Comparison Of Cennini And Alberti Models

For example, in Doc A, Bouninsegna’s painting

In Gustave Caillebotte’s painting, he uses a wide range of colors too, but these are more vibrant. The viewer is enticed to see themselves in the in the painting as there is an empty waiting to be occupied. The method of his

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

The masterworks of Bernini and Canova shared similarities along the lines of the sculptors’ works were crafted with precision and a keen eye for detail and were successful in giving their works a realistic effect. Both workers were masters in their own time and were able to manipulate marble to as though they were constructing a painting. They both incorporated classical forms in their works, depicting great scenes from mythical stories that could be viewed in great detail at a 360-degree angle.

Color is the most prominent art element utilized in the work. A series of bright warm colors such as whites, greens, reds, blues, gold, and purple have been used throughout the art. Gold is seen on the robes of the priest and Justinian, but is most noticeable in the background. White is used for the priest’s robes and distinguishes them from the group. A lighter green fills the lower background by their feet while darker greens are used for the shield and bordering designs. A deep purple is seen on Justinian’s robe to show his royalty and power. Blue and red are the least prominent as they are mainly used in the boarder and small details. Lines are used to create a sense of depth and sharply outline the figures. Overlapping is seen with the figures to show their importance in the art. The composition of the art shows the status and roles of the men with the most important near the middle (Justinian) and the least important off to the

When seeing this painting in person we see all the lines and colors really pop out as opposed to seeing it in a text book. You see that the images are much clearer in person giving us sharper appearances of the subject matters. With Manfredi being a member of the Caravaggisti, and therefore; we see Caravaggio like methods in the painting; such as the darken background, and the one source lighting. With the background being very dark not only does it allow you to focus more on the subject matter of the piece but it allows for the gloomy emotional aspect of it to be displayed. With the one source lighting in this painting it permits for Cupid’s skin to look like actual perfect flesh. The lighting allows Manfredi to show off his skills on how well can he imitate the human flesh by having the layers of red, giving the painting life, and the layers of blue, giving the paint translucently. The lighted areas that is caused by the once source of light focuses on the main parts of the composition; the flying doves, the Mars’ arm holding Cupid’s wrist, Cupid, and the Venus’ shoulder and arm. Like most of Caravaggio’s paintings, the one source lighting helps Manfredi to displays Leonardo’s Golden triangle method. Just like Caravaggio’s paintings, Manfredi uses the Golden triangle method so that the viewer’s eye is always being

In the style of Italian Baroque, Genteleschi's version of “Susanna and the Elders” use of color is much more vibrant than Ruben's interpretation. This can be seen in the bright red cape and blue shirt that the right Elder is wearing, the dull blue sky, the dark purple and light brown robes the left Elder is wearing and with the contrast of Susanna's white body against the cold concrete bench upon which she is sitting. The detailed carving behind Susanna along with the smooth surface of the concrete bench could be a symbol of wealth that her family

Picasso uses texture and an array of complementary and analogous colors characterized by a range of hues, values, and light to create a dramatic difference between the two subjects. The dominant and repetitive colors in the painting are green, yellow, lavender, red, and blue. The use of color, especially when used with the different geometric shapes, creates both a range of values as well as contrasts to adjacent areas. The profile and frontal head have lighter values such as yellow and lavender, whereas the reflection, painted with a rough charcoal texture has a dominance of blue, especially around the face, reflecting darker values. The use of complementary colors such as red and green create a brighter canvas, while the use of analogous combinations such as green and yellow, and green and blue blend well together. Overall, the reds and greens are bright throughout, giving intensity to the painting while the use of soft blue in the reflection, is not as intense and warm. Picasso also uses complementary colors of red and green against lavender in the figure to make the figure prominent. In the reflection, analogous colors are used throughout, but predominately on the top with purple

El Greco's artistic formation in Rome and Venice, reflects the influence of roman mannerist designs (e.g Michaelangelo's masterfully polished drawings) and that of the Venetian school of painting with its emphasis in the richness and variety of colors, the use of pigments to achieve the impression of depth and brightness,

When one looks at the painting White light, an array of colors spring off the canvas and permeate one’s senses. The primary and intense color of red is softened by the primary colors of yellow and blue. While the tertiary color of green subtly takes its place among the hues to give some balance. The perceivable tones of black and white add value and seem to give some

When we look at the history of the Middle Ages and the Renaissance, we always like to use the confinement of thinking and the liberation of ideas to sum up the two, especially in the art, the medieval paintings are often used in dark colors, deformed three-dimensional concept Showing the real world, and often less a bit human nature. And after the Renaissance, the painting masters are the opposite of it. I am not here to comment on their good or bad, but from the artistic point of view, to explore whether a good form of art needs to reflect the community and a wide range of civilizations

It was during the Middle Ages (300-1000 AD), that various distinctive forms of art began to emerge in western Europe. A variety of significant mosaics, buildings and other forms of art came from this time that continue to be analyzed in the present. In the book Early Medieval Art, Lawrence Nees successfully provides an intricate interpretation of these various art forms that developed in this time in history while allowing the reader to conceptualize the emerging cultures of the first millennium in Europe. Nees is able to do this by outlining key aspects of the studied works of art that symbolize how life was at this point in history. At the beginning of his book, it is apparent that Nees seeks to provide a less traditional view on art at this time when he states, “I offer a different story of early medieval art in place of the more traditional tale of the decline of Rome and triumph of Christianity”. Nees’ thesis is subsequently inexplicitly stated to analyze the role of tradition in early medieval western art and its transformation as time progressed. By following a non-conventional thesis when writing this book, Nees is able to contribute a new perspective into the overall topic of medieval art.

Leon Battista Alberti, born in the 15th Century originally from Genoa was educated at Padua and Bologna in classics, mathematics and Church canon law. He was a typical Humanist and his education also made him well-versed in philosophy, science and the arts. In 1421, he attended the University of Bologna where he studied law, which he did not enjoy. Later on, he obtained a degree in canon Law which then led to his mathematical studies. His book, Della Pittura published around the year 1430 were written to influence both artists and patrons through a combination of technical detail and philosophical discussion on Florentine art. This book is divided into 3 parts, the first relates to perspective and mathematics. The second and third parts

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

This essay looks at the time in history beginning in the 1400’s to the mid-1700’s which we identify in art history as The Renaissance, Baroque, and Rococo periods. Focusing on the influence new scientific knowledge had in the art produced during this time with specific examples from each period and artists of the time.