Weekly Guide 4 and 5: Italian Renaissance, Mannerism
vanishing lines
Lines that come together (converge) at the vanishing point.
Perspective
(n.) a point of view or general standpoint from which different things are viewed, physically or mentally; the appearance to the eye of various objects at a given time, place, or distance
Donatello, St Mark
15th Florence St. Mark is revered as the creator of the Church of Alexandria. Donatello portrays him with a full beard and draped in traditional prayer robes. It was one of his earliest commissioned pieces and the extreme realism in the subject must have been surprising. He went so far as to prominently display the veins in St. Mark's hand as it clutches a text. Donatello placed his St. Mark in a "contrapposto" pose It wasn't accepted at first because the head was made large but it was because he intended for it to be looked up at not straight on so he moved it up and covered it for 15 days claiming he made changes
Ghiberti, The Gates of Paradise
15th Given another set of doors after the sacrifice of Issac Final set on the baptistry LARGE "Doors to heaven itself" portray scenes from the old testament, nicknamed gates of paradise by Michelangelo Deep relief linear perspective, very convincing space Stand in contrapposto
Medici Palace
15th The transition from the rusticated masonry of the ground floor to the more delicately refined stonework of the third floor makes the building seem lighter and taller as the eye moves upward to the massive cornice that caps and clearly defines the building's outline. Huge house Looks plain from the outside Built a plain facade that gets more refined as it goes up Very fancy inside fancy courtyard filled with art
Nanni di Piano, The Four Crowned Martyrs
15th Century Four sculptures who refused to make a pagan god killed because of something they belive Conversational Making people very human out of stone Shows wood carvers in relief
Donatello, St. George
15th century Donatello carved his statue of St. George for the guild of armorers and swordmakers in Florence. Like the statue of St. Mark, the statue of St. George was destined for the guild's niche in the building of Orsanmichele. Because the guild was of average size, it could only afford a statue of marble, rather than of bronze. He stands tall with his shield in front of him that looks as if could rotate on its small base which touches the ground. This implies, at the very least, a sense of readiness on the part of the saint to quickly confront enemies coming from different directions.He's not in contrapasso
Ghiberti and Brunelleschi Sacrifice of Issac scenes
15ty Some see this as a start of the Renaissance wanted to decorate another set of doors at the baptistry in Florence contained in a quatrefoil Wife is old and barren but they are visited and have a child Abraham will sacrifice Issac to God but God provides a ram to sacrifice Competition of each scene Gave them guidelines... Two different compositions Ghiberti focuses on Abraham and Brunelleschi focuses on Issac Ghilberties is more inventive and all done in one cast Ghiberti wins He did the doors Very start of 15th century and renissance
Titian, Isabella d'este
16 Oil on canvas The subject of the painting is Isabella d'Este(1474-1539) who was the Marquess of Mantua, a political and cultural leader in what was a leading art centre in Renaissance Italy. She was an avid art collector and patron of the arts.
Donatello, David
5ft tall bronze cast David is shown nonchalantly Almost a sensuous swagger about him Not meant for prayer, can represent religious people but doesnt have the same purpose as an altarpiece David miraculously kills goliath and takes his sword and hat Trying to depict a natural body First life-size nude sculpture since antiquity A young boy still pudgy, maybe a little feminine some analysis suggests homoeroticism an allegory for Florence itself meant to be walked around One side looks feminine while the other is strong
Ghiberti
A Florentine sculptor who designed the bronze doors for the Baptistry in Florence after winning a contest in 1401.
Tintoretto, The Last Supper
An oil painting on canvas mannerism Tintoretto depicted the Last Supper several times during his artistic career. Tintoretto's, The Last Supper, is uniquely different from other interpretations. The table of the last supper is not symmetrical and is drawn at an angel, almost as if the end of the table is disappearing into the shadows. Although there are twelve known disciples, they cannot be pointed out in the painting and the image of Judas cannot be identified from the crowd.
Florence Cathedral/the Duomo Brunelleschi
An unmistakable part of Florence 15th Almost as wide as the pantheon Secrets of concrete had been lost Finished by Brunelleschi Made the dome as light as possible hollow staircase inside of the dome Ribbed and made a skeleton inside the dome built layer by layer created hoists to lift the stone oculus Seen as a remarkable project at the time
Palladio, Villa Rotunda
At the top of a hill in northern Italy, not far from Venice, stands a majestic villa. Designed by Andrea Palladio, the Villa Almerico-Capra, commonly known as La Rotonda, would become one of the most recognizable buildings of the Renaissance. It is a building that consciously recalls ancient Roman classical models but its innovative design had a lasting impact for future generations of architects in Italy and abroad.
Pollaiuolo, Hercules and Antaeus
Bronze, height 45 cm The Hercules and Antaeus demonstrate Pollaiuolo's knowledge of anatomy (from dissecting corpses) and his ability to represent physical and emotional violence. The group was famous in the artist's own lifetime: Leonardo studied it and Michelangelo included a sketch of it on a sheet illustrating bronze casting. It is one of the earliest appearances of a mythological subject in the round Iconography lions pelt on Hercules Antaeus is a monster suggestion of homoeroticism Stories in greek mythology makes people clever A very close observation of a body under stress artists look back on antiquity-- perfect proportions
Perugino, The Delivery of the Keys
Christ Giving the Keys of the Kingdom to St. Peter is an exemplar of Italian Renaissance painting. The work was part of a large decorative program commissioned by Pope Sixtus IV in 1481 for the walls of the Sistine Chapel The painting shows the moment when Christ, standing in the center dressed purple and blue garments, gives the keys of the heavenly kingdom to the kneeling St. Peter. in the room where popes are chosen God gives us the right to political power background suggests etrinity
Brunelleschi
Florentine architect who was the first great architect of the Italian Renaissance (1377-1446)
Donatello, Equestrian Statue of Erasmo da Narni
Inspired by Marcus Areliuos Equestrian statue A large bronze cast commemorates a great man (military captain) Responsible for Venice gaining territory He's buried in the church nearby Civic pride Horse looks down at us and man looks very animated and in charge Restarted lost wax bronze casting Individual value is more important True to life representation
Ghirlandaio, Confirmation of Franciscan Rule
In these scenes Ghirlandaio succeeded in creating his own independent and unique images. Ghirlandaio moves the scene of the represented events from Rome where they took place to Florence. In the background is Florence, with its most celebrated buildings The events in the Confirmation of the Rule are taking place on the most important square in Florence, the Piazza della Signoria. The fresco represents the visit of the Saint to Rome to obtain the confirmation of his order from pope Honorius III.
Masaccio, The Holy Trinity
Masaccio was the first painter in the Renaissance to incorporate Brunelleschi's discovery, linear perspective, in his art. He did this in his fresco the Holy Trinity, in Santa Maria Novella, in Florence. The orthogonal can be seen in the edges of the coffers in the ceiling Creates a realistic space and looks like you're looking up at the scene Architecture follows realistic geometry Meant to look like a side chapel Holy trinity-- The god the son the holy spirit dove is a holy spirit Mary looks at the viewer Viewer matters Memento Mori inspires thought about life
Masaccio, Expulsion from Paradise
Masaccio's fresco depicting Adam and Eve being expelled from the Garden of Eden by an angel is located in the Brancacci Chapel inside the church of Santa Maria del Carmine in Florence. The Expulsion shows the scene from the book of Genesis after the Fall; after Adam and Eve have eaten from the fruit which God has forbidden them to eat, they are cast out of the Garden of Eden and into the world where they are forced to labor and suffer the consequences of their sin. It is a scene of remarkable emotion, as Eve cries out and Adam cannot bear to show his face. Very little in the way of architecture Adam is ashamed Eve in total disappear aware of nudity Contrapasso can see many details of Adams body Shadows begin to appear
Michelangelo, Last Judgement
Michelangelo's Last Judgment is among the most powerful renditions of this moment in the history of Christian art. Over 300 muscular figures, in an infinite variety of dynamic poses, fill the wall to its edges. Unlike the scenes on the walls and the ceiling, the Last Judgment is not bound by a painted border. It is all encompassing and expands beyond the viewer's field of vision On the lower left of the composition (Christ's right), the dead emerge from their graves, shedding their burial shrouds. On the right of the composition (Christ's left), demons drag the damned to hell, while angels beat down those who struggle to escape their fate unrest in the Christian world popes acting up -- selling "fast passes to heaven" the era of uncertainty as the church breaks up people wouldve known what this was about stronger sense of interest in the consequences of actions Starting to see mannerism -- between renaissance and baroque Michelangelo becomes more religious throughout his life study of the end of the world Jesus will judge the living and the dead Jesus with mandorala behind him and mary one side has saved and damned with angels and demons chaotic scene but balanced makes us think what side will we be on? Beefy Jesus judging with force some people are recognizable as well as on the damned side hell is firey and right above the door as you exit into the world
Michelangelo, St. Peters Basilica
Michelangelo's contribution to the basilica was the greatest of them. He was the only architect who worked on it whose plans were continued without significant changes after his death.
Botticelli, Primavera
Mythological oil canvas means "Spring" 30 layers of transparent and opaque colors Painted for il Magnifico - Lorenzo de'Medici represents them in oranges The scene shows us a group of figures in an orange grove possibly an allegory for family Venus shown idealized three women modeled by Botticelli after an ancient depiction of the Three Graces-- personify love chastity and beauty (goals for women) Unions and marriage in spring trained by Fillipi visual poetry flowers local to Florence
Lavinia Fontana, Noli me Tangere
Noli me tangere, meaning "don't touch me", is the Latin version of words spoken, according to John 20:17, by Jesus to Mary Magdalene when she recognizes him after his resurrection. Mary Magdalene recognizes Christ in a garden and reaches out for him to verify what she believes she is seeing. This portrait could be seen as a story of two parts with upper left side showing Mary Magdalene not finding the body of Jesus and the second part showing her witnessing Jesus's resurrection. In this portrait, Jesus is represented somewhat as a farmer with a shovel and Mary is shown as trying to reach him.
Parmigianino, Madonna of the Long Neck
Oil on wood unusual spatial compositions and elongated figures. The painting is also known as Madonna and Child with Angels and St Jerome but earned the name Madonna with the Long Neck because of the curious length of the Madonna's swan-like neck. An oversized Christ child is splayed across the Madonna's lap. The way his arm is hanging freely down is also a pose suggestive of death, adding to the sense of ambiguity surrounding the painting.
Giorgione or Titian, The Pastoral Concert
On a shady hillside overlooking sunny glens and a distant mountain vista sits a fashionably-dressed young man with long, dark locks, a full-sleeved red and black garment, and bi-colored stockings. As he plays his lute, he turns attentively to his companion, a young man with unruly hair and bare feet wearing a simple garment of coarse, brown fabric. Though their faces are in shadow, the intimacy of this moment is palpable. The two lean toward each other, their heads almost touching. The lute-player gazes toward his companion who looks down, listening to the music that resonates in the air between them. They are the center of the composition, oblivious to all else around them.
Ghiberti, Jacob and Esau
On gates of paradise by Gihberti 15th century the panel depicting the story of the rival brothers Jacob and Esau, the latter exchanging his birthright as the eldest son for some food from his younger brother Jacob is depicted in the centre background. These scenes are illustrated under and in front of the arch on the right. In the foreground the seated Isaac blesses a kneeling Jacob, who has an animal skin slung over his shoulder, while his elderly mother looks on. The schiacciato relief deriving from Donatello's sculpture and the single-point perspective system allow the space in this panel to recede illusionistically, the figures becoming flatter as well as smaller as they move into the distance. Many scenes Relief shows distance
Michelangelo, David
One single block of marble from the quarries in Carrara in Tuscany, one of the whitest in the world Many statues before Michelangelo's that portray this story always show David AFTER he has defeated the giant, with the head by his feet. Michelangelo decided to go against the current and portray his David BEFORE the battle. You can see in his face the concentration of him thinking how he's going to do it, the rock hidden inside his right palm, the slingshot seemingly at rest on his shoulder and him waiting for the right moment pretending to be at ease. He could only defeat the giant if he caught him by surprise casual contrapposto sling
Michelangelo, Sistine Chapel
Painted for the pope, the busy yet beautifully balanced composition depicts a range of religious iconography rendered in Michelangelo's distinctive style, making it one of the most cherished masterpieces in the world. In order to reach the chapel's ceiling, Michelangelo created special scaffolding uses illusionism and sculpture knowlegde to create 3d overbulky and beefy
Filippo Lippi, Portrait of a Woman and Man
Profiles were recognizable and long lasting Showing off status hes behind her so they arent looking right at eachother creation of space and architecture
Raphael, Galatea
Raphael's fresco shows Galatea with her gay companions; the giant is depicted in a fresco by Sebastiano del Piombo which stands to the left of Raphael's Galatea. However long one looks at this lovely and cheerful picture, one will always discover new beauties in its rich and intricate composition. Every figure seems to correspond to some other figure, every movement to answer a counter-movement.
Palladio, Church of San Giorgio Maggiore
San Giorgio Maggiore is a 16th-century Benedictine church on the island of the same name in Venice, northern Italy, designed by Andrea Palladio, and built between 1566 and 1610. The church is a basilica in the classical Renaissance style and its brilliant white marble gleams above the blue water of the lagoon opposite the Piazzetta The interior of the church is very bright, with massive engaged columns and pilasters on undecorated, white-surfaced walls. The interior combines a long basilican nave with a cruciform plan with transepts.
Fra Angelico, Anunciation
Seems to match the San Marco church in Florence Fresco Ambiguity of space Awkward illusion of space could be catered towards church itself-- at the top of the stairs "Don't forget to say hail Mary" Grass in flat and 2D embroidered foliage
Filippo Lippi, Madonna and Child
Tempera on wood florence Mary's hands are clasped in prayer, and both she and the Christ child appear lost in thought, but otherwise the figures have become so human that we almost feel as though we are looking at a portrait. The angels look especially playful, and the one in the foreground seems like he might giggle as he looks out at us. The delicate swirls of transparent fabric that move around Mary's face and shoulders are a new decorative element that Lippi brings to Early Renaissance painting praised for use of line painted a frame or window fantasy landscape
Ghirlandaio, An Old man and a young boy
Tempra on wood a wonderful portrayal of the loving relationship between an aging nobleman and his grandson First, it captures the love between an old man and his grandson - a bond which overshadows physical disfigurement. Second, it exemplifies the progress made by Early Renaissance painting, notably in the areas of realism and humanism Direct gaze between the two
Donatello, The Feast of Herod
The Feast of Herod is a bronze relief sculpture created by Donatello circa 1427. It appears on the baptistry of the Siena Cathedral in Italy. It is one of Donatello's earliest relief sculptures, and his first bronze relief. The sculpture is noted for Donatello's use of perspective. The piece is 60 by 60 centimeters
Leonardo, Mona Lisa
The Mona Lisa is a likely a portrait of the wife of a Florentine merchant. For some reason however, the portrait was never delivered to its patron, and Leonardo kept it with him when he went to work for Francis I, the King of France. doesnt make sense proportionally losely painted in some areas and detailed in orgers where is she looking whats her expression
Ghirlandaio, Nativity and Adoration
The Sassetti Chapel (Florence) is consecrated to the birth of Christ, and as a result much in the chapel is conceived with that event in mind. The altarpiece the Adoration of the Shepherds is the chapel 's key work not only in subject, but also in artistic merit. This composition was so successful that other artists frequently repeated it.
Raphael, School of Athens -- stanza della segnatura
The School of Athens represents all the greatest mathematicians, philosophers and scientists from classical antiquity gathered together sharing their ideas and learning from each other. These figures all lived at different times, but here they are gathered together under one roof. The two thinkers in the very center, Aristotle (on the right) and Plato (on the left, pointing up) have been enormously important to Western thinking generally, and in different ways, their different philosophies were incoporated into Christianity. Athens was seen as the height of philosophy Socrates is seen and apparently, in his death, he says there may be nothing after death maybe not and I'll see everyone who was ever a great thinker Aristotle and Plato in middle walking towards us expressed by their gestures Plato believes in forms beyond us and Aristotle is focused on the here and now some people think that the man in the front is Michaelangelo and backhand jab because he looks sad he puts himself in the painting as well statues of greek gods Appolo and Athena commissioned by Pope Julius heavenly atmosphere a collection of great thinkers Inspired by greek and roman environment balance of imagery meant for an educated audience art that makes you think
Bronzino, Portrait of Eleonora of Toledo
The double portrait depicts Eleonora of Toledo with her son Giovanni Bronzino's court portraits are known for the elaborate and detailed costumes of his sitters that he captures in all their decadent glory
Leonardo, Vitruvian Man
The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions This image provides the perfect example of Leonardo's keen interest in proportion. perfect man can fit in a circle or square
Titian, Venus of Urbino
The painting represents the allegory of marriage and was a "teaching" model to Giulia Varano, the young wife of eroticism, fidelity and motherhood. The evident eroticism of the painting, in fact, reminded the woman of the marital obligations she would have to fulfill to her husband more puzzling playful quality to Venitian art High-class vaguely pornographic scene women married at young ages and consummated when older maybe an attractive martial scene the dog represents fidelity but he's sleeping is his loyalty on pause? flowers in hand falling down "deflowering" sheets are messed up could be a suggestion of sex hair is down it's personal highly sexually charged image the dark line of curtain points to her lower half where she drapes her hand
Michelangelo, Pieta
The scene of the Pieta shows the Virgin Mary holding the dead body of Christ after his crucifixion, death, and removal from the cross, but before he was placed in the tomb This was a special work of art even in the Renaissance because at the time, multi-figured sculptures were rare. These two figures are carved so as to appear in a unified composition which forms the shape of a pyramid, something that other Renaissance artists (e.g. Leonardo) also favored. Mary is much larger than Jesus to show she is able to support him A look of graceful acceptance drapery is sorrowful and coming towards us
Leonardo, the Virgin of the Rocks
These two paintings are a good place to start to define the qualities of the new style of the High Renaissance Mary seated on the ground. This type of representation of Mary is referred to as the Madonna of Humility. Mary has her right arm around the infant Saint John the Baptist who is making a gesture of prayer to the Christ child. We immediately notice Mary's ideal beauty and the graceful way in which she moves, features typical of the High Renaissance. defys true nature stable many gestures hazy scene layer of varnish to give smokey haze
Pontormo, Deposition
This painting suggests a whirling dance of the grief-stricken. They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center in the left. Those lowering Christ appear to demand our help in sustaining both the weight of his body (and the burden of sin Christ took on) and their grief. No Cross is visible; the natural world itself also appears to have nearly vanished: a lonely cloud and a shadowed patch of ground with a crumpled sheet provide sky and stratum for the mourners. If the sky and earth have lost color, the mourners have not; bright swathes of pink and blue envelop the pallid, limp Christ.
Michelangelo, Tomb of Giuliano de Medici
each composed of a seated armed figure in a niche, with an allegorical figure reclining on either side of the sarcophagus below. The seated figures, representing the two dukes, are not treated as portraits but as types The male figure is known as "Dusk," the female figure as "Dawn."
Correggio, Assumption of the Virgin
fresco a vortex of fluttering drapery and naked limbs The devotee moves forward to see what so astonishes the Apostles. The Virgin Mary appears seated upon a cloud that floats in the space defined by the dome. Frolicking angels, ranging in age from infants to adolescents, populate concentric bands of clouds that extend into the apex of the dome. Mary twists her body and opens her arms as she rises toward the golden light of heaven. portrayal of Christ in extreme foreshortening, with his youthful legs exposed, draws attention to Christ's physicality
Pollaiuolo Battle of ten nude men
has been called the single most important engraving in European history. Clearly based on Classical Antiquity (the cultures of ancient Greece and Rome), the print is monumental in size (approximately 15 x 23 inches) it is believed that Pollaiuolo engraved the print completely by his own hand, and for this reason, the sign set in the far left of the vegetation bears his name advertisement for anatomy almost shown in the round cheap, many copies can be spread Pollaiuolo's understanding of the nude body resulted from his dissection of cadavers. unclear who is fighting who or why or where
Masaccio, The tribute Money (Brancacci Chapel)
in the Brancacci chapel in Santa Maria del Carmine in Florence—when you walk into the chapel, the fresco is on your upper left. All of the frescoes in the chapel tell the story of the life of St. Peter. The story of the Tribute Money is told in three separate scenes within the same fresco The gestures and expressions help to tell the story Jesus tells Peter the first fish he catches will have tax money Next to adam and eve and has the same light source Three different events in one Atmospheric perspective Halo shifts with body
patronage
is the support, encouragement, privilege, or financial aid that an organization or individual bestows to another. In the history of art, arts patronage refers to the support that kings, popes, and the wealthy have provided to artists such as musicians, painters, and sculptors.
orthagonals and transversals
l. Two lines or planes are orthogonal if they are at right angles (90°) to each other. ... In geometry, the word 'orthogonal' simply means 'at right angles'. We also sometimes say they are 'normal' to each other. Strictly speaking, the lines do not have to actually intersect. a transversal is a line that passes through two lines in the same plane at two distinct points. Transversals play a role in establishing whether two other lines in the Euclidean plane are parallel.
Raphael, The Small Cowper Madonna
late 15th oil on wood sheer drapery made for personal use not large scale churches idealizing features Raphael was constantly working and being successful unlike his contemporaries
Raphael, La Belle Jardiniere
literally translated as The Beautiful Gardener but most commonly known as The Madonna and Child with the Infant Saint John the Baptist, is one of Raphael's most famous paintings. in pyramid composition There is a feeling of tranquility in the quiet plant filled field, the rolling hills, and the soft blue sky yet also a sense of life beyond where buildings are seen in the distance. The landscape acts as a subtle backdrop for the three central figures creating a strong sense of harmony between nature and man. Raphael came about at the highest of the high renaissance precise and talented takes on Michealangelo's heavy body figures and Leanordo's multiple figure arrangements expert landscapes atmospheric and linear perspective inventive use of body position twisting
Verocchio, David
little more masculine looks at viewers Head at his feet study in anatomy Engagements with viewers Symbol for Florence itself being the underdogs
Bellini, st. Francis in Ecstasy
oil and painting a private commission for a domestic setting - depicts a scene from the life of St. Francis of Assisi Bellini places St Francis in the (theoretically less important) lower right of the picture. He depicts the saint barefoot and dressed in a monk's habit as he emerges from his cave-like sanctuary to greet the day. His arms are spread wide and his head is thrown back as he looks up to the sun. The ecstasy he experiences as he looks up to the heavens, derives - we assume - from receiving the stigmata. Venice gold hue tree leans in to him
Giorgione, the Tempest
oil on canvas is a true pictorial poem. Incredibly suggestive, the meaning of the picture is still open to many interpretations. The most outstanding element is the threatening lightning bolt over the towers and roofs of a strange city next to a river. We can also see a young woman nursing her son, a fragile figure when compared to the powerful storm. In the bottom left corner we see the figure of a young man holding a long staff, perhaps a soldier protecting the young lady. All these elements seem to be placed without any sense or logical relation among them. Perhaps this painting has a moral message. popular books become .. popular and the same happens with art storm's a brewin empty city guy watching a lady nurse a baby whose completely nude on a riverbank with broken a guy may be a Sheppard or mercenary architecture her legs are all jumbled up city seems lifeless his works of art are enigmatic this isnt religious we don't even really know what it is Venetian domes visual story/ poetry just fun to look at and talk about to entertain
Titian, Pesaro Madonna
oil on canvas 16 The painting shows both of these figures near the top of a stepped platform; the Virgin wears a beautifully-colored red robe covered with a blue garment and a white mantle, under which the Christ Child playfully appears. The Virgin looks down to the figures on the left side of the canvas, while Christ looks to the right side.
Piero Della Francesca, Battista Sforza and Federico da Montefeltro
oil on wood One of the most celebrated portraits of the Italian Renaissance, the diptych features the Duke of Urbino, Federico da Montefeltro (1422-1482) and his wife Battista Sforza The couple are facing each other and the spatial element is suggested by the light and the continuity of the rolling landscape in the background, representing the area of the Marches over which the Duke and Duchess ruled.
Raphael, Madonna of the Goldfinch
oil on wood Raphael painted other works on the theme of the group of the Virgin Mary with Jesus and the young John the Baptist This is such a modern image, yet it still contains symbolic elements from traditional worship, such as the small holy text in the Virgin's hand master in drapery exciting use of color, uses triangle/pyramid shape learned from leanardo how to have sight lines between figures
Botticelli, Birth of Venus
tempora painting on canvas; shows the roman goddess of love standing inside of a sea shell. Reflects humanism as it is a classical scene. Stands in Contropasto Attention to hair and idealistic face and body of the goddess of love/lust attempts to be modest only draw attention to her sexuality based on kinos aphrodite
Leonardo, the Last Supper
tempra and oil on plaster The subject of the Last Supper is Christ's final meal with his apostles before Judas identifies Christ to the authorities who arrest him Christ says to his apostles "One of you will betray me," and the apostles react, each according to his own personality Leonardo also simultaneously depicts Christ blessing the bread and saying to the apostles "Take, eat; this is my body" and blessing the wine and saying "Drink from it all of you; for this is my blood of the covenant, which is poured out for the forgiveness of sins"
Piero Della Francesca, Baptism of Christ
tempra on wood The most striking feature of this painting is the extraordinary lighting from above, creating delicate At the centre, the figure of Christ is portrayed as a simple man, but his stance is so solemn as to make him look as majestic as a Greek god. His torso and his legs are circular and solid, like the tree on the left; the holy dove, like a little cloud, fits into a patch of sky amidst the foliage of the tree, rendered with almost Impressionistic strokes. The three angels on the left, with their pale but round faces, are reminiscent of the groups of children sculpted by Luca della Robbia for the Cantoria in Florence Cathedral (1432-38) feet planted on ground scene of stability exact center under holy spirit
sight lines
visual axis is a normally unobstructed line of sight between an intended observer (or spectator) and a subject of interest, such as a stage, arena, or monument. Sightlines are a particularly important consideration in theatre and stadium design, road junction layout and urban planning.