Late Renaissance - Option #2

            When looking at The Origin of the Cornucopia by Abraham Janssens and Leda and the Swan and Her Children by Vincent Sellaer one can see several distinct stylistic characteristics of mannerism and the Late Renaissance. While both are very different subject matters they both have a distinctiveness about them that can help determine them to be Mannerist paintings.

            All the figures in The Origin of the Cornucopia are twisting and turning as if they are all reaching for something. When looking at each figure it appears that they are all in somewhat awkward and uncomfortable positions. For example, the figure on our right with the blue cloth draped across their body is leaning back at a strange angle that one most likely wouldn’t be comfortable sitting in. The position is one that is neither natural nor comfortable for one to be in for a long period of time. The figures of The Origin of the Cornucopia also have some strange proportions. Again looking at the figure with the blue cloth we see very odd body proportions. Having little to no neck makes the figure look as if their very small head is placed on these very large muscular shoulders. Then when looking at the arm one can see the length between the elbow and the hand is extremely long. The thigh also appears to be very long on the same figure. Though we are only seeing a portion of it, if the cloth were to be removed the thigh would be greatly elongated in order for it to attach to the rest of the body. Twisting figures, elongation, and unstable positions are all characteristics that we not only see in The Origin of the Cornucopia but other Late Renaissance artwork such as the Entombment. In this painting we see figures twisting and turning in all directions with outreached arms and elongated limbs. Due to these characteristics we can tell that both these paintings are Mannerist paintings from the Late Renaissance.

            In Leda and the Swan and Her Children we also see several characteristics that can be traced back to mannerism and the Late Renaissance. Looking at the main woman figure we see that the distance between her shoulders and breasts is very short in comparison to the length of her torso. Her arms also appear to be extremely elongated especially her left arm that is reaching down to the child. The length between her shoulder and elbow on her left arm is out of proportion with the length between her elbow and wrist. Giving her upper arm an elongated appearance. Her thigh that is covered up by the cloth seems to also be very elongated. Due to the positioning of her thighs it looks like she is in a very unstable position. The way she is positioned makes it hard for the viewer to tell where exactly her weight is being supported. Her left leg looks like it is bent and that she is propped up on her knee, however her right leg is also bent but looks like she is sitting on her feet. Both these positions can’t be happening at once, making the position seem unstable and very uncomfortable. Leda and the Swan and Her Children is similar to the painting Allegory With Venus and Cupid that also comes from the Late Renaissance with mannerist characteristics. In the Allegory With Venus and Cupid painting we also see elongation, similar looking children, and odd body proportions. Seeing that these two paintings share these same mannerist characteristics helps categorize Leda and the Swan and Her Children as a Late Renaissance painting. 

High Italian Renaissance Art

            When looking at artwork from both the Early and High Italian Renaissance we can see an immense amount of similarities shared between the two periods. However, there are several distinct differences that help us visually differentiate the Early and High Italian Renaissance. For example, when looking at the portrait Battista Sforza and Federico Da Montefeltro from the Early Italian Renaissance and the Mona Lisa from the High Renaissance we can see both similarities and differences in their stylistic characteristics.

            When looking at the Mona Lisa and the Battista Sforza and Federico Da Montefeltro it is easy to immediately point out some obvious differences between the two. First off we can see that the Mona Lisa is depicted in a three-quarter view while the Battista Sforza and Federico Da Montefeltro is shown in profile. Three-quarter view being the preferred way to depict a person in a portrait during the High Renaissance while the profile view was the preferred way to depict a person during the Early Renaissance. The profile view prohibits the viewers to become engaged with the person being depicted in the portrait, while the three-quarter view allows us to get a much better idea of what exactly the person looks like, allowing the viewer to become far more engaged. The Battista Sforza and Federico Da Montefeltro portrait has a much more geometric appearance. This geometric feel makes the painting appear far less naturalistic than the Mona Lisa portrait. The Mona Lisa is very naturalistic and true to life. This is showing the High Renaissance’s emphasis on realism. The figure of Mona Lisa creates a pyramidal form that is often seen in the High Renaissance while the Battista Sforza and Federico Da Montefeltro has a much more rigid appearance lacking a pyramidal form. The background of the Battista Sforza and Federico Da Montefeltro is very clear and easy to make out. The Mona Lisa’s background uses sfumato giving a slight suggestion of a haze. Sfumato is a stylistic characteristic often used in the High Italian Renaissance. While there are a lot of differences between the two portraits we see several similarities that help us relate the Early and High Italian Renaissance periods.

            We can see right away when looking at the two portraits that atmospheric perspective is used in each. We see atmospheric perspective starting to be used in the Early Renaissance and is continued to be used through the High Renaissance. We can also see use of naturalism in each however we can see the advancement in naturalism from the Early to High Renaissance. Both the Mona Lisa and Battista Sforza and Federico Da Montefeltro were created with oil paint on wood panel.

            When looking at artwork from the High Renaissance it has, as pointed out in our textbook, “dynamic unity.” The dynamic unity I see from the High Renaissance is the artist’s ability to relate the person being depicted to what is happening in the background. For example, in the Mona Lisa it looks as if she fits in the setting that she is painted in. However, the Battista Sforza and Derico Da Montefeltro from the Early Renaissance seems to lack that dynamic unity. It looks like the two figures represented were randomly put in that setting and have no connection to the background. It is almost as if the foreground and background are two different paintings.

            When looking at works or art from both the Early and High Renaissance it is generally fairly easy to decipher which works of art are from which periods. Though the two periods do share many stylistic characteristics we can tell the difference because it is as if the artists from the High Renaissance perfected what the Early Italian Renaissance artists started.  

Early Italian Renaissance Art

            The well-known painting the Birth of Venus by Sandro Boticelli is an example of Early Italian Renaissance art. The painting revolves around Venus, the goddess of love and beauty, being blown to shore in a scallop shell. The overall effect given by the Birth of Venus is a strong sense of movement and energy. This strong sense of movement and energy can be found in the use of colors, lines, and overall composition.

            Sandro Boticelli created a lot of movement through his use of colors. First off, we can see a large array of greens, blues, and whites creating the sea. The contrast used between the dark greens and blues between the light greens, blues, and white give the viewer the sense that the water has ripples in it and is in fact moving Venus towards shore. The ripples in the water suggest the sea to be alive and full of energy. The garments worn by each figure all have a large amount of contrast in their colors, which help create movement within the painting. By use of darker blues and blacks on the garments there is a sense of creases and shadows that make it look like the wind is blowing the garments all about. The contrasts in the colors used on the garments appear to be very naturalistic. In reality if one were to be wearing a dress on a windy day the garment would be blowing against the person showing their form underneath the garment, giving us a sense of their body, just as Botticelli chose to do in this painting. The wind would cause the garment to overlap on top of itself creating shadows and dimension in the garment just as we see here. We also see a great amount of movement in the hair of Venus. By making it look like the hair was being hit by sun in some areas it appears that the hair is blowing in the wind.

            By use of lines in the painting we are given not only a sense of movement among the figures, but a sense of energy as well. Starting out with Venus, though she isn’t showing a large amount of movement with her actual body, her stance looks as if she possibly just shifted her weight. The lines of her body give a great suggestion of curve. With Zephyr the lines of his body suggest him to be leaning in towards Venus at an angle. As for the woman greeting Venus on land we can see a curve in her body as well as she is standing on her tip toes, readily awaiting to wrap the garment in her raised hands around Venus. The lines of the woman and man on either side of Venus are at strong diagonals facing inward. The diagonal of movement starts at their feet and leads us all the way to the serene face of Venus.

            The composition of the Birth of Venus is one that does not seem to be too complex however it appears to be well thought out. Boticelli uses atmospheric perspective in the background and a great amount of movement in the waves that lead our eye from the background to the foreground. We then see three figures on the sides of Venus that are in such dynamic postures that it appears that there is a large amount of movement and energy happening around Venus. The composition of this painting leads the viewer’s eye to the calm face of Venus, who appears to be unfazed by all the movement, energy, and chaos taking place around her. The composition of the painting makes Venus be the centralized figure making it quite obvious that she is the main figure of the painting. It can also be seen that Venus is the main figure of the painting because we can see that just about every where else in the painting there is movement and energy and then as your eyes make it to Venus we see a much more calm figure that almost appears to be in a trance or experiencing a day dream. This composition is very effective then because it leaves the viewer looking at the gaze of Venus and wondering how, with all the chaos happening around her, she is in such a serene state. 

Northern Renaissance Documentary - Post #2

            The documentary “Northern Renaissance: The Supreme Art” made it quite obvious that during the time of the Northern Renaissance luxury items were highly valued. Much of these luxury items were in fact paintings. Kings and those of nobility generally commissioned paintings so they were not only highly regarded but something wanted and respected by all. All during this time valued the idea of naturalism immensely because this was the first time they were seeing art being produced that didn’t look man made. The paintings or illusions created were so convincing that it looked as if the figures in the paintings were capable of movement, giving the figures a very life like quality. The people of this time also valued religion, inventions, and learning. We can see in many paintings produced during this time that they contain religious aspects. Due to the fact that there are so many paintings related to religion in this time period we can conclude that they were in high demand because so many people valued their religion. Many altarpieces were also being created, and some being on a very large scale. The Ghent altarpiece is over eleven feet tall and about fifteen feet long. This altarpiece is considered to be one of the most coveted pieces of art due to its naturalistic qualities and very individualized figures. The printing press was also created during this time period allowing for large- scale production for the first time ever.

 During the Northern Renaissance we see several different types of art being produced. At first there was a large amount of sculptures and tapestries being created. However, once the highly regarded painter Jan van Eyck was commissioned by Phillip the Good many people were able to see the beautiful paintings that so closely resembled the real world. The nobility was so impressed with his ability to create such true to life paintings that they paid him a substantial amount and told him he could work for anyone outside of the court as well. This was found in historic documents dated back to this time period basically explaining he was the best of the best and there was no painter who could compare. Jan van Eyck’s growing popularity brought all different kinds of paintings into a different kind of light for the people of the Northern Renaissance. Jan van Eyck was known for painting altarpieces and portraits. The portraits created during this time, especially those by Jan van Eyck, were so true to life it was as if the person was seeing their reflection in a mirror. The people of the Northern Renaissance were very excited to have their portraits done by Jan van Eyck not only because his extreme talent and ability to create such a realistic portrait, but because Jan van Eyck was known to paint portraits of nobility. The modest family was now able to have a masterpiece portrait in their own home at a substantially lower cost than that of gold and jewels, which were once the luxury items people strived to obtain.

When looking at art produced during the Northern Renaissance there are several stylistic characteristics that seem to show up in just about every piece. We see extreme, very small details added to the work that at first glance may go unnoticed, but ultimately adds to the intense naturalism and beauty of the painting. There is a great interest in naturalism and individualization that make all these paintings appear to be exactly how we see the object, landscape, or person in real life. We also see in much of the paintings created during this time the use of very thin layers of oil paint. Due to these several stylistic characteristics the pieces of art from the Northern Renaissance are not only easily recognizable but some of the most coveted and highly regarded pieces of art in the world. 

Introduction to Renaissance Art

            The art produced in the 15th and 16th centuries has been and always will be held in very high regards by our culture. A large portion of the art produced depicts intensely naturalistic portrayals of humans, which for years prior to the 15th and 16th centuries many artists were striving to create naturalistic pieces. I feel that our culture greatly admires work form the Renaissance period because the artwork was very true to life. Nowadays it is often that we see bodies being altered to fit our society’s idea of beauty, which for women is very thin and for men very muscular. Looking at much of the artwork from the Renaissance we see bodies being depicted as they truly were rather than being altered to fit an ideal. I also believe that many are drawn to this time period and to artists such as Michelangelo, Leonardo da Vinci, and Raphael because they were creating monumental large- scale pieces that while large still maintained naturalism. A large amount of time and effort were put into these pieces and when looking at them it is quite obvious. There is great intrigue for the Sistine chapel and Michelangelo due to the positions in which Michelangelo had to be in, in order to paint the ceiling and yet it came out flawless. Artwork is constantly being produced, yet many seem to be stuck on the pieces of the 15th and 16 centuries because since then there never has been anything quite like them.