Renaissance and Florentine Artists - Essay Example

Florentine artists such as Filippo Brunelleschi and Lorenzo Ghiberti competed to win tenders to beautify Florence’s churches and the town plaza. Michelangelo Buonarroti in Delphic Sybil of the Sistine chapel exemplified the stylistic painting that marks renaissance art. The renaissance painter wanted to be perceived as a learned artist and respected in the same way as poets and architects. He thus copied statues and reconstructed classical paintings from contemporary, ancient descriptions.

His patrons would also occasionally dictate what would be painted. Sandro Botticelli exemplified this in his painting “The marriage of Alexander to Roxana”, based on the descriptions of a 2nd-century Greek writer. Renaissance artists tended to idealize physical beauty and endowed their subjects with perfect proportions that did not mirror real life. Botticelli also portrayed his Venus as being perfectly symmetrical. There seems to be an instinctive yearning to illustrate and look at romanticized and unachievable skin effects and bodies.

The renaissance artist simply showed the alleged representation of beauty exacted by his values, epoch, and physical settings. The solo artist who savored in taxing the conventional blueprint of beauty and techniques of painting was Leonardo da Vinci. When painting Mona Lisa, he purportedly set up orchestra and performers in his studio to ensure that she did not get bored and was amused by his efforts as depicted in the final painting. Leonardo managed to capture a deeper and more genuine beauty that is rarely depicted by artists (Bishop, 2010).

In Rome, renaissance artists, while adopting the same concentration on beauty as their counterparts in Florence, portrayed an improved concentration on musculature as depicted in Antonio del Pollaiuolo’s “The Martyrdom of Saint Sebastian”. Another painter, Antonio del Verrocchio also closely explored the complexities of human anatomy. Donato Bramante, a Romish architect of the period, produced works such as “Tempietto”, a miniaturized classical temple. Renaissance artists in Rome tended to stress on the horizontal plane and the earth rather than depicting heavenly subjects.

This was in contrast to Florentine painters who concentrated on depicting divine subjects in various earthly endeavors. The vanishing point of the perspective is behind subjects such as Plato and Aristotle, and they are encircled by the dignified theorists of the orthodox past. Raphael, a renown artist from Rome, also painted distinguished portraits of Pope Julius II and other notables.