Tuesday, May 11, 2010
Painting
Mannnerism

Much like the difference between early and high renaissance mannerism can be categorized as a different movement from the High Renaissance. In the 15020s to 50s the style of painting was beginning to change once again. Painters began to move away form the influence of nature and began to paint a more stylized representation of it. Artists were now self-conscious with the intellectual appeal and status of art and its need to be sophisticated and refined. For example, in Parmigiano's Madonna and Child with St. Gerome, he distorts and elongates Madonna's neck to mimic the look of the vase beside her. This brings reference to Madonna as the vessel of Christ. Her he is no longer looking to nature but manipulating it to express further intellect.
High Renaissance

In my High Renaissance class we explored the definition of "High" Renaissance in relation to Early Renaissance and if it fact they did differ. The conclusion was that there are enough difference between early and high to distinguish them as separate. In the early renaissance artists such as Gioto looked at classical antiquity to create the new style of Renaissance. They looked to depicting scenes as close to nature as possible. This however was not enough for High renaissance greats such as Leonarda Da Vinci who wanted to surpass classical antiquity by using it as an example. He set out to do what Pliny described Appelles doing in ancient roman art. Leo wanted to capture the soul in the figures he painted. For the first time since antiquity Leo had captured mood and expression giving the figures he painted life and meaning in works such as The Last Supper.
Painting:
Monday, May 10, 2010
Competition in the Renaissance
During the High Renaissance many of the greatest artists in history were creating their art in within Italy. Therefore, it is only natural that these great masters had many rivalries among each other. One of the most blatent rivalries was between Michelangelo and Bramante. Bramante had completed his Tempieto and wanted that to be the architectural feet of the Vatican. Pope Julius II then began commissioning Michelangelo to construct his tomb. Drawings show how monumental the tomb was supposed to be. Bramante saw this as a threat so covinced Julius II to have Michelangelo paint the Sistine ceiling in hopes to both squash competition and disgrace Michelangelo. Unfortunatly for Bramante, this was all for nothing. Michelangelo finished the ceiling so well that it is one of the most highly reveared artworks ever created. He also later completed Bramante's work on St. Peters with a dome that now marks Rome's sky line casting a shadow over Bramante's Tempieto.
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