Art History: BVA 312 - 04/03/2019 (Renaissance VS Baroque)

Relationship Between Renaissance art and Baroque art 

https://artsartistsartwork.com/renaissance-art-vs-baroque-art-understanding-the-difference/

Renaissance art came between the 1300 - 1600 century, while Baroque art during the 17th century. This two art movement populated the whole of Europe. Although they are different movement but shares the same ideology, Both terms refer to decidedly European eras and styles. Both styles are known to excel in portraying realism. Both styles use vivid, evocative pigments, and, what is perhaps most vexing is that, where the subject matter is concerned, both eras have strong emphases on topics from the Judeo-Christian Bible or from Greco-Roman mythology.

For learning the difference between these two eras and these two styles, it might be helpful, to begin with two keywords. A good word for Renaissance art is “stabilize,” while a good one for the Baroque is “dramatize.”

1. Imagery formation 

Renaissance:

Stability is given to the renaissance for a reason, one of the reason is how the artist had formatted each painting. An example, the Madonna and the child of the crucifixion the use of distinctly horizontal or vertical lines is clearly emphasized. Sometimes the artist will go so far as to compose a painting to be visually similar to a pyramid so that the widest part of the subject is toward the bottom and the narrowest part at the top, because the pyramid is the most stable 3-D shape. Look below at “The Madonna of the Goldfinch,” which is presented twice to demonstrate the horizontal and the pyramid shape in an edited version.

The famous “Pietà” by Michelangelo incorporated the triangular manner. 

 

Another style often appears in Renaissance painting is the formation and composition of a cross.  In “Crucifixion” by Andrea Mantegna the vertical lines are emphasized in the poles of the three crosses, but the three horizontal lines are crated, at the top, by the three cross beams, in the mid section by the feet of the condemned with the tops of the heads of the spectators, and at the bottom with the lateral lines in the steps at the base. 

Crucifixion by Andrea Mantegna 

The crucifixion by Pietro Perugino (1493-1496)

The Mond crucifixion by Raphael (1502-1203) 

Crucifixion by Giotto (1320-1325)

Baroque:

Baroque was a movement when all style merges together, creating this powerful and dynamic scene in its art.  DRAMA highlights Baroque. Baroque artists learned the importance of composition. It seems that often in the Renaissance, items are placed in the composition in order to emphasize the horizontal and Vertical lines, even including the horizon itself. In the Baroque, the lines might start with one part of the composition and continue with another, seemingly unrelated part of the composition. In fact, sometimes the blackness of the background functions as a diagonal line.

Example 1, “Madonna with Child and St. John the Baptist.”  there is a strong diagonal line marked, in part, by the edge of red curtains, and by Mary’s head and hand, Christ’s head and back. There are also two parallel diagonal lines: one extends from Mary’s head and down her arm, the other follows the left arm of John the Baptist and goes up toward the arm of Jesus. Notice also that both Mary’s and Christ’s eyes are fixed on John producing an implied “V” in the center of the canvas. This painting is presented below, once without and once with editorial markings.

The difference between the Renaissance and Baroque the use of horizontal line. The diagonal line proves power and energy in a painting. In the “Madonna and Child” by an unknown Baroque Belgian artist, there is a distinct line that runs from the eyes of John the Baptist to the eyes of Christ and up to the eyes of Joseph.

Interestingly, there is a horizontal line in this painting made by moving across the feet of the three condemned men and to the boy’s head and shoulders on the left. This may have religious connotations, perhaps suggesting the stability brought by Christ’s sacrifice, but when you consider the absolute necessity of perspective from one man to the next, and the impressive quality of the art, one must consider that this line across the feet is absolutely intentional, and therefore has some meaning.

2. Background 

The biggest difference between the two movements is their background. From above, Renaissance artist puts more details and effort in their background. Beautiful scenery depicted in the subject manner. However, Baroque artists love the darkness in painting, felt the artists were imitating theatrical illusion. 

Mona Lisa by Leonardo
(Renaissance)

     

  

Prometheus Bound by Peter Paul Rubens (1612)
(Baroque)

The darkness plays an important role, it highlights the subject by darkening the background. The darkness, however, serves to dramatize for viewers exactly what the traveler is feeling. We see him looking into the darkness and so, we do too. 

This is a prime example of great use of what is called “tenebrism,” which, depending on how you want to focus is either the dark itself, or it’s the contrast of the lighted area against the darkness. It is also known as “dramatic illumination,” and is brought about by the use of very dark pigments, not necessarily just black, and highly pronounced “chiaroscuro,” which is the name given to the effect of light falling from a single direction or source. The artists of the Baroque used this device, “tenebrism,” to great effect for 150 years.

3. Expression

David in Renaissance: Elegent, Peaceful, Calm

David by Michelangelo (1501-1504)

David 

This principal stands true in Renaissance sculpture as well. Consider Michelangelo’s famous statue of David. Here we have a 20-foot tall young man in a very stable stance. His right leg is engaged and is entirely vertical as a result, as is his right arm and torso. The statue portrays David as he is just about to take the giant, Goliath, in battle, and David is either engaged in contemplating his strategy or waiting for Goliath to complete his wonted taunts. Either way, this sculpture consumes time. David can maintain that posture for a long period.

David in Baroque: Expression, Explosive, Energetic

David's face by Bernini 

David by Bernini (1623-1624)

In sharp contrast with these expressions, below is the face of David by Giovanni Bernini, an Italian Baroque sculptor whose depiction of David puts him smack in the middle of whipping the stone at Goliath. In his face is the fleeting expression of exertion, determination and the distinct concentration of someone employing a well practiced skill. The point is, it’s a portrait of the briefest of instances—a snapshot of motion.