Constant yearning for devotional objects, the religious art became the focus for many Renaissance artist. Desiring to fascinate patrons Renaissance artist were greatly concerned with painting realistic scenes and linear perspective was the method they found to portray space and depth in art; this technique helped make their art all the more captivating.
The Last Supper, after Leonardo da Vinci, probably 19th century, From the collection of: National Gallery of Art, Washington DC
What better work of art represents the title of this gallery than Leonardo Da Vinci's fresco"The Last Supper" ? None; Thus it was chosen as the opening piece to my gallery. By applying innovative artistic techniques developed earlier in the century Leonardo's use of one-point linear perspective, in which the vanishing point is at Christ’s head.
Perspective scenery, Diego de Siloé, Second third of 16th century, From the collection of: Museu Nacional d'Art de Catalunya - MNAC, Barcelona
As its title suggests this drawing presents the application of linear perspective with one vanishing point in the center. This technique creates a three-dimensional space on a flat surface conceiving the illusion of reality and the sensation of distance.
The Tower of Babel, Pieter Bruegel the Elder, 1563, From the collection of: Kunsthistorisches Museum Wien
This painting very cleary shows 3 different main planes and 3 distinct situations. The first upclose plane shows people finely dressed but ignorant to the obvious decaying of the building seen on the second plane in a certain distance. The tower to the left seems to be part under -construction, part complete and part already destroyed. The realism depicted here by the painter entices viewers by its richness of detail and storytelling.
The Sermon of Saint John the Baptist, Pieter Bruegel the Elder, 1566, From the collection of: Museum of Fine Arts, Budapest
Breaking away from Italian Renaissance I chose another painting from Pieter Bruegel one of the most prominent Flemish painters of its time. What I most like about Bruegel's work is the storytelling and the realism that corroborates it. This composition slowly guides the viewers eyes deep into the painting and suddenly the river in the background and the distant church take a more prominent role in the painting than the pale figure of John the baptist himself.
Vienna, Dominican Church, Bernardo Bellotto, called Canaletto, 1759/1760, From the collection of: Kunsthistorisches Museum Wien
Bernardo Belloto an Italian painter secluded in Vienna was a landscape painter. Many of his painting featuring churches like this baroque church - the Dominican Church. Although being the pioneer of 2-points linear perspective, here the painter made use of only one. The lines converge at the end of the street. What fascinates viewers most about Canalettos's painting is the meticulous attention architectural details very well represented in this realistic scenary.
Saint Catherine of Siena Receiving the Stigmata, Domenico Beccafumi, about 1513–1515, From the collection of: The J. Paul Getty Museum
What I find most compelling about this painting is not the techniques applied, its dull colors nor its rather small size but the message it conveys. This painting depicts the legend of Saint Catherine receiving the stigma - She is obviously being overtaken by a greater power. Beccafumi uses a striking pose to demonstrate the ecstasy of the saint; portraying realism.
Taddeo Decorating the Facade of Palazzo Mattei, about 1595, From the collection of: The J. Paul Getty Museum
What fascinates me most about this drawing is the fact that it portraits great artist of the Renaissance period; not only Taddeo himself is pictured standing on the scaffoldings as he works on decorating the facade of the palazzo but Michelangelo also appears on the horse; Vasari and Francesco Salviate are also portrayed talking and gesticulating about Taddeo's work. The opulence, the details, the depth, the perfect use of shadow, the impeccable geometry all together is the optimum recipe for enchantment.
Treasure Room Fresco, Benvenuto Tisi called Il Garofalo, 1503 - 1506, From the collection of: National Archaeological Museum of Ferrara
Treasure Room Fresco is where Painting and architecture are confused and that is what makes this such an intriguing artwork. Prospective perspective lines lead the view from the lower parts upward towards the illusionistic opening at the center. The choices of colors and brightness pull viewers into the art.
Horse joust in Piazza Santa Croce, Jan Van der Straet (known as Giovanni Stradano), 1561/1562, From the collection of: Palazzo Vecchio Museum
Jan Van der Straet certainly was not as meticulous to detail as Canaletto, Zuccaro or Bruegel and did not master the perspective techniques as well as some fellows artis before him (notice lack of depth and detail on buildings facade) nevertheless he was able to portrait a traditional joust featuring nobles and knights on their horses.
The battle of Marciano in Val di Chiana, Giorgio Vasari, 1570/1571, From the collection of: Palazzo Vecchio Museum
As my eyes travel through this painting I can't help to notice the variety of different actions taking place, the correct distribution of proportion and infinite horizon adds to the astonishing effect. All of these perceptions by the viewers are achieved by the Vasari through the use of perspective techniques.
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