renaissance art essay conclusion

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Europe 1300 - 1800

Course: europe 1300 - 1800   >   unit 3.

• How to recognize Italian Renaissance art
• Tiny timelines: global Europe
• Napoleon’s appropriation of Italian cultural treasures
• The study of anatomy
• Contrapposto explained
• Florence in the Early Renaissance
• Alberti’s revolution in painting
• Linear Perspective: Brunelleschi's Experiment
• How one-point linear perspective works
• Early Applications of Linear Perspective
• Linear perspective interactive
• Images of African Kingship, Real and Imagined

A primer for Italian renaissance art

• Introduction to gender in renaissance Italy
• The Italian renaissance court artist
• The status of the artist in renaissance Italy
• Female artists in the renaissance
• The role of the workshop in Italian renaissance art
• Humanism in renaissance Italy
• Humanism in Italian renaissance art
• Why commission artwork during the renaissance?
• Types of renaissance patronage
• Renaissance Watercolours: materials and techniques
• Retro style in the Renaissance

Why study Italian renaissance art?

The past is a foreign country; they do things differently there. L.P. Hartley, The Go-Between

Painting is mute poetry and poetry is blind painting. Leonardo da Vinci, Paragone [2]

• 600 B.C.E.–400 C.E. Ancient Greece and Rome (also known as the classical past or classical antiquity, this 1,000 year span of time is itself broken by historians and art historians into smaller designations, such as archaic, high classical, hellenistic, etc.)
• 400–c. 1400 the Middle Ages (c. 1200–1400 is often called the Late Middle Ages)
• 1400–1600 the Renaissance

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Renaissance

By: History.com Editors

Updated: August 11, 2023 | Original: April 4, 2018

The Renaissance was a fervent period of European cultural, artistic, political and economic “rebirth” following the Middle Ages. Generally described as taking place from the 14th century to the 17th century, the Renaissance promoted the rediscovery of classical philosophy, literature and art.

Some of the greatest thinkers, authors, statesmen, scientists and artists in human history thrived during this era, while global exploration opened up new lands and cultures to European commerce. The Renaissance is credited with bridging the gap between the Middle Ages and modern-day civilization.

From Darkness to Light: The Renaissance Begins

During the Middle Ages , a period that took place between the fall of ancient Rome in 476 A.D. and the beginning of the 14th century, Europeans made few advances in science and art.

Also known as the “Dark Ages,” the era is often branded as a time of war, ignorance, famine and pandemics such as the Black Death .

Some historians, however, believe that such grim depictions of the Middle Ages were greatly exaggerated, though many agree that there was relatively little regard for ancient Greek and Roman philosophies and learning at the time.

During the 14th century, a cultural movement called humanism began to gain momentum in Italy. Among its many principles, humanism promoted the idea that man was the center of his own universe, and people should embrace human achievements in education, classical arts, literature and science.

In 1450, the invention of the Gutenberg printing press allowed for improved communication throughout Europe and for ideas to spread more quickly.

As a result of this advance in communication, little-known texts from early humanist authors such as those by Francesco Petrarch and Giovanni Boccaccio, which promoted the renewal of traditional Greek and Roman culture and values, were printed and distributed to the masses.

Additionally, many scholars believe advances in international finance and trade impacted culture in Europe and set the stage for the Renaissance.

Medici Family

The Renaissance started in Florence, Italy, a place with a rich cultural history where wealthy citizens could afford to support budding artists.

Members of the powerful Medici family , which ruled Florence for more than 60 years, were famous backers of the movement.

Great Italian writers, artists, politicians and others declared that they were participating in an intellectual and artistic revolution that would be much different from what they experienced during the Dark Ages.

The movement first expanded to other Italian city-states, such as Venice, Milan, Bologna, Ferrara and Rome. Then, during the 15th century, Renaissance ideas spread from Italy to France and then throughout western and northern Europe.

Although other European countries experienced their Renaissance later than Italy, the impacts were still revolutionary.

Renaissance Geniuses

Some of the most famous and groundbreaking Renaissance intellectuals, artists, scientists and writers include the likes of:

• Leonardo da Vinci (1452–1519): Italian painter, architect, inventor and “Renaissance man” responsible for painting “The Mona Lisa” and “The Last Supper.
• Desiderius Erasmus (1466–1536): Scholar from Holland who defined the humanist movement in Northern Europe. Translator of the New Testament into Greek. 
• Rene Descartes (1596–1650): French philosopher and mathematician regarded as the father of modern philosophy. Famous for stating, “I think; therefore I am.”
• Galileo (1564-1642): Italian astronomer, physicist and engineer whose pioneering work with telescopes enabled him to describes the moons of Jupiter and rings of Saturn. Placed under house arrest for his views of a heliocentric universe.
• Nicolaus Copernicus (1473–1543): Mathematician and astronomer who made first modern scientific argument for the concept of a heliocentric solar system.
• Thomas Hobbes (1588–1679): English philosopher and author of “Leviathan.”
• Geoffrey Chaucer (1343–1400): English poet and author of “The Canterbury Tales.”
• Giotto (1266-1337): Italian painter and architect whose more realistic depictions of human emotions influenced generations of artists. Best known for his frescoes in the Scrovegni Chapel in Padua.
• Dante (1265–1321): Italian philosopher, poet, writer and political thinker who authored “The Divine Comedy.”
• Niccolo Machiavelli (1469–1527): Italian diplomat and philosopher famous for writing “The Prince” and “The Discourses on Livy.”
• Titian (1488–1576): Italian painter celebrated for his portraits of Pope Paul III and Charles I and his later religious and mythical paintings like “Venus and Adonis” and "Metamorphoses."
• William Tyndale (1494–1536): English biblical translator, humanist and scholar burned at the stake for translating the Bible into English.
• William Byrd (1539/40–1623): English composer known for his development of the English madrigal and his religious organ music.
• John Milton (1608–1674): English poet and historian who wrote the epic poem “Paradise Lost.”
• William Shakespeare (1564–1616): England’s “national poet” and the most famous playwright of all time, celebrated for his sonnets and plays like “Romeo and Juliet."
• Donatello (1386–1466): Italian sculptor celebrated for lifelike sculptures like “David,” commissioned by the Medici family.
• Sandro Botticelli (1445–1510): Italian painter of “Birth of Venus.”
• Raphael (1483–1520): Italian painter who learned from da Vinci and Michelangelo. Best known for his paintings of the Madonna and “The School of Athens.”
• Michelangelo (1475–1564): Italian sculptor, painter and architect who carved “David” and painted The Sistine Chapel in Rome.

Renaissance Impact on Art, Architecture and Science

Art, architecture and science were closely linked during the Renaissance. In fact, it was a unique time when these fields of study fused together seamlessly.

For instance, artists like da Vinci incorporated scientific principles, such as anatomy into their work, so they could recreate the human body with extraordinary precision.

Architects such as Filippo Brunelleschi studied mathematics to accurately engineer and design immense buildings with expansive domes.

Scientific discoveries led to major shifts in thinking: Galileo and Descartes presented a new view of astronomy and mathematics, while Copernicus proposed that the Sun, not the Earth, was the center of the solar system.

Renaissance art was characterized by realism and naturalism. Artists strived to depict people and objects in a true-to-life way.

They used techniques, such as perspective, shadows and light to add depth to their work. Emotion was another quality that artists tried to infuse into their pieces.

Some of the most famous artistic works that were produced during the Renaissance include:

• The Mona Lisa (Da Vinci)
• The Last Supper (Da Vinci)
• Statue of David (Michelangelo)
• The Birth of Venus (Botticelli)
• The Creation of Adam (Michelangelo)

Renaissance Exploration

While many artists and thinkers used their talents to express new ideas, some Europeans took to the seas to learn more about the world around them. In a period known as the Age of Discovery, several important explorations were made.

Voyagers launched expeditions to travel the entire globe. They discovered new shipping routes to the Americas, India and the Far East and explorers trekked across areas that weren’t fully mapped.

Famous journeys were taken by Ferdinand Magellan , Christopher Columbus , Amerigo Vespucci (after whom America is named), Marco Polo , Ponce de Leon , Vasco Núñez de Balboa , Hernando De Soto and other explorers.

Renaissance Religion

Humanism encouraged Europeans to question the role of the Roman Catholic church during the Renaissance.

As more people learned how to read, write and interpret ideas, they began to closely examine and critique religion as they knew it. Also, the printing press allowed for texts, including the Bible, to be easily reproduced and widely read by the people, themselves, for the first time.

In the 16th century, Martin Luther , a German monk, led the Protestant Reformation – a revolutionary movement that caused a split in the Catholic church. Luther questioned many of the practices of the church and whether they aligned with the teachings of the Bible.

As a result, a new form of Christianity , known as Protestantism, was created.

End of the Renaissance

Scholars believe the demise of the Renaissance was the result of several compounding factors.

By the end of the 15th century, numerous wars had plagued the Italian peninsula. Spanish, French and German invaders battling for Italian territories caused disruption and instability in the region.

Also, changing trade routes led to a period of economic decline and limited the amount of money that wealthy contributors could spend on the arts.

Later, in a movement known as the Counter-Reformation, the Catholic church censored artists and writers in response to the Protestant Reformation. Many Renaissance thinkers feared being too bold, which stifled creativity.

Furthermore, in 1545, the Council of Trent established the Roman Inquisition , which made humanism and any views that challenged the Catholic church an act of heresy punishable by death.

By the early 17th century, the Renaissance movement had died out, giving way to the Age of Enlightenment .

Debate Over the Renaissance

While many scholars view the Renaissance as a unique and exciting time in European history, others argue that the period wasn’t much different from the Middle Ages and that both eras overlapped more than traditional accounts suggest.

Also, some modern historians believe that the Middle Ages had a cultural identity that’s been downplayed throughout history and overshadowed by the Renaissance era.

While the exact timing and overall impact of the Renaissance is sometimes debated, there’s little dispute that the events of the period ultimately led to advances that changed the way people understood and interpreted the world around them.

HISTORY Vault: World History

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The Renaissance, History World International . The Renaissance – Why it Changed the World, The Telegraph . Facts About the Renaissance, Biography Online . Facts About the Renaissance Period, Interestingfacts.org . What is Humanism? International Humanist and Ethical Union . Why Did the Italian Renaissance End? Dailyhistory.org . The Myth of the Renaissance in Europe, BBC .

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The Renaissance Art: Impact on the Modern World

The renaissance era, especially during the fifteenth and sixteenth century in Italy, was a time of extensive innovation and exploration. These changes were especially prevalent in art, and the vast leaps in the artists’ methods and skills have continuously influenced contemporary art. Renaissance art saw an increased implementation of realism in painting and other creative ambitions such as architecture and writing. The techniques encouraged tremendous innovation and skill-based improvement, which is why many renaissance artists are still considered some of the most technically advanced. The art pieces of the time placed a substantial amount of importance on things such as perspective, proportion, and realistic illusions, which were aspects of painting that were previously ignored or only partially implemented.

The renaissance also observed shifts from classical antiquity by paying more attention to human identity and rationality. This was a complete transformation from medieval art that was linked to the divine and allegorical. Much of what we currently value in the metaphors of art, such as humanity, nature, everyday life, philosophy, and other thoughtful concepts, began to emerge during the renaissance. As such, the renaissance’s importance cannot be understated, as it has influenced the art of the following centuries and current art. The renaissance paved the way for realism, technical innovation, and perhaps most importantly, for deeper exploration of the thematic aspects of paintings and other art. The renaissance embodied many artists that are widely known today and continue to be studied and looked up to in technical ability and creative choices. The era has influenced many modern art styles and will likely continue to inspire and guide future art.

Despite appearing as a totally novel form of art, the renaissance was the return towards already existing classical Greek and Roman art forms and stylistic choices. In fact, it was the synthetic nature of the renaissance, especially in Italy, that allowed for truly inspirational results. Most Western art emerges as a consequence of the convergence and combinations of styles and practices. The same can be said for the early beginnings of the renaissance, during which the revival of the classical tradition of Greek and Roman was especially prevalent. The art of ancient Greece had always strived to achieve idealized, but naturalistic, three-dimensional forms of the human body.

Symmetry was another aspect that was upheld in the classical tradition, while the realistic proponents of works could be identified in nude figures, mostly males with female figures in later years. The same organic presentation can be observed in the oil paintings of the renaissance which mimic not only the classical tradition as it was preserved but builds on the foundational values that ancient Greek artists have installed in realism, naturalism, and dimensional works.

The fourteenth century’s emergence of the renaissance was not strictly attributed to only artists and sculptors, but to a number of creative minds of the past which became studied more frequently. The university town of Padua, not far from Venice, served as a republican commune and the source of much of the classical revival in fourteenth-century Italy (Adams, 2019). The study of ancient texts, visual arts, and other cultural factors became common and developed into a kind of social phenomenon.

The process became known as the humanist movement, an almost revolution based on the visual arts, recorded ideologies, and discussions. As such, it was integral to several artists of the renaissance, including Giotto, who was considered the father of the Renaissance. Giotto’s work employed an increased volume of figures, approximate perspective, and a depth of emotion that was perceived as human feeling as opposed to the static and passive iconography of the medieval period.

Primarily, the effect of the humanist movement altered the relationship many artists, intellectuals, creators, and viewers of art had with the human body. The humanist curriculum developed in certain elite schools dictated a much more different belief, one that suggested that the human body is inherently composed of dignity. “Man is the measure of things” was a maxim popular in the classical period and became viable again during the renaissance (Chamberlin, 2019). Essentially, it rejected the notion popularized in medieval times that dictated that the physical body was impure and corrupt. An ideological change like the one upheld by the humanists seeped into the world of art, and realism and naturalism became indisputably more relevant than the illusory and allegorical creations of the medieval period.

On the more practical side of the renaissance, art, architecture, sculpture, and a number of other art forms observed massive leaps in technological advancements. These changes included improvements in materials, techniques, and tools. Other art forms, such as music and dance also enjoyed completely new forms of creativity in the early versions of the spinet and ballet. For the visual arts, the introduction of oil paints as they exist in the modern day was perhaps one of the most vital changes to the landscape of painting. Outside the practical changes, the actual practice of painting and sculpture began to evolve to adhere to the recently acquired ideals that were promoted by classical, realist, and naturalist works of the Greeks. The changes included but were not limited to linear perspective, foreshortening, quadratura, and sfumato.

Linear perspective, foreshortening, and quadratura were the sources of a new mastery in the art of illusionistic paintings (Soriano-Colchero & López-Vílchez, 2019). The new works were able to present depth that was not seen in the pieces created by medieval artists. Additionally, sfumato, an oil painting technique, was able to further enhance the naturalism and realism of the faces and figures of subjects of many renaissance pieces.

Following Giotto, Filippo Brunelleschi, a Florentine architect, and engineer was another early creator in the age of the renaissance. His most important contributions to the era included optical experiments that led to the discovery of a mathematical theory of perspective (Asasian, 2019). The method which Brunelleschi uncovered from his experiments was implemented for architectural purposes, but following its publishing in 1435, it was just as efficiently used in the painting of three-dimensional spaces within artworks. Its implementation can be observed in works such as the ‘Holy Trinity’ by Masaccio. Though it is a religious piece and follows many previous rules and standards of earlier works dedicated to the church, ‘Holy Trinity’ depicts a barrel-vaulted ceiling (Asasian, 2019).

The ceiling is able to imitate the actual appearance of the architecture as it would be visible from the point of view of the observer. In addition, the figures are proportionate in their anatomy, which is likely the result of Masaccio’s abilities as a student of sculpture. The newly acquired understanding of perspective was not restricted to the depiction of architecture but appeared in paintings of the human body from a number of different vantage points. Such is the case for the work ‘Lamentation of the Dead Christ’ by Andrea Mantegna, which portrays the subjects lying down, and the observer is placed at the feet of the man in the painting (Asasian, 2019). Not only was it a total innovation in the implementation of perspective, but also allowed the artist to evoke sympathy from the viewer by staging the scene as he did.

The renaissance influenced and was influenced by a few theological and philosophical beliefs over its course. Movements such as humanism spread through not only written and academic works, but directly into art, resulting in thematic pieces that exhibited more human figures and less allegorical messages. Other ideologies that were often central to renaissance pieces included secularism, individualism, and classicism.

Secularism, from the word secular meaning ‘of this world’, was not in direct disagreement with previous religious themes, but an addition to the beliefs that were common in the day. Much of medieval art and theology revolved around the afterlife, salvation, and deep devotion to religious ideals. The shift from art being solely or primarily focused on religious themes to the renaissance’s rise of works that were just as likely to be concerned with themes of daily life, human beauty, and non-religious philosophy was motivated by a number of factors. In fact, the leading components of the change are likely to have been economic and political.

The late middle ages in Western Europe observed an increased interest in the arts from other areas, religions, and form groups with varied values. Such a mix resulted in the renaissance incorporating the secular spirit into art, depicting life before death and heaven as worthwhile as opposed to an ordeal to overcome before dying. However, religion and God remained at the forefront of thematic choices in renaissance work, but the influence of secularism allowed for more diversity and exploration of human existence within art. The concept of humanism was continuously thriving, with artwork reflecting the fact that artists of the renaissance believed that humans were capable of reason, beauty, and the questioning of authority.

Individualism has taken such concepts a step further, by stating that human beings were not only inherently valuable but also held the potential for great accomplishments. This was a substantial change from the previously communal-oriented nature of the middle ages, especially in the world of the arts. For instance, the individualist perspective that was being cultivated during the time allowed artists like Leonardo Da Vinci to fully explore their own potential without being held back by a society that would discourage the questioning of traditional beliefs (Campbell, 2019).

Individualism was also prevalent within the actual works of artists, with newly emerging trends such as artists’ signatures, display of individualistic pride, and increased portraiture. Further still, the communal guild system was morphing into a capitalist-like sales process that prioritized private enterprise. With such models becoming more and more prevalent, the private ownership of art had also increased and wealthier citizens had become more likely to commission works of non-religious nature.

Just as the renaissance was influenced by prior philosophies, ideologies, and artworks, it has left an everlasting mark on the world of art, with much of the principles of renaissance surviving in modern art and theology. A number of works are often either directly referenced or subconsciously referred to in many modern works. Da Vinci’s work and iconography are especially popular in current art, with many parodies or his ‘The Last Supper’ being used to convey humor, satire, politics, or a number of other themes (Perrott, 2019). The easy recognition which the piece instills has allowed several other artists to convey their own messages through the iconic composition, posing, and imagery. Similar things can be said for ‘The Creation of Adam’ and ‘The Birth of Venus’, which have been parodied directly often for commercial or other purposes.

However, the renaissance is also capable of much more subtle influences which are often related to style, technique, and the technical innovations that originated with the time period. This can be seen in the increased ability of modern artists to invoke senses of realism in their pieces. Similarly, the themes of humanism and individualism persist to this day, with massive amounts of art being centered on human relations, identity, existence, and other people-oriented ideologies. Such thematic choices have even influenced completely new mediums, such as film, by setting the standard that stories should involve realistic humans instead of the godliness, perfection, and piety that the medieval arts were committed to.

The influence of the renaissance is undeniable, as without its domination during the fourteenth century, much of modern art may have been constructed from completely different thematic, stylistic, and technical qualities. However, due to the insistent involvement of artistic developments such as realism, technical innovation, and the influence of novel ideologies and philosophies, modern art upholds similar values that observers, critics, and artists find vital. Perhaps most importantly, it is due to the renaissance defiance of social norms that art has become diverse, limitless, and forever changing.

Works Cited

Adams, L. S. (2019). Italian Renaissance Art (2nd e.d.). Routledge.

Asasian, M. (2019). A Fuzzy Method for Meaningful Perspective on Visual Arts. Journal of Advances in Mathematics and Computer Science , 1-16. Web.

Campbell, G. (2019). The Oxford Illustrated History of the Renaissance . Oxford University Press.

Chamberlin, E. R. (2019). The World of the Italian Renaissance . Routledge.

Perrott, A. (2019). Modern Renaissance: 5 Contemporary Works Inspired by the Greats . Singulart Magazine. Web.

Soriano-Colchero, J., & López-Vílchez, I. (2019). The role of perspective in contemporary artistic practice . Cogent Art and Humanities, 6 (1). Web.

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Heilbrunn Timeline of Art History Essays

Renaissance drawings: material and function.

Design Fragment for the Left Side of the 'Fonte Gaia' in Siena

Jacopo della Quercia (Jacopo di Pietro d’Angelo di Guarnieri)

Three Standing Figures (recto); Seated Woman and a Male Hermit in Half-length (verso)

Stefano da Verona (Stefano di Giovanni d'Arbosio di Francia)

Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso)

• Leonardo da Vinci

Standing Youth with Hands Behind His Back, and a Seated Youth Reading (recto); Two Studies of Hands (verso)

Filippino Lippi

Design for the Tomb of Pope Julius II della Rovere

Michelangelo Buonarroti

Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)

Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso)

Raphael (Raffaello Sanzio or Santi)

Studies of the Christ Child

Landscape (recto); Landscape (verso)

Perugino (Pietro di Cristoforo Vannucci)

Studies for Hercules Holding a Club Seen in Frontal View, Male Nude Unsheathing a Sword, and the Movements of Water (Recto); Study for Hercules Holding a Club Seen in Rear View (Verso)

Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso)

The Head of the Virgin in Three-Quarter View Facing Right

Two Satyrs in a Landscape

Titian (Tiziano Vecellio)

Study for the Head of Julius Caesar

Andrea del Sarto (Andrea d'Agnolo)

The Annunciation

Correggio (Antonio Allegri)

Seated Figure of Mercury

Parmigianino (Girolamo Francesco Maria Mazzola)

Bishop Saint in Bust-Length (Cartoon for an Altarpiece)

Saint John the Evangelist (recto; Cartoon for a Fresco); Saint Mark (verso; Cartoon for a Fresco)

Francesco Salviati (Francesco de' Rossi)

Carmen Bambach Department of Drawings and Prints, The Metropolitan Museum of Art

October 2002

During the late fourteenth century, artists began to use paper more and more to explore their ideas for the design of paintings and sculptures , rather than simply to copy or record finished works of art. This exploratory type of drawing offers a vivid and intimate glimpse of the artist creatively thinking on paper.

In preparing a composition, artists first drew quick sketches, usually in pen and ink, in which they formulated general ideas rather than focused on details. An example is Leonardo da Vinci’s fascinating double-sided sheet that includes an exquisite small sketch for an allegory on the fidelity of the lizard, and the stage design for a musical comedy ( 17.142.2 ). Another of Leonardo’s double-sided sheets combines an exciting array of ideas for different projects: a figure of Hercules probably intended for a sculpture, some scientific illustrations of the flow of water around obstacles, and a tiny figure of a man sheathing or unsheathing a sword ( 2000.328a,b ).

In the next steps of the creative process, artists investigated the poses of the figures from life models . The earliest such extant studies date from the first years of the fifteenth century. Using the medium of silverpoint on pink prepared paper to obtain delicate tonal effects, Filippino Lippi posed a male studio assistant to stand in for the figure of a bound Christ or Saint Sebastian, in order to observe the figure’s chiseled nude musculature ( 36.101.1 ). In contrast, Raphael’s sheet of studies of an infant ( 1997.75 ) attempts to capture his energy and delightful gestures, and the red chalk medium serves to imitate the soft tonal effects of his dimpled flesh. Artists then integrated the results of studying the figures from life models into a summary design of the composition, in order to pull together the figural arrangements with the lighting effects and setting. Raphael’s Madonna and Child with the Infant Saint John the Baptist ( 64.47 ) offers a fairly rough summary study of their pyramidal grouping, while Titian’s poetic study of two satyrs in a landscape ( 1999.28 ) concentrates especially on the transforming effects of light and atmosphere.

As a final step, artists drew cartoons (full-scale drawings). These were especially necessary in painting frescoes on moist plaster, for the enormously difficult medium of fresco demanded that artists paint quickly, one plaster patch per day, before the moist plaster and the water-based colors set in a chemical process. A monumental cartoon by Francesco Salviati ( 2001.409 ) is boldly rendered with black chalk and white highlights in the final size of the figure in the fresco painting, and the main outlines around the figure are incised with a stylus for the transfer of the full-scale design onto the moist plaster.

During the late fourteenth century, artists also began to work out the details of their commissions for paintings, sculptures, and buildings with their prospective patrons by drafting legally binding contracts. These contracts often included a drawing as an attachment in order to explain the details of the design that was expected and that would be agreed upon by the two parties. A number of drawings were also more generally produced as demonstration pieces ( modelli ) for the patron’s approval and for the workshop’s use, and these were often carefully modeled with pen and ink and were fairly complete regarding the iconography. These types of demonstration drawings for sculptural projects usually illustrate the architectural framework of the monument, as is seen in the designs by Jacopo della Quercia for the Fonte Gaia that was orignally meant for the Piazza del Campo in Siena ( 49.141 ), and by Michelangelo for the tomb of Pope Julius II , intended originally for Saint Peter’s Basilica in the Vatican ( 62.93.1 ).

Bambach, Carmen. “Renaissance Drawings: Material and Function.” In  Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/drwg/hd_drwg.htm (October 2002)

Further Reading

Ames-Lewis, Francis. Drawing in Early Renaissance Italy . 2d ed. New Haven: Yale University Press, 2000.

Bambach, Carmen C. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600 . New York: Cambridge University Press, 1999.

Additional Essays by Carmen Bambach

• Bambach, Carmen. “ Anatomy in the Renaissance .” (October 2002)
• Bambach, Carmen. “ Leonardo da Vinci (1452–1519) .” (October 2002)

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Art Appreciation on Renaissance Paintings Compare & Contrast Essay

Renaissance paintings.

In the middle age period between thirteenth and sixteenth century, Renaissance paintings dominated the art scene. These paintings reflected themes of religious inspiration and quest to understand God. The environment, saints, and heaven were visualized in religious, law, and medicine themes.

Generally, the interest of these artists was to paint astronomy, biology, natural world and science in the most captivating ways possible. Thus, this research paper attempts to evaluate symbolism, styles, material used, meaning, and aesthetic values of two outstanding paintings as a comparison and contrast of another. In addition, the treatise classifies these paintings into their respective classes, dimensionality, nature, message, and traditional functions.

The paintings identified for this analysis are the Madonna and Child in Glory by Jacopa di Cione in the period between 1360 and 1365, and the Adoration of the Shepherds by Giovanni Agostino da Lori in 1510. The Madonna and child in Glory panting is a landscape painting.

Jacopa has successfully painted this picture of the mother in a three dimensional form. Within its frame, it is clear that the saints are standing before Madonna, and the angels behind her. With the available mathematical formulas, Jacopa uses this tool to represent a convincing three dimensional space giving an impression of the painting frame being a window frame.

Interestingly, the first impression on looking into the painting is the same as that of gazing through a window (Catholic Museum, 2009). Since Madonna and Child in Glory painting was done in the 13 th century when egg tempera was the most common material, Jacopa’s painting consists of egg tempera on a golden panel (The Guardian, 2009).

The egg tempera is casted on golden panel. The colors used include blue, yellow, gold, orange, cream, grey, and red mixed. The central image is that of Madonna holding her baby and is larger than the saints standing at Madonna’s feet or the angels on the upper edges.

Specifically, Jacopa made Madonna and her child the centre of attraction to enable viewers understand her significance and importance above others. The rough texture is properly merged with an array of soft and vibrant colors to make the final product look very real.

The rough texture is as a result of the quick drying nature of egg tempera. The subject matter of this painting is revelation of the religious significance of Madonna giving birth of Messiah. Madonna is surrounded by gold background symbolizing atmospheric value of heaven and beauty.

This art is representational of religious beliefs of the Catholic community who lived in this period. The hieratic painting conforms to Catholics ways of representing heavenly beings as larger than the ordinary men. Madonna’s rank is higher than that of the saints and angels (Sammuel, 2000). This painting displays the heavenly beauty in a rich atmosphere.

On the other hand, Adoration of the Shepherds painting by Giovanni Agostino da Lodi is also a three dimensional realistic painting done with more skills than the Madonna. The material used in this painting is oil spread on panel.

Unlike Jacopa’s piece of art, Agostina manages to present finer details of the images in his painting. The images are clear and the characters similar in size apart from the little baby. The technique of brush painting with a mixture of colors reveals an active aspect of imagery and inartistic realism.

A blend of soft and vibrant colors gives this painting a soft texture and refined composition. The translucent oil paint often dries slowly. This gave Agostina ample time to work on each layer of colors. In the end, the product appears deep and of greater dimension. A blend of green, yellow, grey, red, violet, and creamy colors makes the picture very attractive (Robin, 2007).

With the emergence of humanist ideology, Agostina is influenced to adopt the earthy theme of a green natural background as opposed to Jacopa’s heavenly golden background. The landscape and background of this painting presents an impression of forest, green gardens, and dwelling places of ordinary men (Michael, 2010).

This piece of art depicts two shepherds and an angel together with baby Jesus and his parents, Mary and Joseph. The angel is busy playing a lute in a natural green environment.

The green landscape is symbolic of these figures in the physical being and not heavenly world. The mood of this painting is happiness. Thus, this symbolizes the possibilities of living happy and full life on earth before transitional link to heaven. The perspective used in creating this painting presents a chronological sequence of color pigmentation on a specific landscape.

Agostina and Jacopa lived in the renaissance era. Their painting styles are more or less the same. This was later adopted by the modern academic arts (Adrian, 2000). These paintings present the relationship between humanity, universe and God. Simultaneously, classical precedent architecture has facilitated acceptance of these masterpieces and study.

These paintings are of extra ordinary quality representing the Catholic Church’s doctrines and beliefs. In conclusion, these paintings intrinsically influence views and nature of life in the world and heaven. Besides, posterity and simple oil and tempera on panel paintings communicates different artistic impressions within the same theme.

a.1 Madonna and Child in Glory by Jacopa di Cione (1360-1365).

a.2 Adoration of the Shepherds by Giovanni Agostino da Lori (1510).

Adrian, F. (2000). Artist of the Italian Renaissance. In Chronology part one(500-1350). Web.

Michael, D. (2010). Madonna and Child. In Artlex art dictionary modules. Web.

Robin, N. (2007). Key Innovations and Artists of the Italian Renaissance. In Eyecon Art. Web.

Sammuel, K. (2000). Humanism in the Renaissance. In the Renaissnce Connection . Web.

The Guardian. (2009). Why can’t scientists date the Portland Vase? In The Guardian(newspaper). Web.

Vatican Museum. (2009). Borghase Gallary. In Vatican Museum. Web.

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IvyPanda. (2022, February 22). Art Appreciation on Renaissance Paintings. https://ivypanda.com/essays/art-appreciation/

"Art Appreciation on Renaissance Paintings." IvyPanda , 22 Feb. 2022, ivypanda.com/essays/art-appreciation/.

IvyPanda . (2022) 'Art Appreciation on Renaissance Paintings'. 22 February.

IvyPanda . 2022. "Art Appreciation on Renaissance Paintings." February 22, 2022. https://ivypanda.com/essays/art-appreciation/.

1. IvyPanda . "Art Appreciation on Renaissance Paintings." February 22, 2022. https://ivypanda.com/essays/art-appreciation/.

Bibliography

IvyPanda . "Art Appreciation on Renaissance Paintings." February 22, 2022. https://ivypanda.com/essays/art-appreciation/.

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‘Art and Architecture of Migration and Discrimination’ released

Esra Akcan , Michael A. McCarthy Professor of Architectural Theory (AAP), and  Iftikhar Dadi , John H. Burris Professor of Art History and Visual Studies (A&S), recently published “Art and Architecture of Migration and Discrimination: Turkey, Pakistan, and their European Diasporas” (Routledge, 2024) ,  a collection of essays on art and architecture that reveal both distinct and convergent histories, stories, and experiences of late 20th-century Muslim migrations and diasporas in Europe.

"During the second half of the 20th century, enormous compulsory migrations from these two countries resulted in significant Muslim diasporic communities in cities such as London and Berlin, yet they have never been studied together," Akcan said. "This book brings together an array of architecture and artistic media that responds to the conditions of the diaspora. What we find is that discrimination has been both the cause and result of migration – for example, internal problems have compelled citizens to emigrate, and blatant discriminatory and ideological constructs shape their experiences in their countries of arrival as well."

The book's subject matter is largely informed by a 2017 Mellon Collaborative Studies seminar co-taught at Cornell by Akcan and Dadi on the relationship between migration, discrimination, and the city. The seminar, which took place against the backdrop of the largest refugee crisis since World War II due to the war in Syria, prompted reflections on statecraft, neoliberalism, and crony capitalism and addressed matters related to statelessness, citizenship, human rights, and violence. Along with Akcan, Dadi, and other scholars, a number of doctoral students in the class contributed essays to the publication, including Aslihan Günhan, Ecem Sarıçayır, Lara Fresko, and Vinh Phu Pham.

Continue reading on the Architecture, Art, and Planning website.

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Birth of Venus: Analysis

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Published: Mar 20, 2024

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Historical context, artistic techniques, symbolic elements.

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