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Classical Painting Techniques in Renaissance Art

Classical PaintingThere are many stages within the history of art, certainly within the last five hundred years of studying art of Western European origin purely based upon supply and demand. Starting with the medieval period to Renaissance art through to the Baroque style onto Impressionism, pointillism, cubism, abstract and pop art, the most important point throughout all eras is the way in which the artist saw the world and expressed his thoughts onto canvas. Medieval art mainly represented Christian ideas, objects were not painted realistically this was a world of ideas as opposed to science. Human man was constantly reminded of his mortal position and his relationship with God and his dedicated service to his maker, and man was often portrayed as a saint or a sinner. Classical beauty became the predominant feature of the Renaissance artist and man was now shown for his own sake, many painters kept their abstract qualities. The majority of paintings were still concentrated on religion but now the artist leaned towards glorifying man however he was still of secondary importance.

Latin Fine Arts and Culture is inseparable from its social context. It is inspired by its political, religious and intellectual environment and can change it too. Good art will always encourage change. When the first caveman painted a bison on his cave wall it would have caused a sensation because no one had seen such a thing before. Crowds would have gathered to admire it and talk about it, no less so than when Michelangelo unveiled his first David or completed the ceiling of the Sistine Chapel. It is the originality of the work, the skill gone into producing it as well as the catalytic effect it creates in our minds which makes it art. Our first caveman artist, by taking something that his tribe were used to seeing alive and running around and placing it on the wall as a recognizable reproduction, had made something completely new in human terms. In doing so, he expanded the artistic consciousness of his fellow natives, a leap from known reality to imagined reality, a leap that separated his age from the ones that had gone before, and in this way opened up an infinite number of new possibilities for the future.

Alhazen’s geometrical model of the cone of vision was the theory is that sufficient to translate noticeable objects in just a given establishing into a painting, and this was also supported by his experimental affirmation of the visibility associated with spatial depth; consequently of supplying a proper floor for the idea of perspective. As techniques for producing photographic levels of realism were improved the way to the great neo classical works of the seventeenth and eighteenth centuries was paved, which were not only technically brilliant pieces of art, but capable of passing as social commentaries on the political and cultural landscape of their time, influencing opinion and ideas. A skilled artist could paint a compelling portrait of a political leader and at the same time fill the work with telling symbols which either praised or criticized that personĀ“s views. The French artist David is a brilliant example of political commentary in art.

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