Saturday, February 23, 2008
On the Paper
This is the paper I had to do for my art class. I had to study one art piece, describe it, and give my impressions on it. It was actually a interesting experience. The alterpiece had the unique attribute of a singular depiction of the baby Jesus. Well hope you enjoy reading it. If you don't get bored:)
Pietro Lorenzentti’s Hint at Success
Within the Seattle Art Museum’s small presentation of Renaissance art is Pietro Lorenzetti’s Virgin and Child with Saints Paul and Peter a small early work for the new artist. Lorenzetti produced the altarpiece from 1310 to 1320, early on in an artistic life beginning in 1306 and ending in 1348.[1] At first glance one might dismiss it as simply an Italian-Byzantine piece, the style prevalent before the Renissance; yet, it holds specific features signaling a promising artist on the rise. Let us examine the piece, understand and analyze it against its historical context, and determine its true value.
In order to properly consider the piece, it is necessary to place it within its historical context. The painting produced at the beginning of the 14th century lands at the dividing point between the Middle Ages and the Renaissance. During the Middle Ages, artistic knowledge gained in ancient times lay buried awaiting the age of Rebirth or Renaissance; a time of rediscovery and discovery in the arts. Giotto di Bondone (ca. 1266-1337) marks the turning point between the ages due to his advancements in the depiction of realism; He finished his Madonna Enthroned in 1310: about the time Pietro Lorenzetti began his Virgin and Child with Saints Paul and Peter. [2] Giotto portrays his Madonna with a realistic body being solid and weighty. It contrasts strongly with preceding works lacking realistic portrayals of the human form. On the eve of realism’s awakening Pietro began his altarpiece. Given Giotto’s authoritative artistic advancements is provides a standard of comparison for Lorenzetti’s piece. Though comparing it with Giotto is appropriate, it is also imperative to evaluate the piece on its own merit: the framework of Pietro’s body of work.
In order to grasp what this painting is, it requires further detailed examination. The altarpiece is a triptych containing Saint Paul on the right panel, Mary and the Child in the center, and Saint Peter on the left panel. Above each divided section rests a pinnacle or triangle shape with different figures on each. Just as the central panel depicting the Mother and Child is slightly larger than the other two, the pinnacle above it is larger than the adjacent ones. Wood framing raised about three quarters of an inch from the painting itself surrounds the entire piece, delineating the three sections and pinnacles. Behind every figure is a golden background symbolizing a heavenly or holy space. The focal point is on the mother and Child, where she looks toward the viewer and sustains the Child resting on her left arm. Christ leans toward His mother clutching her navy cloak near her bosom, watching the Apostle Peter. Apostles Paul and Peter look toward the two central figures holding their respective symbols, a sword and a set of keys. In the pinnacle above Paul is Mary Magdalene in a frontal pose looking toward the viewer, while holding a cross and jar in either arm.[3] Above Apostle Peter is the Archangel Michael holding a sword’s handle.[4] In the central pinnacle is Christ seemingly blessing the two figures below him, Mary and the Child.[5] On first sight, one might characterize the piece as Italo-Byzantine the art form dominant during the Middle Ages; yet, a closer and researched analysis reveals a different perspective.
Given the altarpiece’s historical context, it is essential to further analyze its qualities and discern how innovative it really is or not given the current artistic advancements. The Italio-Byzantine style is characterized as flat, linear, shallow and stylized, while dimension, linear perspective, spatial depth and realism were the budding qualities of the day. [6] In the altarpiece, there is no linear perspective utilized, nor is any background space depicted. The golden, intricately traced halos around each person are flat. Yet figures are not wholly flat, having faces and bodies with dimension. Clear shading reveals each figure’s features: soft cheeks reveal on the Madonna through lighter colors on the cheek bone darkening toward her chin line. Their drapery falls naturally creasing on the elbows, or at the waistline. Although the drapery falls quite naturally, it does not cling or reveal the body underneath. In the depiction of the risen Christ on the central pinnacle, His red robe is stylized with gold lines. Such use of golden outlines is extensive amongst the earlier art form is used to symbolize the elevated position of Christ. The greatest progress in realistically depicting weight and mass in a human form is found in the Christ Child. His arms and legs are clearly chubby portrayed through deeply shaded creases on his arms and the use of shading and creases to reveal bulk through the red drapery above His leg. His face is quite baby like, unlike the characterizations commonly showing him as a little man. The large, soft, round, shaded cheek reveals baby-fat which cushions His yet undefined chin. His position is also unique as He grabs His mother’s navy cloak, leaning onto her bosom while looking at the Saint Peter on His left. It imbues the sense of seeking protection in His mother and some apprehension toward the Saint. Mary’s expression regards the viewer almost expressing distrust and giving the sense of her maternal desire to protect her Child. Mary looks toward the viewer with an expression of sadness and tender protection over her child.
When this painting is compared to Giotto’s version of the same theme, it provides a solid basis to discern the status of the work in its time. Giotto’s Madonna is praised for bringing solidity and mass to Mary, an element he gave to the Christ Child as well. Lorenzetti’s Christ Child manifests this quality but Mary’s form is hidden in her clothing. With the use of shading to reveal bodily fat, Christ’s body reveals weight and presence. The Saints adjacent to the central panel reveal mass through the differentiating light tones on thier clothes. Yet their depiction is not as realistic as Giotto’s representation of the angels adjoining the central throne. Another major development in Giotto’s Madonna Enthroned is the spatial depth of the throne as it surrounds its occupants. The two frontal poles are painted in light white tones. These colors darken as the frame recedes toward the back of Mary and Jesus. The grey roof of the arch above them effectively encases the occupants. Spatial depth is ostensibly absent in Lorenzetti’s altarpiece. The fact that it solely depicts the characters with the golden space around them is very Medieval, as it reveals the society’s focus on the heavenly world over any earthly thing. While Giotto’s work displays these surpassing qualities Lorenzetti’s work also holds some notably surprising developments. The sad and protective expression in Mary’s eyes and the distrust in Christ’s face convey far more human emotion than Giotto’s characters. Also, the Baby’s position displays great expression, a characteristic absent in Giotto’s Christ. His position not only portrays human emotion, but it is also an untraditional pose. Most Christ Childs sit on Mary’s lap or arm uprightly, while Lorenzetti’s leans against His mother. Another noteworthy element is the Child’s baby like face. Art professor Mary Camp explained the medieval notion of the “homunculus”: the belief that Christ was conceived in Mary as a little man. Given this belief, medieval art depicted Baby Jesus as a little man.[7] This concept is evident in Giotto’s Christ Child, while Lorenzetti depicted Christ as a baby boy. This reveals Lorenzetti applied his perception of reality concerning children to his depiction of Christ. Thus, in comparing both works, human anatomical mass and spatial depiction are triumphs in Giotto’s Madonna Enthroned, while Lorenzetti’s altarpiece displays a surprising revelation of emotional expression and position and a comprehension of Christ born as a human child.
Pietro Lorenzetti (c. 1280- 1348) began to paint in 1320 to 1348 in Siena learning with his brother Ambrogio under Simone Martini.[8] Judging from Painting in Late Medieval and Renaissance Siena, Pietro produced a number of altarpieces and religious paintings during his lifetime, as it describes the various pieces he produced for cathedrals and mendicant orders.[9] Both brothers contributed to their world of art as A Biographical Dictionary of Artists points out, “the Lorenzetti brought Sienese painting to its finest flowering and European renown”.[10] Consideration of the Altarpiece already discussed in depth reveals Pietro Lorenzetti’s ability to convey emotion, a quality the Dictionary documents saying, “throughout his work there is a continuing exploration of the psychological states of his figures which was the special mark of his genius.”[11] It is this attribute which makes his altarpiece standout as he depicts the mental thought of the Virgin and Child. His future Birth of the Virgin made great advance in depicting spatial depth. He achieved this by darkening walls as they recede into the background, and differentiating between the background and foreground space through shading and some perspective. This allows his figures to have their own standing space. The altarpiece exchanged hands several times during the twentieth century possessed by several art organizations and eventually ending at the Seattle Art Museum in 1961. It is currently displayed in its Renaissance art gallery amongst other period pieces. Unfortunately being his earlier and smaller works, the altarpiece appears to receive little recognition given the difficulty is finding in depth analysis on it.
To conclude, the subject of our discussion is an unlikely one. It is not famous nor highly documented, yet it holds a nugget of revelation concerning its master Pietro Lorenzetti. In his depiction of the Virgin and Child their mental states are open to observe as the Mother’s tender, sad, protective eyes reach out and the Child grasps His mother’s clothing for safety distrustfully regarding the stranger reaching toward Him. It is this representation which crowns this little altarpiece with one element of superiority over Giottos’ formal depiction of the same Biblical characters. In spite of this gem, there are layers of old minerals mixed into the piece as it contains many Byzantine traits. Thus it is simply a beacon catching our eyes to look beyond it to this painter’s significant future.
Bibliography
,1. Overview: Virgin and Child with Saints Paul and Peter. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (accessed February 21, 2008).
2. Overview: “Who Are the Figures Portrayed in the Altarpiece?”. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (accessed February 21, 2008).
3. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14-2008.
4. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008.
5. Kleiner, Fred S., and Mamiya, Christin J. GARDNER’S ART THROUGH THE AGES. 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning, 2005.
5. Norman, Diana. Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003.
[1] Seattle Art Museum, “Overview on Virgin and Child with Saints Paul and Peter.” http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (21 Feb.2008).
[2] Fred S. Kleiner, Christin J. Mamiya, GARDNER’S ART THROUGH THE AGES, 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning,2005, pg. 528
[3] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece? http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (21Feb. 2008).
[4] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[5] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[6] Mary Camp, “Lecture notes”( from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008) .
[7] Mary Camp, “Lecture notes” ( from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14, 2008) .
[8] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[9] Diana Norman, Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003, pg. 83, 85, 86- 88, 111-118, 108
[10] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[11] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
Within the Seattle Art Museum’s small presentation of Renaissance art is Pietro Lorenzetti’s Virgin and Child with Saints Paul and Peter a small early work for the new artist. Lorenzetti produced the altarpiece from 1310 to 1320, early on in an artistic life beginning in 1306 and ending in 1348.[1] At first glance one might dismiss it as simply an Italian-Byzantine piece, the style prevalent before the Renissance; yet, it holds specific features signaling a promising artist on the rise. Let us examine the piece, understand and analyze it against its historical context, and determine its true value.
In order to properly consider the piece, it is necessary to place it within its historical context. The painting produced at the beginning of the 14th century lands at the dividing point between the Middle Ages and the Renaissance. During the Middle Ages, artistic knowledge gained in ancient times lay buried awaiting the age of Rebirth or Renaissance; a time of rediscovery and discovery in the arts. Giotto di Bondone (ca. 1266-1337) marks the turning point between the ages due to his advancements in the depiction of realism; He finished his Madonna Enthroned in 1310: about the time Pietro Lorenzetti began his Virgin and Child with Saints Paul and Peter. [2] Giotto portrays his Madonna with a realistic body being solid and weighty. It contrasts strongly with preceding works lacking realistic portrayals of the human form. On the eve of realism’s awakening Pietro began his altarpiece. Given Giotto’s authoritative artistic advancements is provides a standard of comparison for Lorenzetti’s piece. Though comparing it with Giotto is appropriate, it is also imperative to evaluate the piece on its own merit: the framework of Pietro’s body of work.
In order to grasp what this painting is, it requires further detailed examination. The altarpiece is a triptych containing Saint Paul on the right panel, Mary and the Child in the center, and Saint Peter on the left panel. Above each divided section rests a pinnacle or triangle shape with different figures on each. Just as the central panel depicting the Mother and Child is slightly larger than the other two, the pinnacle above it is larger than the adjacent ones. Wood framing raised about three quarters of an inch from the painting itself surrounds the entire piece, delineating the three sections and pinnacles. Behind every figure is a golden background symbolizing a heavenly or holy space. The focal point is on the mother and Child, where she looks toward the viewer and sustains the Child resting on her left arm. Christ leans toward His mother clutching her navy cloak near her bosom, watching the Apostle Peter. Apostles Paul and Peter look toward the two central figures holding their respective symbols, a sword and a set of keys. In the pinnacle above Paul is Mary Magdalene in a frontal pose looking toward the viewer, while holding a cross and jar in either arm.[3] Above Apostle Peter is the Archangel Michael holding a sword’s handle.[4] In the central pinnacle is Christ seemingly blessing the two figures below him, Mary and the Child.[5] On first sight, one might characterize the piece as Italo-Byzantine the art form dominant during the Middle Ages; yet, a closer and researched analysis reveals a different perspective.
Given the altarpiece’s historical context, it is essential to further analyze its qualities and discern how innovative it really is or not given the current artistic advancements. The Italio-Byzantine style is characterized as flat, linear, shallow and stylized, while dimension, linear perspective, spatial depth and realism were the budding qualities of the day. [6] In the altarpiece, there is no linear perspective utilized, nor is any background space depicted. The golden, intricately traced halos around each person are flat. Yet figures are not wholly flat, having faces and bodies with dimension. Clear shading reveals each figure’s features: soft cheeks reveal on the Madonna through lighter colors on the cheek bone darkening toward her chin line. Their drapery falls naturally creasing on the elbows, or at the waistline. Although the drapery falls quite naturally, it does not cling or reveal the body underneath. In the depiction of the risen Christ on the central pinnacle, His red robe is stylized with gold lines. Such use of golden outlines is extensive amongst the earlier art form is used to symbolize the elevated position of Christ. The greatest progress in realistically depicting weight and mass in a human form is found in the Christ Child. His arms and legs are clearly chubby portrayed through deeply shaded creases on his arms and the use of shading and creases to reveal bulk through the red drapery above His leg. His face is quite baby like, unlike the characterizations commonly showing him as a little man. The large, soft, round, shaded cheek reveals baby-fat which cushions His yet undefined chin. His position is also unique as He grabs His mother’s navy cloak, leaning onto her bosom while looking at the Saint Peter on His left. It imbues the sense of seeking protection in His mother and some apprehension toward the Saint. Mary’s expression regards the viewer almost expressing distrust and giving the sense of her maternal desire to protect her Child. Mary looks toward the viewer with an expression of sadness and tender protection over her child.
When this painting is compared to Giotto’s version of the same theme, it provides a solid basis to discern the status of the work in its time. Giotto’s Madonna is praised for bringing solidity and mass to Mary, an element he gave to the Christ Child as well. Lorenzetti’s Christ Child manifests this quality but Mary’s form is hidden in her clothing. With the use of shading to reveal bodily fat, Christ’s body reveals weight and presence. The Saints adjacent to the central panel reveal mass through the differentiating light tones on thier clothes. Yet their depiction is not as realistic as Giotto’s representation of the angels adjoining the central throne. Another major development in Giotto’s Madonna Enthroned is the spatial depth of the throne as it surrounds its occupants. The two frontal poles are painted in light white tones. These colors darken as the frame recedes toward the back of Mary and Jesus. The grey roof of the arch above them effectively encases the occupants. Spatial depth is ostensibly absent in Lorenzetti’s altarpiece. The fact that it solely depicts the characters with the golden space around them is very Medieval, as it reveals the society’s focus on the heavenly world over any earthly thing. While Giotto’s work displays these surpassing qualities Lorenzetti’s work also holds some notably surprising developments. The sad and protective expression in Mary’s eyes and the distrust in Christ’s face convey far more human emotion than Giotto’s characters. Also, the Baby’s position displays great expression, a characteristic absent in Giotto’s Christ. His position not only portrays human emotion, but it is also an untraditional pose. Most Christ Childs sit on Mary’s lap or arm uprightly, while Lorenzetti’s leans against His mother. Another noteworthy element is the Child’s baby like face. Art professor Mary Camp explained the medieval notion of the “homunculus”: the belief that Christ was conceived in Mary as a little man. Given this belief, medieval art depicted Baby Jesus as a little man.[7] This concept is evident in Giotto’s Christ Child, while Lorenzetti depicted Christ as a baby boy. This reveals Lorenzetti applied his perception of reality concerning children to his depiction of Christ. Thus, in comparing both works, human anatomical mass and spatial depiction are triumphs in Giotto’s Madonna Enthroned, while Lorenzetti’s altarpiece displays a surprising revelation of emotional expression and position and a comprehension of Christ born as a human child.
Pietro Lorenzetti (c. 1280- 1348) began to paint in 1320 to 1348 in Siena learning with his brother Ambrogio under Simone Martini.[8] Judging from Painting in Late Medieval and Renaissance Siena, Pietro produced a number of altarpieces and religious paintings during his lifetime, as it describes the various pieces he produced for cathedrals and mendicant orders.[9] Both brothers contributed to their world of art as A Biographical Dictionary of Artists points out, “the Lorenzetti brought Sienese painting to its finest flowering and European renown”.[10] Consideration of the Altarpiece already discussed in depth reveals Pietro Lorenzetti’s ability to convey emotion, a quality the Dictionary documents saying, “throughout his work there is a continuing exploration of the psychological states of his figures which was the special mark of his genius.”[11] It is this attribute which makes his altarpiece standout as he depicts the mental thought of the Virgin and Child. His future Birth of the Virgin made great advance in depicting spatial depth. He achieved this by darkening walls as they recede into the background, and differentiating between the background and foreground space through shading and some perspective. This allows his figures to have their own standing space. The altarpiece exchanged hands several times during the twentieth century possessed by several art organizations and eventually ending at the Seattle Art Museum in 1961. It is currently displayed in its Renaissance art gallery amongst other period pieces. Unfortunately being his earlier and smaller works, the altarpiece appears to receive little recognition given the difficulty is finding in depth analysis on it.
To conclude, the subject of our discussion is an unlikely one. It is not famous nor highly documented, yet it holds a nugget of revelation concerning its master Pietro Lorenzetti. In his depiction of the Virgin and Child their mental states are open to observe as the Mother’s tender, sad, protective eyes reach out and the Child grasps His mother’s clothing for safety distrustfully regarding the stranger reaching toward Him. It is this representation which crowns this little altarpiece with one element of superiority over Giottos’ formal depiction of the same Biblical characters. In spite of this gem, there are layers of old minerals mixed into the piece as it contains many Byzantine traits. Thus it is simply a beacon catching our eyes to look beyond it to this painter’s significant future.
Bibliography
,1. Overview: Virgin and Child with Saints Paul and Peter. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (accessed February 21, 2008).
2. Overview: “Who Are the Figures Portrayed in the Altarpiece?”. Seattle Art Museum. http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (accessed February 21, 2008).
3. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14-2008.
4. Camp, Mary. “Lecture notes” from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008.
5. Kleiner, Fred S., and Mamiya, Christin J. GARDNER’S ART THROUGH THE AGES. 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning, 2005.
5. Norman, Diana. Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003.
[1] Seattle Art Museum, “Overview on Virgin and Child with Saints Paul and Peter.” http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objMakers&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objects (21 Feb.2008).
[2] Fred S. Kleiner, Christin J. Mamiya, GARDNER’S ART THROUGH THE AGES, 12th Ed., Blemont, CA,: Wadsworth /Thomson Learning,2005, pg. 528
[3] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece? http://www.seattleartmuseum.org/emuseum/code/emuseum.asp?style=single¤trecord=1&page=search&profile=objects&searchdesc=Pietro%20Lorenzetti&quicksearch=Pietro%20Lorenzetti&newvalues=1&newprofile=objExplores (21Feb. 2008).
[4] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[5] Seattle Art Museum Explore: Who Are the Figures Portrayed in the Altarpiece?
[6] Mary Camp, “Lecture notes”( from Western Art15th-18th Century Art: 204 at Whatcom Community College, Winter 2008) .
[7] Mary Camp, “Lecture notes” ( from Western Art15th-18th Century Art: 204 at Whatcom Community College, February 14, 2008) .
[8] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[9] Diana Norman, Painting in Late Medieval and Renissance Siena, China: Yale University Press, 2003, pg. 83, 85, 86- 88, 111-118, 108
[10] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
[11] Sir Lawrence Gowing, A Biographical Dictionary of ARTISTS, The Vineyard, Abingdon, Oxfordshire, England, New York, N.Y.: Andromeda Oxford Limited and Facts On File, Inc, 1995, pg. 394
Monday, February 4, 2008
Saturday, February 2, 2008
Reflection on Art
Cimabue, an artist began the break from Italo-Byzantine art to what revolutionized western art. He in his paintings gave greater depth to his characters and more naturalism. Giotto, one of his students took off with these changes and made even more dramatic advances. His considered the Father of Western art. He observed nature and considered nature a teacher on the seen world. His Lamention shows great emotion, movement, and images of human movement. This is very different to the common paintings of the past where images depicted stiff humans with linear flatness or non-depth.
In studing art history, I have loved the works of Jan van Eyck. He focuses on the natural depiction of our world. He paints reality. Its real. To me that is a beautiful form of painting where the world is depicted as it really is: that is talent. My favorite painting thus far... hum, I really like one of the "Virgin" Mary by Fra Fillippo Lippi. Mary is depicted quite realistically and beautifully, along with some angels with a smirk. The color pattern is lovely.
Another piece I related well to was a sculpture of Christ and Thomas. It is at the Orsanmichelle, Florence, and it exhibits remarkable use of space and motion. I love the story behind it showing Christ's merciful compassion in reaching to Thomas' weakness and showing him His wounds.
Overall the course has been instrumental, informative, and fun.
In studing art history, I have loved the works of Jan van Eyck. He focuses on the natural depiction of our world. He paints reality. Its real. To me that is a beautiful form of painting where the world is depicted as it really is: that is talent. My favorite painting thus far... hum, I really like one of the "Virgin" Mary by Fra Fillippo Lippi. Mary is depicted quite realistically and beautifully, along with some angels with a smirk. The color pattern is lovely.
Another piece I related well to was a sculpture of Christ and Thomas. It is at the Orsanmichelle, Florence, and it exhibits remarkable use of space and motion. I love the story behind it showing Christ's merciful compassion in reaching to Thomas' weakness and showing him His wounds.
Overall the course has been instrumental, informative, and fun.
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