Sie sind auf Seite 1von 7

Image Bibliography Bellechose, Henri. The Last Communion and Martyrdom of Saint Denis. c. 1416. Painting.

This photo was used to represent medieval art. Its flawed perspective and proportion shows how medieval artists had little understanding in how to accurately representing their subjects. Bellini, Giovanni. The San Zaccaria Altarpiece. c. 1505. oil on panel. San Zaccaria, Venice. This painting perfectly represents the qualities of Renaissance art. It was used to represent Renaissance art in comparison to Medieval art. Botticelli, Sandro. Primavera. c. 1482. tempera on panel. Uffizi Gallery, Florence. Primavera is one of the most famous paintings of the Renaissance. It was also used to represent Renaissance art in comparison to Medieval art. Buchanan, Chad. The Golden Proportion and the Mona Lisa. N.d. Photograph. This diagram of the Mona Lisa was used to depict Leonardos use of the golden mean in his Mona Lisa. Cione, Jacopo Di. St. Peter Enthroned Between St. Paul and the Faithful. N.d. tempera on wood. Vatican Museums, Vatican City. This painting was used as an example of Medieval art. Its an excellent example of how the medieval artists had little understanding of lighting and proportion. Duccio. Maesta. c. 1308. Tempera and Gold on Wood. Siena Cathedral, Siena. The painting was used as an example of Medieval art. The characters in the painting are sized in a hierarchical scale, a common characteristic of medieval art. Giotto. Madonna and Child. c. 1320. Tempera on Panel. National Gallery of Art, Washington, DC. This painting is an excellent example of Medieval art since its subjects are poorly proportioned. The Golden Mean and The Last Supper. Photograph. This picture was used to illustrate Leonardos use of the golden ratio in his painting The Last Supper. The Golden Rose. Photograph. This photograph was used to demonstrate the natural occurrence of the golden proportion in flowers, in this case the rose.

The Golden Shell. Photograph. This photograph was also used to demonstrate the natural occurrence of the golden proportion. La Gioconda. N.d. Oil on Canvas. Museo del Prado, Prado. This painting is a copy of Leonardos Mona Lisa, likely by one of Leonardos pupils. It shows how Leonardos work inspired others. Martini, Simone. Christ Discovered in the Temple. c. 1300. Painting. This painting was used to represent Medieval art since its characters seem to have no skeletal structure. Martini, Simone. The Miracle of the Child Attacked and Rescued by Augustine Novello. c. 1328. Painting. This painting is a perfect example of Medieval art. The perspective in the building is flawed and the characters are disproportionate. Matsys, Quentin. The Moneylender and his Wife. c. 1514. oil on panel. Muse du Louvre, Paris. This painting represents the desire of the Renaissance artists to put extreme detail into their paintings. The detail in the coins and the mirror shown to show just how much detail the Renaissance artists would add to their paintings. Michelangelo. The Creation of Adam. c. 1511. fresco. Sistine Chapel, Vatican City. This was another painting to represent the art of the Renaissance. The Creation of Adam of course is one of the most famous products of the Renaissance and it shows how artists wanted to produce realistic art. Monaco, Lorenzo. The Intercession of Christ and the Virgin. c. 1400. Tempera on canvas. The Metropolitan Museum of Art, New York. This painting shows how the Medieval artists often proportioned their subjects in order of importance. Christ and the Virgin are proportioned much larger than the people worshiping at the bottom of the painting. The Parthenon and the Golden Mean. N.d. Photograph. This diagram was used to show the use of the golden mean even in ancient Athens. Patinir, Joachim. Penitence of Saint Jerome Triptych. c. 1520. Painting. Metropolitan Museum of Art, New York. Even though this painting was painted in 1520, it was still used to represent medieval art since its characters are awkwardly proportioned.

Perugino. Christ Giving the Keys to Peter. c. 1481. fresco. Sistine Chapel, Rome. This painting was used as an example of Renaissance art. It is an excellent product of the growing understanding of perspective that took place during the era. Psalter, Albans. Mary Magdalen announcing the Resurrection to the Apostles. c. 1120. paint on vellum. This manuscript was used to show how the Medieval artists had little understanding of proportion since the figures are elongated. Raphael. The Betrothal of the Virgin. c. 1504. oil. Pinacoteca di Brera, Milan. This painting was also used to illustrate the growing understanding of perspective during the Renaissance. The tiles on the ground are organized in such a way that, if they were to continue into the distance, they would meet at one point, the vanishing point. Raphael. The School of Athens. c. 1511. fresco. Apostolic Palace, Vatican City. The School of Athens is one of the most famous products of the Renaissance. It is a perfect example of the growing interest in perspective, light, and proportion. Reconstruction of the Temple in Jerusalem. N.d. Painting. This painting represents the lack of understanding of perspective during the Medieval era. Rizzoli, Giovanni Pietro. The Last Supper. c. 1520. Painting. Royal Academy of Arts, London. This painting shows the influence of Leonardo on other painters. In this case, Rizzoli decided to copy Leonardos famed Last Supper. Verrocchio. The Baptism of Christ. c. 1475. oil on wood. Uffizi Gallery, Florence. This painting was Leonardos earliest work. It was used to show how he was influenced by his mentor, Verrocchio, and how his techniques changed over the years. Vinci, Leonado da. Anatomical Studies of the Shoulder. N.d. ink on paper. This drawing is one of Leonardos anatomical studies that helped him understand the human body and how it should be painted. Vinci, Leonardo da. The Annunciation. c. 1475. oil and tempera on panel. Uffizi, Florence. The Annunciation was one of Leonardos first paintings. It is an excellent reference for the observer since it is poorly proportioned. Vinci, Leonardo da. A Seated Old Man and Studies of Water. N.d. ink on paper. This drawing is an example of Leonardos observational study of nature. In this case, Leonardo was concerned with the flow of water and how it can be accurately represented in a painting.

Vinci, Leonardo da. Benois Madonna. c. 1478. oil on panel. Hermitage Museum, Saint Petersburg. This painting is one of Leonardos earliest works. It is used as a reference so that the viewer can compare Leonardos work to other works, Medieval or Renaissance. Vinci, Leonardo da. Bust of a Man in Profile with Measurements. N.d. Charcoal on paper. This drawing shows Leonardos interest in human proportion. In this case, Leonardo was studying the facial features and how they are spaced across the face. Vinci, Leonardo da. Composition Studies for The Last Supper. N.d. Charcoal on paper. These studies for The Last Supper show Leonardos interest in accurately representing all of his subjects in a picturesque manner. Vinci, Leonardo da. Ginevra de' Benci. c. 1478. oil and tempera on panel. National Gallery of Art, Washington D.C. This is one of Leonardos earlier paintings. The purpose of it is to serve as an example of Leonardos work before he gained a greater understanding of light and perspective from his scientific studies. Vinci, Leonardo da. Head of a Woman. c. 1508. oil on canvas. Galleria Nazionale, Parma. This painting is an excellent example of Leonardos interest in lighting. In contrast to his Ginevra de Benci, it is softly lit and shows Leonardos greater understanding of optics. Vinci, Leonardo da. Hurricane over Horsemen and Trees. N.d. Charcoal on Paper. This drawing is part of Leonardos study of a storm. It contains a line of trees that is being twisted in the wind. Vinci, Leonardo da. Lady with an Ermine. c. 1490. oil on panel. Czartoryski Museum, Krakw. This was used as an example of Leonardos work so that it could be compared to Medieval art and other Renaissance art. Vinci, Leonardo da. Light Rays and Shadows. N.d. Charcoal on Paper. This drawing is one of many that Leonardo made during his study of lights behavior. In this case, Leonardo was interested in how a ball would appear if light were shined on it from different angles. Vinci, Leonardo da. Madonna of the Carnation. c. 1480. oil on panel. Alte Pinakothek, Munich. This painting is another example of Leonardos work. It was painted during the time when Leonardo was still using the techniques that he had learned from his predecessors. He had not made any innovations in lighting or perspective yet, as illustrated in this painting.

Vinci, Leonardo da. Mona Lisa. c. 1519. Oil on polar. Louvre, Paris. The Mona Lisa of course was Leonardos most famous painting and disputably the most famous portrait in all of history. Since it was completed just before his death, it displays all of the techniques that he had built up during his life time. It is an excellent example of the new techniques of lighting, proportion, perspective, and the golden mean. Vinci, Leonardo da. Perspective Study for Adoration of the Magi. ink on paper. This drawing is a perfect example of how Leonardo wished to create realistic perspective in his painting Adoration of the Magi. This preliminary drawing clearly displays Leonardos understanding of the vanishing point, a relatively new concept, in his work. Vinci, Leonardo da. Portrait of a Musician. c. 1490. oil on wood. Biblioteca Ambrosiana, Milan. This painting is used as another example of Leonardos work. Vinci, Leonardo da. Self-portrait. c. 1510. red chalk. Biblioteca Reale, Turin. Though it has been labeled as a self-portrait of Leonardo, no one actually knows if it is in fact of him. Nevertheless, it was used twice as a representation of Leonardo. Vinci, Leonardo da. Studies of the Shoulder and Neck. N.d. Charcoal on paper. This is another of Leonardos anatomical studies. This one of the neck and shoulder depicts Leonardos interest in understanding the structure of his subjects. Vinci, Leonardo da. Study of a Child. charcoal on paper. In this study, Leonardo drew six figures of a child. He wanted to know how to accurately represent children since they are not proportioned like adults. Vinci, Leonardo da. Study of a Drapery for an Angel. N.d. Charcoal on paper. This is one of Leonardos studies of light. This study of light was crucial to the clothing on the characters in Leonardos The Virgin and the Child with St. Anne. Vinci, Leonardo da. Study of a Lily. N.d. Chalk. Leonardo was also interested in Botany. This study of a Lily was used in his painting The Annunciation. Vinci, Leonardo da. Study of a Skull. charcoal on paper. This is another study Leonardo conducted on the structure of the face and its features. Vinci, Leonardo da. Study of Curvilinear Perspective. ink on paper. This picture was extremely difficult to find, I had to take it from The Unknown Leonardo by Ladislao Reti. It displays Leonardos scientific approach to curvilinear perspective.

Vinci, Leonardo da. Study of Light and Shadows. N.d. Charcoal on paper. This is yet another study Leonardo conducted of the behavior of light and shadows. This one is based on his astronomy research. Leonardo was interested in how the eye observes the heavenly bodies. Vinci, Leonardo da. Study of Light on the Face. charcoal on paper. This is another of Leonardos studies on light and its behavior. In this case, Leonardo was concerned with how shadows appear on the face. Vinci, Leonardo da. Study of the Flow of Water. N.d. Charcoal on paper. In this study, Leonardo was concerned with fluid dynamics. He was interested in how flowing water behaves. Vinci, Leonardo da. Study of the Limbs. charcoal on paper. Leonardo was interested in how muscles appear and how they should be represented to paper. Leonardos anatomical studies helped him create realistic figures. Vinci, Leonardo da. Study of the Muscles. charcoal on paper. This was a simple study that Leonardo conducted on the appearance of muscles. Though the muscles in this figure seem to be over exaggerated and unrealistic, Leonardo was at least interested in studying how they appear. Vinci, Leonardo da. The Last Supper. c. 1498. fresco. Santa Maria delle Grazie, Milan. The Last Supper was of course one of Leonardos most famous works. It is an excellent example of the new techniques of perspective and light. Vinci, Leonardo da. The Virgin and Child with St Anne and St John the Baptist. c. 1500. charcoal and chalk on paper. National Gallery, London. This is one of Leonardos preliminary drawings for The Virgin and Child with St. Anne. It is an excellent piece of art work in itself. Vinci, Leonardo da. The Virgin and Child with St. Anne. c. 1508. oil on wood. The Louvre, Paris. This painting shows Leonardos interest in lighting and proportion. It was also used as an example of Leonardos work in comparison to medieval art. Vinci, Leonardo da. Virgin of the Rocks. c. 1486. oil on panel. The Louvre, Paris. The Virgin of the Rocks is another one of Leonardos most important paintings. It is a perfect example of sfumato, chiaroscuro, and Leonardos use of light in creating depth.

Vinci, Leonardo da. Vitruvian Man. c. 1490. pen and ink on paper. The Vitruvian Man represents Leonardos work in human proportion. It is based off of the theories of the Roman Architect Vitruvious Polio. Leonardos adaption of it was a major turning point in the understanding of human proportion. Zevio, Steffano da. The Garden of Eden. N.d. oil. This painting is an excellent example of medieval art. The characters are poorly proportioned and the perspective is flawed.

Das könnte Ihnen auch gefallen