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The Medici family was heavily involved in the excavation of priceless artifacts from around the Florence area. Exposure to these excavations, many of which were financed by Michelangelo's key patrons, undoubtedly had an affect on his affinity for classical art and art forms. Through his use of ancient works in his own art, as well as his propensity to copy the style of these ancient artifacts, Michelangelo managed to preserve them for future generations.
In Michelangelo's time, these ancient artifacts were held in the private collections of individuals. They were meant only for the eyes of the power elite and not for the eyes of the average citizen. Through Michelangelo's publicly displayed works, the average public had the ability to enjoy and learn about these national treasures. Michelangelo brought knowledge of Italy's past and the civilizations to those who were not members of the upper class. In doing so, he…
Art Institute of Chicago. The Medici, Michelangelo, and the Art of Late Renaissance Florence.
Exhibition. November 9, 2002 through February 2, 2003. <
http://www.artic.edu/aic/exhibitions/medici/themes.html >. Accessed November 22,
Jean-Baptist Carpeaux and Augustus Saint-Gaudens improved sculpting but Rodin introduced many new ideas and styles that left lasing impressions. He "modified" the Realism movement by implementing several styles into his work including Impressionism and Symbolism and in the process created a personal style that "anticipated twentieth-century Expressionism" (1011). Rodin attempted to look beyond what was being taught in art schools in his day. His studied Michelangelo and Puget and desired to express the "existential situation of modern man, his inability to communicate, his despair" (1011). The Thinker is Rodin's most famous piece of art. Rodin put much care and consideration into this piece, noting that what makes the thinker so spectacular is the fact that the thinker expresses the "effort of thought through the contraction of each and every muscle" (Neret 35). Deborah Silverman notes that while the thinker might be "inactive but not at rest" (261). Thinking is not…
Neret, Gilles. Auguste Rodin: Sculptures and Drawings. Cologne: Taschen Publishers.1994.
Silverman, Debora . Art Nouveau in Fin-de-siecle France: Politics, Psychology, and Style.
Berkeley: University of California Press. 1992.
Pettit, Jayne. Michelangelo: Genius of the Renaissance. New York: Franklin Watts. 1998.
His loyal servant, Urbino, died too in 1556. Though he was known for his temperamental temper, tagged as the terrible Michelangelo, no friends or companions, had complexity in dealing with others and only used boys as his assistants, his desire to glorify and serve God through his works was insurmountable.
His solitude reflects his attitude to be wholly absorbed and engrossed with his craft, sacrificing even his personal happiness for the divine gift of his art. Indeed, he was quoted as saying, "I am here in great distress and with great physical strain, and have no friends of any kind, nor do I want them; and I do not have enough time to eat as much as I need; my joy and my sorrow / my repose are these discomforts." (Morgan Library 2010).
B. Success of visual effects
The success of visual effects used by Michelangelo was boundless. His works…
Works Cited: Annotated Bibliography
Afshar-Nader, Kamran. "Iranian architecture today: A bridge between east and west.
Abaadi, Summer. "Roman influence on later works." 1996. No. 21. Pg 18-23.
This article describes the importance of Iranian architecture, and discusses
Michelangelo was the greatest sculptor of the 16th century and one of the greatest of all history, incredibly, considering the number of years required to master a craft, he was also one of the greatest painters, architects, and poets.
There have been few artists who have been as prolific, and few still that have created enduring masterpieces in so many different mediums.
Michelangelo would have gained his place in history if he had only carved the David, or painted the ceiling of the Sistine Chapel, or erected St. Peter's, each a central achievement in the history of human endeavor.
Yet he accomplished all three works, thus, his creative genius remains unmatched in ancient or modern times.
orn on March 6, 1475 in Caprese, a small town in rural Tuscany, Michelangelo was the son of Ludovico uronarroti, a minor official and local governor.
After Ludovico's six-month term was over, he moved…
Michelangelo: Artist and Aristocrat A Biography
Herberholz, Barbara. "Michelangelo in Florence, Leonardo in Vinci."
Arts & Activities; 3/1/2003; Pp.
1997). Good Catholics would argue that finding a devout life mate with whom can live a good and Catholic life is crucially important, and it is, but it's also just a normal part of life. We won't find that person until we find him or her, and it's up to us to deal with it and to live a life that can reasonably lead to that outcome. Mary can help us by helping us abide in our faith, not by sending us a mate on a velvet cushion.
As Appleby (1999) says, Michelangelo's Pieta "embodies the astonishing resilience, beyond death, of the relationship between a parent and a beloved child... love and trust do not wither, but deepen. In Mary's passion the common human experience of parenthood is forever associated with the experience of divinity -- of the heavenly father who sacrificed his only son" (Appleby, 1999).
Mary's experience is…
Appleby, R. Scott. 1999. "In the end, a mother's love.(importance of Virgin Mary)." U.S. Catholic, October.
Batz, Jeannette. 1997. "Mary's gift is receptivity rather than redemption." National Catholic Reporter, Sept. 27.
In the Palazzo Farnese in ome, Michelangelo used unnatural and manufactured views throughout the building, another trademark of Mannerist buildings..
In fact, many architects of the time (and beyond), view Michelangelo as one of the geniuses of the movement. His, "Medici Chapel in San Lorenzo was executed, in Vasari's opinion, 'in a style more varied and novel than that of any other master,' and 'thus all artists are under a great and eternal obligation to Michelangelo, seeing that he broke the fetters and chains that had earlier confined them to the creation of traditional forms'" ("Italian Mannerism," 2008). Michelangelo knew how to push the envelope in design and execution, and was interested in change, rather than copying other styles, which are also elements of the Mannerist style of architecture.
Perhaps his greatest Mannerist achievement is St. Peter's Basilica in ome, a massive project that took him over 18 years to…
Editors. (2008). Italian Mannerism or Late Renaissance. Retrieved 2 Jan. 2009 from the Cartage.org Web site: http://www.cartage.org.lb/en/themes/arts/Architec/MannerismArchitecture/ItalianMannerism/ItalianMannerism.htm.
Editors. (2008). Mannerism in Italy and Spain. Retrieved 2 Jan. 2009 from the SmartHistory.org Web site: http://smarthistory.org/mannerism-in-italy-and-spain.html .
Michelangelo’s Pieta was completed in 1499 when the sculptor was just 24 years old. The artist’s Last Judgment—the enormous fresco covering the altar wall of the Sistine Chapel—was completed more than 40 years later in 1541 when the artist was in his mid-60s and after he had traded the chisel for the paint brush. Michelangelo was an Italian Renaissance artist who could do it all—but these two works represent the greatness of his skill at both the beginning of his career and at the end of his career. This paper will compare and contrast these two works and show how they fit in with the surrounding time period of the artist.
The subject matter of Michelangelo’s Pieta is the sorrow of the Virgin Mary at the death of her Son, who had been crucified on the cross. While Christ redeemed mankind, the sacrifice was especially painful for His mother, who…
Johnson, Paul. Art: A New History. NY: Gallery, 2003.
Kleiner, F. Gardner\\\\'s Art Through the Ages, Vol II, Western Perspective, (15th/e). Thomson/Wadsworth, 2016.
Michelangelo, better than most of his contemporaries, who were students of the Florentine tradition, successfully used the natural beauty of the real world in order to honor God.
Michelangelo's influence led to the development of Mannerism as a period of art. Mannerism abandoned the style of art that relied upon depictions of subjects in their natural form and began to depict the subjects in a more harmonious and ideal form. It was characterized by an abandonment of the classical form and the development of a new method of painting and sculpting.
Like all artists, Michelangelo's life and artistic style was transitional. He began his career adhering strictly to the traditions that he learned during his tenure in the Medici court in Florence but as his career progressed he began to depart from the strict standards that had dominated Renaissance art. As Michelangelo began to use his subjects and figures as…
Da Vinci's Mona Lisa has been the subject of films, conjecture, and speculation throughout the ages. Who is Mona Lisa and why is she smiling that small but intriguing smile? Another art critic notes, "The treatment of the mouth, upturned at the ends, makes the subject seem quizzical and curious. Legend has it that Leonardo had musicians present at all times to sustain the peculiar mood of his subject" (Kent, 1939, p. 24). Many artistic techniques make up the Mona Lisa, and it is perhaps the best representation of sfumato available today. Sfumato uses many layers of translucent color to create form and depth in a work, and Da Vinci used this technique in the Mona Lisa, especially around the eyes and mouth. Many people believe it is the sfumato that gives the illusion of a smile around her mouth. The perspective of the piece is enhanced by the pastoral…
Hibbard, H. (1985). Michelangelo (2nd ed.). Cambridge, MA: Harper & Row.
Kent, R. (Ed.). (1939). World-famous paintings. New York: Wise.
" understand it quite well, your highness, as the classical form is one that most pleases me."
You must study him well and long before you begin this piece, I think." agree, my lady, I agree."
Please, I want this statue to captivate from all angles. I do not need to tell you, I know, of the lighting in my garden, you will no doubt take that into consideration. In shadow and sun, I want this piece to mesmerize and delight, but never to appear dark or foreboding. Can you do that?"
Of course, my lady." give you full reign with the medium. I know that you will see in it what others cannot, and bring it out of the cold, unwilling stone. If you see my husband unfinished, so be it. I simply want you to capture him, as well as your own vision for perfection."
That pleases me,…
Editors. "Michelangelo." Artchive.com. 2008. 12 June 2008. http://www.artchive.com/artchive/M/michelangelo.html
Editors. "Michelangelo." Sculpture Gallery. 2008. 12 June 2008. http://www.sculpturegallery.com/michelangelo.html
Editors. "Michelangelo Buonarroti: Sculpture." InfoPlease.com. 2008. 12 June 2008. http://www.infoplease.com/ce6/people/A0859615.html
Judgment," a masterpiece by Micelangelo, as te name depicts is about te Day of Judgment and te concept of eaven and ell. Since Micelangelo was fascinated by uman anatomy, te Last Judgment also igligts is interest in tis field along wit te actual teme of te work. Crist is te central figure of te fresco and is presented as a symbol tat generates bot fear and ope. Te dead are rising to face te final judgment and te rigt and left arm depict te blessed and te damned respectively. Te fresco was once seen as obscene and te curc ad some of its part repainted in order to cover wat was considered vulgar and unworty of a place in te Sistine Capel.
Te second topic under consideration is Contemporary Cristian music wic sprang as a response to te ippie culture of 1960s. Wen in 1960s people moved away from religion…
Baker, Paul. Page 140. Contemporary Christian Music: Where it came from What it is Where It's Going. Westchester, Illinois: Crossway Books, 1985.
Michelangelo’s Creation of Adam
The Creation of Adam (1512) as conceived and depicted by Michelangelo represents a significant moment in art history because it brings a humanistic style of expression and sense of realism to the art world that had not existed prior. The work is focused almost exclusively on the Body as a subject. The two figures—God the Father and Adam—represent the majesty of the human anatomy in its ideal form: muscular, flexible, unique, authentic, poised, admirable, beautiful and proportional. In the painting, God is mostly draped with a thin cloth; Adam is completely nude and his position (reclined with one knee propped up while he stretches backwards and reaches forward languidly) suggests one of royalty being wakened after a long slumber. Indeed, the idea that Adam is like royalty is one that Michelangelo infuses into the scene giving the painting its high-minded rapturous quality, which is much in…
David / Rembrandt
Michelangelo's David was commissioned as a public monument by the government of Florence. In this context we might be invited to imagine David as a symbol of Florence itself: the Tuscan city is tiny compared with Rome, and in Michelangelo's lifetime Florence was also much smaller than the closer Italian city of Venice. Although Florence is the larger city in the twenty-first century, this was not true in Michelangelo's day. The population of Florence was estimated at 37,000 in 1427 and 60,000 in 1552: while Venice had a population of 180,000 in 1490. (Sources: John Najemy, A History of Florence 1200-1575; J.J. Norich, A History of Venice.) In other words, the idea of a physically-unprepossessing hero favored by God to defeat a much larger enemy -- the story of David and Goliath -- might very well have appealed to Florentines as a civic symbol of themselves. Florence…
Da Vinci and Michaelangelo
During the Renaissance, artists evolved many of the techniques which are now employed in creating works of art. There are many great artists who came out of this historical time period and while they have somewhat similar techniques and similar subject matters, they all have unique attributes as well. In this time, one of the biggest differences between artists of the Renaissance and ones that came before is the interest that artists had in the human body and the human form. Before this time, people were painted in a flat way, but Renaissance painters tried to make the people seem more realistic, which many were very successful in accomplishing this. Two of the artists in the Renaissance who are considered to be the best are Leonardo da Vinci and Michaelangelo. When looking at their most famous works, "The Mona Lisa" and "The Sistine Chapel Ceiling" respectively,…
Christian Artist: Michelangelo
Michelangelo’s David (1501-1504) is an example of a work of sculpture by an artist who confessed Christianity and in fact took great pleasure in reading Scripture as well as other religious writings, such as those of Savonarola, a famous reformer in Italy (Vasari, 1998). Michelangelo sculpted, painted and designed architectural works during the Renaissance in Europe. He was commissioned by the Pope to paint the Sistine Chapel Ceiling as well as the sanctuary wall of the chapel where The Last Judgment can be seen. Michelangelo also sculpted the Pieta—but in this paper, his David will be discussed. By analyzing Michelangelo’s David, which is considered one of the artist’s greatest masterpieces (Johnson, 2003), this paper will show how it reflects a Christian worldview considering the era in which it was created.
While Luther did not nail his 95 Theses to the church doors until 1517, some dozen years…
Pieta by Michelangelo
Michelangelo's Pieta is a sculpture that was produced during the enaissance time period in Italy. This was a period of time in which wealth and artistic guilds flourished. Michelangelo was by trade and a talent a sculptor of the utmost precision, as the historian of the time, Giorgio Vasari, has indicated in his Lives of the Artists. Produced in 1498 for a Cardinal in ome, the sculpture is a combination of naturalistic design and classical dimensions/proportions. Thus, the Madonna and the Christ dead in her lap convey real, human characteristics -- yet the overall shape of the sculpture, the positioning of the Madonna's arms, the tilt of her head, the way in which the Christ lies in her lap, the crook of his knees, the drape of his arm, the folds of her robes -- all of this is detail of a most naturalistic devotion to accuracy…
Johnson, P. (2003). Art: A New History. NY: Gallery.
Vasari, G. (2003). The Lives of the Artists. NY: Penguin.
Michelangelo most probably wanted viewers to understand the connection between Jesus and Mary. Also, he did not want his sculpture to look unnatural, especially considering that a woman holding an adult male in her arms appeared to be abnormal. One might also be inclined to consider that the artist wanted people to acknowledge the fact that Jesus' death made it possible for them to see that he was vulnerable. In addition to depicting Jesus as a teenager, Michelangelo made Mary look as if she were still in her early twenties, this being an attempt to highlight the fact that she was pure and incorruptible.
Michelangelo was typically accustomed to leaving his works unsigned, but he made an exception for the Pieta. According to a story, Michelangelo overheard people saying that it was the work of another artist and could not stand knowing that another individual was appreciated for his artwork,…
Condivi, Ascanio. "Vita di Michelangelo Buonarroti," Rizzoli, 1964.
Vasari, Giorgio. "The lives of the most excellent painters, sculptors, and architects," Modern Library, 1896.
"Michelangelo's Pieta," Retrieved September 4, 2011, from the Rome.info Website: http://www.rome.info/michelangelo/pieta/
Such linkages and juxtapositions contributes to the search for hidden meanings, and concentration on Poussin's iconography shows that critics believe there is usually more meaning in the frame than a cursory look would convey. To a degree, this belies Poussin's emphasis on simply reflecting nature, for the hand of the artist is always evident in the way the frame is formed consciously around various symbols and icons as well as on the basis of contrasting stories as is done in "The irth of achus." Caravaggio actually tends to reflect nature more directly and with less of the artist standing between the viewer and the scene. Lionello Venturi indeed finds that Caravaggio's dedication to realism was one of the reasons his contemporaries disliked many of his works:
No doubt, contemporaries fought Caravaggio, or patronized him, because of his realism. ut in the concept of realism then was included an idea of…
Alpatov, M. "Poussin Problems." The Art Bulletin 17(1)(March 1935), 4-30.
Carrier, David. "The Flight into Egypt: Nicolas Poussin (1594-1665)." The Art Bulletin 80(1998), http://www.questia.com/googleScholar.qst?docId=5001405516 .
Keates, Jonathan. "Dazzling Art but Dark Artist." The Spectator (February 17, 2000), http://findarticles.com/p/articles/mi_qa3724/is_200002/ai_n8882024 .
Panofsky, Dora. "Narcissus and Echo; Notes on Poussin's Birth of Bacchus in the Fogg Museum of Art." The Art Bulletin 31(2)(June 1949), 112-120.
it's not that I don't think Bosch's culture would be enjoyable for a while, I simply believe that a long-term lifestyle like that would get very tiresome very quickly. It does not encourage intellectual thought or innovation, and it does not stimulate cultural growth and superiority. This type of culture would degenerate into hedonism or worse, while Michelangelo's culture of hope and beauty would stimulate growth, intellectual thought, and a forward-thinking society, just as the enaissance did. A blend of a bit of Bosch's culture with a majority of Michelangelo's could be both stimulating and enriching, and that would create the best of both worlds. Perhaps the biggest deciding factor is that Bosch seems to see no hope of redemption in his culture, while Michelangelo does, and that would be the type of society I would choose if I could.
Montaigne, Michel D. "Of Cannibals." Victorian Web. 2003. 26…
Montaigne, Michel D. "Of Cannibals." Victorian Web. 2003. 26 Jan. 2007. http://www.victorianweb.org/courses/nonfiction/montaigne/cannibals.html
This conveyance of human nature is part of the work's genius, and what the artist apparently intended to convey -- not greatness, but ordinariness, in contrast to Michelangelo. It is still a masterwork of craft, but of a subtler craft of character as the "Mona Lisa's "blurred outlines, graceful figure, dramatic contrasts of dark and light, and overall feeling of calm are characteristic of Leonardo's style." (Summers, "Mona Lisa," 2004) Although great a craftsman of his respective mediums as Michelangelo, in contrast to Michelangelo's expansive imagination, Leonardo was most of all an excellent observer. He concerned himself with what the eye could see, rather than with purely abstract concepts. (Summers, 2004, da Vinci)
David." Michelangelo. orld Book Online Reference Center. 2004. orld Book, Inc. 16 Oct. 2004. http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar359360.
Mona Lisa." Leonardo. (1503). The Louvre, Paris. http://www.aolsvc.worldbook.aol.com/wb/ExtMedia?id=ar319880&st=Da+Vinci&em=pc006600
Summers, David. "Michelangelo." orld Book Online Reference Center. 2004. orld Book, Inc.…
David." Michelangelo. World Book Online Reference Center. 2004. World Book, Inc. 16 Oct. 2004. http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar359360.
Mona Lisa." Leonardo. (1503). The Louvre, Paris. http://www.aolsvc.worldbook.aol.com/wb/ExtMedia?id=ar319880&st=Da+Vinci&em=pc006600
Summers, David. "Michelangelo." World Book Online Reference Center. 2004. World Book, Inc. 16 Oct. 2004. http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar359360.
Summers, David. "da Vinci." World Book Online Reference Center. 2004. World Book, Inc. 16 Oct. 2004. http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar319880&st=Da+Vinci
Shortly after taking charge of the project, Michelangelo viewed Sangallo's wooden model of the planned basilica. He was accompanied by Sangallo's followers who, according to Vasari,
Putting the best face on the matter, came forward and said how glad they were that the work had been given to him and that the model was a meadow that would always afford inexhaustible pasture, to which Michelangelo replied that they spoke truly, meaning, as he afterwards told a friend, that it would serve for sheep and oxen who know nothing of art.
In fact, a good part of Michelangelo's work on St. Peter's consisted of removing what work had been accomplished by Sangallo. Sangallo's hemicycle was demolished, and Michelangelo shored up some of Bramante's rather high-speed construction, until -- again in the opinion of Vasari -- "the columns, bases, capitals, doors and windows, cornices and projections, were perfect in every detail."
Elam, Caroline. "Che Ultima Mano!": Tiberio Calcagni's Marginal Annotations to Condivi's 'Life of Michelangelo." Renaissance Quarterly 51.2 (1998): 475+.
Fischel, Oskar. Raphael. Trans. Bernard Rackham. Vol. 1. London: Kegan Paul, 1948.
Hibbard, Howard. Michelangelo. 2nd ed. Cambridge, MA: Harper & Row, 1985.
Januszczak, Waldemar. Sayonara, Michelangelo: The Sistine Chapel Restored and Repackaged. Reading, MA: Addison-Wesley, 1990.
Notable religious events and figures often serve as the inspiration and subject matter for great works of art across human history and across every culture. Events and notable figures from the Judeo-Christian Bible have inspired a great many of some of the most famous works of art in the Western world. Within the Bible, there are two primary sections: the Old Testament and the New Testament.
One of the many significant figures of the Old Testament is the man David, who was a simple boy who herded sheep, who ultimately led his people and others to triumph over a tyrant warrior, Goliath. David was a young man, armed with a slingshot and brought the vicious leader down. David was quite a popular figure artists depicted during the enaissance era in the arts, particularly in the area of sculpture. There are three most notable sculptures created in Florence during the…
Boston College. "Renaissance Sculpture." 2012, Web, Available from: http://www.bc.edu/bc_org/avp/cas/fnart/art/ren_italy/ren_sculpture01.html . 2012 September 24.
Essential Humanities. "Renaissance Sculpture." 2012, Web, Available from: http://www.essential-humanities.net/western-art/western-sculpture/renaissance-sculpture/ . 2012 September 24.
History World. "History of Sculpture." 2012, Web, Available from: http://www.historyworld.net/wrldhis/PlainTextHistories.asp?ParagraphID=fch . 2012 September 24.
Italian Renaissance-Art.com. "The most famous statue in the world?" 2012, Web, Available from: http://www.italian-renaissance-art.com/Michelangelo-David.html . 2012 September 23.
High enaissance Movement and Its Most Celebrated Artists
The enaissance is referred to as a period of time where there was a great cultural movement that began in Italy during the early 1300's. It spread into other countries such as England, France, Germany, the Netherlands, and Spain. This era continued into the late 1400's and ended during the 1600's. The enaissance times were a period of rebirth and during this time many artists studied the art of ancient Greece and ome. Their desire was to recapture the spirit of the Greek and oman cultures in their own artistic, literary, and philosophic works. The cultures of ancient Greece and ome are often called classical antiquity. The enaissance thus represented a rebirth of these cultures and is therefore also known as the revival of antiquity or the revival of learning.
The artists' works include many aspects of the medieval times and incorporated…
Leonardo da Vinci." Authors and Artists for Young Adults, Volume 40. Gale Group, 2001. Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004. http://galenet.galegroup.com/servlet/BioRC
Michelangelo Buonarroti." Authors and Artists for Young Adults, Volume 43. Gale Group, 2002. Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004.
statues of David
I choose the two contrasting statues of David, the one created by Michaelangelo, the other created by Bernini. They seem to me to represent two juxtaposing poses and two variants of the same mythical figure, David.
Both statues are nude only that of Bernini's is covered with a loincloth. The most dramatical difference is that Michaelangelo's David stands in a contemplative pose looking to the right with hand slung over his shoulder as though seizing up and contemplating his circumstances and opponent, whilst Bernini's David is in active position intent on, and in the very act of, slinging his foe.
Michaelangelo's David is a 5.17 m marble slab of statue created between 1501 and 1504. His statue was placed in a public square, outside the Palazzo della ignoria, which was the seat of civic government moved to the Accademia Gallery in Florence in 1873 and…
Hibbard, H. (1974) Michelangelo, New York: Harper & Row, 1974
Hibbard, Howard (1965). Bernini. Baltimore: Penguin Books.
Hughes, A (1997) Michelangelo, London: Phaidon
Preimesberger, Rudolf (1985). "Themes from art theory in the early works of Bernini." In Lavin, Irving. Gianlorenzo Bernini: New Aspects of His Art and Thought, a Commemorative Volume. University Park & London: Pennsylvania State University Press. pp. 1 -- 24.
Question 2: Which of the Davids could Americans adopt as symbolic of the time in which we are currently living -- and why?
Bernini's "David" is a man of action, not a static ideal. Bernini demonstrates why the Biblical figure of David is a hero and a future king of consequence. Michelangelo's beautiful "David" clutches the sling half-heartedly, and seems to justify his reputation through his youth and physical gifts, not his activity or struggle. His muscles are strong, but for what purpose? Young people must not justify their future reputations through beauty -- or fine clothes, like Donatello's "David." Bernini's "David" is willing to take risks, and willing to act. He does not think of himself, or admire his musculature or clothes, he thinks only of exercising leadership and slaying Goliath. This is the man we require today in America, this David. Young people may act more like Donatello's…
I noticed the animals, the sensuality, and the angels flying to Heaven carrying off pieces of these "earthly delights," which made me wonder why they had to take sin or debauchery to Heaven. I also wondered what the four "islands" or buildings in the lake represented. One seemed to represent war, and other our easily "cracked" world under our feet. Obviously, all of the symbolism in the painting relates to sin and non-belief, but it is so filled with detail that it is hard to take it all in at once. Viewing it in person would probably clear up a lot of questions about it. it's also interesting that there is a group of animals in the center of the picture - it is almost reminiscent of Noah leading the animals two by two to the Ark. Is Bosch saying the only innocence on Earth is in the animals?
Montaigne, Michel D. "Of Cannibals." Victorian Web. 2003. 26 Jan. 2007. http://www.victorianweb.org/courses/nonfiction/montaigne/cannibals.html
Question: Why are we shown the rear of the horse so predominantly?
Life is ordinary -- even during seismic events there is always humor, ugliness, and the everyday -- and the rear ends of animals. A horse in the Bible had the same basic anatomy as a horse today! The perspective is slightly distorted, to reflect Saul's own confused view of the world, and also the two other protagonists' view of Saul. They do not see what has happened to Saul's soul, only that a man has fallen off of his horse. Saul does not look dignified, because he has fallen off of his horse, and looks like a drunken man, thus the back view of the animal reinforces this perception in the eyes of the viewer. The undignified position of Saul and his horse also reminds the viewer of Saul's undignified life before he was converted to Christianity. Before…
Michelangelo and the Sistine Chapel
The ceiling of the Sistine Chapel was painted by Michelangelo between the years of 1508 and 1512. The chapel -- built in the 1470s for Pope Sixtus IV (the chapel's namesake) -- includes the works of many different Renaissance artists -- but it is Michelangelo's work on the ceiling that stands out above all the rest. Commissioned by Pope Julius II, Michelangelo's ceiling tells the story of the Old Testament -- the laying of the foundations of the world and the coming of Christ. The nine central panel scenes describe, for example, God separating the light from the darkness, the creation of Adam, and the exile from the Garden of Eden. The centrals are framed by a painted architectural framework that adds dimension onto dimension, and the images therein are of Old Testament prophets and pagan sibyls -- both of whom, according to the Roman…
Art (History Art ages) Discussion question 1 page long follow directions carefully youtube lectures provided
There is no denying the fact that one of the hallmarks of embrandt's works of art is his copious usage of elements of light, dark and shadow to great effect. This sort of tenebrism is deployed by the artist initially to give a sense of contrast to his works. Light and dark are antipodes of one another, and by involving both of these elements the painter was able to create striking counterpoints within his works of art. This fact is seen quite prominently in his self-portrait circa 1629. Not only does the artist use both light and dark elements to illustrate his face and the brimming future which he saw in front of himself as an artist, but this portrait is also characterized by loose brushwork which is distinct from the crisp strokes of the…
Soltes, O. (2011). "Shadow and light from Rome to the lowlands." www.youtube.com. Retrieved from https://www.youtube.com/watch?v=VeUdxzqslQ0
enaissance and Baroque
An Analysis of Two Davids
The humanism, nobility, and power of the enaissance are reflected in Michelangelo's David (1504). The emphasis on drama, movement, and action is demonstrated in Bernini's David (1624). Both emphasize the heroic and favorite themes of the High enaissance, but it is Vasari who gives the greatest compliment to Michelangelo's David, calling it more excellent than all sculpture of ancient Greece and ome and even contemporary works (Vasari, 1998, p. 424). This paper will analyze the two works and the eras of art that produced them.
Differences between enaissance and Baroque
The most important thing to remember about the difference between the enaissance and the Baroque is that the former rose to glory prior to the feverish pitch of Protestantism, which to some extent put out its flame; the latter was a kind of rejuvenation of the themes posed by the enaissance --…
Bernini's David. (n.d.). Smart History. Retrieved from http://smarthistory.org/Bernini-David.html
Johnson, P. (2003). Art: A New History. NY: HarperCollins.
Palmisano, B. (n.d.). The Baroque Period of Art. Retrieved from http://www.cartage.org.lb/en/themes/Arts/scultpurePlastic/SculptureHistory/BaroqueSculpture/BaroquePeriodArt/BaroquePeriodArt.htm
Vasari, G. (1998). The Lives of the Artists. UK: Oxford University Press.
hen discussing with regard to the Old Testament figure of David and to how he was represented during the Renaissance, one would have to consider the current as a whole in order to gain a more complex understanding of why artists directed their attention toward the character. Artists during the Renaissance were determined to restructure social values for the masses to be able to acknowledge the significance of classical values. David had been a symbol of the classical era and artists in the Renaissance wanted to create works that glorified both him and the idea of the natural man in general.
It was probably David's legendary character that influenced artists to express particular interest in wanting to portray him. By looking at how each artist depicted him, one can understand the cultural elements that inspired these respective artists. All things considered, it would be safe to say that…
Crispino, Enrico. Michelangelo. (Giunti Editore, 2001)
Cunningham, Lawrence, Reich, John, & Fichner-Rathus, Lois. Culture and Values: A Survey of the Western Humanities, Volume 1.( Cengage Learning, 1 Jan 2014)
"3 Davids, 3 Theologies: Donatello, Michelangelo and Bernini," Retrieved July 6, 2014, from http://thefineartdiner.blogspot.ie/2011/06/3-davids-3-theologies-donatello.html
"David," Retrieved July 6, 2014, from http://www.artble.com/artists/donatello/sculpture/david
essence, the horse in this painting appears to be the centerpiece for our
eyes rather than Saul and his conversion. In addition, Caravaggio has "paid
no attention to the usual dignity appointed to scenes from the holy
scriptures" (Linda Murray, 156).
In contrast, the rendering of the CONVERSION OF SAUL by Michelangelo
demonstrates his tremendous sense of emotion which is presented through his
use of light and shadow. The image of Saul, unlike that in Caravaggio's
rendering, serves as the focus point and clearly defines Michelangelo's
great respect and admiration for classical motifs and the true
representation of biblical events.
Thus, the superiority of Michelangelo's CONVERSION OF SAUL is due to
his mastery of Renaissance form and style and his adherence to the use of
light and shadow which seems to be a natural prerequisite to presenting
biblical images and events as they were meant to be viewed.
de la Croix, Horst and Richard Tansey, Revs. Gardner's Art Through the
Ages. New York:
Murray, Linda. The High Renaissance. New York: Random House, 1967.
I think that the fact that the statue is not finished also helps in conveying the message that Michelangelo wanted. The figure is barely sketched and much of the interpretation is in fact left to the eyes and mind of the viewer. The slave has no face yet, which means that we can imagine whatever we want and that his face and body is actually formed in our mind, at that level.
This is probably one of the main differences between the painting and the sculpture we are analyzing: the painting is already well formed and well defined, with the characters being shown as such and with little room left to the viewer's mind to recreate the respective image. Michelangelo's work is almost partly created by the viewer himself, who can use his imagination to create the work of art.
Despite the fact that this is an unfinished work of…
Period/date- enaissance 1501- 1504
Location or origin- Florence Italy
Medium and size- Sculpture
Period/date- Baroque 1610
Location or origin- ome
Medium and size- Painting
The story of David and Goliath is one that transcends time. In particular, the story appeals to a wide array of diverse individuals, each with its own views on religion, culture and values. Through the universal appeal of David, many different interpretations have arisen throughout time. These interpretations, although distinct, often convey a fundamental truth prevailing during the period of its creation. Aspects such as war, political policies, civil unrest, and culture values often matriculate into the interpretation of the David of Goliath. Art is no different in this regard. Both the Baroque and enaissance periods gave rise to new and distinct forms of belief and expression. These concepts ultimately matriculated into many of the more commonly know masterpieces of today's time. The…
1) Hartt, Frederick, Michelangelo: the complete sculpture, New York: Abrams,1982
2) Howard Hibbard, Michelangelo, New York: Harper & Row, 1974, 59-61; Anthony Hughes, Michelangelo, London: Phaidon, 1997, 74
The Wikipedia web site defines "art" as a "generic term for any product of the creative impulse," while Encarta Encyclopedia considered this concept as "the product of human creativity in which materials are shaped or selected to convey an idea, emotion, or visually interesting form." These definitions are related in the study of eight web sites, all of which center on the subject of (various forms of) art:
The Hubbard Street Dance Chicago (HSDC) web site (http://www.hubbardstreetdance.com/home.asp) centers on and provides an overview about street dancing through providing information about different institutions and centers that offer street dancing tutorials, competitions, other street dance-related events.
The Andy Warhol Foundation for the Visual Arts, Inc. (http://www.warholfoundation.org) showcases the not only the works of Andy Warhol, but also functions as a venue for artists to take advantage of grants and art projects that would be beneficial for their development/improvement as visual artists.…
St. Peter's Basilica, the entrance to the Vatican City, was re-designed by Michelangelo to open and unify the space into the representation of a cross, the symbol of Christianity. The basilica was a combination of modern gothic construction methods as well as those of ancient Rome. This showed a return to the central plan, in which Michelangelo followed previous architect Bernini in a return to the central plan, and was able to think on a scale appropriate to the huge buildings. The large dome was built after Michelangelo's death, but the major changes in design came in a lengthening of the nave and an improvement of the relationship between the dome and the facade. Michelangelo strayed from the original plans set forth by Bramante in that opened the space, not to be confined by traditional architecture of the renaissance. Michelangelo's willingness to stray from the dictums of the sitting pope,…
How Does a Person Live a Meaningful Life?
One of the questions which have perplexed humankind is how to live a meaningful life. This is because there have been a number of theorists and philosophers, who provided insights about the best ways to achieve these objectives. Over the centuries, these views are constantly shifting. This is because experiences and social attitudes will shape a person's insights.
To fully understand the meaning of life requires focusing on key ideas from the different philosophers. This will be accomplished by discussing central figures from each module in terms of their contribution, the pros / cons of their ideas and how this relates to their understanding of life. Together, these different elements will illustrate how each one of these theories is influencing the way someone can live a fulfilling life.
Epictetus -- Freedom
Epictetus is focused on several different areas to provide a…
Dostoevsky. (2013). You Tube. Retrieved from: http://www.youtube.com/watch?v=8EhLe6p4YjE
Epictetus -- Freedom. (2013). You Tube. Retrieved from: http://www.youtube.com/watch?v=MKZVqIGkLnk
Michelangelo. (2013). You Tube. Retrieved from: http://www.youtube.com/watch?v=ioK-NxISgM8
Mother Teresa. (2013). You Tube. Retrieved from: http://www.youtube.com/watch?v=53bMbKv2_1A
Brunelleschi has been one of the early fathers of the Renaissance, and, the first architect to build a building with reference to classical antiquity. The architect succeeded in proving his value through various building which came in disagreement with the laws that architects had had until the time.
One of the greatest sculptors of all times, Michelangelo, became famous at the time that the public reviewed his first works of art. Despite of the fact that he had been certain that he was best fit for being a sculptor, Michelangelo accepted to paint the ceiling of the Sistine Chapel. Even with his hesitation, the painting on the ceiling still stands as one of his greatest works and one of the greatest master pieces that the Renaissance period has given birth to.
The Marriage of the Virgin is a painting appreciated worldwide for its perception of depth and for its great…
1. Prager, Frank D. Scaglia, Gustina. (2004). "Brunelleschi." Courier Dover Publications. (2005).
2. "Niccolo Machiavelli." Retrieved July 07, 2009, from the Stanford Encyclopedia of Philosophy Web site: http://plato.stanford.edu/entries/machiavelli/
3. "MICHELANGELO Buonarroti." Retrieved July 07, 2009, from the Web Gallery of Art Web site: http://www.wga.hu/frames-e.html?/bio/m/michelan/biograph.html
4. "Renaissance: (1400-1600)." Retrieved July 7, 2009, from the World Wide Arts Resources Web site: http://wwar.com/masters/movements/renaissance.html .
Many people today still have trouble interpreting and understanding some of his works, thus proving that his thinking was way ahead of his time. Da Vinci's works are probably among the most parodied ideas that have ever existed, as a series of individuals reproduced them and introduced diverse concepts in an attempt to put across certain messages.
Michelangelo Buonarroti is yet another Florentine who changed the world as a result of his brilliance. Although people tend to consider that da Vinci was much more impressive because of his lavishness and because his works are more extravagant, Michelangelo is actually comparable to him when considered the wide range of fields in which he excelled. In contrast to other artists contemporary to him, he experienced much suffering and he was forced to perform many of works without actually having time to appreciate life to the fullest. Even with this, he focused on…
colors, when all you could see was black and white, when nobody could think of a featured film, it was then that the director Antonio came up with a film "story of a love affair" which challenged the traditional ideas and themes. Cronaca di un amore is an Italian black and white drama film which was released in 1950. The movie is known as 'Chronicle of a Love' in the United Kingdom, and 'Story of a Love Affair' in the United States of America. It was the first venture of the director Michelangelo Antonioni as a whole length feature film. Before this the director Michelangelo Antonioni has been famous for different short films and he was also given the opportunity to direct a documentary about the internal works of an asylum but he abandoned this opportunity. Story of a Love Affair was his first narrative feature film (Venturi, 1955).
Bondanella, P. (2007). Italian cinema: from neo-realism to the present. NY: Continuum International Publishing Group Inc.
Johnston, I. (2006). "We're not happy and we never will be." Bright Lights Film Journal, 53.
Venturi, L. (1955). Notes on Five Italian Films. Hollywood Quarterly, 5(4), 389 -- 400.
Leonardo wanted the ability to change things as he worked, and so he developed this method. The work is another religious work that depicts Christ supping with his disciples and discovering Judas is his betrayer. It is a powerful work that communicates the downfall of Christ by one of his own supporters, and it elicits emotional reactions from many who view it. The composition and color of the work have faded during the ages, and many restoration projects have resulted. However, the power and craft of the work are clear in the facial and clothing details, and even the details of the room, the table and setting, and the view through the windows behind the group. The composition is famous, with Christ at the center of the table, symbolizing his power and leadership, and the other disciples reacting at horror at the news one of them is a traitor. The…
Da Vinci, L. (2007). The last supper. Retrieved from the Artchive.com Web site: http://www.artchive.com/artchive/L/leonardo/lastsupp.jpg.html 30 July 2007.
Michelangelo. (2007). David. Retrieved from a personal Web page at Gutscheke.com: http://gutschke.com/burkhold/pictures/itsw2k/italy/florence/david.jpg 30 July 2007.
Even in Catholic France, the Protestant sentiment that God's grace alone can save His fallen, human creation was evident in the humanist king, Francis I's sister, Margaret, Queen of Navarre's novel when she wrote: "We must humble ourselves, for God does not bestow his graces on men because they are noble or rich; but, according as it pleases his goodness, which regards not the appearance of persons, he chooses whom he will."
Shakespeare's Hamlet is haunted by the ghost of his father from Purgatory. Purgatory was a Catholic concept. But rather than trusting the vision of the divine on earth, Hamlet is suspicious about the ability of fallen human beings to enact justice. Rather than finding good in the face of women, Hamlet sees only evil. "In considering the cultural conditions that allow tragedy to revive, we may also want to consider that the plays occurred in Christian Northern Europe;…
aphael is one of the most renowned artists in modern human history. He is so famous that he is one of a small number of artists that they are only known by one name. His full name is affaello Sanzio da Urbino. His precise birthdate is contended, but it is agreed that he was born sometime in the spring during 1483, as the 15th century, as well as the enaissance era, concluded. His life did not spans four decades, yet his body of work persists around the world nearly five centuries later. aphael, like other enaissance artists and professionals of the period, had proficiency in several skills; he is primarily known as a painter and architect. His life spanned the final stage of the enaissance, known as High enaissance. He came from an artistically inclined family, and suffered the deaths of both of his parents before…
Italian Renaissance Art.com. Raphael Biography. 2012, Web, Available from: http://www.italian-renaissance-art.com/Raphael-Biography.html . 2012 October 12.
Raphael Sanzio.org. Raphael Biography. 2012, Web, Available from: http://www.raphaelsanzio.org/ . 2012 October 12.
Totally History. Raphael Sanzio. 2012, Web, Available from: http://totallyhistory.com/raphael-sanzio/ . 2012 October 12.
Visual Arts Cork. Raphael. 2012, Web, Available from: http://www.visual-arts-cork.com/old-masters/raphael.htm . 2012 October 12.
Images of adolescent itself are no longer as carefree and fun as they were during the decade when Ferris Bueller was such a cultural icon. Today, the teens of television shows like the OC are cynical beyond their years, rather than careless about their future. Also, the image of the World Trade Towers has become a loaded cultural symbol for both liberals and conservatives. For liberals such as Michael Moore in Fahrenheit 9/11, the Towers symbolize the Republican establishment's stupidity (as President Bush does not even react to the bombing while it happens, but continues reading a children's book) while for conservatives, the bombing of the Towers represents the failure of diversity and tolerance, and the need to return to the supposed true, core American values of Christianity and insularity. The Towers that once symbolized the New York skyline for all New Yorkers now divide Americans on the right and…
As a result, both works of art share this similarity, as they want to instill the audience with a sense of awe and respect for this person. (Stokstad, 2011)
When you step back and analyze both statues, it is clear that Donatello as well as Michael Angelo is trying to impress upon the audience a sense of: strength and respect for their statues. This is illustrated by the way they are using his physique, to underscore his physical strength and sexual prowess. However, both artists have different interpretations about what this character should look like. As far as Donatello is concerned, he is highlighting these momentous changes that are occurring (through a graphic depiction of the aftermath of the battle). Where, he shows David posed victoriously, with his foot on top of Goliath' severed head. This is important, because Donatello is trying to instill in the audience a sense of…
Donatello's David. (n.d.). Oneonta. Retrieved from: http://employees.oneonta.edu/farberas/arth/arth213/donatello_david.html
Michael Angelo's David. (n.d.). Italy Guides. Retrieved from: http://www.italyguides.it/us/florence/michelangelo_david.htm
Stokstad, M. (2011). Art History. Upper Saddle River, NJ: Pearson Education
The Louvre, an architectural masterpiece, has dominated central Paris since the late 12th century. The original structure was gradually dwarfed as the city grew. The dark fortress of the early days was transformed into the modernized dwelling of Francois I and, later, the sumptuous palace of the Sun King, Louis XIV. My online tour of the Louvre allowed me to take a virtual, self-guided, room-by-room tour of the museum. The web site allows navigation through exhibition rooms and galleries and allows one to contemplate the facades of the museum. The first thing one sees before entering the museum is the garden, a delight during any season of the year. It is the perfect place for a relaxing stroll and it offers a range of activities for visitors.
There are more than ten sections in the museum for different kinds of art from all around the world including…
He is one of the few artists that were recognized for his work while he was still living.
One of Michelangelo's most exquisite pieces is Pieta. In this sculpture, we can see how Michelangelo was moving away from the traditional form of sculpting. Creighton Gilbert notes that how Mary and Jesus are depicted in the statue is not typical of Michelangelo's day. Mary is seated with the dead Jesus in her lap and this image "first emerged as an abbreviation of the scene of Christ mourned" (160). Harold Keller maintains that the piece is filled with contrasts, horizontally and vertically. e also have the opposites of the clothed and the naked. The position of Jesus' body is different from most pietas of the day in that it is horizontal, producing a "step-like composition based on the sharp right able between the corpse and the upper body of the Madonna towering…
Barzun, Jacques. From Dawn to Decadence. New York: Harper Collins Publications. 2000.
Gilbert, Creighton. History of Renaissance Art. New York: Prentice-Hall, Inc. 1973.
Keller, Harold. The High Renaissance in Italy. NY: Harry N. Abrams, Inc. Publishers. 1969.
Lace, William. Michelangelo. San Diego: Lucent Books. 1993.
The beauty of the human body is bought into derision by its wearing socks and the loss of hope for the earth is represented by the gas mask. Adam is no longer necked, his wardrobe consists of a mask and socks. An imaginary character is bringing him to life, while two cans of spray lay beside him. The central character in the episode of creation does not life too seriously since it did not even take the socks out. Adam's whole attitude is the very expression of carelessness and a certain degree of laziness. He leaves himself in the hands of a cartoon character to save him from destruction.
Five centuries later, the Creation episode of the istine Chapel becomes a motif for a pop artist who wants to present the world with the results of its foolishness and lack of better judgment. The capital of "western Christendom" was presented…
Sources, Critical Essays W.W. Norton & Company, 1995
Mickey Mouse and Disney Land. Retrieved: 27 May, 2009. Available at: http://madeinatlantis.com/popular_culture/features/mickeymouse.htm
Over&Out. Collapse and Closure. The Cautese National Stamp Reserve. Available at: http://www.cnpdonline.com/archive/CollapseAndClosure/19.html
Since the Greek kouros, sculpture has depended on at least a basic understanding of human anatomy. Anatomy was in fact studied by ancient civilizations independently of its relevance to rendering the human body in two dimensions or three for art. The fusion of anatomy and art reached its first peak during the Renaissance, when artists in Europe longed to deepen their technique and enhance the realism of their human forms and figures. Some artists went so far as to paint anatomy lessons in a display of dramatic irony that brings the viewer face-to-face with the reality that art depends on a solid understanding of the human body. In the middle of the seventeenth century, Dutch master Rembrandt van Rijn painted "The Anatomy Lesson of Dr. Nicholas Tulp," which depicts the titular doctor and his cadre of students with a corpse. Dr. Tulp uses a pair of scissors to slice…
Bambach, Carmen. "Anatomy in the Renaissance." Hellbrun Timeline of Art History. Retrieved online: http://www.metmuseum.org/toah/hd/anat/hd_anat.htm
Eknoyan, Garabed. "Michelangelo: Art, Anatomy, and the Kidney." Kidney International 57(2000): 1190-1201.
Frank, Priscilla. "Everything You Wanted to Know about Human Anatomy in One Art Exhibit." The Huffington Post. 2 October, 2013. Retrieved online: http://www.huffingtonpost.com/2013/10/02/anatomy-art_n_4023603.html
Gray, Carl. "Anatomy Art: Fascination Beneath the Surface." British Medical Journal. Volume 223. September 2001. Retrieved online: http://pubmedcentralcanada.ca/pmcc/articles/PMC1121254/pdf/698a.pdf
Saddling them with the idea that every work must have some kind of recognizable theory that speaks to the viewers may be too much for some artists to manage, and it could shut down their creative process. As another critic notes, "[I]n Western culture, after all, art is associated with the free expression of a unique vision or the pleasurable cultivation of individual tastes" (Williams 2004, p. 3). Thus, by branding a theory on a piece of art, the artist is pigeonholed into a certain genre, which reduces their "free expression," and the viewer is not as apt to enjoy the art according to their "individual tastes."
In conclusion, it is fine to have a theory when creating or admiring art, but that theory challenges creativity and the enjoyment of the piece. If a viewer or an artist is so busy attempting to figure out the theory of a piece…
Freeland, C. 2003, Art Theory: A Very Short Introduction, Oxford University Press, Oxford, England.
Hertel, C. 2003, 'Ivan Gaskell: Vermeer's Wager Speculations on Art History, Theory and Art Museums', the Art Bulletin, 85(3), 611+.
Irvine, M. 2008, 'Art Theory Concepts', Georgetown University [Online] Available at http://www9.georgetown.edu/faculty/irvinem/visualarts/art-theory-intro.html .
Murray, D.C., & Murray, S. 2006, 'Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity', Art Journal, 65(1), 22+.
Some have described this facade as "a showy and impressive piece of Tuscan architecture,' with arched doors surrounded by elaborate floral carvings, twisting columns, and shell-topped niches for statuary" (Tarin). However, I find the facade quite common and uninteresting. I would much prefer to see a more ornate and intricate style, such as the style I employed in my final plans of the Piazza del Campidoglio in ome, which was completed after my death. ather than rely on the "traditional" as the style of this early Texas mission relies, I used other, new techniques that would live on after I was gone. One expert writes of my work on the Piazza, "[H]e articulated his new ground floor loggia with a lintel instead of the usual arches, supported by Ionic columns. The bays are divided by an order of colossal Corinthian pilasters that rise through both stories to support a magnificent…
De Tolnay, Charles. The Medici Chapel. Princeton: Princeton University Press, 1948.
Hibbard, Howard. Michelangelo. 2nd ed. Cambridge, MA: Harper & Row, 1985.
Tarin, Randall. "The Mission San Antonio de Valero." Personal Web Page. 2004. 18 March 2005. http://www.geocities.com//adp/history/mission_period/valero/valero.html
Walters, Colin. "Michelangelo: One Artist, Three Worlds." The Washington Times 7 Feb. 1999: 6.
The Baroque was a dramatic period in Europe: the religious unity the continent had enjoyed for centuries had come to a crashing halt with the Protestant Reformation. King was turned against King, prince against pontiff. Persecution and war were dominant themes, especially following the excommunication of Henry VIII from the Church. Bernini's David, sculpted between 1623 and 1624, represents the swirling, dramatic, grim activity of the times (Avery). It is indeed a strong manifestation of the Baroque principles and themes: David is reared back, depicted in mid-action, like a lock ready to be sprung on his foe. He is full of conviction, bent on striking, Unlike Michelangelo's Renaissance Era David, which aimed mainly for a frontal view to show off the human form and which conveyed a sense of the confidence, leisure, pride and grandeur of the Renaissance Age, Bernini's David is a figure of determination -- a…
Avery, Charles. Bernini: Genius of the Baroque. London: Thames and Hudson, 1997.
Cunningham, Lawrence; Reich, John. Culture and Values: a Survey of the Humanities.
NY: Cengage, 2014. Print.
Matthew from the Gospel Book made for Archbishop Ebb of Reims, circa 816 to 835 C.E. This illumination which measures about 10 by 8 inches portrays a rather frail-looking saint with his hair almost standing on end and his garment twisted around on his body and deeply wrinkled, perhaps from sitting much too long at his table while transcribing passages for a new edition of the Holy Bible. There is almost no background or landscape in this illumination but what there is of it appears very unnatural and sketchy. Also, the proportions of the saint's body appears to be somewhat unnatural, not to mention his face which appears to be almost a caricature or a cartoon of a real human face.
Also, the expression on the saint's face makes him look as if he is not enjoying the task at hand, being the writing down via dictation from the tiny…
The same thing can be said of painting and other forms of aesthetic art. Art allows us to feel. For example, when we look at DaVinci's Last Supper, we feel something. Claude Monet's ater Lilies provides us with another example of how art can make us feel something. It is important to note that these feelings can be almost anything. They do not have to be positive or negative - it all depends on the artist and the audience.
Art allows us to feel. Tom Anderson maintains that we make art to "make sense of things, to give meaning to our existence" (Anderson). Anderson also states that another reason why we make art is to "communicate something that counts to someone else" (Anderson). "Making art is an attempt to bring order into being, to create something meaningful where nothing existed before" (Anderson). He contends that the "artist's goal is to…
Anderson, Tom. "Why and How We Make Art, with Implications for Art Education." EBSCO Resource Database. Site Accessed February 14, 2008. http://www.searchepnet.com
Anthony Hughes: "Buonarroti, Michelangelo." Grove Art Online. Oxford University Press. Site Accessed February 14, 2008. http://www.groveart.com.ezproxy.harford.edu/
Galef, David. "The Art of Art. Southwest Review. EBSCO Resource Database. Site Accessed February 14, 2008. http://www.searchepnet.com
Art During Renaissance
The Evolution of Art During the Renaissance
The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (rotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a reawakening or rebirth of historic and ancient traditions based on the classical antiquity and the inclusion of more recent developments by applications of contemporary scientific knowledge.
The Renaissance was seen as a bridge between the Middle Ages and the modern era. The period also marked a cognitive shift from religious perspectives to a more intellectual and social focus. Classical texts previously lost to European scholars became readily available and included science, drama, poetry, prose, philosophy, and new considerations…
Acidini, Luchinat Cristina. The Medici, Michelangelo, & the Art of Late Renaissance Florence. New Haven: Yale UP in Association with the Detroit Institute of Arts, 2002. Print.
Adams, Laurie. Italian Renaissance Art. Boulder, CO: Westview, 2001. Print.
Barter, James. Artists of the Renaissance. San Diego, CA: Lucent, 1999. Print.
Bartlett, Kenneth. The Civilization of the Italian Renaissance. Toronto D.C.
Miller and Eliot on Beauty
Comparing and Contrasting "Beauty" in Miller and Eliot
Arthur Miller and T.S. Eliot are two 20th century American playwrights. hile the latter is more commonly noted for expatriating to Britain and writing some of the most memorable poetry of the early 20th century, the former is noted for his famous depiction of the common man's struggle to find meaning and fulfillment in Death of a Salesman. As distinct as the two writers may seem, they both conceive of and treat the theme of beauty -- Miller analyzing its absence in Salesman, and Eliot analyzing its abandonment in several poems like "The Love Song of J. Alfred Prufrock" and "The asteland." This paper will compare and contrast both writers and show how they deal with the theme of beauty in their works.
The Absence of Beauty in Salesman and "Prufrock"
Beauty is missing from illy Loman's…
Aristotle. "Poetics." Internet Classics Archive. Web. 12 Oct 2011.
Barstow, Marjorie. "Oedipus Rex as the Ideal Tragic Hero of Aristotle." The Classical
Weekly 6.1 (1912): 2-4. Print.
Blasing, Mutlu Konuk. American Poetry: The Rhetoric of Its Forms. New Haven: Yale
St. Peter's Basilica is located in Vatican City, and was consecrated in 1626 (Saint). It is among the largest of the world's churches and is considered to be one of the holiest of Catholic sites on the planet. The church's namesake, St. Peter, is buried there, as well, and believed to be located directly below the altar (Saint). There has been a churched located on that site since oman Times, which is part of the reason St. Peter's in seen as so valuable when it comes to architecture and its place in the Catholic Church. Liturgical functions are held there, and it is also a common and very famous place for pilgrimage.
When the Pope gives services there, several times per year, between 15,000 and 80,000 people come out to hear him speak (St. Peter's). Even those who are not Catholic or religious in any way have often heard of…
Bannister, Turpin. "The Constantinian Basilica of Saint Peter at Rome." Journal of the Society of Architectural Historians, 27(1): 3 -- 32. 1968. Print.
Frommel, Christoph. "Papal Policy: The Planning of Rome during the Renaissance in The Evidence of Art: Images and Meaning in History." Journal of Interdisciplinary History, 17(1): 39 -- 65. 1986. Print.
Saint Peter's Basilica. Vatican City State. 2014. Web.
Scotti, R.A. Basilica: the Splendor and the Scandal -- Building of St. Peter's. NY: Plume. 2007. Print.
Instead of the hobby of kings and professionals, learning was for all -- from soldiers to noblemen ("Renaissance" 2008). In addition, the Renaissance appreciated learning and curiosity for its own sake. In the same way, art was appreciated simply because it was art, instead of being commissioned for a certain purpose. Furthermore, the Renaissance focused more on the individual's ability to make creations and to decide than the occurred during the Middle Ages ("Renaissance" 2008). Although these high ideals of art and learning were praised, patronage was an important feature of the Middle Ages, and patron's major players in the time period. Patrons, which could be wealthy individuals or organizations, could either have a household artist, like one would have a household maid, or commission a specific work from an artist "Discussion of the role" nd). In Florence, the Medicis were major patrons, and popes were also common patrons ("Discussion…
Discussion of the role of patrons in the Renaissance." Retrieved January 1, 2009, from Patronage of Raphael." nd. Retrieved January 1, 2009, at http://www.geocities.com/rr17bb/patronage.html
Renaissance," Microsoft® Encarta® Online Encyclopedia 2008
http://encarta.msn.com© 1997-2008 Microsoft Corporation. All Rights Reserved.
The painting is shocking because of its dramatic perspective. First and foremost the table is not situated in the centre of the painting, nor is Jesus. In a symbolical manner this transmits the idea that God is no longer in the centre of man's world and this accounts for the chaos that seems to be omnipresent. The lower side of the painting is dominated by human figures and an atmosphere of panic and confusion seems to be dominating. The upper side of the painting is filled with angels. There is a clear separation lien between the scared world of the divine and the one of the people. The dark colours, as well as the composition succeeded into transmitting the desired message, managing to appeal to the viewer's emotions.
As opposed to the simplicity that the Protestants supported, a new style emerges, that is the aroque. This new artistic…
Feast in the house of Levi. http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm (Accessed November 19, 2008)
Friedlaender, Walter, the anti-mannerist style. http://witcombe.sbc.edu/art-theory-baroque-Fall-2008/style3.html (Accessed November 18, 2008)
Mannerism. Wikipedia, the free encyclopaedia. http://en.wikipedia.org/wiki/Mannerism (Accessed November 19, 2008)
Nosotro, Rit. Art of the reformation and the counter reformation. Hyperhistory. http://www.hyperhistory.net/apwh/essays/comp/cw20reformationart.htm (Accessed November 19, 2008)
We all have fear inside us, but we have to look inside ourselves and know that we are stronger and bigger than our fears, and we can conquer them to make ourselves happier and more successful.
Another important message from the book is that even Michelangelo had to begin somewhere and allow his passion to grow and flourish. He did not create the Sistine Chapel as his first work, he had to grow to it and become a master of his craft. This is true in the business world as well. All companies do not begin as Microsoft, and do not have Bill Gates at the helm, and even Bill Gates had to start somewhere. We all have gifts and passions that we need to allow to nurture and grow, and we all have strengths that will come out over time. We cannot start out by expecting to be perfect;…
Widener, Chris. The Angel Inside: Michelangelo's Secrets for Following Your Passion and Finding the Work You Love. New York: Random House, 2007.