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:
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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
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:
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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
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–
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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
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
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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