Rennaisance Art

As one examines this masterpiece of Catholic Dogma, created by the artist Titan and to be found hanging in Basilica di Santa Maria Gloriosa dei Frari, Venice, one cannot help but take note not only of the vivid use of colors Titan was known to favor, but also the set-up of this piece of work…

Titan, whom is known for favoring bold colors, uses white and golden hues to show the transcendence and ethereal quality of this work, while allowing for the coloration to bring the majesty and royalty of the theme to life. 

Upon closer examination of this piece we can depict, not only a form of ethereal hierarchy but one that transcends to the governing political bodies, such as the Roman Catholic Church.  On the first level we have the Apostles, who can also be viewed as clergy if one is to depict this on a more mundane interpretation.  The next level we are given the Lady Mary, who emotes calm and acceptance of her fate.  She is surrounded here on this level by various angels and cherubs, giving forth another level in which we can see the bishops, cardinals and other heads of church as they surround the Pope.  Her eyes are shown cast heavenward towards God, who is surrounded by a few choice angels.  Finally we come to the final layer, the Holy Roman Emperor, crowned by god himself as the head of church and man. 

The mural, Annunciation, by Fri Angelico and completed in 1450 for the North corridor of the San Marco Convent, depicts a meeting between the Madonna, aka Mary and the Archangel Gabriel.  As with Titan’s work, one can interpret from the colors used upon this masterpiece, Angelico also favored Golden and White hues to give the painting its ethereal quality.  Considered one of the greatest of the religious masterpieces for this time, Angelico depicts the Madonna as being subservient to Gabriel while showing a similar response in body language, along with curiosity from the Angel.  Gabriel is depicted as with a more feminine form, instead of his traditional male.  Mary is wrapped in blue, a color of royalty, but sits upon cloth of gold, again depicting the majesty of her position as the mother of Christ. 

Within Michelangelo’s masterpiece “The Creation of Adam,” we can view not only the process of creation, but also the relationship between man and god, father and son.  The piece is but one panel displayed and painted for the Sistine Chapel, though considered his greatest of his frescoes.  

Upon looking closely at the painting, the first piece of note would be Adam in the nude.  Here he is laid bare before the father of all… newly born and still without sin.  Upon his face one can see the longing for acceptance and love of his father. In cohesion with Adam’s own longing, we are given God’s fascination and love for the human race as he reaches to touch Adam.  Though while Adam is nude at the stage of creation, like a new born babe, God, himself, is shown as shrouded and clothed.  

Sandro Botticelli most likely commissioned this piece for the Medici family, as it can be found currently hanging in a country estate of the Medici family.  Instead of your traditional religious themed masterpieces, Botticelli gives us a beauteous piece of art depicting mythology and the current fashion for classical works.  “The model for Venus is thought to be Simonetta Cattaneo de Vespucci, a great beauty and favorite of the Medici court.” (Italian-Renaissance-art.com)

We begin with Venus rising from the sea.  She is left nude to give honor to her position as Goddess of love and beauty, though the Goddess Hora awaits her, ready to enshroud her with a fine robe, masking that which would be considered tempting to man.  The God, Zephyrus blows Venus to the shoreline, along with the gentle breeze Aura.   Here Venus is envisioned as statuesque but also eliciting modesty by using her hair and hands to cover her more precious womanly parts, from the eyes of man. 

The Tribute Money, a fresco created by Masaccio can be located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence.  Masaccio’s piece is considered one of the greatest masterpieces of the current age, and will live throughout history along with the other greats.  Again we are given colors of golden hues and vivid bolds surrounding Christ, while he, himself, is dressed in more modestly attired cloth of mauve and blue.  

Within this painting we are given the visionary detailed story of Christ as he asks Peter to find a coin in the mouth of a fish, in order to pay the tax collector whom insists upon payment. “In fact, the painting contains three different scenes from the story. (1) Shown in the central area of the picture: the tax collector asks for payment, and Christ directs Peter what to do in order to get the money. (2) On the left: Peter is seen kneeling by the edge of Lake Genezaret removing the coin from the moth of a fish he has just caught. (3) On the right: Peter pays the tribute money to the tax collector in front of the latter's house.” (Visual Arts.com)

Reference:

1.      "Titian: The Assumption of the Virgin." Art Critique. 2012. Web. 21 Feb. 2016. .

2.      "The Annunciation (c.1450)." The Annunciation, Fra Angelico: Analysis of Painting, Interpretation. Web. 21 Feb. 2016. .

3.      "The Birth of Venus by Sandro Botticelli." Italian Renaissance Art.com. Web. 21 Feb. 2016. .

4.      "The Tribute Money (1425-7)." Tribute Money, By Masaccio: Analysis, Interpretation. Web. 21 Feb. 2016. .