Renaissance painting
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This document provides an overview of Renaissance and Mannerism painting. It discusses key characteristics like naturalism, rationalism, and idealization in Renaissance works. Major Renaissance artists like Masaccio, Botticelli, Leonardo da Vinci, Raphael, and Michelangelo are profiled. The document also describes techniques used during the Renaissance and Mannerism periods like fresco painting, oil painting, and the development of engraving. Key themes in works are also outlined like religious subjects and the growing importance of portraiture and landscape. Characteristics of Mannerism painting like surprising compositions and deformations are also summarized.
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Renaissance painting
- 2. Renaissance Painting • Naturalism: – people must be represented as they are – observation is essential • Rationalism: – Things are represented following the reason – Use of perspective and backgrounds • Universalism: – Subjects general for any culture – Related to human beings
- 3. Renaissance Painting • Idealisation: – Characters are idealised – They do not have deformations • Order, proportion and harmony: – Things transmit calm and serenity • Perfection: – Works perfectly finished – Attention to the small detail
- 4. Renaissance Painting • Supports – Wall painting was frequent in Italy; mosaic left way to mural painting in Venice – Even if the canvas advanced, wood was of frequent use – Poliptics were common in Spain and Northern Europe whereas in Italy they used an only panel.
- 5. Renaissance Painting • Techniques: – In Italy the fresco continued – Book illumination lost importance with the printed books – Engraving on wood and on copper developed – Drawing became more important – Temple was replaced by oil systematically
- 6. Renaissance Painting • Gaiak: • Themes: – Religious continued being important, mainly in Northern Europe and Spain. – In Italy mythology was more important – Portrait developed – Landscape, without being independent, acquired more importance in the paintings
- 7. Renaissance Painting • Composition: – Space was rationalised with the resource to lineal and atmospheric perspective – The organization of the painting put more attention in the centre than in the periphery – Sometimes the shapes are organised following simple shapes. – The background used traditional motives or architectures of Roman inspiration.
- 8. Renaissance Painting • Drawing, colour and brushstroke: – Gold disappeared, the same as light colours in the strategic areas of the painting – Palette diversified, being commonly light – Oil painting permitted the use of delicate nuances (transparencies, luminosity) – Triumph of the sfumato.
- 9. Mannerism Painting • Images: – Faces are full of a new realism – Bodies must be convinced by the imitation of real forms. – Worry for idealization, especially in nudes, using canons of beauty – The normalisation of beauty led to the apparition of their antagonists, with grotesque or caricaturized images.
- 10. Mannerism Painting • Technique and support: – Are the same as those of the Renaissance – Format of paintings: • Big in churches and palaces • Small for stamps • Themes: – Religious were frequent – Mythology and allegory depiction improved – Portrait developed more
- 11. Mannerism Painting • Composition, drawing, colour and brushstrokes: – – – – Everything tried to create surprise Compositions are not centred Colours are not common Images are numerous • Images: – They try to surprise – Deformations and complicated lines
- 12. Renaissance painters • Massacio: – – – – – Material characters with power and dignity Perfection of detail Sense of tactile values He painted frescoes Works: Brancaci Chapel
- 14. Renaissance painters • Ucello: – Famous for his paintings that remain medieval period – Interested in perspective – Figures appeared solid and real – He did not know how to use light and shade – Preocupation with applied geometry – Works: San Romano’s Battle
- 16. Renaissance painters • Filippo Lippi: – – – – – – Author of crowded fresco scenes Madonnas and saints holy, serene His works were more naturalistic with the time. He used tempera. Work of precision, depth and fluidity Works: Madonna
- 18. Renaissance painters • Fra Angelico: – He used a simple style, sacrificing perspective to it. – He produced many frescoes – His works are elegant and delicate – Works: Annunciation, frescoes at San Marco’s convent.
- 20. Renaissance painters • Piero della Francesca – Perspective and geometry are dominant in his works – He liked to organise large, plain masses of colour in patters which suggest and underlyin geometrical scheme – Light palette – Large areas of white or near-white – Works: The Baptism of Christ, The Nativity.
- 22. Renaissance painters • Botticelli – Individual and graceful style – Pure visual poetry – Denial of rational spatial construction and no attempt to model solid-looking figures – Figures float on the forward plane, agains a decorative landscape – Form outlined – Personal type of femenine beauty – Works: The Spring, The Birth of Venus
- 24. Renaissance painters • Mantegna – – – – Mastery of perspective Adapt the scene to low viewpoint Scorzo Works: Death Christ • Bellini – Famous for his portraits – Large-scale narrative paintings – Works: Portrait of the Dux
- 26. Renaissance painters • Leonardo – Delicate treatment of the characters portrayed – Lack of rigidity in the contours – Sfumato or special way of changing colours, covering them with shadows – Direct gazes of enigmatic meaning – Variety of techniques not always successful – Works: Mona Lisa, The Virgin of the Rocks, Saint John
- 28. Renaissance painters • Raphael – Clear organization of the composition – Avoidance of excessive detail – Expansive style of composition which presented itself as a homogeneous and easily intellegible whole – Painting was no longer to be a portrayal of an event but an interpretation of its subject-matter – He adopted the innovations of Leonardo and Michelangelo – Works: The Athens School, Madonna Sixtina, The Weddings of the Virgin.
- 30. Renaissance painters • Michelangelo – His characters are depicted in an sculptoric way, with an important entity – Images are full of movement – Characteristic terribilitá – Richness of colours, light in general – Works: Ceiling of the Sixtine Chapel, Panel of the Last Judgement, Tondo Doni
- 32. Renaissance painters • Giorgione – The landscape is more that just the background – Images depicted without detail – Work: The Tempest
- 33. Renaissance painters • Titian – History paintings – Portraits with high level of felicity – Works: Charles V at Mülbherg, Baccanal
- 34. Renaissance painters • Veronese – – – – Regular volumes Strong colours and great contrasts Conventionalised figures Works: marriage at Cana
- 35. Renaissance painters • Dürer – The greatest artist of Northern Renaissance – First author who painted self-portraits – Woodcuts and engravings – Author of magnificent altarpieces and powerful portraits – Diversity of subjects in his watercolours – Works: Adan and Eve, Self-portrait
- 37. Renaissance painters • Grünewald • Grünewald – Religious paintings of visionary expressiveness – Intense colours and agitated lines – Work: The Isenheim Altarpiece • Holbeing the Younger – – – – Excellent portratist Portraits do not reveal the personality Taste for illusionist effects Works: Henry VIII , The Ambassadors • Cranach the Elder – Portraits and female nudes – Works: Luther, Duke Henry of Saxony
- 39. Renaissance painters • Yañez de la Almedina – Introduced the High Renaissance in Spain • Masip – Combined Italian and Netherlandish influences • Juan de Juanes – Ideal Counter-Reformation images – Influences of Leonardo and Raphael – Sfumato effects
- 41. Mannerism painters • Corregio – Conscious elegance, soft sfumato and gestures of captivating charm – Sensuous mythologies, as his Venuses • Tintoretto – Figures full of heath – Effects of light and shadow – Colossal conception of the human but with elegance
- 43. Mannerism painters • Morales – Devotional images influenced by Leonardo • Sanchez Coello – Pioneer of the Spanish portrait painting – Ease of pose and execution, dignity and sobriety and warmth of colouring
- 45. Mannerism painters • El Greco – Influenced by the mysticism of CounterReformation – Elongated figures – Intense and unusual colour – Ardour and energy