Art during this period was
focused on Christian faith.
 Art during this period
appealed to the emotions
and stressed on the
importance of faith.
 Churches were the center
of everything and led to
the development of
several important
architectural styles:

 Byzantine
 Romanesque
 Gothic

Byzantine: refers to the
Eastern Christian or Roman
Empire, ruled by
Constantine
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Romanesque: refers to
“Roman like”

Gothic: refers to a way to
describe the art, culture of
the time.
 Almost
everything seemed to revolve around
religion
 Emperors
supported the restoration of
religious images and refurbishing of churches
 This
strong movement reinforced the spread
of renewed religious faith
 Byzantium:
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Centered on a domed central plan
Small and vertical
Domed structure rising above a square base
Exterior surfaces were decorated with elaborate,
rich pattern (probably influenced by earlier
Islamic architecture)
 Romanesque:
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Were made with brick and stone with roofs of
stone
The rectangular cross floor plan was based on
roman basilica
The style grew and became popular for;
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Buttresses
Galleries
Clerestory windows
Barrel vaults
Groin vaults
A characteristic of Romanesque architecture is
the use of arches over doors and windows
 Gothic
architecture reflected the desire of
the church leaders to emphasize the idea of
seeking salvation form the God above.
 Pointed
arches
 Windows; Gothic builders used many stained
glass windows
 Flying buttresses
The
Renaissance
 1400-1600
 Europe
strongly influenced by religious views
of the world.
 Architecture: grandeur, stained glass
windows emerged.
 Sculptures containing Bible stories were
created
 Known as the “rebirth” period, because of
classical ideas and freedom of thought
 Growth
of independent city-states
 Better economy
 Families,
power seekers and wealthy
individuals were main patrons to the arts
 Patronage:
Support, encouragement and
financial assistant for the creation of artistic
works.
 Classicism-
The art and architectural styles
of ancient Greece and Rome.
 Domed buildings
Cathedral of Florence
Was the first large domed
Structure to be built since
Ancient Rome.

 Built
on innovative architectural techniques
of Ancient Greece and Rome:

Arch: a structure with a curved, pointed or
squared upper edge to an opening that supports
the weight above it.

Vault: in architecture, an arched roof or covering
of masonry construction.

Dome: in architecture, a hemispherical ceiling
over a circular opening
 Humanism
was the major influence for the
renaissance.
 Humanism embraces the concept of reviving
the human values of classical antiquity that
provide a path for living in the world with a
human focus.
 Humanism was the basis for intellectual and
scholarly growth.
 Realism:
A 19th century art movement in
which artist focused on ordinary people, such
as peasants and laborers. Realists depicted
real scenes from the contemporary life, from
city street scenes to the country. They tried
to show
 Abundant
with artist
 The artist of the renaissance were well
versed in several mediums.
 “Renaissance man” (or woman)-describes
someone who has broad and diverse talents
and skills.
 Fresco:
A method of mural painting
(commonly used during the Renaissance) in
which pigments are applied to a thin layer of
wet plaster so that they will be absorbed.
 Moved
to Milan in 1482 to paint
 Sculptures, courtly paintings and portraits
 Duke Ludovico Sforza commissioned him to
build weapons, machinery and buildings.
 Wealthy patron Giuliano de Medici.
 The last supper
A fresco painted by Leonardo da Vinci depicting Jesus
and his disciples at the moment Jesus announces that
one of them has betrayed him.
 Restoration of the deteriorating fresco has caused
great controversy. Some art critics claim that the
colors are now “too bright” and that Leonardo's
original work has been mutilated. The restoration has
been open to the public on a limited basis since 1999.
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The Mona Lisa is a famous
16th-century portrait by
Leonardo da Vinci. The Mona
Lisa's mysterious smile has
beguiled generations of
viewers, but the true identity
of the woman pictured in the
portrait remains unknown,
despite intensive research by
art historians. Many believe
the Mona Lisa to be a portrait
of Lisa Gherardini Giocondo,
the wife of a wealthy
Florentine merchant,
Francesco del Giocondo.
Others have suggested the subject was a
mistress of da Vinci, or even a self-portrait, with
da Vinci imagining himself as a woman.
 It is known that Leonardo began the portrait in
Florence in 1503, continued work on it through
1506, and then kept the painting until his death
in 1519.
 Over the next three centuries the Mona Lisa
passed through many hands, even hanging for a
time in the bedroom of Napoleon, but since 1804
its home has been the Louvre Museum in Paris.
 Leonardo's painting is famous among artists for
its innovative techniques, including sfumato
(shown in the painting's distinctive hazy, softfocus effect) and chiaroscuro (use of light and
shadow).
 The Mona Lisa was stolen from the Louvre in
1911, but recovered in Italy in 1913

 http://www.youtub
e.com/watch?v=qn
b430QGqeM
 Worked
under painter Domenico as
apprentice.
 Built on the innovative architectural
techniques of Ancient Greece and Rome
 Considers himself:
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Sculptor
Painter
architect
 Studied
anatomy
human
 Built
on innovative architectural techniques
of Ancient Greece and Rome:

Arch: a structure with a curved, pointed or
squared upper edge to an opening that supports
the weight above it.

Vault: in architecture, an arched roof or covering
of masonry construction.

Dome: in architecture, a hemispherical ceiling
over a circular opening
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The famous Sistine ceiling is divided into nine
sections in which nine stories of Genesis - from the
stages of Creation to the Drunkenness of Noah - are
depicted. The scenes begin from the altar wall and
proceed toward the entrance; Michelangelo painted
them in reverse order since he started from the area
near the entrance wall. The twisting ignudi or male
nudes that decorate the corners of the ceiling were
highly controversial at the time. In total,
Michelangelo's work on the Sistine Chapel includes:
9 scenes from Genesis
4 corner pendentives
4 pairs of bronze nudes above the pendentives
8 triangular spandrels with pairs of bronze nudes
7 prophets (4 major: Isaiah, Jeremiah, Ezekiel and
Daniel; and 3 minor: Zechariah, Joel and Jonah)
5 sybils
20 ignudi
10 medallions
 Sistine
Chapel Video

The focal point of the episode of the Creation of man is the
contact between the fingers of the Creator and those of
Adam, through which the breath of life is transmitted. God,
supported by angels in flight and wrapped in a mantle, leans
towards Adam, shown as a resting athlete, whose beauty
seems to confirm the words of the Old Testament, according
to which man was created to the image and likeness of God.
 By:
Michelangelo
 The Statue of David is
perhaps one of the most
famous sculptures in the
world. It is a Renaissance
masterpiece sculpted by
Micheangelo from 1501 to
1504. It is considered as one
of the greatest works of the
famous Renaissance artist
along with his other
sculpture, the Pieta.
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The statue was first started on at
around 1464 and Michelangelo was
awarded the commission sometime in
the 1500’s. By this time, the previous
artists were able to form the legs,
feet and the figure from the huge
block of statue. Michelangelo started
working on it in 1501 and was able to
finish it in a span of three years.
Michelangelo’s David was created
following the style of the artistic
discipline called disegno which tries
to mimic divine creation. Its
positioning is based on the
contrapposto style of human pose
depicted as a human form standing
with most of its weight on one foot
giving the figure a more dynamic
appearance. With this style,
Michelangelo was able to create a
statue that became widely known as
a symbol of strength and youthful
human beauty.

In 1498, came
Michelangelo's first
important commission:
the Pietà now in St.
Peter's Basilica. The term
pietà refers to a type of
image in which Mary
supports the dead Christ
across her knees;
Michelangelo's version is
today the most famous
one. In the Pietà the
effects of hard polished
marble and of curved
yielding flesh coexist.
Over life size, the Pietà
has mutually reinforcing
contrasts: vertical and
horizontal, cloth and
skin, allude to the living
and the dead, female and
male, but the unity of the
pyramidal composition is
strongly imposed.
 Studied
the works of Da Vinci and
Michelangelo.
 Apprenticed with Pietro Perugino
 Developed his own distinct style
 Series of Madonna paintings is what he is
best known for.

Commentators have suggested that nearly every
great Greek philosopher can be found within the
painting, but determining which are depicted is
difficult, since Raphael made no designations
outside possible likenesses, and no contemporary
documents explain the painting.
The School of Athens was painted by Raphael Sanzio or Raffaello
Santi (1483-1520) for Pope Julius II (1503-1513). In this fresco,
Raphael depicts the great philosophers and mathematicians of
ancient Greece as colleagues in a timeless academy:
Plato is in the center pointing his finger to the heavens while
holding the Timaeus, his treatise on the origin of the world. Next to
him, his younger pupil Aristotle holds a copy of his Ethics while
describing the earth and the wide realm of moral teaching with his
extended hand in an elegant horizontal gesture, Pythagoras
contemplates his system of proportions at the lower left and Euclid
draws a circle on a slate at the lower right.
 To
the Greeks mathematics was essentially
geometry, and it was in Elements, Euclid's
treatise on the subject, that the notion of an
axiomatic system was first laid out In this
system certain self-evident statements called
axioms are assumed to be true and new
statements called theorems are derived from
them using the Aristotelian rules of inference.
 The Fresco of Raphael's School of Athens is a
masterpiece of Art. However, over the
centuries it has posed many problems to know
all details of the persons who are depicted.
Unfortunately Raphael did not leave any
personal notes on this work but some of the
persons can be identified.
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The identity of some of the philosophers in the picture, such as Plato or Aristotle, is
uncontroversial, but scholars disagree on many of the other figures. According to Lahanas,
they are usually identified as follows:
Zeno of Citium or Zeno of Elea?
Epicurus
Frederik II of Mantua?
Anicius Manlius Severinus Boethius or Anaximander or Empedocles
Averroes
Pythagoras
Alcibiades or Alexander the Great?
Antisthenes or Xenophon?
Hypatia — (Francesco Maria della Rovere or Raphael's mistress Margherita.)
Aeschines or Xenophon?
Parmenides?
Socrates?
Heraclitus — (Michelangelo)
Plato holding the Timaeus — ( Leonardo da Vinci)
Aristotle holding the Ethics?
Diogenes of Sinope?
Plotinus?
Euclid or Archimedes with students ( Bramante)?
Strabo or Zoroaster? (Baldassare Castiglione or Pietro Bembo)
Ptolemy? - Apelles — (Raphael)
Protogenes — (Il Sodoma or Perugino).
Baroque
1580-17900
 The
Baroque period reflected the turmoil of
the time
 Great
political and religious shifts created an
unstable environment across Europe.
 Thirty
years of war took place during this
period
 World
wide trade increased during this time
 Science
 Philosophy
 Politics
 Strengthening
of the Catholic church
 Diversity and variety
 Baroques
artist enjoyed a prominence and
popularity much like the artist of the
Renaissance.
 Popular artist of this time

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
Caravaggio
Diego Velasquez
Rembrandt
Vermeer
 Italian
Baroque painter
 Used extreme contrast of light and dark,
called Chiaroscuro
 He used light much like a spot light in order
to create dramatic effects.
 Painted with the technique of realistic
naturalism chiaroscuro helped achieve this
 Received controversy over a work of art
called The Calling of St. Matthew, which
depicted Christ entering a tavern to summon
Matthew as an apostle.
 The
subject traditionally was represented
either indoors or out; sometimes Saint
Matthew is shown inside a building, with
Christ outside (following the Biblical text)
summoning him through a window.
The subject traditionally was represented
either indoors or out; sometimes Saint
Matthew is shown inside a building, with
Christ outside summoning him through a
window.
Caravaggio represented the event as a nearly
silent, dramatic narrative.
 The tax-gatherer Levi (Saint Matthew's name
before he became the apostle) was seated at a
table with his four assistants, counting the day's
proceeds, the group lighted from a source at the
upper right of the painting.
 Christ, His eyes veiled, with His halo the only
hint of divinity, enters with Saint Peter. A gesture
of His right hand, all the more powerful and
compelling because of its languor, summons Levi.
 Surprised by the intrusion and perhaps dazzled
by the sudden light from the just-opened door,
Levi draws back and gestures toward himself
with his left hand as if to say, "Who, me?", his
right hand remaining on the coin he had been
counting before Christ's entrance.

The two figures on the left, derived from a 1545 Hans
Holbein print representing gamblers unaware of the
appearance of Death, are so concerned with counting
the money that they do not even notice Christ's arrival;
 symbolically their inattention to Christ deprives them of
the opportunity He offers for eternal life, and condemns
them to death.
 The two boys in the center do respond, the younger one
drawing back against Levi as if seeking his protection,
the swaggering older one, who is armed, leaning forward
a little menacingly.
 Saint Peter gestures firmly with his hand to calm his
potential resistance. The dramatic point of the picture is
that for this moment, no one does anything.
 Christ's appearance is so unexpected and His gesture so
commanding as to suspend action for a shocked instant,
before reaction can take place.
 In another second, Levi will rise up and follow Christ--in
fact, Christ's feet are already turned as if to leave the
room
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The Deposition, considered
one of Caravaggio's
greatest masterpieces, was
commissioned by Girolamo
Vittrice for his family
chapel in S. Maria in
Vallicella (Chiesa Nuova) in
Rome. In 1797 it was
included in the group of
works transferred to Paris
in execution of the Treaty
of Tolentino. After its
return in 1817 it became
part of Pius VII's
Pinacoteca.
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Caravaggio did not really portray the
Burial or the Deposition in the
traditional way, inasmuch as Christ is
not shown at the moment when he is
laid in the tomb, but rather when, in
the presence of the holy women, he
is laid by Nicodemus and John on the
Anointing Stone, that is the stone
with which the sepulchre will be
closed. Around the body of Christ are
the Virgin, Mary Magdalene, John,
Nicodemus and Mary of Cleophas,
who raises her arms and eyes to
heaven in a gesture of high dramatic
tension.
Caravaggio, who arrived in Rome in
1592, was the protagonist of a real
artistic revolution as regards the way
of treating subjects and the use of
colour and light, and was certainly
the most important personage of the
"realist" trend of seventeenth century
painting.
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Dutch Baroque artist
A master of light and shadow
Painted:
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Landscapes
Portraits
Self-portraits
Religious subjects
Was known for being able to capture the subjects
character
Was also known for his use of Chiaroscuro
His landscape provided a record of what life was like
in 17th century Dutch life
 Rembrandt
HARMENSZOON VAN RIJN (b. July 15,
1606, Leiden, Neth.--d. Oct. 4, 1669, Amsterdam),
Dutch painter, draftsman, and etcher of the 17th
century, a giant in the history of art. His paintings
are characterized by luxuriant brushwork, rich
colour, and a mastery of chiaroscuro. Numerous
portraits and self-portraits exhibit a profound
penetration of character. His drawings constitute a
vivid record of contemporary Amsterdam life. The
greatest artist of the Dutch school, he was a
master of light and shadow whose paintings,
drawings, and etchings made him a giant in the
history of art.
 What
work?
techniques did Rembrandt use in this