Art III

H igh

R en

aissan ce A

rt G allery

S tu

den t N

am e

C olu

m bia S

ou th

ern U

n iv

ersity 9/20/2015

(B o

ttice lli, ca

. 1 4

8 2

)

H igh

R en

aissan ce A

rt: In trodu

ction

I chose H igh R

enaissance art because the artw ork in this period show

s real distinctive details and em

otion.

I w ant to know

w hy the hum

an body w as so inspirational to these artists.

I am interested in learning w

hy this art period is called the rebirth of art .

H igh

R en

aissan ce A

rt: In trodu

ction

• R

enaissance A rt w

as done in E urope from

the late 1400’s to1600.

• S

eparated into three m ain categories: E

arly R enaissance, H

igh R enaissance,

and Late R enaissance.

• M

arked by “logical thought and the new philosophical, literary, and artistic

m ovem

ent called hum anism

” (Frank, 2014, p. 279).

• A

rtists studied anatom y and “applied geom

etry to the logical construction of im

plied space through linear perspective” (Frank, 2014, p. 281).

• H

igh R enaissance w

as peak of Italian art from 1490 to 1530 (F

rank, 2014).

La P rim

avera S

andro B otticelli

1482 Tem

pera on panel

(B o

ttice lli, ca

. 1 4

8 2

)

L a P

rim avera

V isual E

lem ents:

• Lines-

vertical curved lines to create m otion

• Light-

light to dark techniques w ith the use of heavy outlines

• C

olor- light colors against a dark background; light colors are used for the

bodies and the shell. •

M otion

- outstretched arm

s and legs indicate m otion by the figures

• S

hape- fem

ale shapes are elongated to show their beauty

• Texture

–fabrics, som e appear see-through, fruit and leaves on trees, and

scattered flow ers on the ground

• M

ass –

light shading creates the illusion of the figures taking up space and m

ass •

Tim e

– blue sky, but dark forest m

ake the painting seem like it’s taking

place in early or late day

M ona Lisa

Leonardo da V inci

1503-1506 O

il on w ood

(D a

V in

ci, ca . 1

5 0

3 )

M ona L

isa V

isual elem ents:

• Ligh

t- da V

inci uses light on the subject’s face •

Lines- no lines or edges because colors and tones are m

erged together in the M

ona Lisa •

C olors-

blended w ithout borders in the M

ona Lisa; use of dull yellow s and

red colors w ith contrasting color background

• S

hape- rounded shapes form

the body and hands in the foreground •

M ass-

low er part of the person in his painting represents the m

ajority of m

ass. •

Texture- show

s folds in the clothing for texture •

M otion

– no apparent m

otion •

Tim e

– clothing alludes to R

enaissance, but tim e of day is not specific

T he Last S

upper Leonardo da V

inci 1495

P aint on plaster

(D a

V in

ci, ca . 1

4 9

5 )

T he L

ast S upper

V isual elem

ents: •

Ligh t-

da V inci uses light on the right side w

all, and in the distance •

Lines- lines converge at a vanishing point in the center

• C

olors- m

uch w hite for table and w

alls w ith blue and orange clothing

• S

hape- top half of hum

an figures w ith rectangular table and w

alls •

M ass-

the gathering of figures in the foreground •

Texture- show

s folds in the clothing for texture •

M otion

–apostles are leaning tow ard each other as if talking

• Tim

e –

the setting is just before the death of C hrist

A dam

and E ve

A lbrecht D

ürer 1504

E ngraving

(D ü

re r,

1 5

0 4

)

A dam

and E ve

V isual E

lem ents:

• Light-uses the 'chiaroscuro' technique to provide tone in his art pieces

• Lines-

uses a variety of line w ork to em

phasize the vertical elem ents

• S

hape- vertical organic shapes to show

form s found in nature

• M

ass- persons in his paintings represent three dim

ensional m ass

• Texture-

uses hatching and cross-hatching to create the textured surfaces

• M

otion –

figures reaching tow ard each other

• C

olor –

intaglio process uses black ink, grayscale is used throughout artw

ork •

Tim e

– im

age is bright and clear, m aking it seem

like m idday

V irgin and C

hild before an A rchw

ay A

lbrecht D ürer

1495 O

il on panel

(D ü

re r, ca

. 1 4

9 5

)

V irgin and C

hild before an A rchw

ay V

isual E lem

ents: •

Light-uses the 'chiaroscuro' technique to provide tone in his art pieces

• C

olor –

used dark w arm

colors for clothing to contrast w ith the baby

• Lines-

uses a variety of curved lines to outline clothing and shapes •

S hape-

rounded shapes for the body of the child and virgin •

M ass-

persons in his paintings represent three dim ensional m

ass •

Texture- uses folds in clothing and curled hair to create the textures

• M

otion –

m other reaching to child’s hand and looking at child

• Tim

e – interior scene m

akes it hard to determ ine tim

e of day, dress references tim

e of C hrist

R eferen

ces

• B

otticelli, S . (ca. 1482). B

irth of V enus [Tem

pera on canvas]. R etrieved from

http://w w

w .uffizi.org/artw

orks/the-birth-of- venus-by-sandro-botticelli/

• B

otticelli, S . (ca. 1482). P

rim avera

[Tem pera on panel]. R

etrieved from http://w

w w

.uffizi.org/artw orks/la-prim

avera- allegory-of-spring-by-sandro-botticelli/

• D

a V inci, L. (ca. 1495). T

he last supper [O il on canvas]. R

etrieved from

http://w w

w .abcgallery.com

/L/leonardo/leonardo4.htm l#note

• D

a V inci, L. (ca. 1503). M

ona Lisa [O il on w

ood]. R etrieved from

http://w w

w .louvre.fr/en/oeuvre-notices/m

ona-lisa- portrait-lisa-gherardini-w

ife-francesco-del-giocondo

• D

ürer, A . (ca. 1495). V

irgin and child before an archw ay [O

il on panel]. R etrieved from

http://w

w w

.w ga.hu/htm

l_m /d/durer/1/01/07virgin.htm

l

• D

ürer, A . (1504). A

dam and E

ve [E ngraving]. R

etrieved from https://w

w w

.m etm

useum .org/toah/w

orks-of-art/19.73.1

• F

rank, P. (2014). P rebles' A

rtform s: A

n introduction to the visual arts (11th ed.). B oston, M

A : P

earson E ducation.