Download e-book for kindle: Renaissance Art: A Very Short Introduction (Very Short by Geraldine A. Johnson

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By Geraldine A. Johnson

ISBN-10: 0192803549

ISBN-13: 9780192803542

Artists like Botticelli, Holbein, Leonardo, Durer, and Michelangelo and works equivalent to the final Supper fresco and the enormous marble statue of David, are wide-spread symbols of the Renaissance. yet who have been those artists, why did they produce such memorable photographs, and the way could their unique beholders have seen those items? was once the Renaissance purely approximately nice masters and masterpieces, or have been girls artists and consumers additionally concerned? And what in regards to the "minor" items that Renaissance women and men may have encountered in houses, church buildings and civic areas? This Very brief advent solutions such questions through contemplating either well-known and lesser-known artists, buyers, and artworks in the cultural and ancient context of Renaissance Europe. the amount offers a vast cultural and historic context for a few of the Renaissance's most famed artists and artworks. It additionally explores forgotten features of Renaissance artwork, equivalent to items made for the house and girls as artists and consumers. contemplating Renaissance artwork produced in either Northern and Southern Europe, instead of targeting only one sector, the publication introduces readers to quite a few methods to the examine of Renaissance artwork, from social background to formal research.

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Additional resources for Renaissance Art: A Very Short Introduction (Very Short Introductions)

Example text

For instance, in the Florentine church of S. Trìnita, we see key scenes from the life and afterlife of St Francis depicted on the walls of one of the chapels (Figure 10). At first glance, these images painted by Domenico Ghirlandaio and his assistants in the mid-1480s seem perfectly designed to fulfil the devotional requirements of ‘legitimate’ religious images: by portraying significant events associated with St Francis and situating some of the scenes in contemporary Florentine settings, the frescos would have made the stories depicted accessible to those who could not read and particularly memorable and moving to all and sundry.

Renaissance Art Raphael had sought to supercede artistically both his presumed teacher, the local painter Perugino, who had produced an altarpiece with a very similar subject a dozen years before, and his own earlier works, including an altarpiece painted in Perugia for female members of the Oddi family, great rivals of the Baglioni. But, ultimately, as we have seen in many of the other examples considered in this chapter, Raphael’s undoubted artistic abilities were deployed first and foremost in the Entombment to fulfil the demands of his patron, not the demands of ‘Art’ in our present-day understanding of the word.

Whatever their specific motives, the donors of all three altarpieces did not envision these works merely as static, decorative images to be admired for their aesthetic qualities. Instead, these objects were intended to be actively incorporated into the rituals associated with the Masses celebrated at regular intervals before them, Masses that were often sponsored and underwritten financially by the patrons themselves. In other words, donating an altarpiece also implied donating additional funds to pay for a priest to say a Mass in front of the image on your behalf in perpetuity – or at least until the money ran out.

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Renaissance Art: A Very Short Introduction (Very Short Introductions) by Geraldine A. Johnson


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