Art History, Renaissance through Modern - Essay Example

Introduction Art is an intimate reflection of history and society. By studying trends in artistic composition, techniques and movements, one can be able to develop insights to changing perceptions of social roles, issues and perspectives. Among the most notable artistic periods in history are the Renaissance, Rococo and Impressionist periods: they have remained popular to contemporary audiences yet remain distinct in their artistic tradition. The objective of this paper is to analyze the composition and technique of one painting from each of the art periods mentioned. In doing so, the paper will be able to analyze the value of each painting and develop an understanding of the technical and aesthetic value of not only the examples to be discussed but the respective art movements as a whole, Renaissance Renaissance was a reaction to the Middle Ages and serve as the foundation for the subsequent Baroque period in Europe. Its etymological meaning is "rebirth" of classical antiquity, pertaining to the revival of arts and sciences after it was diminished because of the emphasis on religion. However, it should be noted the majority of the art work where commissioned either for the Church or by supporters of it (Gombrich, 1995). The period also marked the significance developments in artistic technique which included the development of linear perspective, spatial composition and definition of the proportions for human form. The most notable artist of the period includes Leonardo Da Vinci, Michelangelo, Raphael as well as Boticelli who while was briefly eclipsed by the first three artists rose to contemporary regard. However, the Da Vinci, Michelangelo and Raphael have been more specifically associated as High Renaissance artists or for the latter Renaissance arts (Stokstad, 2004). Composition One of the Botticelli's portraits, early example, if not more pure examples, of the renaissance style is featured in Figure 1. From the example, the subject, a woman of elite standing, dominates the frame. The figure is limited to the upper half or bust of subject, emphasizing the identity of the individual rather than her form. It is likely that Botticelli positioned the subject in such a way to facilitate the effect of the light coming from what appears to be a window in the background of the painting. The impression derived is that the work was done via formal sitting in studio or small space. In comparison to the other portraits in this paper (see figure 2 and 3), the positioning of the subject provides little detail for the rest of the painting's composition. The dark background with only a hint of a window as detail provides a direct contrast with the subject's red-sleeved dress. The background provides little detail or insight regarding the personality of the subject and essentially on serve to highlight the visual image of the subject. Technique The subject is defined finely from the background. In a similar manner, details on the subject itself are very definite, if not stark. The technique is reflective of the subscription to classical techniques that emphasize form and figure. There are no discernable brushstrokes and colors are mixed smoothly. Also, the portrait in itself is reminiscent of busts in relief since though there is more depth and application of lighting techniques, there little suggestion of movement or interaction with its space. Lighting techniques were used predominantly to create facial characteristics, emphasizing the forehead, nose and chin, again reflective of the classical influence. The features are associated with having strong character or persona and therefore may have been emphasized to communicate the social stature of the subject of the painting. The subject's complicated coiffure and quality of clothing also reinforce this idea. The light used is quiet harsh but not so much that the figure of the subject to seem like it is outdoors. Shadowing and graduations in hue on the body of the subject suggests that the light source has elevated and angled from the window in the back ground. Rococo Rococo started out as decorative art but eventually developed into a major movement. One of the most identifiable features of the art is in it's of shell-like shapes, also the source of the movement's name. The style is reflected in paintings with the use of decorative elements and emphasizing curving forms and lines. Portraits in particular showed more character of the subject and often featured risqu or playful themes. In contrast to its direct predecessor, the Baroque, themes and subjects varied greatly, not limited to the church or state subjects but retained the ornateness and attention to detail of the period. Among the notable artists of the Rococo period include Jean-Antoine Watteau, Franois Boucher and Jean-Honor Fragonard (Gombrich, 1995). Composition As seen in Figure 2, there subject is set against and back ground and interacts with other objects in the frame. Though the background is more detailed than the portrait presented in Figure 1, the details are presented more as outlines, allowing viewers to identify the objects in the backdrop readily but with no definitive details. The subject is portrayed as softer and greater movement as seen in the stance of the figure leaning on the mantle. There is effort to suggest femininity or whimsy in the portrait. It is easy enough to see how the Rococo would inspire succeeding romanticism in art. The Rococo influence can also be seen in the detail of the dress and coiffure of the subject and is carried through out the decorative elements in the foreground of the portrait as seen in the detailing of the woodwork of the mantle and the floral arrangements. Another element indicative of the focus on shell-like decorative elements is apparent in the shape of the flowers as details on the lace of the subject's gown which also highlights the decadence in style that dominated the fashion of the period. The impression that one receives is that the painting was set in grandiose setting characterized by luxury and wealth. Technique The brushstrokes in this portrait are combine soft and strong lines: the former to create the fanciful theme and the latter to define the subject from other elements of the portrait. Though there are no discernable brush strokes, the shifts in strokes create dynamism in the portrait. The position of the model is done in a manner to emphasize form and details of the various elements of the portrait. The lines of the figure in suggest movement and a relaxed air: arms are curved and the body of the subject is not straight. The artist is motivated to present the subject in natural setting but adds decorative elements to add further richness to the composition: a characteristic that has been associated with the period's greater sensitivity to human interactions, emotions and characters. The artist's technique is also reflective of the more relaxed social strictures in the setting of the Rococo period. Furthermore, the figure of the subject and the coloration of the face of the suggest sensuality through the suggestion of a curvaceous full limbs and robustness. Impressionism In its inception, impressionism was considered as a radical art movement against traditional art which by the 19th century had taken a very definitive, if not institutionally prescriptive, approach in what it considered art. One of the considered foremost authorities in art at the time was the Acadmie des Beaux-Arts who only exhibited art consistent with classical traditions in its galleries (Stokstad, 2004). In response to repeated rejections, a group of young realist organized themselves into the Salon des Refuss which include artist who would become the leaders of the new art movement such as Claude Monet, Auguste Renoir, Paul Czanne, Berthe Morisot and Edgar Degas. However, it should be noted that the iconic artist of the period were Monet, Morisot, Alfred Sisley and Camille Pisarro (Gombrich, 1995). The other artists would remove themselves from the movement in succeeding years due to professional and personal differences. The most distinguishing characteristic of impressionist painting is the use short and discernable brush strokes, the focus on essence of a subject, the extension of portrait setting to outdoor and opacity of the paint used (Stokstad, 2004). Composition In the example provided for in Figure 3, the subject is limited to the torso but is facing the viewer which seeks to engage audience more fully which is in contrast to similarly framed portrait in Figure 1. Only bright colors and varying colors are layered together to blend in with other figures in the composition as well as to create texture and vibrancy. The model has a very naturalistic representation and is the most animated of the portraits discussed. At the same time, the lightness of the background gives the portrait suggests that the image is fanciful representation of the actual image rather than a realistic one. One of the interesting elements in the study of this portrait is that though it is meant to be as such, the audience is being engaged by the image to develop the identity of the subject rather than the portrait telling viewers who the subject is. Thus, the viewers are presented with the artist's "impression" of the subject which then expect and "impression" from subsequent viewers. Furthermore, though the impressionist portrait subscribes to a specific technique, there was flexibility in the use of colors, particularly in its qualities in interaction with light and angles of view. Technique Figure 3 shows distinctly the short brush strokes characteristic of the painting. Another notable difference is the suggestion that the painting was done outdoors or in multidirectional or ambient lighting to represent natural effect of light. In contrast with the previous paintings, there is no use of black paint and contrast is created by using complementary colors which all contribute to light and airy feel of the piece. The paint is applied impasto and mixing of colors is designed to be based on the perceptive of the viewer. According to Gombrich (1995), one of the competencies required of impressionist painters is their facility to recreate the interaction of light which includes how only the use of shading but also the representation of reflection of colors amongst the various elements or objects in the painting. The softness of the edge figures does not mean that they are not defined but is an effort to avoid delineations that create an isolation of one element to other elements of the painting. The total effect is that viewers are encourages to absorb the image instead of just viewing it visually. Conclusion Each of the portraits has their artistic and historical value. More importantly, they reflect the evolution of both artistic techniques and society. Viewing the transition of the composition and technique of the three styles, one of the major observations is the shift in the emphasis in technical aspects of portraiture to its aesthetics and self-expression. And since impressionism is the art movement that reflects this freedom the most, it can be assumed that it is the style that would suit current modes. Among the three discussed in the course of this paper, the most appealing to me was the impressionist portrait aesthetically though I believe that I would opt for the Rococo is made to choose a style that will be popular to more viewers. However, I would insist on a lighter background or setting the portrait in early morning. The subdued colors of the other two portraits has a heavy atmosphere and I would wish my portrait to be one that does not deliver any disheartening effect to any one who would view it. Moreover, if the portrait is to be done in the style as exampled by Renoir, then the portrait will engage viewers with the variances in light and textures in the work as if the painting was an actual person. From a personal perspective, a portrait should reflect not only the image of a person but more importantly, the character and the life of that person and impressionism upon evaluation evokes the greatest visual and emotional appeal. References Gombrich, E.H. (1995).The Story of Art. Chicago: Prentice Hall Stokstad, Marilyn (2004). Art, History, Combined. New York: Prentice Hall Read More