Giottos and Jan Van Eyck's Art - Research Paper Example

Question According to Giotto’s lamentation, the image is dramatic because every individual experiences his or her own emotions and this is justified by the different directions they are facing. Contrarily, in Rogier deposition painting exudes real feelings when you come across the painting. He has created a scene of sadness which is shown in the different individuals present in the painting (Manca 100). Question 2 According to Jan Van Eyck painting, the artist depicts his stylistic concerns by handholding which depicts the marriage institution between individuals of different classes in the society.

In addition, the use of the mirror in the portrait depicts God’s eye, thus incorporating Christianity to those viewing the image. Moreover, by placing the man closer to the window and the woman closer to the interior depicts gender roles which are present in the society as the man has greater roles in the outside world while the woman’s role are centered in the domestic realm. Domenico Ghirlandaio in his painting signifies the rebirth of Italian culture by incorporating social, religious and political themes in his painting.

His stylistic concerns are centered along with the painting which are balanced, use of one source of light to depict the realism present in the painting and the influence of classical Roman statues which greatly influences the human form (Sider 57). Question 3 The artistic interests of the artist in the holy trinity are directed towards humanism due to his use of incredible architecture and various vanishing points. His painting is realistic because he imagines Christ on the cross, thus making him stretched across the cross.

At the bottom of his painting are encrypted words of humanity conforming to viewers that death is inevitable to all who have life. In the second painting by Botticelli, his artistic interest lies in mannerism in the society and this is depicted by extended limbs and hands, hence ushering in a new age to individuals present then and viewers viewing the painting (Sallay, Vilmos & Axel 104). Question 4 The comparison and contrast between Roman and Venetian approach to painting in the Renaissance period can be observed from the assumption of the virgin traced back to Italy to exude a limited degree of pragmatism.

Moreover, the details in the painting are simplified so as to bring a sense of balance and harmony. The painting is basically concerned with composition and not fineness of the details present on the painting. He concentrates on the light and the color aspect thus gives little details to be interpreted by the viewers. On the contrary, Madonna in the Meadow establishes the pyramidal composition of the artist as he is concerned with beauty. The painting Madonna in the Meadow shows beautiful shapes which harmoniously compliment each other (Riegl 97).

Question 5 The artistic treatment of their subject matter exemplifies the themes of the Italian and Northern Renaissance as they use their paintings to display their cultural and personal concerns by integrating symbolism of the humors to correlate with the body portions present in the painting (Ainsworth 316). Question 6 The cause of the Renaissance has remained a controversial issue because various artists and scholars could not come at an agreement as they both had different theories. However, the cause increased prosperity in different cultures and the art they adopted as witnessed in the images, the early Renaissance was a formative era as artist incorporated realism in the paintings.

It later changed to high Renaissance, which focused solely on simplicity and balance of the images being painted. However, during the late Renaissance as seen in the images, the artist incorporated human anatomy, coloring and lighting in the paintings. Later on, poses were invented and artist could be seen making poses of images they painted resulting to stable composition of the paintings. This ushered in the period of mannerism which incorporated dream like effects in paintings thus making the viewers interested in them (Facaros et al 16).

Works Cited Ainsworth, Maryan W, Jan Gossaert, Stijn Alsteens, Nadine Orenstein, and Lorne Campbell. Man, Myth, and Sensual Pleasures: Jan Gossarts Renaissance: the Complete Works. New York: Metropolitan Museum of Art, 2010. Print. Facaros, Dana, Michael Pauls, Nicky Swallow, and Helen Holubov. Tuscany. London: Cadogan Guides, 2006. Print. Manca, Joseph. Andrea Mantegna and the Italian Renaissance. New York: Parkstone International, 2012. Internet resource. Sider, Sandra. Handbook to Life in Renaissance Europe.

Oxford: Oxford University Press, 2007. Print. Shelley, Dóra, Vilmos Tátrai, and Axel Vécsey. Botticelli to Titian: Two Centuries of Italian Masterpieces. Budapest: Szépművészeti Múzeum, 2009. Print. Riegl, Alois, Andrew Hopkins, Alina A. Payne, and Arnold A. White. The Origins of Baroque Art in Rome. Los Angeles, Calif: Getty Research Institute, 2010. Print.