Q3 Artwork
Hands
Self Portrait small
Life Size Drawing
Clear Vessel Small
Clear Vessel Large
Still Life
Paper:
Exploration of a Renaissance Artist: Focus on Benozzo Gozzoli
Online
link for paintings: http://www.wga.hu/framese.html?/html/g/gozzoli/1early/index.html
Trial by Fire Before Sultan description:
Behind
the small crowd of people is an old stonewall corner. Each individual crack on
the wall is highlighted on the seam of the wall. On the left side of the wall
the cracks become smooth and less visible. On the right side the cracks are
faintly visible. The darkness of the space near the right side of the wall
shields the cracks. The side of the darkness lies behind the sultan.
From
the bottom right hand corner to almost the top right hand corner, stretches the
seated body of a man who is assumed to be a sultan. His robe is golden yellow
with a vague pattern of blue trimming the bottom. Each wrinkle that accompanies
sitting is visible. The robe gathers in the lap of the sultan. He wears sleeved
shirt underneath the rode, but only the left arm is visible. In the center of
the shirt, along the sultans chest are eleven gold buttons. On his head is a
hat in the shape of a round pointed triangle. There are lines that run from the
furry white rim of the hat to the gold button on top.
The
sultan’s eyes are looking down upon the crowd that is implied to be before him.
His lips are thin and almost covered by the thick rust colored beard that he
wears. To the left of the sultan is a man covered from head to toe in a red
robe. The man’s head is covered also by a hijab. Behind the man is a knight
fully dressed in metal, but his head gear is not pointed. It is rounded to his
head. Beyond and in between the knight and man are the heads of three more
crowd members.
Death and Ascention of St. Francis description:
Under
the arch of a bright rainstorm lies a town square. The sky behind the storm is
light blue, almost the color of crystal water. Directly under the arch but
still above the town, five angles float on a wisp like cloud. The angels almost
appear as the morning sun. Under the angles is a yellow stone house. At the top
is a section with three triangular windows in a row and a circular one above
the middle window. Under the top section is a layer of red shingles coming out
in to the crown that is gathered in the town square. To left of the house is a
old, gray church-like building and to the right is a pale, red rectangular
building.
A
large mass of people stand gathered between the buildings. For the ones closes
to the rear of the crowd only the shapes and colors of their heads are visible.
In the front of the crowd are men in white robes, the y hold long wooden poles
above their head. In the center of
these men is another man, but he holds a book opened toward his face. One man
kneels with his hands in the prayer position at the head of a dead body.
Another man leans over the dead body that is raised on a high blue table. This
man wears a red robe that is trimmed with white at the top. One the table lays
a man that is covered from head to toe in a yellow robe. His head rests on a
red pillow.
Argument:
Artists of the Renaissance were
considered to be people of the future. Their art possessed certain qualities
that distinguished the transition from medieval to present day art. Many artist
abandoned arts connection to the church and went off in a separate direction to
find the beauty of the world. However, in the majority of Benozzo Gozzoli’s work there
is a clear connection to the church. Although his work was connected to the
church, it still possessed the qualities of the “new” art that was introduced
during this time.
One
characteristic that was introduced during the Renaissance was the idea of
focusing on realism. The artwork was meant to look as if it were real people
and real objects. In all of Gozzoli’s pieces the people are painted as if they
were and individual. The people have features unique to them, making them look
more life like or real.
Artists
of the Renaissance also adopted the idea of perspective. Artists made objects
that were further back in space appear to be far off in the distance of the
artwork. Techniques of using a vanishing point assisted artists when painting.
Art was no longer 2-demensional. Figures were shown in their true form. Gozzoli
demonstrates this in his painting Death
and Ascention of St. Francis. He shows the 3-dimensional figures f
buildings and people.
The
only argument that would exclude Gozzoli
from the artists of the Renaissance is his high focus on the church. Other then
that he met all of the other characteristics of the Renaissance.
Works
Cited:
"Italian
Renaissance Art." Carrie Text Electronic Library. European
University Institute, 2006. Web. 3 Dec 2010.
<http://vlib.iue.it/carrie/texts/carrie_books/gilbert/07.html>.
Nicolas, Poich. "La Renaissance
." Web Museam. BMW Foundation, 2006. Web. 4 Dec 2010.
<http://www.ibiblio.org/wm/paint/glo/renaissance/>.
Comments
No comments have been posted yet.
Log in to post a comment.