Compere to just after particularly in the middle



Compere between renaissance
painting and impressionism painting.





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There is significant disagreement
about the first era of art in Europe “Renaissance” and the last point before the
transformation to modern art “Impressionism”, I’m as fine art student and
as Pinter I’d like to compeer between both terms “Renaissance painting” & “Impressionism
painting”, according to the main gap on my research I’ll Focus quit bit on
similarity instead of differences in many different sides as an origins,
practice and reception.


The painting is an understanding of space is crucial: for
understanding the traditional medium of painting. Artists who have worked with
two-dimensional surfaces usually have attempted either to create the illusion
of three-dimensional space or to accept and emphasize the flatness of that
surface. Traditionally, a painting can be defined as a two-dimensional surface
to which liquid colors or inks have been applied. Flatness, the most
distinctive attribute of paintings, is a starting point in their analysis.






Renaissance is a term used in historiography primarily to
designate the historical period from the beginning of the fifteenth to just
after particularly in the middle of the sixteenth century,( Simonete Nava
(1995) ), Janson, H. (2001) Has a contrary opinion that the Renaissance started
from the middle of fourteenth century and its  marked particularly in Italy by an astounding
flowering of artistic and literary expression Specifically
in Florence. In (2012) Charles prove
that with a reason that Florence was able to defy the superior power of Milan in
the time of Italian battles at that time.


Notwithstanding the fact that In art criticism, Giotto was
the one to bring about its rebirth (the original meaning of the word
renaissance, rinascimento in Italian) by restoring it to the splendor of
ancient times.












Renaissance Painting:


According to Burlington Magazine article on (2002) Early
Renaissance painting did not appear until the early 1420s. The new style was
launched by a young genius named Masaccio who was only 21 years old at the time
and who died just six years later. The fact that the Early Renaissance was
already well established in sculpture and architecture made Masaccio’s task
easier than it would have been otherwise. The artist’s achievement was quite
remarkable nevertheless. Adding on Janson in (2003) Trinity
Masaccio’s first mature work is a fresco of 1425 in Sta. Masaccio’s style
completely abandons the lyrical grace of the Inter-national Gothic. Instead we
seem to plunge into a new environment, one that brings to mind not the style of
the recent past but the art of Giotto and his school, with its large scale,
severe composition.


However, as
pointed out by Charles in (2012) Italian patrons generally commissioned
murals and large altarpieces for their local churches and smaller panel
paintings for their private chapels. Artists experienced in fresco, mural
painting on wet plaster, were in great demand and traveled widely to execute
wall and ceiling decorations. Italian panel painters showed little interest in
oil painting, for the most part using tempera even for their largest works until
the last decades of the century, when Venetians began to use the oil medium for
major panel paintings.






Impressionism was the most important
artistic movement in Western art in the 19th century and the first of the
modern movements. After it came not just the obvious Neo-Impressionism and
Post-Impressionism of the late 19th century, but also Fauvism and Cubism,
developed by highly influential artists such as Cezanne, who had, at least in
their early years as artists, practiced the tenets of Impressionism, Janson (2001).

Two years later in (2003) Janson
Remark that Impressionism beginnings in the 1860s in Paris, Impressionism
seemed not to be a coherent movement in art but just one more group of painters
trying to make their voice heard in the artistic whirlpool that was Paris in
the second half of the 19th century.


In (2005) Thomson Observe and
Point out that Impressionism did not rise spontaneously out of thin air; its
theories and practice were linked back to earlier traditions in European art.
It grew out of the experience of the generation of painters at work immediately
before the young artists, including Monet, Pissarro, Renoir, Bazile, Sisley and
Morisot, who were to become the major practitioners of Impressionism.
Post-Napoleonic France had seen great changes in its society, with new ideas
about nature and science to the fore. Men like Delacroix showed that artists
could legitimately make ordinary people and things the subject of their
paintings, and that they could open their minds to the freedom of painting what
they actually saw, and not what artistic convention dictated they ought to be


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