Styles of Painting: The Early to High Renaissance Periods

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Styles of Painting The Early to High Renaissance Periods

Ancient art was revered, not only as an inspiring model but also as a record of trial and error that could reveal the successes of former great artists. Intending to retrace the creative process rather than to merely imitate the final achievements of antiquity, Early Renaissance artists sought to create art forms consistent with the appearance of the natural world and with their experience of human personality and behavior. The early part of the sixteenth century is a period often referred to as the High Renaissance. The essential feature of High Renaissance art was its unity. Paintings invoked increasing dramatic force with the human forms becoming so life-like; they almost seemed to be breathing. The High Renaissance also heralded a new style called Mannerism. It was characterized by dramatic use of color, distorted figures, violent compositions and a move towards the grotesque and outrageous.

Rational inquiry was believed to be the key to success; therefore, efforts were made to discover the correct laws of proportion for architecture and for the representation of the human body and to systematize the rendering of pictorial space. Although these artists were keenly observant of natural phenomena, they also tended to extrapolate general rules from specific appearances. Similarly, they made an effort to go beyond straightforward transcription of nature, to instill the work of art with ideal, intangible qualities, endowing it with a beauty and significance greater and more permanent than that actually found in nature. These characteristics--the rendering of ideal forms rather than literal appearance and the concept of the physical world as the vehicle or imperfect embodiment of monumental spiritual beauty--were to remain fundamental to the nature and development of Italian Renaissance art.Write my Essay on Styles of Painting: The Early to High Renaissance Periods

By the late 15th century the novelty of the first explosive advances of Renaissance style had given way to a general acceptance of such basic notions as proportion,

contraposto (twisted pose), and linear perspective; consequently many artists sought means of personal expression within this relatively well-established repertoire of style and technique. The approach and beliefs of the High Renaissance artists were driven by the Neo-Platonism, which is the philosophical mixture of Platonic ideas, Oriental mysticism and Christianity. These concerned the philosophers, poets, artists, and architects, to integrate classical ideas with Christian thoughts and values. Physical beauty was used to express

spiritual beauty. Classical architecture was used to create an ideal space for figures, rather than an exercise in perspective. Landscapes were beautifully idealized so as to create a setting fit for Divine Beings. Perfect beings were shown inhabiting a world beyond everyday surroundings. During the Early Renaissance, artistic themes were generally linked to the rediscovery of the classical world. This was exemplified by such works as Mantegna's Triumphs of Ceasar, which identified a new view of man, whose destiny was guided by personal virtues and abilities. This idea sought to distance humanity from the previous, secure relationship with God that had been one of the few certainties of medieval life. The human body was the main preoccupation of High Renaissance artists and they often depicted it nude. The preferred figure type was more mature and monumental, with contrapposto being used to give movement to the large, solid figures. The aim was the perfect rendering of beautiful bodies. Mature models were preferred. Limbs were full and powerful. Women were shown with rounded torsos and broad hips and men were heavily muscled, showing the influence of antique statues. The figures will present with physical actions that are energetic and purposeful with nothing tentative or hesitant about them. These styles owed to the ideal concepts of a human figure.

The Early Renaissance was not, as was once maintained, merely an imperfect but necessary preparation for the perfection of High Renaissance art but a period of great intrinsic merit. In retrospect, however, Early Renaissance painting seems to fall short of thoroughly convincing figural representation, and its expression of human emotion is stylized rather than real. Furthermore, the strength of individual features of a work of art is disproportionate to the whole composition. By the time of the High Renaissance, the artists fully understood the application of perspective, the uses of color and consistent light and the correct depiction of the

anatomical human body in any position. High Renaissance artists, used these techniques to create vision of an idealized world and to glory about the churches. They tried to idealize the mankind, the universe, and go beyond the natural world, as they saw man had the potential and dignity to be God-like.

References

Kemp, M. (17). Behind the picture art and evidence in the italian renaissance. New Haven and London Yale University Press.

Murray, L. (167 & 177). The high renaissance and mannerism. London Thames and Hudson Ltd.

Van Os, H., Honee, E., Nieuwdorp, H., & Ridderbos, B. (14). The art of devotion in the late middle ages in europe 100-1500. New Jersey Princeton University Press.

Cole, B. (18). The renaissance artist at work. New York Harper and Row Publishers.

Masaccio The Holy Trinity (146-8) http//joinday.com/abc/M/masaccio/masaccio5.jpg

Sandro Botticelli Allegory of Spring (La Primavera) (1477-78)

http//www.ibiblio.org/wm/paint/auth/botticelli/botticelli.la-primavera.jpg

Andrea Mantegna The Triumph of Caesar (1486)

http//heraklia.fws1.com/legacy/

Michelangelo Creation of Adam (1508-1)

http//www.abcgallery.com/M/michelangelo/michelangelo.JPG

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