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1. High Renaissance Artist,
The Italian Renaissance,
Characteristics of
Modern Art
John Michael Florida
Kenji Fulcher
Ivan Gil Mercano
Florenzo Isaac Romance
Edward Zuñiga
4. Piero Di Cosimo
Unconventional but eccentric,
his paintings show an interest
in enhancing solid form and
structure with detailed
observation of everyday
objects
4
8. Lorenzo di Credi
Student of Leonardo DaVinci,
he sought in certain ways to
imitate those of Leonardo
though he never could
understand the “magical”
techniques
8
16. 16
The Damned Cast into Hell
Chapel of San Brixio in the Cathedral of Orvieto
17. Doni Tondo
17
Made by Michelangelo, took
Signorelli’s researches one step
further by knitting his own moving
forms into a unified and
centralized hub, or focus, of
physical and emotional activity
18. Baccio Bandinelli
Specialized in sculpting,Bandinelli’s
figures seem like mere colossal
giants – graceless, expressionless
planks that belong not to the
history of art but to the history of
imitation
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19. Hercules & Cacus (1534)
19
The sculpture resulted in works
that bore only a superficial
resemblance to those of
Michelangelo
20. David
20
Made by Michelangelo, it served
as a model for Bandinelli, it had
been conceived to celebrate the
Medici’s demise and the hoped-
for return to republican rule
21. Giulio Romano
An assistant of Raphael, his
painted works would become
more sharp as he developed –
eventually driving the much
admired muted richness and
harmonic rhythms of Raphael’s
plein air (outdoor paintings)
compositions into the past.
21
24. Portrait of a Man
24
His surfaces, revealed by a sharp
and often- times brilliant light, are
frequently more crisp and clearly
defined than those of Titian.
26. 26
Mars, Venus, and Cupid (1518)
Superficially imitates the rich colorings of Titian
27. Filippo Brunelleschi
Known to be one of the founding
fathers in the renaissance. • He
was not a painter but is instead an
architect and designer.
27
30. The Italian renaissance began in the 14th century and ended at the
17th century. Renaissance which is “rinascimento” in Italian means
“rebirth”, which summarizes the entire Italian renaissance period
as the next step in modernization not just for the Italians, but also
the advancement within the field of art.
30
31. The essence of the Italian renaissance is that it aims to improve
upon the basis of gothic arts and represents reasonable grounds
for a new movement in the history of art, using scientific
innovation.
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32. Brunelleschi, Masaccio, and Donatello – saw the new art as based
on a theory of vision according to which the object of the artist
would be to imagine and then create and cement a relationship
between humankind and the natural world.
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33. This was an observational activity that required original study of
the relation of spaces to spaces, figures to figures, and figures to
spaces. All these relationships could best be revealed by natural
light. For these new studies it was essential that artists be
intellectuals as well as craftsmen.
33
34. The great hero of the intellectual movement in the fifteenth
century was Leon Battista Alberti, an architect, sculptor, and
painter. In his writings he codified systems for establishing order,
simplicity, fixed-point perspective in painting and relief sculpture,
and nobility in architecture.
34
35. Alberti gave utterance to the new idea of what a work of art
should be, incorporating the coherent organization of space and
everything in it. This methodology, based on mathematical
precision, came to be fundamental for those artists who were
interested in the logical articulation of the visible world.
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36. This of course was very different from those forms of art – such
as vertical articulation, gold backgrounds, elongated forms, bright
colors, and disproportionate arrangements – that had
characterized the Gothic past and essentially were based on
sentimentality and intuition rather than on observation and logic.
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37. The Renaissance spirit indicated an agreement in principle that all
aspects of their inventions impacted on each other. – those artists
who selected only one aspect of the new thinking cannot be
considered to have had a scientific approach examples include:
Uccello was uniquely fascinated with perspective; Pollaiuolo had a
particular interest in anatomy; Marco Zoppo’s love of crisp edges
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38. Just as perfect perspective cannot be achieved if applied by rule
of thumb without understanding the principles of measured
coordination that govern it, so a work cannot be considered to
belong to the systematized logical thinking behind the unity of
ideas that make up the tissue of Renaissance concerns if only one
aspect of these is selected.
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39. It is also important to understand that not all artists
demonstrated a respect for – or even an interest in – the new
Renaissance spirit.
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40. By the middle of the fifteenth century the new ideas of the
scientifically minded artists who, though in the minority,
numerically constituted the avant-garde of Renaissance art were
challenged in Florence. They were threatened by the return of
Gothic tastes, which had never died. By this time, those pioneers
of the naturalist movement who were still alive had all left
Florence. 40
46. POST-IMPRESSIONISM
Characteristics:
• use of distinctive brushstrokes applying vivid colors.
• often thick application of paint
• selection of subjects was from real life, but more
focus on geometrical forms or distorted forms to
express feelings of their inner version.
48. EXPRESSIONISM
Its typical trait is to present the world solely from a
subjective perspective, distorting it radically for
emotional effect in order to evoke moods or ideas.
51. CUBISM
Cubism was an avant-garde modern art movement which had a huge
impact on all art forms. Cubism was characterized by simultaneous
perspective, geometrical fractured forms, muted depthless colors
etc.
Characteristics:
• reassembled out of fragments of these different views
• geometrical fractured forms
52. CUBISM
TYPES
• Analytical Cubism
This style produce kaleidoscope-like effect by using lines to divide
the artwork into geometric shapes. The colors in analytical
cubism are usually neutral and muted. Changes in value, or
shading, within the many angles help create interest and a sense of
density. Subject matter is often ambiguous, or hard to
determine.
53. CUBISM
TYPES
Synthetic Cubism
• bold and simple collage shapes, Synthetic Cubism
moved away from the unified monochrome surfaces of
Analytic Cubism to a more direct, colourful and
decorative style.
56. FAUVISM
style of painting that used pure, brilliant color, applied
straight from the paint tubes in an aggressive, direct
manner to create a sense of an explosion on the
canvas
57. FAUVISM
Characteristics
• Bold brush strokes using paint straight from the tube
• Showing the individual expressions and emotions of the painter
instead of creating paintings based on theories of what paintings
should look like with objects represented as they appear in nature
• Creating a strong, unified work that appears flat on the canvas
58. FAUVISM
The Green Stripe (Portrait of
Madame Matisse)
Henri Matisse.
(1905)
Woman with a Hat
Henri Matisse.
(1905)
59. SURREALISM
• subconscious creativity, including dreams, hallucinations,
automatic or random image generation
• basically anything that circumvented the usual "rational"
thought processes involved in creating works of art.
• innovative but often bizarre, and sometimes unintelligible
compositions.
• irrational imageries.
