Megan Zalecki Essay 1 - Radford University 09 essay examples.pdf · Megan Zalecki . October 19, 2009 . Art 216 . Essay 1 . It is widely known that art grows and evolves, as many things

Megan Zalecki

October 19, 2009

Art 216

Essay 1

It is widely known that art grows and evolves, as many things do, when given enough time.

Between the parameters set by the early Renaissance and the late Baroque time periods in Italy,

however, the expansion can be simultaneously subtle (as in the change of scale or use of light) and

stark (when comparing Donatello's David to Bernini's David, for instance). A good majority of this

growth is found in two different areas: the expression of the sense of time referred to in an artwork and

the shift from the use of a single medium to a multi-media experience in a piece. I will focus first on

the similarities and differences of the time perceived in three David sculptures.

Given that time itself is the topic at hand, it makes sense to approach the many sculptural forms

of David in order of when they were created. However, to exemplify the importance of time as an

expanding element, the first David to be studied will be at the “beginning of the story,” the David of

Michelangelo Buonarroti (1501-1504). As seen in Figure 1, this colossal sculpture is one that portrays

the Biblical hero in the moments before the showdown between common man and giant enemy. The

young man is presumably focused on the foe off in the distance with deeply carved and troubled eyes.

His apprehension of the event to come seems to charge from his furrowed brow and tensing muscles.

This tension creates a sense of what is to come, a sense of time slowing and perhaps even coming to a

halt as he contemplates his next move. His heart is pounding as the giant's footsteps approach; he is

momentarily frozen but he will burst forth at any moment. This anticipation of time comes from the

pose, the expression, the very being of this High Renaissance sculpture that essentially characterizes

Michelangelo’s style of energy in reserve1

This sense of slowing but still passing time is quite unlike that found in the next David (1623)

by Gianlorenzo Bernini, illustrated in Figure 2. This work also shows the drastic change from the

Renaissance, a time period influenced by rationality and balance, to the Baroque, a time identified by

its dynamism and sense of theatricality as mentioned in class. It “illustrates [Bernini’s] own

metamorphosis of an iconic Renaissance tradition into a Baroque assault on this senses.”

2 This is a

David that cannot be kept in a corner somewhere, he requires his own space. Now captured in mid-

action, each of his limbs head violently in different directions. He, too, has a furrowed brow, but

instead of worry it portrays “intense concentration.”3 “Bernini selected the most dramatic of an

implied sequence of poses, so that the viewer has to think simultaneously of the continuum and of this

tiny fraction of it.”4

Compared with the previously discussed sculptures, Donatello’s bronze depiction of the boy as

seen in Figure 3 seems to have a staged quality, almost as if the artist asked the triumphant lad to pose

for a photograph. With his booted foot on the head of the defeated giant, this David (1440-1460) is still

and smirking. His body is relaxed and suggests little motion, although there is a fluid quality seen in the

movement of the streamlined light that runs from the brim of his hat to his feet and even to the

decapitated head of Goliath. When compared with the other two, this David sculpture seems to be

literally without time. He gazes down and does not involve the viewer; in fact, he does not even notice

that he has an audience. “The artist turned to antiquity for the representation of the nude and for the

Not only does this David tempt us into ducking to avoid the hurled stones, but it

forces us to think of what happens next, pushing our minds into the future as we “see” the event unfold

in time and space. We become part of the event as well.

1 Kleiner, Gardner's Art Through the Ages (Boston, MA: Wadsworth Cengage Learning, 2006), 468. 2 Charles Scribner III, Gianlorenzo Bernini (New York: Henry N. Abrams, Incorporated, 1991), 66. 3 Kleiner, Gardner's Art Through the Ages, 531. 4 Ibid.

static balance of the composition…” 5

Another form of expansion in Italian art from the Renaissance to the Baroque periods is the

inclusion of other mediums to take what was a typically single-medium work and transform it into a

multi-media experience. While in the Renaissance there was some experimentation with incorporating

more than one medium or using common material in new ways, it was not always successful;

Leonardo’s deteriorating Last Supper can attest to this.

Indeed he is static, and while his stillness does not exemplify

the suggestion of time passing, it demonstrates something more akin to a memory being recalled as

opposed to watching it take place.

6

In one of his earlier works, Bacchanal: Faun Teased by Cupids (1616-1617), Bernini “inhibits

the joyous re-creation of antiquity”

The popularity of the use of multimedia grew

exponentially within the Baroque period, particularly with Gianlorenzo Bernini, a man who truly

symbolizes the Italian Baroque period in sculpture and beyond.

7 in a work that is made of solely marble. The subject matter is

mythological, alluding to the contest between heavenly and earthly love8, and as such is highly

influenced by classical pieces. In Figure 4, a faun is depicted reaching desperately for fruit, grapes in

particular, but cannot seem to get past the two cherubs defending these symbols of love. The beauty of

this work rests in its singularity: it is a traditional sculpture standing alone. It does not need to interact

with other media to enhance its appeal, because the impetus to walk around this work and view it from

all sides is enough.9

Bernini begins to incorporate more material, but he eases into this purposefully and diligently.

5 Giovanna Gaeta Bertela, The Library of Great Masters: Donatello (Scala/Riverside), 19. 6 Kleiner, Gardner’s Art Through the Ages, 460. 7 Charles Scribner III, Gianlorenzo Bernini (New York: Henry N. Abrams, Incorporated, 1991), 54. 8 Ibid. 9 Ibid.

One could argue that the Baldacchino (1624) is a multimedia work as the colossal bronze solomonic

columns rest on marble pedestals. However, the Tomb of Urban VIII (1627-47) shows a much more

substantial use of the differing media and the growth of its acclamation. Marble and bronze are

balanced and complementary in this commemorative sculpture. The figures of Caritas (Divine Love)

and Justice depicted as classical nudes-- as well as the platform on which the sculptural pope gives a

benediction-- create a “pyramid” composition of marble while the tomb and the sculpture of the pope

make a commanding contrast with the dark bronze.10

The Cornaro Chapel in the Santa Maria della Victoria is the culmination of Bernini’s strengths

and intuition. “According to his earliest biographers, Bernini was ‘the first to attempt to combine

architecture, painting, and sculpture in such a way that together they make a beautiful whole (un bel

composto).’”

In the Baroque period, Bernini found a way to

incorporate both marble and bronze in a balanced and exciting way, whereas earlier (during the

Renaissance or otherwise) a sculpture would have typically used just marble or just bronze. The

incorporation of numerous materials adds a depth to a work that was previously unseen.

11

Saint Teresa is shown in marble and, as expected, in ecstasy. The marble seems to morph

textures as it moves from the wings of the angel to the skin and fabric and eventually to the cloud, also

Bernini uses marble, stucco, fresco, and bronze (as well as tinted glass to create a

source of golden light) to create much more than an artwork to be merely gazed upon, but an event to

be experienced along with the subjects of this work. The event depicted in the center of the chapel is

that of Saint Teresa of Avila, founder of the Discalced Carmelites. It can be said that she is known for

her transcendent visions and detailed descriptions of her encounters with God. Her almost infamous

passage of the angel plunging a spear into her heart sets the scene being depicted.

10 Scribner III, Gianlorenzo Bernini, 78. 11 Ibid.

carved from the very same rock.12

To briefly summarize, between the Renaissance and the late Baroque periods in Italy there were

great expansions in the time expressed in an artwork and also the use of multiple materials. Whether

the time was expressing the sense of “before, during, and after” an occurrence or the artist used one

medium or more, many if not all of these works had great impact on the viewer and other artists as

well.

Also in marble are two groups of the Cornaro family who

commissioned the piece, discussing the scene taking place. Like we discussed in class, it is an artwork

within an artwork: we are watching them watching her. As the eye keeps feasting upon this Baroque

masterpiece, the painted stucco background and the bronze Last Supper scene near the bottom come

into view. The use of many materials adds a multidimensional element to this work that enhances its

impact.

12 Kleiner, Gardener's Art Through the Ages, 532.

Illustrations Figure 1

David, Michelangelo Buonarotti, Image Source: http://media.photobucket.com/image/michelangelo%252527s%20david/nunnsusanm/Italy-DavidWhataGuy.jpg

Figure 2

David (multiple views), Gianlorenzo Bernini Image Source: http://smarthistory.org/assets/images/images/berninidavid2.gif

Image Source: http://www.shafe.co.uk/crystal/images/lshafe/Bernini_David_1623-24.jpg Figure 3

David, Donatello Image Source: http://faculty.cua.edu/pennington/ChurchHistory220/images/donatellodavid9.JPG Figure 4

Bacchanal: Faun Teased by Cupids, Gianlorenzo Bernini, c. 1616-1617 Image Source: http://www.metmuseum.org/toah/images/h2/h2_1976.92.jpg Figure 5

Tomb of Urban VII, Gianlorenzo Bernini, c.1627-47 Image Source: http://www.humanitiesweb.org/gallery/154/9.jpg Figure 6

Ecstasy of Saint Teresa, Cornaro Chapel, Gianlorenzo Bernini, 1645-1652 Image Source: http://www.angelsanddemonsinrome.com/assets/gallery/stTeresa.jpg

Essay 1, by Shannon Lipscomb

Word count: 1480

Throughout history art has changed drastically, being influenced by many factors

including but never limited to; artist location, state of the economy, availability of

materials, introduction of new materials, state of the church, and of course cultural

developments. Let us never overlook the most important source of art though, the artist.

Not only must the artist be taken into account but also the artist’s backgrounds,

influences, and extremely importantly, their patrons. Over time the role and nature of the

artists and their patrons changed dramatically, influencing the artworks themselves,

notably from the times of pre-renaissance to the time of the high renaissance. As culture

became less religiously affiliated and moved toward a more secular time, the subject

matter, style, and patrons of all art changed in very dramatic ways, within a period of about

400 years starting in the 13th century and ending at the very beginning of the 17th century.

Starting in 1235 with the St. Francis Altarpiece by Bonaventura Berlinghieri (figure

1) we see Berlinghieri’s strong influences of the maniera greca style, noted in the

symmetry of the painting, golden background, flatness, and lack of naturalism presented.

Berlinghieri’s painting was also created under the influence of an increasing importance in

the role of religious orders in late medieval Italy, specifically that of St. Francis’s Franciscan

order who commissioned the piece in order to provoke through the general public, thought

of the importance of the saint and his message, and also to demonstrate their own

dedication to teaching his word and assisting citizens in reducing the emotional burdens of

everyday life.[1] The artist at this time was treated almost as an assistant to religious affairs

and religious expression.

Moving forward 70 years to Giotto Di Bondone’s Arena Chapel frescoes from 1305

(figure 2), we see similarities with Berlinghieri’s religious subject matter but already

differences appear in style, patron, and the reasons the artwork was commissioned.

Although Giotto is often regarded as the first renaissance painter[2], his style still does not

reflect quite as much naturalism as that of the renaissance nor more secular subjects,

however he does break away from the maniera greca style as far as symmetry and flatness

go. These frescoes were created with the intention of decorating the private chapel of

banker Enrico Scrovegni, who commissioned the works in order to show a more spiritual

side to his family and make amends for his exploitation of the people who banked with

him.[3] Essentially, the chapel and its artwork were a feeble attempt by Scrovegni to use

religion to make other people think he was not a bad person. However, the wide use of

blue paint as well as the vastness of the project itself only helped Scrovegni to show his

large amount of wealth, which more or less made it a moot point to try and make up for the

greed he had inflicted on others. Already, only 70 years after the St. Francis Altarpiece, we

see religious works still created, however not at all with the same intentions. Patrons had

gone from commissioning for a greater good, to commissioning for selfish reasons. The

role of the artist had gone from helping people help others through artwork, to helping

people fulfill their selfish wishes through artwork.

In 1338, the three frescoes created for Siena’s Palazzo Pubblico by Ambrogio

Lorenzetti, Allegory of Good Government, Bad Government and the Effects of Bad

Government in the City, and Effects of Good Government in the City and in the Country

(figure 3) came to a middling purpose of helping both the patrons, and the subjects of the

patrons. The city hall of Siena had these works commissioned due to “turbulent politics of

the Italian cities,” “…for solemn reminders of fair and just administration.”[4] Lorenzetti’s

objective as commissioned by the city government was to provide these reminders to the

city council of Siena so that they would properly and justly run their city, after great and

violent party struggles had been present in state governments. This resulted in influencing

the artworks themselves, by allowing Lorenzetti to show off a rapidly growing knowledge

of perspective and also giving him the opportunity to create one of the first landscapes

seen in Western art since antiquity.[5]

The works of pre-renaissance were essentially religious, with a notable exception of

Lorenzetti’s frescoes. Overall it was seen that the artworks were commissioned to reach a

larger audience of people; the Scrovegni Chapel frescoes being a prime example of patrons

beginning to move from religious groups, government groups, and organizations in

general, to single people, or families.

Several changes occurred in the high renaissance. Although the ceiling of the

Sistine Chapel, (figure 4) painted from 1508-1512 by Michelangelo Buonarroti was

commissioned by pope Julius II himself, it was not for a similar reason to when religious

works were commissioned in the 13th century. While works had previously been

commissioned to provoke thought with the general public, Julius II commissioned artworks

in order to “present an authoritative image of his rule and reinforce the primacy of the

Catholic church.”[6] With this being the pope’s intent, Michelangelo absolutely succeeded.

Using his primary interest in sculpture, Michelangelo managed to weave together over 300

figures whose bodies and actions stand out extremely well contrasted with their

surroundings making many of the figures seem like not just paintings, but reliefs. The

colossal undertaking “…presents a sweeping chronology of Christianity…”[7] featuring all

aspects of humanity; the creation, fall, and redemption of man. All of these ideas were

likely picked by the pope himself with help from a theological adviser[8], and Michelangelo

excelled in presenting them, in great detail, which was a feat for him as he was not

particularly familiar with fresco painting when he began. The form, detail, and scale of

Michelangelo’s work on the Sistine Chapel absolutely reflect what the pope wished the

artwork to express about his 10-year papacy in the Catholic Church.

In 1529 Feast of the Gods painted by Giovanni Bellini and Titian (figure 5), was

commissioned by the duke of Ferrara, Alfonso d’Este for a room in the Palazzo Ducale.[9]

The painting reflects the increasing secularism of the renaissance by taking the Olympian

gods and depicting them as peasants enjoying a shady picnic.[10] This painting was more

secular, mellow, and poetic, and less glorifying because the patron was commissioning the

piece for a home. In order to make the painting more enjoyable for the patron, the artists

used vivid color, and overall a more sensual concept than a traditional one. This was a huge

change from the pre-renaissance where artwork was generally created to express more

serious ideas. The painting is a prime example of new techniques used at the time, the first

being colorito, the Venetian’s use of color and paint application as opposed to an emphasis

on pre-planning disegno, drawing and design.[11] The painting is secondly and excellent

example of the development of Venetian poesia, in which works which are meant to evoke

emotion from the viewer similar to those emotions or ideas expressed by poetry.[12]

A portrait of Isabella d’Este, the daughter of Alfonso, painted by Titian in 1534

(figure 6) is a very good example of the artist working to please the patron. Titian reveals

his skill of emphasizing the head and hands in the portrait by allowing Isabella’s clothing to

fade into the background highlighting her face and hands, an impressive feat due to the

fact that Titian had to paint the portrait by using an earlier portrait as a guide. This is

because the portrait of 20-year-old Isabella was painted by Titian when Isabella was 60

years old,[13] because that is what she asked for; which goes to show Titian’s dedication to

his patron’s wishes.

Overall it can be seen that in the high renaissance, patrons were much more

involved in how their commissions were created. It does seem that there were higher

expectations of the works and the artists went to greater lengths to meet and exceed them

due to this closeness with the patrons. Subject matter became seemingly less religious

although not entirely secular with a secular twist being put into some works that were

meant to be religious. The patrons themselves changed with less guilds and religious

groups commissioning works and many more individuals commissioning works. This can

also be pointed to as a reason why works became more secular; works for homes and not

private chapels or churches were not needed to be religious. The artists were forced to step

out of their comfort zones thinking back on Michelangelo having not done much work with

frescoes, and were also made to make use of new ideas and techniques in order for their

works to excel in beauty. This can be seen in the use of Bellini and Titian’s colorito and

poesia, and also in Titian’s inventiveness of using a previous portrait of Isabella d’Este to

make an even more distinctive portrayal of the woman in the prime of her youth.

______________________________________ 1Fred S. Kleiner, Gardner’s Art through the Ages: The Western Perspective, Thirteenth Edition, Vol.

II (Boston: Wadsworth, Cengage Learning, 2010, 2006), 378. 2Gardner’s Art through the Ages, 381. 3Gardner’s Art through the Ages, 382. 4Gardner’s Art through the Ages, 391. 5Gardner’s Art through the Ages, 391. 6Gardner’s Art through the Ages, 462. 7Gardner’s Art through the Ages, 472. 8Garnder’s Art through the Ages, 471. 9Gardner’s Art through the Ages, 483. 10Gardner’s Art through the Ages, 483. 11Gardner’s Art through the Ages, 483. 12Gardner’s Art through the Ages, 485. 13Gardner’s Art through the Ages, 488.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

A. Renee Stanley

Art 216 Fall 2009

Essay 1

Stanza della Segnatura

The Stanza della Segnatura (the signing room), one of the papal apartments in the Vatican Museum

(Rome, Italy), was commissioned by Pope Julius II to be painted by Raphael in 1509. The room was used by the

Pope as a private library and was where he signed all of his important documents. The room was meant to be

experienced as a whole, the unity of the world of knowledge, Christian and pagan, and was a visual

interpretation of the culture of the papal court during the High Renaissance.1

In School of Athens(fig1), which some historians believe was the last of the frescos to be painted,

Raphael takes a significant step forward in use of color and chiaroscuro.

The Stanza della Segnatura’s

walls are divided into four frescos. The most recognizable of these is School of Athens which is painted to

represent Philosophy as one of the four parts of learning. The other three are Disputa which is directly across

the room which represents Theology; Parnassus which represents Poetry; and Jurisprudence which represents

Law. The ceiling of this room also helps to unite the four walls and is painted to look like a dome. In this essay I

will discuss the four wall frescos, the ceiling, and how they work together in harmony from my research and

real-life observations.

2 The coloring is very naturalistic and

soft with light coming from the upper right. This became a model for future artists to learn the “correct” way

to paint, as well as the perspective used to create the architecture of the scene which is very stage-like. The

architecture is like ancient Roman baths and basilicas, putting Greek philosophers in a Roman building. The

architecture is very much Renaissance, governed by reason and grandeur, having the intersection of barrel

vaults with a drum and window, and decoration of statuary. The only two recognizable statues are: on the left,

Apollo god of music, which looks to his abode in Panassus, and on the right, Athena (or Minerva) goddess of

wisdom, which is adjacent to Jurisprudence. The painting of famous men and heroes was not uncommon in

libraries and civic places, but Raphael puts them together (like altarpieces with sacre conversazione3

1 Marcia Hall, Raphael’s School of Athens (Cambridge, Cambridge University Press, 1997), 41.

) in

dialogue with each other. Many of the characters of this fresco are recognizable, such as Plato and Aristotle

which are the main focus of the painting (this was a great controversy in the mid fifteenth century, but

2 Raphael’s School of Athens, 40. 3 Raphael’s School of Athens, 9.

brought together in harmony here)4

The titles of the books as well as other things written in the painting are able to be read by the viewer

and help to identify the people in the painting. On the left, Plato’s side is Pythagoras writing his arithmetic

philosophy based on the harmonic proportions of music, with students looking on. Above Pythagoras is

Socrates is armor. To the right of Pythagoras is Heraclitus (thought to be the portrait of Michelangelo) in

thought on the stairs, and Diogenes lying on the stairs. On the right, Aristotle’s side is Euclid (who looks like

Bramante) with his compass teaching geometry to his students. To the right of Euclid are Ptolemy whose back

is facing out (terrestrial geography) and Strabo (celestial) whose face is visible, with globes. Further to the

right is a self portrait of Raphael looking out. Above is Zoroaster shown by himself in red. Also, on both sides is

a figure that is thought to be Pico della Mirandola, whose is also thought to be in Disputa looking out as well.

On the left side he is shown detached, facing out in the white toga. On the right he is shown walking up the

stairs with his back facing out. This further unites Theology and Philosophy.

. They are framed by the architecture as well as being the focal point of

the painting. On the left side, Plato has an upward gesture and holds his book of Timaeus which represents

natural science that leads to the divine. On the right, Aristotle has a downward gesture and holds his book of

Ethics which states you can naturalize even the divine.

5

The Disputa (fig2) is on the wall opposite School of Athens. Its placement is significant to unite

Theology and Philosophy. In the fresco there is a Trinity focus. The top center is God the Father blessing with

His right hand with an angelic host. The middle hemicycle has God the Son framed by the Madonna and St.

John the Baptist surrounded by figures from the Hebrew Bible and New Testament. Adam, St. John the

Evangelist, David, St. Lawrence, St. Stephen, Moses, St. James the Less, and Abraham flanked by Roman

themed ends of St. Peter and St. Paul. All of which are referenced by inscriptions on halos or book titles. Puttti

are holding up the cloud they are sitting on and display the four gospels. The lower hemicycle has the is the

Doctors of the Latin Church, St. Thomas Aquinas, St. Bonaventure, Pope Innocent III, Pope Sixtus IV, and Dante

(who is also present in Parnassus) discussing Christian faith.

6 The architecture is invisible but the way the cloud

forms and the altar in the center gives you the feeling you are in the apse of a church.7

The Parnassus(fig 3), which represents Poetry, is on one of the shorter walls that has a window in it.

Raphael uses the window to his advantage because it helps raise the mountain setting of Apollo’s mountain

4 Christiane L. Joost-Gaugier, Plato and Aristotle and their Retinue: Meaning in Raphael’s School of Athens (Gazette des Beaux-Arts, 2001) 149-164. 5 See Christiane L. Joost-Gaugier, Raphael’s Stanza della Segnatura (Cambridge University Press, 2002) for discussion of these theories 6 Raphael’s Stanza della Segnatura, 66. 7 Raphael’s School of Athens, 15.

abode of Parnassus. The mountain is said to have a cave in it where the window is.8 Apollo is sitting on top of

the mountain playing a lyre surrounded by Muses, two of which are holding masks of Comedy (Thalia) and

Tragedy (Melomene). Also, recognizable are Homer, Dante, and Virgil and another self portrait looking out at

the viewer. On the lower left is Sappho (who is labeled) the only female represented on all four walls is the

first poetess and inventor of lyric poetry and the art of poetic singing to the accompaniment of strings.9

On the

lower right is Pindar, the greatest lyric poet of Greece. Apollo, above the mortals Sappho and Pindar create a

triangle in this composition.

The Jurisprudence (fig 4), which represents Law, is on the opposite shorter wall with a window from

the Parnassus. This fresco has three separate scenes that work together. On the left bottom Justinian is

receiving Civil law (Roman law) and on the right bottom is Pope Julius II who poses for Pope Gregory receiving

the Canon law (Christian law). At the top are three female figures that could be one of two theories. The first is

the Cardinal virtues with Prudence (center), Temperence (with bridle and bit), and Fortitude (with lion) who

holds the oak tree (a symbol of the Pope). With this theory Virtue is missing, but is found above in the roundel

in the ceiling above Jurisprudence.10 The second is the three graces over mortals set in the sky because they

are the daughters of Zeus, agents in administering Zeus’s law.11

This theory relates to Greek mythology that

would harmonize Greek, Roman, and Christian law.

The ceiling (fig 6) of the Stanza della Segnatura demonstrates the interrelationships between all four

walls, which some art historians believe was painted first in the room. All four walls have a roundel over them

which have a personification and an inscription of the wall below. Between the four roundels are four

rectangular pictures that link the two walls that they are between. In the small pictures between the roundels

are events in Roman history and scenes relating to the four elements. In the middle is an octagon with putti

heralding Julius. The number four is greatly revered in antiquity and by Pythagoras.12

All the sets of four with

the eight-sided octagon in the center harmonize the four walls. Raphael helps disguise the fact that the room

is irregularly shaped with the way he painted the ceiling. The room looks like a seamless cube. The ceiling in

person sparkles with all the gold mosaic backgrounds that are Byzantine like.

8 Raphael’s Stanza della Segnatura, 117. 9 Raphael’s Stanza della Segnatura, 118. 10 Raphael’s School of Athens, 18. 11 Raphael’s Stanza della Segnatura, 144. 12 Raphael’s Stanza della Segnatura, 46.

Over School of Athens is a seated enthroned woman who is the personification of Philosophy (fig 6),

with the inscription Causarum Cognito which means “knowledge of things that leads to God” or “knowledge of

causes”. Over Disputa is a personification of Theology (fig 6), a seated woman in red, with the inscription

Divinar.Rev/ Notitia which means “to learn the things of God is to have knowledge of the divine” or

“knowledge of things divine”. The natural and divine knowledge are balanced across the room from each

other. Over Parnassus is a personification of Poetry (fig 6), a woman with a harp and book, with the inscription

Nvmine Afflatur which means “breath of divinity” or “inspired by the divine”. Over Jurisprudence is the

personification of Justice (fig 6), a woman with a sword with the inscription Ivs Svvm Uni Cumque (partly

revealed) which means “to everyone his own justice” or “to each his due”. These two show the balance

between the practical sciences and the knowledge gained by inspiration.13

The rectangular Victory of Apollo (fig 6) is between Poetry and Theology, where Apollo (depicted in

both Parnassus and School of Athens) is victorious over Marsyas and is awarded a crown of laurel. This is

diagonally across from Judgment of Solomon (fig 6) is between Law and Philosophy, where Solomon has to

choose the mother of a child. The two are connected by different ways of judgment and that the protagonists’

backs are turned to the viewer. The Fall of Man (fig 6) is between Law and Theology and represents the

beginnings of Theology from the first sin and the first need for the Lord’s authority. Diagonal from this is what

could be the Birth of Astrology (fig 6) in which Wisdom is depicted as the mother of philosophy that rolls the

Cosmos into existence, guiding and illuminating man.14

In conclusion, the Stanza della Segnatura is meant to be viewed as a whole with the ceiling and all four

walls harmonizing each other and bringing together Theology and Philosophy as well as Poetry and Law. The

marble mosaic floor, although not talked about earlier is also meant to be viewed as part of the whole with

the use of fours in the circles. One of my questions is what are all the bottom pictures in grisaille (example

fig5) below School of Athens and others around the room if the room is to be viewed as a whole?

Greek influence is seen as harmonizing with Roman culture. The influence of ancient architecture and

Pythagoras’s love of the number four are seen in the room. And Raphael’s use of color in partial tones and not

full strength as well as his chiaroscuro and perspective in School of Athens were well known internationally

and were studied as the “correct” way of painting for a long time. Also, the way that he makes a room that is

irregular in shape look like a perfect cube with the allusion of a dome on pendentives is spectacular. The way

13 Raphael’s Stanza della Segnatura, 47. 14 Raphael’s Stanza della Segnatura, 56.

that everything in the room is painted to look like some form of architecture even though it does not exist

takes the skill of a master like Raphael.

Figure 1. School of Athens

Figure 2. Disputa

Figure 3. Parnassus

Figure 4. Jurisprudence

Figure 5. Graisaille

Figure 6. Stanza della Segnatura, Ceiling

Figure 7. View with three walls of Stanza della Segnatura

Word Count 1,874

1 Kaitlyn Doyle: Essay #1

Kaitlyn Doyle Art 216: Essay #1

“Discuss the evolution of the artist’s self-portrait from the early Renaissance to early Modernism. Refer to at least 4 artists in your answer, with each artist representing a different time period/style. At least one of your

artists should be a woman, and at least one of should be questionable in that it is not identified as a self-portrait. Discuss the features of the style used and the intended meaning of the self-portrait in each case. Because self-portraits are not always called self-portraits or limited to an isolated image of the artist, you should address the ways in which the artist includes him or herself in the painting and how this affects the

meaning of both the category of self-portraits and the particular example you’ve chosen. As with question one, this may be limited to a portion of the 500-year period.”

Over the course of 150 years, the self portrait has undergone a drastic change from a hidden, almost

rare element of society to a respected means of conveying an artists’ talent. When the trend of self portraits

began, they were rare, and often unidentified, staying on the outskirts of an art world dominated entirely by

religious paintings. 150 years later, around 1600, self portraits were done often, and were done in creative

ways that demonstrated an artist’s talent.

In 1433, Jan Van Eyck, a Flemish painter, painted a portrait called “Man in a Red Turban”i

The words inscribed in the frame, “As I Can”, are slightly confusing. They seem to suggest that

although he did the portrait to the best of his ability, it could have been done better, or at least done

differently, by another artist. The lack of subject’s name is rather odd, considering that he did not skimp at all

on the rest of the information that the frame provides. One would assume that if he bothered to sign his

name, and include a date and quote, he would provide all of the information, not stop at one of the most

important elements of the art.

.The painting

was done very simply, with the entirety of the painting being the man’s face, turban, and fades away down his

neck and shoulders. Although Van Eyck never confirmed that it was, in fact, a self portrait, there are a few

signs that support the self-portrait theory. First, the direction that the subject’s eyes point in addition to the

reflection of the light in his eyes suggest that he is looking both towards the light source and the artist, which

would most likely not occur had there been a separate artist and subject. Secondly, Van Eyck inscribed the

frame surround the painting with his name, the date October 21, 1433, the words “As I Can”, but omitted

adding a subject’s name.

One interesting piece of information about this artwork is that, whether or not it is a self portrait, it is

the first known Western portrait that has been painted in one thousand years that has the subject looking

directly at the artist.ii While this information does not support or deny the self-portrait theory, it is an

interesting bit of information. I would argue that, with the above information, that this is the painting that

sparked the self-portrait trend. The other paintings discussed here will all include the subject looking directly

at the artist, which would clearly be influenced by Van Eyck’s “Man in a Red Turban”.

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Nearly 70 years after Jan Van Eyck’s “Man in a Red Turban”, during the Renaissance in Northern

Europe, Albrecht Durer painted “Self Portrait in a Fur Trimmed Coat”iii

It seems as though Durer used the opportunity of painting himself to showcase his wonderful

penchant for detail. The fur on his coat has a visual texture so real that it seems as though you could reach out

and feel it. The folds of the coat are so natural and gentle that you could almost just reach out and put the coat

on yourself. He has every detail covered beautifully, down to each individual hair in his beard and on his head.

, which was one of many self portraits

that he completed in his lifetime. In this painting, Durer is staring directly at the artist, and when viewing this

painting, it seems as though you can’t escape the watchful, almost gentle, glare of his eyes on you. No matter

where you look in the portrait, you always come back to making eye contact with the subject. This shows the

influence of Van Eyck’s “Man in a Red Turban” very strongly. As discussed previously, Durer is starting directly

at the artist, which is himself, and the main focus of the painting is a close up of himself, which is the same

basic principle as Jan Van Eyck’s portrait. The obvious similarities end there, but the overall structure of both

portraits remains the same.

This painting is modeled on paintings of Christ, which is actually a very obvious inspiration. The hair,

which shown as coming down to just past the shoulders, is the same length and similar coloring to the hair that

Christ is most often portrayed with. If we look at “Dead Christ”, by Andrea Mantegnaiv

In 1548, the self portrait was changed drastically by a female artist named Catharina van Hemessen. In

“Self Portrait”

, we can see some

similarities in the face, despite the fact that both are painted from completely different perspectives. Both

paintings share sharp features in both the face and hands, and realistic, very luscious fabrics and materials that

you could almost reach out and touch. Although I’m sure that he looked was influenced by many other

paintings of Christ, and maybe never even saw this one, it shares similar characteristics.

v, she accomplished two important things. First, she became the earliest known female artist to

paint a self portrait, which was at a time when female artists were just beginning to earn respect. Secondly,

she became the first artist, male or female, to paint a portrait of an artist at work. As we saw in the two self

portraits examined above, they were usually done with the subject simply sitting there, with no movement or

even a recognizable scene around him, versus including the occupational portrait within the self portrait. In the

painting, she represents herself very confidently, and takes on the appearance of an artist hard at work, who

has just momentarily glanced up to see the artist of the portrait.vi

Once again, we see the influence of Durer, but his influence is getting very faint, with the subject of

the portrait looking directly at the artist. In this one however, Hemessen’s eyes seem to fall flat, and the life

appears to die out of her face as you reach the eyes. However, her clothing is a completely different story. The

velvet of her dress is extremely rich and recognizable, particularly on her sleeves. The fact that the material is

obvious entirely through visual texture supports her talent as an artist.

Catharina van Hemessen greatly influenced another young female artist of her time with her self

portrait. Sometime in the late 1550s, a decade after Hemessen had completed her influential self portrait,

Sofonisba Anguissola painted a similar, mannerist one of herself. The basic concepts of both portraits are the

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same, with an artist hard at work at a painting, and just taking a momentary glance at the artist painting them.

However, Anguissola took hers a step further with “Bernardino Campi painting Sofonisba Anguissola”vii

There are really two paintings in one with this piece of art. The first painting is the portrait of Sofonisba

Anguissola, as painted by Bernardino Campi. Anguissola purposely painted herself as flat and two dimensional.

While the portrait of herself is done well, it is completely lifeless and plain. However, the painting of Campi, as

painted by Anguissola, is very three dimensional and realistic, with it seeming almost as though you are

standing in the room with him as he paints the portrait. The details on Campi are remarkable, from the

textured, graying hair to the folds of his coat. Even the expression on his face seems real, and could almost be

a photograph. This was done intentionally by Anguissola in order to show that she has surpassed her teacher’s

talent and fame.

. In her

self portrait, she is the painting being created by the artist. The artist in question is Bernardino Campi, her

teacher, as she remembered him from memory. Based on the date, there is no way that they would have still

been studying together or even that he could have been there to pose for the portrait.

In conclusion, the four main self portraits that have been studied until now are intertwined. Jan Van

Eyck’s “Man in a Red Turban” greatly influenced Albrecht Durer’s “Self Portrait in a Fur Trimmed Coat”, by the

way that both are staring directly at the artist, which was unheard of before Van Eyck’s painting. Catharina van

Hemessen’s “Self Portrait” is mildly influenced by Van Eyck, but the majority of the artwork was entirely her

own influence and ideas, not inspired by the work done by another artist, because she was the first to have a

portrait of both an artist at work, and a female self portrait. Lastly, Sofonisba Anguissola’s “Bernardino Campi

Painting Sofonisba Anguissola”, is influenced nearly entirely by Hemessen’s “Self Portrait”, as shown by the

same scene and style. Although many other self portraits were created during this time period, I feel as though

these are four of the most influential to portraits the art world, whether it is a self portrait or not.

i See Figure 1 ii See Fred S. Kleiner, Gardner’s Art Through The Ages: The Western Perspective (Wadsworth, 2006), for more information on this topic. iii See Figure 2 iv See Figure 2.1 v See Figure 3 vi Gardner’s Art Through The Ages: The Western Perspective vi See Figure 4 Bibliography

1. Fred S. Kleiner, Gardner’s Art Through The Ages: The Western Perspective (Boston: Wadsworth, 2006)

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Figure 1

Figure 2

Figure 2.1

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Figure 3

Figure 4

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Word Count (Essay Only): 1533