Art History: Three Graces and Renaissance - Essay Example

Francesco Cossa 1469-1470 Triumph of Venus http en.wikipedia.org/wiki/File:Francesco_del_Cossa_003.jpg Raphael Three Graces 1501 - 1505 http en.wikipedia.org/wiki/File:Raffael_010.jpg Peter Paul Rubens The Three Graces 1639 1st century fresco at Pompeii Botticelli exerpt from Primavera 1482 http://en.wikipedia.org/wiki/File:Threegraces.jpg Introduction Between the late 15th century and the early 16th century rapid changes occurred that redefined artistic expression. The awkward and flat work of the gothic period was redefined by a new sense of emotion and tension between the figural images within the artwork. The changes from the styles in the 14th century to the 15th century can be clearly seen within the Bronze Doors created by Ghibreti mark a change from a formal figural representation to a more emotional context in which the actors play against one another. The lighting within the work was beginning to be reflective of natural light that was from a source outside of the canvas. Where gothic art had lighting within the work, Renaissance work had reflections of light that came from sources outside of the canvas. The rise of humanism promoted a renewed interest in pagan themes. The writings of the classical authors such as Plato, Aristotle, and Socrates were influential in the new philosophies of the period. Therefore, an interest in the writings promoted an interest in the mythologies of the ancient Classical period (Hankins 14). However, the paintings would reflect the cultural aesthetics of the time period in which they were painted through the clothing and styles that were used upon the figural representations. Their were distinct differences in the work that was created in the late 15th century to that of the early 16th century. The work of the later half of the century was typified by large groupings of figures who created a story based on period interpretations of the concepts of mythological representations, where in the 16th century there is a shift to fewer figures with attention giving to the realism and curvature of the body. Two paintings that can be compared for these attributes are Francesco Cossa’s Triumph of Venus 1469-1470 and Raphael’s Three Graces 1501-1505. The transition between the two centuries happened very rapidly as the abandonment of the Gothic period with its flatter representations gave way to the appeal of the transformational quality of the use of light to reveal curve and depth. In looking at these two pieces of artwork, it is clear that the representation of the three graces are similar in composition, but distinctly different in the way they are presented. The Three Graces The purpose of the Three Graces are to represent the concept of benefits. In most ancient depictions they are shown nude as or in sheer clothing, according Seneca, benefits should be visible (Algazi et al 348). The goddesses are known for the affiliation with beauty, charm, human creativity, fertility and beauty. They are most often depicted as three represented by Aglaea who is beauty, Euphrosyne, who is mirth, and Thalia who is good cheer. They are developed in Greek mythology and were transferred into the Roman pantheon of gods and goddesses. A Judeo-Christian interpretation of the presence of apples within the paintings of the Three Graces, accompanied by the nudity, would create an association with temptation. However, the exact reference is to the Greek triad the Hesperides who are the guardians of the Golden Apples, a fruit that gives immortality and were the eleventh labor of Heracles who was to steal the fruit from their garden. The apples are also associated with Venus who won a contest between herself, Athena and Hera in regard to which goddess was the fairest. Francesco Cossa Triumph of Venus 1469 - 1470 Cossa’s work which resides in the Salone Dei Mesi, Palazzo Schifanola, Ferrara, is a fresco panel in a multitude of panels representing the months of the year. There are few of the panels left because of wear and weathering, but three of his panels are intact because of their location on an interior wall. This panel, representing April, shows images that suggest renewal and growth as is associated with the spring. An association between music and love can be seen as musicians play for Venus, giving her the focus of the painting as April is associated with her. As well, the subjugation of Ares is depicted as he is chained and at her feet, a representation that was used by Botticelli as well in his work Mars and Venus, where Mars sleeps as Venus looks on, serene and in control while he is unconscious and vulnerable without the composure of his female counterpart. As Venus holds court, the Platonian concept of beauty is evident in that the beauty of the soul is evident in the exterior, rather than residing wholly from the interior of an individual. The beauty of Venus is considered to be symbolic of her externalized grace. She is shown not to be lascivious, but to be serene and the ultimate portrayal of love. The three graces, companions of Venus, are depicted in their common dance formation. The figural representation is somewhat flat with some indication of the curvature of the body. The lighting is not clearly evident, but there is a slight indication through the curvature of the body as it reflects from off the canvas from the left forward of what would be the space. The coloration of the bodies is pale and somewhat unrealistic. The nudity is well evident, however, and modesty is not much considered. The depth of the work is flattened as the stand in a position that seems to almost be linear instead of circular. Raphael’s Three Graces 1501-1505 Raphael is responsible for redirecting figural representation toward “more profound human gestures and emotions” and is considered to have, even at his very young age, given his paintings “emotional and intellectual expression“ that had not been explored previous to his work (Pearson 9). His ideal was held as the goal to aspire to until the Modern period of art. The painting is very small, only seven inches square, and painted in oil. Raphael was very young, perhaps only 17 or 18 when the work was done. The curvature of the body is impressive, especially when the scale of the painting is taken into consideration. The three women are panted as having a more realistic form than the work of Cossa, with their stance and curvature soft and round. The light source is directional and clearly apparent, even in the softness of the detail. The coloration differs to the work by Cossa in that it is has a rosy more natural hue. Botticelli and Rubens: The Three Graces Explored Two more examples of the Three Graces can be found in the work of Rubens and Botticelli. The Botticelli example is from 1482 and shows the Graces in filmy clothing. While they are not as flat as the Cossa example, they are part of work that is classically 15th century as they are part of a large grouping of figures. The Rubens example from 1639 reveals the way in which the aesthetics of Raphael were expanded to create work that was very realistic and full of expressive emotional content. The figures are in movement against and with one another, creating visual tension that is balanced and exciting to view. The Three Graces in Literature The associations in literature of the Renaissance to from the pagan gods and goddesses to the Judeo-Christian themes can be seen through looking at the presence of the apple as the symbol for temptation in the Biblical story of the Garden of Eden, and as the reward for the contest between the three goddesses, a contest that had been designed to cause problems between the competing deities. The work of Milton in Paradise Lost reveals the desire for mankind for reaching Paradise. If one looks at the painting of the Three Graces, and the prevailing use of the apple, one can see a similarity in the reach for the perfection. The serenity in both paintings is comparable to the desire that is expressed to get back to that serenity by Milton. Paganistic imagery can be found in Paradise Lost. As an example, Milton says “Sing, Heavenly Muse, that, on the secret top of Oreb, or Sinai…” (Milton 3), therefore referring to a figure of Greek mythology within the first few lines. While based on the Bible for its story and theme, the work is based in structure on the epic poems of Homer’s the Illiad, and Virgil’s Aenid. The connection that the humanistic point of view made to the ancient Classical period not only affected the visual mediums, but the literary mediums as well. Conclusion The humanistic philosophies created a revival in interest in the Greek and Roman mythologies, creating a tide of secularized work that included pagan themes. The imagery of the Three Graces was a common pagan theme in Renaissance painting that is exampled in both the work of Cossa and Raphael. The imagery of the apple and the nude figures is both referenced to the pagan mythologies, but also with the story of the Garden of Eden. This interest in tying the ancient pagan religiosity with Christian mythologies was due to an interest in the Renaissance philosophers, artist, and writers to associate themselves with the ancient Classical works. The artwork shows a transition from the 15th century to the 16th century for the way in which the human figure is represented. A clear transition is seen from the more awkward and flat portrayal of Cossa to the softer, curve accentuated work of Raphael. However, both works reveal the same interest in the aesthetics of the human body and connect to a lighter use of pigment. While the 16th century was only beginning, Raphael reveals a new way of looking at the body that is then utilized by Rubens to create very realistic renditions of the human form. Works Cited Algazi, Gadi, Groebner, Valentin, Jussen, Bernard. Negotiating the gift: Premodern figurations of exchange. Gottengen: Vandenhoeck, 2003. Baedecker, Karl. London and its environs: Handbook for travellors. New York: Baedecker, 1894. Bodkin, Thomas. An approach to painting. New York: Routledge, 2010. Goodyear, William Henry. A history of art for classes, art students, and tourists in Europe. New York, The A. S. Barnes Company, 1889. Hankins, James. Plato in the Italian Renaissance. New York: The Trustees of Columbia University, 1990. Kleiner, Fred S. Gardner’s art through the ages: A global history. New York: Cengage Learning, 2008. Milton, John. Paradise Lost. Stilwell, Ks: Digireads, 2005. Pearson, Will. Mental floss presents condensed knowledge. New York: Harper Collins Publishers, 2004. Stemp, Richard. The secret language of the Renaissance: Decoding the hidden symbolism. New York: Sterling Publishing Company, 2006. Read More