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Classical art

From the Middle Ages through the Renaissance
Sandro Botticelli (Italian, 1444-1510), Birth of Venus, c. 1485-86, painted for the villa of Lorenzo di Pierfrancesco de' Medici at Castello, tempera on canvas, 67 7/8 x 109 5/8 inches (172.5x 278.5 cm), now in the Uffizi, Florence.

Giovanni Bellini, The Lamentation over the Body of Christ, 1500, tempera on wood panel, Uffizi.

Leonardo da Vinci, Head of a Young Woman, Accademia, Venice

Discuss those three works on the small group discussion board. Using the vocabulary you are learning from the text when evaluating art, compare and contrast the works including materials used, style, meaning, symbolism, and any other aesthetic issues concerning the art you have chosen. Explain how the works of art fit into the context of the time period.

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As you assess Giovanni Bellini's "The Lamentation over the Body of Christ," its image is at http://www.ibiblio.org/wm/paint/auth/bellini/lamentation.jpg.

As you look at its meaning, it seems to render an emotional response to Christ's crucifixion. By focusing on the other characters and their emotional suffering, it tends to give a strong sense of isolation of the characters or figures, creating tension and what research suggests as "become a diaphragm that separates the spectator from the drama. Here the prominent knees of Christ, and his abrupt foreshortening sharply break this ideal wall and bring the sacred group closer to, and therefore in more immediate communication with, those worshipping" (http://www.wga.hu/frames-e.html?/html/b/bellini/giovanni/1490-99/153pieta.html). As a result, I feel that this style conveys a sense of intimacy within the scene, almost like we onlookers.

In terms of the style and symbolism, I feel that the facial expressions definitely ignite emotions and signify how Christ's sacrifice affects us all. The use of angles in this piece definitely enhances the emotional appeal. Do you agree?

Experts also comment on angles and technique as ...

Solution Summary

Three art pieces are compared.

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