28/01/2014
Blog entry 17:
As aforementioned in blog entry 5, I
believe that as a painter I cannot fully be immersed in this field without
researching deeper into painting of the Renaissance period.
Personally I am very interested in work
with religious purpose of connotation, and would like to potentially illustrate
written material such as poetry, for example Paradise Lost by John Milton.
Raphael (Raffaello Sanzio):
For more information on this particular painting and the cited characters of Leonardo da Vinci, Michelangelo and Raphael's own self portrait follow the link below:
http://brisoilpaintings.com/tag/michelangelo/
(Pearch, 2014)
I find information like the above link provides about Raphael including other artists he respected such as da Vinci and Michelangelo in this painting along with himself very interesting: the representation of artists in this painting inspires me hugely to consider how I could add my respected influences into a piece of work or create layers of meaning which cannot be recognised straight away. When this image was created Raphael did not have resources such as the internet, where he could possibly trend the connotations on the image via pages of inters or social media in the image as we can now, if I found that my own work had so many layers of meaning or hidden meaning, I might consider using the internet to gain interest.
The work of Raphael is highly influential to me due to not only the beauty of his work which has earned him the name Master (which as a master of design student I should definitely be concerned with), but his use of content: The characters in his work and the religious connotations (mostly commissioned by the church) are right up my street as a practitioner. I particularly enjoy the use of mixing human and mythical forms in The Nymph Galatea compared to the clear human forms made rather divine though the lack of background and use of aureola (halo which surrounds the whole head often found in religious art in churches to depict saints and divine beings) in Madonna del Granduca.
Another point of interest in the School of Plato, other than the interesting layers of meaning, is the juxtaposition of the characters or subjects and the compositional elements. The use of bright coloured clothing and vibrant skin tones contrasting with the more subtle background. The background in particular is interesting especially the statue figures and the shades of cream which makes them up. I researched the grouping of the characters in da Vinci's The Last Supper, and how the subjects interacted, so I would definitely like to look into the groupings in Raphael's painting.
For More information on the groupings in da Vinci's The Last Supper follow the link below:
http://www.jaydax.co.uk/lastsupper/lastsupper.htm
(Chapman, 2005) REFERENCE
For more information on a selection of Raphael's paintings please follow the link below:
http://www.ibiblio.org/wm/paint/auth/raphael/
(Pioch, 2006)
Leonardo da Vinci:
Leonardo da Vinci's work as aforementioned in blog entry 5 is highly influential to me due to the androgynous male forms in some of his work such as John the Baptist which make me consider the idea of the full human (considered more in blog entry 5). I also find the above selection interesting for a number of reasons: Again the depiction of divine forms, rather similar to those created by Raphael through the used of the angelic form and aureola to portray divinity. I have also looked at Madonna of the Rocks and Virgin of the Rocks and I have noticed that compositionally they are very similar. Virgin of the Rocks was created after the Catholic Church disregarded Madonna of the Rocks for being too controversial such as the hand gesture by the far right adult character (angelic with wings) looking to cut something across the top of baby Jesus' head. Due to the church commissioning both of the Rocks paintings (originally Madonna) da Vinci had to reign in his own intentions and ensure the commission would be paid for, as a practitioner I need to understand how to compromise when my work is being paid for without loosing my style and ensuring I am staying true to myself which I feel is very important. If da Vinici can do it I can endeavour to do so too.
Michelangelo:
The paintings in the Sistine Chapel is a particular point of interest for me when considering his work. Although it is thought that Michelangelo's preferred medium was sculpture, there is no doubt in my mind that as a painter, I should look at the painted work he has created to be inspired and to learn; I always find that when I consider the painted work of those who are known as Masters and other well renowned practitioners, I learn more and more, whether it is the mixing of paint or the use of detail or expression, there is always something to gain and apply to my practice to develop it.
The Sistine Chapel painting as a whole can be broken down into individual areas or even individual paintings which as a set create a whole (as shown above). This breaking down of a huge scale fresco is in a way massively systematic, as a practitioner I am privy to using systems and lists to ensure I am on track with my work as is probably apparent with how I utilise my blog entries, so finding this trend in the work of a master who's work I am particularly influenced by is very reassuring for me with regards to my methodology.
(Ale)Sandro Botticelli:
I find the work of Boticelli depicts divinity with a rather more romanticised view. The difference between the human, heavenly and the hell like in Primavera is recognisable but without adhering too much to stereotypes other than the trend of the cherub which was a popular depiction of the divine for the time. The devil like creature is seen as different through flesh colour which is cool and closer to tonal and facial expression. I can see that the use of colour to suggest the humans and the cherub are somewhat more linked than the hell or devil like creature: using colour to create links similarly to the Alfa Romeo Gulietta advert the group looked at in Visual Culture: Debates in the text by Goldman, where colour creates visual links that people use as association. The focal point of Primavera is interesting to me due to how the trees in the background surround the central character's head rather like a aureola, at the top of which is the cherub, is this a different take on depicting divinity.
Another interesting aspect I have noticed by looking at the two of Boticelli's paintings is the woman in the floral dress who looks to be pregnant (suggestively), she appears in both images (or at least a similar character is in both) Wearing a similar dress with long flowing hair, I have never noticed this before but am very in awe of the similarity. I have noticed before that some practitioners use a similar aspect or image in a number if not all of their work as a theme or trademark of their work, I am personally very fond of this idea and may look to include my own, probably more subtle similarity in my work.
Another point I would like to make about these two pieces in comparison to most other pieces I have looked at in this blog entry is the representation of women. The female form seems to be somewhat more celebrated or at least more prominent, this work swell focusses not only on Christian symbols of divinity, but more feminine divine beings such as Venus the Ancient Roman Goddess on Love. I may look into the representation of women in religious art further, as it too links to the lack of mentioned women in The Library of Babel by Jorge Luis Borges, which is the main basis for my project in Personal Practice and Methodologies.
Raphael (Raffaello Sanzio):
 | ||
| The Nymph Galatea by Raphael, Fresco 295 x 225cm Villa Farnesina, Rome |
 |
| Madonna dell Granduca
(1505), Oil on wood, 84 x 55 cm, Palazzo Pitti, Florence |
 |
| School of Athens by Raphael (1509) |
For more information on this particular painting and the cited characters of Leonardo da Vinci, Michelangelo and Raphael's own self portrait follow the link below:
http://brisoilpaintings.com/tag/michelangelo/
(Pearch, 2014)
I find information like the above link provides about Raphael including other artists he respected such as da Vinci and Michelangelo in this painting along with himself very interesting: the representation of artists in this painting inspires me hugely to consider how I could add my respected influences into a piece of work or create layers of meaning which cannot be recognised straight away. When this image was created Raphael did not have resources such as the internet, where he could possibly trend the connotations on the image via pages of inters or social media in the image as we can now, if I found that my own work had so many layers of meaning or hidden meaning, I might consider using the internet to gain interest.
The work of Raphael is highly influential to me due to not only the beauty of his work which has earned him the name Master (which as a master of design student I should definitely be concerned with), but his use of content: The characters in his work and the religious connotations (mostly commissioned by the church) are right up my street as a practitioner. I particularly enjoy the use of mixing human and mythical forms in The Nymph Galatea compared to the clear human forms made rather divine though the lack of background and use of aureola (halo which surrounds the whole head often found in religious art in churches to depict saints and divine beings) in Madonna del Granduca.
Another point of interest in the School of Plato, other than the interesting layers of meaning, is the juxtaposition of the characters or subjects and the compositional elements. The use of bright coloured clothing and vibrant skin tones contrasting with the more subtle background. The background in particular is interesting especially the statue figures and the shades of cream which makes them up. I researched the grouping of the characters in da Vinci's The Last Supper, and how the subjects interacted, so I would definitely like to look into the groupings in Raphael's painting.
For More information on the groupings in da Vinci's The Last Supper follow the link below:
http://www.jaydax.co.uk/lastsupper/lastsupper.htm
(Chapman, 2005) REFERENCE
For more information on a selection of Raphael's paintings please follow the link below:
http://www.ibiblio.org/wm/paint/auth/raphael/
(Pioch, 2006)
Leonardo da Vinci:
 |
| Annunciazione by Leonardo da Vinci (1472 - 75) oil on panel, 98 x 127cm |
 |
| Madonna of the Rocks by Leonardo da Vinci |
 |
| Virgin of the Rocks by Leonardo da Vinci |
Leonardo da Vinci's work as aforementioned in blog entry 5 is highly influential to me due to the androgynous male forms in some of his work such as John the Baptist which make me consider the idea of the full human (considered more in blog entry 5). I also find the above selection interesting for a number of reasons: Again the depiction of divine forms, rather similar to those created by Raphael through the used of the angelic form and aureola to portray divinity. I have also looked at Madonna of the Rocks and Virgin of the Rocks and I have noticed that compositionally they are very similar. Virgin of the Rocks was created after the Catholic Church disregarded Madonna of the Rocks for being too controversial such as the hand gesture by the far right adult character (angelic with wings) looking to cut something across the top of baby Jesus' head. Due to the church commissioning both of the Rocks paintings (originally Madonna) da Vinci had to reign in his own intentions and ensure the commission would be paid for, as a practitioner I need to understand how to compromise when my work is being paid for without loosing my style and ensuring I am staying true to myself which I feel is very important. If da Vinici can do it I can endeavour to do so too.
Michelangelo:
 |
| Pieta by Michelangelo St Peter's Basilica |
 |
| Michelangelo Sistine Chapel, Vatican |
 |
| Layout of each area of Michelangelo's painting of the sistine chapel by Britannia Pearch (Pearch 2014) |
The paintings in the Sistine Chapel is a particular point of interest for me when considering his work. Although it is thought that Michelangelo's preferred medium was sculpture, there is no doubt in my mind that as a painter, I should look at the painted work he has created to be inspired and to learn; I always find that when I consider the painted work of those who are known as Masters and other well renowned practitioners, I learn more and more, whether it is the mixing of paint or the use of detail or expression, there is always something to gain and apply to my practice to develop it.
The Sistine Chapel painting as a whole can be broken down into individual areas or even individual paintings which as a set create a whole (as shown above). This breaking down of a huge scale fresco is in a way massively systematic, as a practitioner I am privy to using systems and lists to ensure I am on track with my work as is probably apparent with how I utilise my blog entries, so finding this trend in the work of a master who's work I am particularly influenced by is very reassuring for me with regards to my methodology.
(Ale)Sandro Botticelli:
 |
| Primavera by Boticelli (1482) oil on panel 203 x 314cm |
 |
| Birth of Venus by Boticelli (1445 - 1510) tempera on panel 175.5 x 278.5cm |
I find the work of Boticelli depicts divinity with a rather more romanticised view. The difference between the human, heavenly and the hell like in Primavera is recognisable but without adhering too much to stereotypes other than the trend of the cherub which was a popular depiction of the divine for the time. The devil like creature is seen as different through flesh colour which is cool and closer to tonal and facial expression. I can see that the use of colour to suggest the humans and the cherub are somewhat more linked than the hell or devil like creature: using colour to create links similarly to the Alfa Romeo Gulietta advert the group looked at in Visual Culture: Debates in the text by Goldman, where colour creates visual links that people use as association. The focal point of Primavera is interesting to me due to how the trees in the background surround the central character's head rather like a aureola, at the top of which is the cherub, is this a different take on depicting divinity.
Another interesting aspect I have noticed by looking at the two of Boticelli's paintings is the woman in the floral dress who looks to be pregnant (suggestively), she appears in both images (or at least a similar character is in both) Wearing a similar dress with long flowing hair, I have never noticed this before but am very in awe of the similarity. I have noticed before that some practitioners use a similar aspect or image in a number if not all of their work as a theme or trademark of their work, I am personally very fond of this idea and may look to include my own, probably more subtle similarity in my work.
Another point I would like to make about these two pieces in comparison to most other pieces I have looked at in this blog entry is the representation of women. The female form seems to be somewhat more celebrated or at least more prominent, this work swell focusses not only on Christian symbols of divinity, but more feminine divine beings such as Venus the Ancient Roman Goddess on Love. I may look into the representation of women in religious art further, as it too links to the lack of mentioned women in The Library of Babel by Jorge Luis Borges, which is the main basis for my project in Personal Practice and Methodologies.
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