Abstract This paper discusses how, beginning in Canto VIII as Virgil and Dante approach the City of Dis, their journey slows then stops at the gate. It contends that the entrance to the City of Dis causes a climactic battle between Heaven and Hell that changes the course of Dante's journey and of the poem.
From the Paper "The legion of rebel angels tries to persuade Virgil from his undead companion, leaving Dante to find his way out alone, if at all. At this Dante breaks the 'fourth wall' and addresses his audience directly, pleading with the reader to "but conceive of his dismay" at being left alone (94). This entire scene has a heightened sense of drama, with more fear, distress, and anxiety than any previous. Appealing directly to the audience Dante seems to be pulling the reader deeper into the scene. Dante pleads for Virgil not to forsake him, offering to quit altogether and hasten back (100). While Virgil holds council with the demons the narrative focuses on Dante and his growing fears of abandonment. "
Abstract After presenting a brief biography of the life of Italian Renaissance artist Giotto di Bondone, this paper goes on to discuss some of his more famous works of art and the influence he had on other artists. The paper also discusses the quality that made his artwork so special, even though he lacked the technical knowledge of anatomy that many painters who came after him possessed.
From the Paper "Giotto di Bondone was an accomplished painter, architect, and sculptor and is often touted as being ?the first genius of art in the Italian Renaissance.? (Eimerl, The World of Giotto) Giotto lived and worked during the renaissance period, this was a pivotal time in history?people were beginning to open their minds to new ways of thinking and being. Giotto's work focused primarily on traditional religious subjects, yet through his remarkable talents he was able to imbue his subjects with ?earthly, full-blooded life and force.? "
Abstract This paper describes the remaining pieces of the fresco "The Triumph of Death", painted by Andrea di Cione Arcangelo. The paper explains that the subject of the fresco is the effect of the great bubonic plague that decimated the population of Europe during the 1300s. The paper also explains that it is likely that Adrea di Cione Arcangelo, also known as Orcagna, was not the only artist who worked on "The Triumph of Death", as it was common in that era for several artists to work together to complete a work of art.
From the Paper "Given the state of the civilized world right after the Plague, it is no wonder there is such great confusion about whether Andrea Orcagna actually painted the "Triumph of Death". We have to remember that even in days of the Renaissance to come that a master would do the original mock-up or design for a painting but his apprentices would do the actual painting itself except for a few special touches. If one painter worked on one painting by himself in the early Gothic and before, it is possible that the death of so many apprentices and masters during the Plague forced those painters and other artists alive after the great destruction, that everybody worked on everything together so they could get it done."
Abstract In this article, the writer discusses the painting 'Madonna and Child' by Duccio di Buoninsegna. The writer notes that the Italian formalization of the Gothic style was implemented within the medium and stylistics of this medieval painting. The writer points out that Buoninsegna's style was part of the Sienese School, which held to the non-passive dictates of religiosity within the Christian iconography in the 13th and 14th centuries. The writer maintains that Buoninsegna was influential in creating a non-passive baby Jesus, which helped to transform the way that the Madonna and Child had been perceived earlier in Christine art. In essence, the formal, iconographic, and historical facets of 'Madonna and Child' by Duccio di Buoninsegna are analyzed in this study.
From the Paper "The medium of the painting is the common usage of tempera on wooden panels. In the late medieval style it was common to use this form of paint to help bring about a lush and thick layer-based type of paint to bring out the varying contrasting hues. Also, the painting uses gold to help bring about the divine sunlight or religious light of Jesus, as he is reaching toward his mother's face. Mary is draped in a black gown as she looks down upon her divine child. Gold inner-fabric is surrounding her face, as the artist is clearing defining a demarcation of her face in contrast with her dark hood, as she is gazing downward in majesty. The composition has Mary centered in the painting, but has the baby Jesus set off the lower right side."
Abstract The paper focuses on Guiseppe di Lampedusa's novel "The Leopard", which is a poignant and psychologically gripping story about the fall of a powerful Sicilian aristocracy. The paper looks at how di Lampedusa discusses many topics in the novel, including religion, politics, women, history, astronomy and the Sicilian landscape.
From the Paper "The Leopard is a fictional novel by Giuseppe di Lampedusa and was published posthumously in 1958. Lampedusa's novel chronicles the history of a Sicilian aristocracy and its decline in the 1860s. The unification of Sicily occurs and is led by Garibaldi. This event results in a loss of power for the Prince of Salina, Don Fabrizio, who is accustomed to feudal politics and strongly opposes The Risorgimento. Prince Fabrizio finds himself steadily losing power to the new revolution and ultimately has to come to accept the new social and political changes in Sicily. Giuseppe di Lampedusa discusses many topics in the novel including religion, politics, women, history, astronomy, and Sicilian landscape."
Abstract This paper explores the great body of work of Michelangelo di Lodovico Buonarroti Simoni during the height of the Italian Renaissance era. This describes his enormous contributions as a sculptor, painter, architect and less well known -- as a poet. His works in all of these areas have guaranteed that he has exerted an unparalleled influence on the development of Western art.
From the Paper "When we think of the term "Renaissance man" (or "woman" of course) we are thinking of someone exactly like the man who was considered the greatest painter of his time and who has come to be known to us by his first name alone -- that honor usually reserved for musicians and movie stars. Michelangelo -- in full Michelangelo di Lodovico Buonarroti Simoni, is still admired as one of the greatest painters and sculptors of the Italian Renaissance. This paper examines his contributions as a sculptor and painter as well as his work as an architect -- which remains well known -- and as a poet, which is much less well known today. His contributions in all of these areas have guaranteed that he has exerted an unparalleled influence on the development of Western art.
Unlike many artists who are not recognized until the very end of their careers -- or perhaps decades or centuries after their deaths -- Michelangelo was considered by his contemporaries to be the greatest living artist in his lifetime, and his reputation has been maintained ever since. There has never been a time when he was not held to be one of the greatest artists of all times and a number of his works in painting, sculpture, and architecture rank among the most famous in existence (Paoletti, 1997, p. 38). People who can name only a handful of works of art can name creations by Michelangelo, including his frescoes on the ceiling of the Sistine Chapel, which are probably the best known of his works today. However well known he is for the Sistine Chapel, the artist himself considered his greatest talents lay in the area of sculpture. However, even as he focused on sculpture, he also practiced his other art forms seriously. This was in at least some measure because he had a number of role models: An artist's practicing of several arts at the same time was certainly not unusual in his time. Artists felt comfortable with such technical diversity ? in a way that they generally do not do so now ? because they were taught to focus on the commonalities among all the different art forms ? such as perspective or line (Drury, 1999, p. 41)."
Table of Contents
Introduction
The Artist as Sculptor
The Artist as Architect
The Artist as Poet
The Artist as Painter
Conclusion
References
Tags: michelangelo di lodovico buonarroti simoni, painter sculpture architect poet art artist renaissance italy
From the Paper "The Leopard (Il gattopardo) was published in 1958 by Prince Giuseppe (Maria Fabrizio) Tomasi di Lampedusa. This historical novel chronicles the impact of Garibaldi's invasion of Sicily: "In May, 1860, Garibaldi sailed for Sicily, to win the island from the Bourbons" (9-10). Lampedusa goes into detail with the subsequent unification of Italy, and how this affects one specific Sicilian family who had thrived under the Bourbon kings.
Historically it is important to note that The Leopard shows the failure of the Risorgimento, and this created controversial political debates when it was first put out. Since that time, however, the arguments have subsided, and the novel is now recognized as a very complex psychological study of a specific age. Its style is highly symbolic, as well as richly poetic."
Abstract This paper shall compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. An emphasis on the visible transition in painting techniques from the early to the late Italian Renaissance is discussed.
Abstract The paper presents a critical analysis of Blount's and Varthema's travel literature, questioning why, in light of their historically questionable content, they can be considered valid historical texts.
Outline
Background
Analysis of Ludovico di Varthema's "Itinerary"
Analysis of Sir Henry Blount's "A Voyage into the Levant"
Historical Significance of Both Texts and Their Purposes
From the Paper "Blount seeks a more academic understanding of the "Ottoman lands." Although prejudiced in the sense that it is judged and understood from the perspective of the "other," it does provide a simple framework for understanding or defining Muslims. He begins by stating this established rule: "the most important parts of all States are four: arms, religion, justice and moral customs," and explains the presence and nature of each among Muslims and in Muslims lands (Blount 177). Certainly, di Varthema does include in his descriptions accounts of the morals, law, religion and defense but, they cannot be taken as serious representation of the truth because they are so exaggerated."
Abstract The paper provides a synopsis of the film, and praises Nino Rota's musical score and Gianni di Venanzo's cinematography. The paper concludes that the film demonstrates the failure of a quest for greatness with the acceptance of mediocrity.
From the Paper "Guido is at a critical point in his career and he has been contracted to do a new film with the actors hired, a massive set of a spaceship built and a crew ready for production, but Guido has not a single germ of an idea for the movie. Beleaguered by actors wanting to know their parts, producers and crew asking what they should do, battling his own inner fears that ridicule his inabilities and at the same time his personal life is coming apart. Guido fantasizes likely scenes and his daydreams are brought to life through exquisite cinematography by Gianni di Venanzo, as he examines his life, his past and all his present problems."
An analysis of Christian iconographic symbolism in the Mannerist Movement within Giovanni Battista di Jacopo's (Rosso Fiorentino) 'Allegory of Salvation' with the Virgin and Christ Child.
1,575 words (approx. 6.3 pages), 4 sources, 2006, $ 62.95
Abstract This paper discusses how the biographical account of Rosso Fionrentino's artistry has been conveyed through the painting Allegory of Salvation with the Virgin and Christ Child. By realizing the growing rift between classical painters and the new Mannerism of the High Renaissance, one can realize how the various anatomy, form, color, and lighting play into the intellectual stylistics of this work. The paper further discusses how the symbolic representation of Mary and Jesus becomes a distorted and often bizarre account of the Bible, which seeks deeper intellectual qualities that depict a more abstract religious experience.
From the Paper "This art study will examine the nature of Mannerist painting within the work of Giovanni Battista di Jacopo's (Rosso Fiorentino) "Allegory of Salvation with the Virgin and Christ Child." By realizing the painter's biographical background, one can realize the Christian symbols and motifs that reside within this painting. The sense of In comparing this painting to his other works, the Mannerist dictates of style often allowed these deviations from form and anatomy, which Mary and Christ invoke in this work. Although this work would be considered of his middle period, the trends in his painting did not deviate too far from the Mannerism that he enjoyed so much in his stylistics. "
Abstract The paper discusses the article "Music-Selling in Late Sixteenth-Century Florence: The Bookshop of Piero Di Giuliano Morosi", which provides insight into the business of music printing and selling. The paper looks at Carter's analysis of Morosi's bookshop and how it sheds light on the history of music selling.
From the Paper "I chose the article "Music-Selling in Late Sixteenth-Century Florence: The Bookshop of Piero Di Giuliano Morosi" for my fifth literature report because I was very interested in early music printing when this information was lectured on during our early music class. While Professor MacNeil was lecturing on this topic, I was intrigued and very interested in learning more about the history of music printing and I thought this would be a great way to do it. The development of music printing was one of the most important technological developments because of the ability to record music for history and to spread musical ideas between many people. Through this article, I believe that my knowledge of early music printing and selling will be further developed."
Abstract This paper explains that, during the first third of the 18th century, horns were making their way into the theater and ballet; a new horn, the Waldhorn, or "forester's horn", first made by Michael and Johannes Leichnambschneider in Vienna in the 1690s, was created for indoor orchestral use and eliminated the problems presented by parforce-horns (hunting horns). The author points out that an example of one of the earliest uses of the horn in a score is in the opera "Le Nozze di Tito e di Peilei" by Cavalli, first produced in the Teatro San Cassiano in Venice in 1639 and again in Paris in 1654. The paper relates that George Frideric Handel was the first to use horns in concert music in England as evidenced in the orchestral suite "Water Music" of 1717, written for George I in which a pair of horns playing in horn-fifths appears in the third and ninth parts of the suite and is set apart from the rest of the ensemble.
From the Paper "Until about 1700, parforce-horns, or hunting horns, were the instrument used. They were short in length for ease of carrying on the hunt and only delivered single-note hunting signals. They were not yet used in a musical fashion. Around 1700, new longer instruments were made that allowed more overtones to be played. These hunting horns were known by the names Cor de chasse in France, Jagdhorn in Germany and corno da caccia in Italy. They could play twelve or more harmonics and had a narrow bore, thus producing a bright strident sound. The mouthpieces were shallow and conical, like those of the modern trumpet. The first hunting calls in which they were used musically are played in 6/8 time to imitate the galloping of horses. The players used the overtones in a manner we call "horn fifths". The first horn plays scale degrees 3,2 and 1 successively while the second horn plays a third, fifth and sixth below those tones, and the same in reverse."
Abstract This paper examines religious works by Michelangelo Merisi da Caravaggio: "The Deposition of Christ in the Sepulcher", "Madonna di Loreto", "The Calling of Saint Matthew", "The Martyrdom of Saint Mathew" and "The Crucifixion of Saint Peter". All of these works are oils on canvas and present themes from the New Testament. The author describes each painting, its history, biblical content and the techniques used, which are characteristic of Caravaggio.
Table of Contents:
"The Deposition of Christ in the Sepulcher"
"Madonna di Loreto"
"The Calling of Saint Matthew"
"The Martyrdom of Saint Mathew"
"The Crucifixion of Saint Peter"
From the Paper "The original commissioner had ordered a more complicated assemble with more display of architecture and a larger number of spectators assisting the scene in terrified impotence. However, Caravaggio managed, after a couple of abandoned attempts, to compact the scene to the most essential elements without losing the dramatic expression its commissioner had requested.
"Affected chiaroscuro gives expression to the moment and brings the scene closer to the viewer, involving them as part of the action."
