manet’s death, the other artists (including Monet) went their separate ways but most continued to paint as Impressionists throughout their lives. |
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Monet
“Cathedral at Rouen” (two paintings)
Impressionism |
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Painted at an easel outside, with a hyper-consciousness of the sun’s light on the building’s facade. Monet extended the use of Manet’s color patch to include the effects of sun on various surfaces, and was not interested in three-dimensional modeling of architectural detail.
– Monet experimented with the moment-to-moment optical reality of outdoor light. He painted the same exterior at different times of day to show the fleeting nature of optical reality. From this fleeting glimpse of nature, the term “Impressionism” was coined. |
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– His two paintings show the same facade in full sun and in partial sun, to prove the point that the optical reality of the building was completely different when based on the effects of light.
– His choice of color was pastel shades of primary colors, and this became the trend for the Impressionist movement. |
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“Waterlillies”
Monet Impressionism |
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– This subject matter, with light bouncing off the reflective surface of water, gave the perfect vehicle for showing the fleeting glimpse of nature on which the Impressionists wanted to focus. It proved the point that optical reality can change from moment to moment, depending upon the light and its effects on color and form.
– Again, Monet was not interested in crystal clear detail of form, but rather in expanding the use of the two-dimensional color patch to include outdoor subject matter. |
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| "LandScape" Post Impressionism Cezanne |
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– Cezanne is often called the “father of modern art” because of his profound influence on the work of Picasso and other artists.
– He was interested in expanding the use of the 2-dimensional color patch to include objects that were volumetric and 3-dimensional, such as the cube, the sphere, and the cylinder. |
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– His landscape shows a mountain painted many times during his life, constructed of color patches yet in conjunction with volumetric forms. The mountain itself looks somewhat volumetric, but he also adds houses that are basically cubes in their shape.
– His color palette was typically earthen colors |
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| "Still Life" Cezanne Post Impressionism |
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– This work shows Cezanne’s experimentation with volumetric form and its place in a two-dimensional visual reality based on the color patch.
– The table is completely vertical on the left, which gives a disoriented feeling about where objects are in space. That ambiguity of space has the effect of flattening up space. |
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– He began to consciously use the same color for background and foreground, so that you would see both on the same flat plane.
– He used the color patch as a way to loosely show the objects on the table, and held forms back in space by using black patches. |
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| Post Impressionism Van Gogh "Starry Night" |
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| – Van Gogh was mentally ill and this painting was created during a time of mental instability. He was living in a monastery in the country, which is where they would institutionalize the mentally ill. The overall feeling of the painting is one of an overwhelming energy and desire to move the brush (“I can’t stop, I can’t stop.”) After his death, the result of suicide, this energetic style became attractive to other artists who began to use his techniques of impasto and gesturalism in their own works. |
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– Show the cypress trees, mountains and swirling sky in terms of non-local color, therefore freeing up form and color more than ever before.
– Gives a feeling of abstract thought, where the subject matter of the sky becomes secondary to the swirling form and color. This was new and set a trend in art. |
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| "Bedroom" Post impressionism Van Gogh |
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-- The room is painted in flat patches of color, with the same color used for background and foreground. An example of this can be seen in the orange bed, which has the same flat color for all parts of its form.
– Van Gogh painted the walls and floor of the room to confuse and deceive the viewer into thinking that the 2-dimensional space was real. |
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| "Woman with the fan" Matisse Fauvism |
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– Matisse was the first of the Fauves, which meant “wild beasts”
– His wild use of free non-localized color (orange neck, green nose) was meant to confuse the viewer, but also to irritate and agitate. This painting was viewed by artist and public alike as a “slap in the face of art.” It was meant to be offensive, since he was trying to make a name for himself by shaking up the art world. |
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– He used loose brushwork, similar to Van Gogh, in color patches to show a new optical reality of bold form and wild color (although he had a tendency to muddy his color in this painting).
– Shows a woman holding a fan against her shoulder. Her arm has a long lace glove on it |
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| "Red room" Matiss Fauvism |
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– In this painting Matisse is showing off for his peers, letting them know that he had conceived of a way to flatten space more than ever before. He used the same color for background and foreground, in the manner of Cezanne, but now used the same decorative floral pattern for wallpaper and tablecloth (background and foreground). He was ingenious as he did so, and integrated the pattern of one into the other.
– Outside the window he shows non-local color in the trees and has spheres dropping from the trees in a new free manner. |
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| Picasso "Young women of Avignon" Cubism |
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| – Picasso shows his budding genius in this painting, which represented an entirely new style. His subject matter was prostitutes from the red light district of Avignon in Paris. He has angularized them in the same way that African masks are angular and geometric. He has fragmented the figures as well as their drapery as if they were painted on glass and the glass were shattered. This angular form of Cubism became known as “Analytic” Cubism, as opposed to the curvilinear “Synthetic” Cubism of his latter years. |
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– Picasso also shows hints of mutual overlapping, which will be developed further in the next few years.
– He uses the same color for background and foreground.
– He uses a skewed face that was made up of two views (frontal and profile).
– He uses an African mask on three of the five figures, and shows that the mask’s forms have taken control of the composition. |
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| Picasso "Accodionist" Cubism |
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– Painted a fourth dimension, which is the dimension of time.
– Shows a person playing a musical instrument over time, moving in space.
– Shows his new preoccupation with mutual overlapping, depicting all planes at once in a blurred, disorienting view. |
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– Painted as if multiple images that occurred over time in one image.
– Uses Cezanne’s color palette of earthen colors and takes into account Cezanne’s use of volumetric forms in 2-dimensional space. |
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