WELCOME TO THE

RENAISSANCE
PRESENTATION.
This presentation is about the history and artworks from the
Renaissance period in European history.
Group of the Renaissance presentation.
First part
Name: Chong Huey Ying
ID: 110059975

Second part
Name: Sharrvesh a/l Raguraman
ID: 110059725
 BRIEF HISTORY ABOUT
THE RENAISSANCE
PERIOD.
The Renaissance is a period in European history
marking the transition from the Middle Ages to
modernity and covering the 15th and 16th centuries.
It occurred after the crisis in the middle ages and was
associated with great social changes.
The Renaissance was fervent period of European
cultural, artistic, political and economic “rebirth”
following the Middle ages.

Portrait of a Italian
artist.
 LET’S EXTEND THE BRIEFING A BIT MORE…
This period is credited with bringing the gap between the Middle Ages and modern-day
civilization.

The Renaissance period promoted the rediscovery of classical philosophy, literature and art. Some
of the great thinkers, authors, statesmen, scientists and artist in human history thrived during this
era, while global exploration opened up new lands and cultures to European commerce. This first
takes place in Florence, Italy, a place with a rich cultural history where wealthy citizens could afford
to support budding artists and a cultural movement called humanism started to gain momentum in
Italy. Members of the powerful Medici family, which ruled Florence for more than 60 years, were
famous backers of the movement.

Great Italian writers, artists, politicians and others declared that they were participating in an
intellectual and artistic revolution that would be much different from what they experienced during
the Dark Ages.

The movement first expanded to other Italian city-states, such as Venice, Milan, Bologna, Ferrara and
Rome. Then, during the 15th century, Renaissance ideas spread from Italy to France and then
throughout western and northern Europe.
The dark ages refers to war,
Although other European countries experienced their Renaissance later than Italy, the impacts were ignorance and pandemics such
as the “Black Death”.
still revolutionary.

SIGNIFICANCE OF
THE RENAISSANCE
Renaissance is a French word meaning
rebirth. Renaissance is an important
period for specifically the arts,
philosophies, cultures for the European.
• Rebirth to the European cultural, artistic, political and
economic different from what they experienced during the
Dark ages.
• The rediscovery of classical philosophy, literature and art.
• Global exploration to new lands and cultures to European
commerce. Several important explorations were made.
• New shipping routes to the Americas, India and the Far East,
and explorers trekked across areas that weren’t fully mapped.
• Humanism encouraged Europeans to question the role of the
Roman Catholic church during the Renaissance. More people
learned how to read, write and interpret ideas, they began to
closely examine and critique religion.
 PHILOSOPHIES
• Aristotelianism – Improved access to a great deal of previously unknown literature from ancient
Greece and Rome was an important aspect of Renaissance philosophy. The renewed study of
Aristotle, however, was not so much because of the rediscovery of unknown texts.

• Humanism – The humanist movement did not eliminate older approaches to philosophy, but
contributed to change them in important ways, providing new information and new methods to
the field. Humanists called for a radical change of philosophy and uncovered older texts that
multiplied and hardened current philosophical discord. Humanism also had an impact of
overwhelming importance on the development of political thought.

• Platonism – During the Renaissance, it gradually became possible to take a broader view of
philosophy than the traditional Peripatetic framework permitted. No ancient revival had more
impact on the history of philosophy than the recovery of Platonism. The rich doctrinal content and
formal elegance of Platonism made it a plausible competitor of the Peripatetic tradition.
Renaissance Platonism was a product of humanism and marked a sharper break with medieval
philosophy

• Stoicism, Epicureanism, and Skepticism – underwent a revival over the course of the fifteenth and
sixteenth centuries as part of the ongoing recovery of ancient literature and thought.
RESULTING ART FORMS/STYLES

In very simple terms, the Italian Renaissance

re-established Western art according to the
principles of classical Greek art, especially
Greek sculpture and painting, which
provided much of the basis for the Grand
Tour, and which remained unchallenged
until Pablo Picasso and Cubism.

From the early 14th century, in their search

for a new set of artistic values and a
response to the courtly International Gothic
style, Italian artists and thinkers became
inspired by the ideas and forms of ancient
Greece and Rome. This was perfectly in tune
with their desire to create a universal, even
noble, form of art which could express the
new and more confident mood of the times.
 ITALIAN AND NORTHERN RENAISSANCE?
DIFFERENCE?
Italian Renaissance Northern Renaissance

• Scenes and characters from Bible and Greek • Scenes and character from Bible/local settings.
culture/myth.
• Uses of Christian themes in a symbolic matter.
• Uses of Christian/Greek classical themes in Examples, social moralistic context.
a symbolic matter – Christian context.
• Form: Linear style, crisp/visible outlines (Extension of
• Form: 3D modeling (chiaroscuro), linear and
the Gothic style).
atmospheric perspective, structural
composition. • Media: Mostly Oil paints.
• Media: Tempera and Fresco
• The Northern Renaissance was quite different in this
• A central theme throughout the Italian regard as painters more often focused their efforts on
Renaissance, however, was the idea of a portraying the world around them as it really was. In
some of the most famous works from the Northern
higher power and a divine order that Renaissance era, artists worked to depict everyone
pertains to everything related to life on from royal families to knights and warriors and even
Earth. peasants going about their daily routines.
 • Leonardo da Vinci (1452 – 1519): Italian painter, architect, inventor
and “Renaissance man”. Known for “The Mona Lisa” and “The Last
Supper” paintings.
• Giotto (1266 – 1400): Italian painter and architect. Known for his
frescoes in the Scrovegni Chapel in Padua.
• Titian (1488 – 1576) Italian painter. Known for “Venus and Adonis”
and "Metamorphoses”.
• William Shakespeare (1564 – 1616): England’s “national poet” and
the most famous playwright of all time. Known for “Romeo and
Juliet”
• Donatello (1386 – 1466): Italian sculptor celebrated for lifelike
sculptures like “David,” commissioned by the Medici family.
• Sandro Botticelli (1445 – 1510): Italian painter of “Birth of Venus”.
NAMES OF FAMOUS • Raphael (1483 – 1510): Italian painter who learned from da Vinci
ARTISTS IN and Michelangelo. Known for paintings of Madonna and “The
PARTICULAR. School of Athens”.
These artists are involved in the rebirth • Michelangelo (1475 – 1564): Italian sculptor, painter and architect
of Europe or rather the Renaissance who carved “David” and painted The Sistine Chapel in Rome.
period.
 ARTWORKS FROM THE
RENAISSANCE
∠( ᐛ 」∠)＿

Here are the artworks (according from the google classroom).

 “DAVID” BY DONATELLO AND “DAVID” BY
MICHELANGELO

By
Donatello By
Michelangelo
 THE STATUE OF DAVID BY DONATELLO
Donatello's David was incredibly innovative when it was produced, as it was the first known free-
standing nude statue created since antiquity and the first unsupported standing work in bronze
that was cast during the Renaissance. The first version of David was made in marble is Donatello's
earliest known important commission, and it is a work closely tied to tradition, giving few signs of
the innovative approach to representation that the artist would develop as he matured.

Although slightly overshadowed by Michelangelo's work now, Donatello's bronze statue remains
his most acclaimed piece which stands apart for its unique portrayal of the biblical hero.

Donatello’s "David" exhibits a style known as contrapposto. Contrapposto was a stance where a
person/figure was slightly bent as weight was placed on mainly one foot, which allowed for the
torso to shift off axis in order to maintain balance. This style represents a natural stance that people
use. One idea of Renaissance art was to capture way people looked and acted. "David’s stance is a
perfect example of a natural human position.

Scholars and artists have studied David for year to fully understand the meaning of it. What is
clear is that there are no accidental composition elements to "David". Donatello clearly had a
specific plan for the construction of this statute. The statue’s pose is graceful and feminine. He is
depicted with an expression that suggests purity, youth, and innocence.

The first version

of David. Made in
marble
 THE STATUE OF DAVID BY MICHELANGELO
David is a masterpiece of Renaissance sculpture, created in marble between 1501 and 1504 by the
Italian artist Michelangelo. David is a 5.17-metre (17 ft 0 in) marble statue of the Biblical figure David, a
favored subject in the art of Florence.

David was originally commissioned as one of a series of statues of prophets to be positioned along the
roofline of the east end of Florence Cathedral, but was instead placed in a public square, outside the
Palazzo Vecchio, the seat of civic government in Florence, in the Piazza della Signoria, where it was
unveiled on 8 September 1504. The statue was moved to the Galleria dell'Accademia, Florence, in
1873, and later replaced at the original location by a replica.

Because of the nature of the figure it represented, the statue soon came to symbolize the defense of
civil liberties embodied in the Republic of Florence, an independent city-state threatened on all sides
by more powerful rival states and by the hegemony of the Medici family. The eyes of David, with a
warning glare, were fixated towards Rome.

Traditionally, David had been portrayed after his victory, triumphant over the slain Goliath. Florentine
artists like Verrocchio, Ghiberti and Donatello all depicted their own version of David standing over
Goliath’s severed head. Michelangelo instead, for the first time ever, chooses to depict David before
the battle. David is tense: Michelangelo catches him at the apex of his concentration. He stands
relaxed, but alert, resting on a classical pose known as contrapposto. The figure stands with one leg
holding its full weight and the other leg forward, causing the figure’s hips and shoulders to rest at
opposing angles, giving a slight s-curve to the entire torso.
 FREE STANDING STATUE DEFINITION
It inhibits three-dimensional space in the same way that living things
do. A type of sculpture that is surrounded on all sides by space. Also
called sculpture in-the-round. To be viewed from all sides;
freestanding. Sculpture in the round cannot be appreciated from
only a single viewpoint but must circled and explored.
 CONTRAPPOSTO
Contrapposto is an Italian term that means "counterpoise". It is used in the visual arts to describe a human figure standing with most of
its weight on one foot, so that its shoulders and arms twist off-axis from the hips and legs in the axial plane.

First appearing in Ancient Greece in the early 5th century BCE, contrapposto is considered a crucial development in the history of
Ancient Greek art (and, by extension, Western art), as it marks the first time in Western art that the human body is used to express a
psychological disposition. The style was further developed and popularized by sculptors in the Hellenistic and Imperial Roman
periods, fell out of use in the Middle Ages, and was later revived during the Renaissance. Michelangelo's statue of David, one of the
most iconic sculptures in the world, is a famous example of contrapposto

Contrapposto was historically an important sculptural development, for its appearance marks the first time in Western art that the
human body is used to express a more relaxed psychological disposition. This gives the figure a more dynamic, or alternatively
relaxed appearance. In the frontal plane this also results in opposite levels of shoulders and hips, for example: if the right hip is higher
than the left; correspondingly the right shoulder will be lower than the left, and vice versa. The term can also be used to refer to
multiple figures which are in counter-pose (or opposite pose) to one another. It can further encompass the tension as a figure changes
from resting on a given leg to walking or running upon it (so-called ponderation). The leg that carries the weight of the body is known
as the engaged leg, the relaxed leg is known as the free leg. Contrapposto is less emphasized than the more sinuous S-curve, and
creates the illusion of past and future movement. A 2019 eye tracking study by showing that contrapposto acts as supernormal stimuli
and increases perceived attractiveness has provided evidence and insight as to why, in artistic presentation, goddesses of beauty and
love are often depicted in contrapposto pose. This later is supported in a neuroimaging study.

Classical contrapposto was revived in Renaissance art by the Italian artists Donatello and Leonardo da Vinci, followed by Michelangelo,
Raphael and other artists of the High Renaissance. One of the achievements of the Italian Renaissance was the re-discovery of
contrapposto.
 THE DEAD CHRIST BY ANDREA MANTEGNA
(FORESHORTENING)
One of the greatest Renaissance paintings of the quattrocento, this tempera
painting by the Padua artist Andrea Mantegna is probably the most famous
example of foreshortening in the history of art. Also known simply as The
Dead Christ or The Lamentation, it shows the corpse of Christ lying on a
marble slab, watched over by the grieving Virgin Mary and Saint John, who
are weeping for his death.

The realism and tragedy of the scene are enhanced by the perspective,
which foreshortens and dramatizes the recumbent figure, stressing the
anatomical details: in particular, Christ's thorax. The holes in Christ's hands
and feet, as well as the faces of the two mourners, are portrayed without any
concession to idealism or rhetoric. The sharply drawn drapery which covers
the corpse contributes to the dramatic effect. The composition places the
central focus of the image on Christ's genitals - an emphasis often found in
figures of Jesus, especially as an infant, in this period, which has been related
to a theological emphasis on the Humanity of Jesus by Leo Steinberg and
others. The space the figures are present in appears to be confined, small, Foreshortening means to shorten the
and somber, indicating to be a morgue. lines of (an object) in a drawing or other
representation so as to produce an
Mantegna presented both a harrowing study of a strongly foreshortened illusion of projection or extension in
cadaver and an intensely poignant depiction of a biblical tragedy. space.
“FORESHORTENING”
CEILING OF THE CAMERA BY ANDREA
MANTEGNA (TROMPE L’OEIL)
The paintings on the walls and ceilings of the Camera Picta by Mantegna
are frescoes. In his frescoes, Mantegna painted using illusionism,
effectively employing depth, aerial perspective, color, etc. In the interior
of the Camera Picta, Mantegna decorated the walls with many different
paintings.

In the ceiling painting, Mantegna skillfully integrated painted and real

architectural design. The ceiling painting in the Camera Picta room is the
very first painting to ever depict the point of view of a ceiling seen from
below (in Italian, these types of paintings are called di sotto in su, meaning
“from below upward”). In the painting, an oculus is created in the ceiling
and the ceiling seems to open up to a beautiful, clear, light blue, cloud-
filled sky. Putti (cupids) look down at the viewer, creating an interesting
twist in roles as the viewer becomes the viewed. The putti are very
foreshortened and create an amorous mood in the Room of the
Newlyweds. There are also painted spectators who look down at the
viewer, smiling. The peacock, seemingly random, holds great significance.
It is an attribute of Juno, Jupiter’s bride, who oversees lawful marriages.
Thus, Mantegna pulled off an impressive artistic feat, using perspective
and symbolism.
THE BIRTH OF VENUS BY SANDRO
BOTTICELLI
 THE GREEK MYTHOLOGY DURING THE
RENAISSANCE
During the Renaissance in Italy came the revival of many aspects of life and art. One major aspect was the return of mythology in art,
for prior to Renaissance all art was reflection of the church. In this paper I explore the use of mythology, mainly Greek and Roman
mythology, in renaissance art: why artists such as Botticelli used, what they symbolized and how the people viewed the art in context.

During the Middle Ages, the Church and Feudalism ruled over Europe in government and religion. Art was no exception, for anything
that was not associated with church or the bible was considered paganism, and frowned upon. In art the figures included and limited to
holy Christian figures such as Christ and Madonna, or Church dignitaries and or local rulers. When the Renaissance began in the early
1400s it began in Italy in city-states such as Florence, Rome, and Venice. With the change in tune from…show more content…

By using mythology artists were able to create art that were both beautiful and meaningful in hidden ways based on what imagery or
deities they used, and how they were used in context of their art. Often times mythology and the themes artists used around mythology
had much in common with humanism and moral values such as tolerance, thought freedom, peace and self-education. . In Malcolm Bull’s
book, The Mirror of the Gods. Classical Mythology in Renaissance Art, he speaks about how during the revival citizens and artists were
rediscovering the deities’ meanings and their relationship to one another , and many artists used the same deity with slightly different
context.

One of the most well known Renaissance artists that used mythology motifs in their work is Botticelli. He did many mythology paintings
surrounding the Greek goddess of love: Venus. Botticelli used her in theme of love but he also used Venus for her connection to beauty.

The characters, stories, themes and lessons of Greek mythology have shaped art and literature for thousands of years. They appear in
Renaissance paintings such as Botticelli’s Birth of Venus and Raphael’s Triumph of Galatea and writings like Dante’s Inferno; Romantic
poetry and libretti; and scores of more recent novels, plays and films.
MONA LISA BY LEONARDO
DA VINCI (SFUMATO)
Sfumato means the technique of allowing tones and colors to shade
gradually into one another, producing softened outlines or hazy forms.

The technique is a fine shading meant to produce a soft transition

between colors and tones, in order to achieve a more believable
image. It is most often used by making subtle gradations that do not
include lines or borders, from areas of light to areas of dark. The
technique was used not only to give an elusive and illusionistic
rendering of the human face but also to create rich atmospheric
effects. Leonardo da Vinci described the technique as blending colors,
without the use of lines or borders "in the manner of smoke".
INTERIOR OF SISTINE CHAPEL BY MICHELANGELO
BUONARROTI (INTERIOR ARCHITECTURE)

The ceiling appears as a flattened barrel vault that has been cut
transversely, creating a sequence of pendentives. The vault is cut
transversely by smaller vaults over the exterior windows, dividing it at its
lowest level.
The original vault was painted to the design of Piermatteo Lauro de'
Manfredi da Amelia. The pavement of the Chapel is a combination of
marble and a colored stone that marks the processional way from the
main door that the Pope follows on Palm Sunday.

The Sistine Chapel was originally divided into two equal sections by a
marble screen and a pattern of floor mosaics. One area was for the laity
and the other was a presbytery for the clergy. Then the screen was
moved to make the nave smaller and the presbytery much larger.
CREATION OF ADAM BY MICHELANGELO
BOUNARROTI (DETAILS)
 CREATION OF ADAM (DETAILS)
The Creation of Adam (Italian: Creazione di Adamo) is a fresco painting by Italian artist Michelangelo, which forms part of the
Sistine Chapel's ceiling, painted c. 1508–1512. It illustrates the Biblical creation narrative from the Book of Genesis in which
God gives life to Adam, the first man. The fresco is part of a complex iconographic scheme and is chronologically the fourth in
the series of panels depicting episodes from Genesis.

The image of the near-touching hands of God and Adam has become iconic of humanity. The painting has been reproduced in
countless imitations and parodies. Michelangelo's Creation of Adam is one of the most replicated religious paintings of all
time.

The composition stretches over 500 square metres of ceiling, and contains over 300 figures. At its centre are nine episodes
from the Book of Genesis, divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall
from God's grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the
ceiling are painted twelve men and women who prophesied the coming of Jesus; seven prophets of Israel and five Sibyls,
prophetic women of the Classical world. Among the most famous paintings on the ceiling are The Creation of Adam, Adam and
Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah and the Cumaean Sibyl.

Michelangelo heavily studied the human body and dissected numerous cadavers in his artistic career, and over time became
captivated by the male torso. In his treatises on painting and sculpture, Leon Battista Alberti, defined the male figure as a
"geometrical and harmonious sum of its parts". Michelangelo however, felt that the torso was the powerhouse of the male
body, and therefore warranted significant attention and mass in his art pieces. Thus, the torso in the Study represents an
idealization of the male form, “symbolic of the perfection of God’s creation before the fall".
 THE ARNOLFINI
MARRIAGE BY JAN
VAN EYCK
The Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini Marriage, the
Portrait of Giovanni Arnolfini and his Wife, or other titles) is a 1434 oil painting on
oak panel by the Early Netherlandish painter Jan van Eyck. It forms a full-length
double portrait, believed to depict the Italian merchant Giovanni di Nicolao
Arnolfini and his wife, presumably in their residence at the Flemish city of
Bruges.

The Arnolfini Portrait provides a clear pictorial record of the rank and social
status of the subjects. The woman's robe is trimmed with ermine fur and consists
of an inordinate amount of fabric. A personal maid would have been needed to
accompany the woman, to hold the garment off the ground. The man is dressed in
a plaited straw cap and a velvet cloak, lined with fur. These clothes place the
couple among the wealthy citizens of Bruges, though not yet in the top rank. The
somewhat restricted size of the chamber, the wooden clogs on the floor worn to
protect against street dirt, and the absence of ostentatious gold jewellery, all
indicate bourgeois rather than noble status. Nonetheless, the stained glass
window, chandelier, ornate mirror and oriental carpet, as well as the groom's
well-manicured hands and the expensive oranges on the side dresser, are visible
indicators of significant wealth.
 NATURALISM
Naturalism in Renaissance art was inspired by the lifelike accuracy of Classical sculpture, a quality that had disappeared from artistic
representation during the Dark and Middle Ages.

Elements of naturalism began to reappear during the Proto-Renaissance in the paintings of Giotto. In contrast to the flat, formal figures of
Byzantine art, Giotto introduced more lifelike forms whose eye contact, expressions, postures and gestures conveyed an unprecedented range of
emotions. They were also composed within an organized space where overlapping figures suggested the illusion of depth and constructed a
narrative flow. In their endeavour to match the naturalism of Classical beauty, many Renaissance artists took up the study of anatomy to increase
their knowledge of the human form. Some, like Leonardo, even went to the extent of dissecting dead bodies to explore the structures that lay
beneath the skin. Others like Michelangelo, were not only fascinated by the natural beauty of the human body but also used its expressive power
as an emotive force in their work. As the anatomical knowledge of artists increased, the clothes on their models subsequently decreased and the
nude returned as an acceptable subject in art for the first time since Antiquity.

A greater awareness of natural sciences such as botany and geology enhanced the scenic elements of an artwork to counterbalance the greater
naturalism of figures and create a unified composition. You can see how Leonardo uses his knowledge of both these sciences to embellish the
foreground of 'The Virgin of the Rocks' with botanical studies and enhance the mystical mood of its background with imaginative rock formations.
The invention of oil paint was another factor that made such a heightened level of naturalism possible. This new medium could produce an
intense array of colors, subtle blends of tone and unprecedented detail. Artists were now able to create more lifelike forms with an atmospheric
depth that was enhanced by their observation and understanding of natural light and shade.

In the Early Renaissance, one aspect of naturalism in art was related to the problem of arranging the figures and buildings in a landscape to
create the illusion of depth. A mathematical solution to this was discovered around 1413 by Leon Baptista Alberti (1404-72) and Filippo
Brunelleschi (1377-1446) when they developed the laws of linear perspective, one of the key innovations in Renaissance art. Perspective drawing
allowed artists to accurately portray the 3-dimensional world on a 2-dimensional surface from a fixed point of view. In Perugino's painting of
'Christ Giving the Keys of the Kingdom to St. Peter', we can see how the receding lines of perspective, created by the courtyard grid, all converge
at a vanishing point on the horizon, which is both the eye level of the artist (and viewer) and the center of their viewpoint.
 NATURALISM (PART 2)
During the High Renaissance, Naturalism was more concerned with refining the form of the
figure within an authentic looking background and combining these in a composition of
harmonic proportions. The Ancient Greeks saw mathematics as the foundation of beauty
and harmony and many Renaissance artists incorporated this concept into their
compositions. The artist whose paintings best combine the key elements of High
Renaissance art was Raphael. His style merged the intellectual rigour of Leonardo, the
expressive power of Michelangelo and the noble forms of Classical sculpture to achieve
what Vasari called 'the ultimate perfection' - a refined and dramatic harmony of the visual
elements of art.
The Renaissance process of observing, recording and refining the naturalism of an image
became the standard approach to drawing and painting for the next four hundred years.
THANK YOU FOR YOUR TIME!

NOW, ON TO PART 2!
RENAISSANCE PART 2
 Leonardo da Vinci
• Leonardo is among the greatest painters in the
history of art and is often credited as the founder
of the High Renaissance.

• Although he has many unfinished works, he also

made some of the most influential paintings in
western art.

• One of his paintings, the salvator mundi, was

even sold for US$ 450.3 million, making it the
most expensive painting sold at a public auction.

• While many of da Vinci's designs seem far-

fetched, he did work on ideas and items we use
today. He created the first usable versions of
scissors, portable bridges, diving suits, a mirror-
grinding machine similar to those used to make
telescopes, and a machine to produce screws.
 DA VINCI’S ARTWORK
Adoration of the Magi
• An unfinished painting commissioned by the Augustinian monks.

• It shows Virgin Mary and her child with the Magi kneeling in
adoration.

• The magi were the three distinguished foreigners who visited

Mary when Baby jesus was born.

• This artwork also shows people fighting on horseback in the

background.

• The ruins are a possible reference to the Basilica of Maxentius,

which, according to Medieval legend, the Romans claimed would
stand until a virgin gave birth. It is supposed to have collapsed on
the night of Christ's birth (in fact it was not even built until a later
date).

• The ruins and the people fighting in the background look smaller
due to the use of linear perspective.
 ANOTHER ONE:

The Vitruvian Man

• The artwork shows the "ideal" man according to a Roman

architect called Vitruvius hence the name

• Even thought the artwork was published in 1810, it only

received fame when reproduced in the late 19th century.

• Leonardo used his knowledge of proportion to make this

drawing which is a blend of art and maths.

• Since the drawing was so fragile, many attempts to move it

from one museum to another have been cancelled.
 THE LAST SUPPER
It is a late 15th century painting made by Leonardo da
Vinci.

The painting was meant to depict the last supper Jesus had
with his apostles, around the time Jesus announced that
they would betray him.

If you look closely, you can see the vanishing point which
is in the middle of Jesus's head, giving the picture depth.

Since the book The da Vinci code was published in 2003,

many people have been trying to find out hidden
messages in the painting which could be related to da
Vinci himself.

Especially the letter M in the picture, how the apostles are

in groups of 3 and how the way Jesus is sitting forms a
triangle.
THE HOLY TRINITY BY MASACCIO

The Holy Trinity, with the Virgin and Saint John and donors is a
fresco by the Early Italian Renaissance painter Masaccio. It is
located in the Dominican church of Santa Maria Novella, in
Florence.

This painting is known to be one of Masaccio's masterpieces

finished around 1425-27, which was made just before he died
during the year 1428.

Although not so obvious, the vanishing line is the floor where

the two people are kneeling down.

The three points of the triangle, The Father, The Son and The
Holy Spirit was initially known as The Mother, Maiden and
Crone, the neo-pagan triple goddess.
SO WHO IS MASACCIO?

Masaccio, real name Tommaso di Ser

Giovanni di Simone, was born in the year
1401.

He only lived for 27 years but in that time

he had made many greats pieces of art,
including The Holy Trinity, Brancacci
Chapel and Pisa Alterpiece.

He was one of the first to use linear

perspective in his painting, employing
techniques such as vanishing point in art
for the first time.
 THE SCHOOL OF ATHENS
It is a fresco by the Italian Renaissance artist Raphael,
made during the early 1400s.

Raphael, an artist and architect, is one of the traditional

trinity of the Renaissanse Period, the other 2 being da
Vinci and Michaelangelo.

The building is in the shape of a Greek cross which is

supposed to depict harmony between Pagan and
Christian beliefs.

In the centre u can see two people, Plato and Aristotle.

Plato is pointing up while Aristotle is gesturing forward. It
is believed that the gestures indicate their aspects of their
philosophies.

Also, Plato didn’t actually look like that. Raphael purposely

painted the man pointing up to look like Leonardo da
Vinci, the person who taught Rafael how to use linear
perspective.
 KNIGHT, DEATH AND THE
DEVIL
First things first, its not a painting or drawing.

One of the three Meisterstiche works made by

Albrecht Dürer.

This image has been infused with many complex

iconography and symbolism that no precise
meaning has been confirmed yet.

The knight looks determined but his face is actually

showing that he feels unpleasent.

The tablet beside the skull shows the year it was

finished and the artist's signature.
HIERONYMUS BOSCH
Bosch was a Dutch painter who generally did oil on oak wood
art.

No one really knows when he was born or who taught him

how to paint.

Even though not much is known about him, he is famous for

his Flemish artwork and his knowledge on humans deepest
desires and fears.

He made many artworks such as The Crucifixion of St Julia,

The Seven Dealy Sins and the Four Last Things and Garden of
Earthly Delights.

However, nowadays no one really knows which painting was

really made by him since his signature is only found on 7
paintings.
THE GARDEN OF EARTHLY DELIGHTS
It's one of Bosch's oil on oak painting that is also known as a triptych.

The exterior of this triptych shows the world we live in during creation.

The exterior was painted using only shades of green and gray.

Since we can't see forms of life expect for plant life, it is likely that Bosch was portraying the
events of the Third Day according to biblical records.

The inner panels (from left to right) shows The garden of Eden, The gerden of Earthly Delights and
Hell.

According to Hans Belting, the three inner panels seek to broadly convey the Old Testament
notion that, before the Fall, there was no defined boundary between good and evil; humanity in its
innocence was unaware of consequence.

Hans Belting is a German author, historian and theorist of the renaissance art period. Born in 1935,
he is 85 years old now.

*triptych - is a work of art that is divided into three sections, or three carved panels that
are hinged together and can be folded shut or displayed open.
 REFERENCE
• https://www.history.com/topics/renaissance/renaissance
• https://en.wikipedia.org/wiki/Renaissance
• http://www.italianrenaissance.org/why-is-the-renaissance-important/
• https://iep.utm.edu/renaissa/
• https://www.artst.org/italian-renaissance-vs-northern-
renaissance/#:~:text=%20Italian%20Renaissance%20vs%20Northern%20Renaissance%
20%201,secret%20that%20much%20of%20the%20Italian...%20More%20
• https://classroom.google.com/u/0/c/MzM2MzU3ODIyMTky/a/MzQzNTE5ODY4NDE3/det
ails
• http://www.visual-arts-cork.com/renaissance-art.htm#characteristics
• http://www.visual-arts-cork.com/famous-paintings/lamentation-over-the-dead-
christ.htm#:~:text=the%20most%20famous%20example%20of%20foreshorteningin%20t
he%20history,are%20weeping%20for%20his%20death.%20Unlike%20most%20religious
• https://17green.wordpress.com/2014/03/14/trompe-loeil-andrea-mantegna/
 REFERENCE (2)
• https://en.wikipedia.org/wiki/Lamentation_of_Christ_(Mantegna)
• https://www.thebalancesmb.com/how-the-sistine-chapel-was-built-844358
• https://www.wikiart.org/en/michelangelo/the-creation-of-adam-detail-1512
• https://en.wikipedia.org/wiki/The_Creation_of_Adam
• https://en.wikipedia.org/wiki/Sfumato
• https://www.bartleby.com/essay/Greek-And-Roman-Mythology-And-Importance-
During-FJJ9NNQFJU
• https://www.history.com/topics/ancient-history/greek-mythology
• https://aleschapeuroartanalysis.weebly.com/analysis-of-donatellos-david.html
• https://en.wikipedia.org/wiki/David_(Donatello)
• https://mymodernmet.com/donatello-david-bronze-sculpture/
• https://en.wikipedia.org/wiki/David_%28Michelangelo%29
• https://www.accademia.org/explore-museum/artworks/michelangelos-david/
 REFERENCE (3)
• https://en.wikipedia.org/wiki/Contrapposto
• https://artyfactory.com/art_appreciation/art_movements/italian-renaissance/italian-
renaissance-art-naturalism.htm#:~:text=Italian%20Renaissance%20Art%20-
%20Naturalism%201%20Naturalistic%20Drawing%3A,Linear%20Perspective.%20...
%203%20Beauty%20and%20Harmony.%20
• https://en.wikipedia.org/wiki/Arnolfini_Portrait
• http://www.visual-arts-cork.com/famous-paintings/arnolfini-
portrait.htm#:~:text=To%20begin%20with%2C%20Arnolfini%20does%20not%20ta
ke%20his,to%20forfeit%20all%20the%20usual%20rights%20of%20property
THANK YOU FOR YOUR TIME!