Mannerism - Pine-Richland School District

1
The
Renaissance
1
The Renaissance
The
15th
century
artistic
developments
in
Italy
(for
example,
the
interest
in
perspectival
systems
and
in
depicting
anatomy)
matured
during
the
16th
century,
accounting
for
the
designations
“Early
Renaissance”
and
“High
Renaissance”
(respectively).
Although
no
singular
style
characterizes
the
High
Renaissance,
the
art
of
those
most
closely
associated
with
this
period:
Leonardo
da
Vinci,
Raphael,
Michelangelo,
and
Titian
–
exhibits
an
astounding
mastery,
both
technical
and
aesthetic.
High
Renaissance
artists
created
works
of
such
authority
that
generations
of
later
artists
relied
on
these
artworks
for
instruction.
These
exemplary
artistic
creations
further
elevated
the
prestige
of
artists.
Artists
could
claim
divine
inspiration,
thereby
raising
visual
art
to
a
status
formerly
only
given
to
poetry.
Thus,
painters,
sculptors,
and
architects
came
into
their
own,
successfully
claiming
for
their
work
a
high
position
among
the
fine
arts.
In
a
sense,
16th
century
masters
created
a
new
profession
with
its
own
rights
of
expression
and
its
own
venerable
character.
From:
GARDNER’S
Art
Through
The
Ages
2
Map of Rome
3
The Renaissance
Italian Renaissance
1453: Constantinople falls to
the Turks
1436: Duomo is dedicated in
Florence
Proto-Renaissance
1300’s
(14th Century)
1590: St. Peters Basilica
dedicated in Rome
1512: the Medici return to
Florence
1494: the Medici are driven out
of Florence
1400’s
Early Renaissance
(15th Century)
1492: Columbus discovers
America
1451: Germany: Gutenberg
invents the Printing Press
High Renaissance /
Mannerism
1600’s
1500’s
(16th Century)
1517: Germany: Reformation Martin Luther’s 95 Theses
(192 - 337)
Baroque
(17th Century)
1666:London, England:
The Great Fire
Northern Renaissance
4
High Renaissance
Leonardo
Michelangelo
Raphael
5
(Donatello:
Early
Renaissance)
Leonardo
Michelangelo
Raphael
6
Leonardo da Vinci
(1452 - 1519)
7
7
Leonardo da Vinci
Self
Portrait
(?)
This
red
chalk
drawing
has
largely
determined
our
idea
of
Leonardo’s
appearance
for
it
was
long
take
to
be
his
only
authentic
self
portrait.
Nowadays
it
is
thought
to
be
a
fake,
or
at
best
a
copy.
8
High
Renaissance:
Leonardo
Da
Vinci:
Vetruvian
Man,
1490
[Proportions
of
the
Human
Body]
(Sketch:
Pen
and
ink
on
paper)
{Venice,
Accademia}
(Apprenticeship:
Florence
1469
-
1482
Under
Andrea
del
Verrocchio)
9
(Court
Artist:
Milan
1487
-
1490)
High
Renaissance:
Leonardo
Da
Vinci:
The
Last
Supper,
c.
1495
-
1498
Oil
and
tempera
on
plaster,
29’
10”
X
13’
9”
[Refrectory:
Santa
Maria
delle
Grazie,
Milan]
10
(Court
Artist:
Milan
1487
-
1490)
High
Renaissance:
Leonardo
Da
Vinci:
The
Last
Supper,
c.
1495
-
1498
Oil
and
tempera
on
plaster,
29’
10”
X
13’
9”
[Refrectory:
Santa
Maria
delle
Grazie,
Milan]
10
Leonardo
Da
Vinci,
Studies
for
The
Last
Supper
c.
1495
{Windsor
Castle,
England}
*read:
Pg.
639:
Disegno
11
High
Renaissance:
Leonardo
Da
Vinci:
Mona
Lisa,
(c.
1503-05)
*now thought: 1519
Oil
on
wood
~2’
6”
X
1’
9”
{Louvre,
Paris}
12
High
Renaissance:
Leonardo
Da
Vinci:
Mona
Lisa,
(c.
1503-05)
*now thought: 1519
Oil
on
wood
~2’
6”
X
1’
9”
{Louvre,
Paris}
‘sfumato’-
(technique
believed
to
be
primarily
evolved
by
Leonardo)
numerous
glazes
that
create
an
equal
number
of
degrees
of
shading,
with
the
result
that
the
figure…seems
to
emerge,
radiant
with
light,
from
out
of
the
darkness.
12
The ‘Mona Lisa’
Portrait of Lisa del Giocondo (born in 1479)
•Widely
regarded
as
the
most
famous
painting
in
the
world
•Stolen
from
the
Louvre
in
1911
by
an
Italian
decorator
and
rediscovered
in
curious
circumstances
in
Florence
in
1913.
•Often
interpreted
-
various
views
have
been
put
forward:
•Not
a
woman
at
all
but
a
self-portrait
by
Leonardo
(as
a
woman?)
•Or…if
it
is
a
woman,
then
she
is
suffering
from
syphilis,
or
pregnant
(or
both),
or
at
the
very
least
paralyzed
down
one
side
of
her
face.
•Myth(s):
•The
piece
is
in
bad
condition,
damaged,
and
brutally
cut
at
the
edges.
(actually
-
it
is
in
excellent
condition)
•What
art
historians
DO
know:
•Lisa’s
husband,
Francesco
(a
well-to-do
Florentine
silk
merchant)
was
acquainted
with
friends
of
the
da
Vinci
family
–
which
probably
led
to
the
commission.
•In
Spring
of
1503
the
couple
bought
a
house
and
Lisa
bore
them
a
son
prior
to
this
–
these
were
more
than
enough
reasons
to
have
a
portrait
done
in
15th
or
16th
century
Florence
13
Why is Lisa so famous?
•Leonardo’s
painting
demonstrates
various
aspects
of
Florentine
(and
Umbrian)
portraiture
in
the
late
15th
century
(this
later
influenced
/
coincided
with
Flemish
port.)
•The
piece
was
a
trendsetter
in
terms
of
realism,
form,
and
technique:
•The
subject
(Lisa)
comes
closer
to
the
front
edge
of
the
picture
than
all
(known)
earlier
works
–
this
smaller
distance
heightens
the
intensity
of
the
visual
impression
(greater
spatial
depths
and
atmospheric
intensity)
•Half
figure
turned
2/3
towards
the
viewer
•Balustrade
with
pillars
connects
the
foreground
with
background
landscape
•Similarities
between
the
Mona
Lisa
and
paintings
he’d
done
of
the
Madonna
(common
in
Renaissance
portraits
-
Virgin
Mary:
the
ideal
woman
to
which
all
aspired)
•The
standard
portrait
smile
(of
the
day):
reflection
of
beauty
and
virtue
(“Lisa
had
married
well
–
already
in
those
days
good
grounds
for
smiling
out
into
the
world”)
•Meticulous
detail:
•gossamer
veil
*lighting/shadow
on
face
*intricate
embroidered
gown/sleeves
•Major
influence
on
Florentine
painting:
•Raphael
adopted
this
schema
/
form
of
portraiture
-
used
technique
for
decades
•Da
Vinci
never
delivered
the
portrait
–
he
carried
it
with
him
throughout
his
life
14
The ‘Mona Lisa’
•Her
fame
has
perpetuated
itself:
in
other
words
–
‘she
is
famous
because
she
is
famous’
•Songs
have
been
written
about
her
(Nat
King
Cole)
•She
has
been
parodied
ad
infinitum:
in
art,
in
advertisements
•Thousands
of
tourists
visit
her
at
the
Louvre
in
Paris
each
year
When pronounced in
French "L.H.O.O.Q." A
pun on the phrase "Elle a
chaud au cul," which
translates colloquially as
"She is hot..."
Marcel
Duchamp:
LHOOQ,
1919
Andy
Warhol:
Mona
Lisa,
1963
Two
Golden
Monas,
c.
1980
15
…but then again…
•Zollner,
Frank:
Leonardo
Da
Vinci,
Taschen,
Cologne
Germany,
2000.
16
Photoshop Link
http://www.technologies.c2rmf.fr/iipimage/showcase/zoom/cop29
17
18
18
High
Renaissance:
Leonardo
Da
Vinci:
Embryo
in
the
Womb,
c.
1510
-
12
(Pen
and
ink
on
paper)
{Windsor
Castle,
England}
19
“Renaissance Man”
DaVinci is best remembered as the painter of the Mona Lisa (1504) and The Last Supper (1495). But he's almost equally
famous for his astonishing multiplicity of talents: he dabbled in architecture, sculpture, engineering, geology, hydraulics
and the military arts, all with success, and in his spare time doodled parachutes and flying machines that resembled
inventions of the 19th and 20th centuries. Da Vinci made detailed drawings of human anatomy, which are still highly
regarded today. Da Vinci wrote notebook entries in code - in mirror (backwards) script, a trick that kept many of his
observations from being widely known until decades after his death. It is believed that he was hiding his scientific ideas
from the powerful Roman Catholic Church, whose teachings sometimes disagreed with what Leonardo saw.
Leonardo's fresco of the "Last Supper" was begun in 1495 and completed by 1498. This work is now badly damaged.
Leonardo's own experiments with the fresco medium account in part for its disintegration, which was already noticed by
1517. Deterioration and repeat restorations had obliterated details and individual figures. Nonetheless, the composition
and general disposition of the figure reveal a power, invention and a sublimity of spiritual content that marks the painting
among the world's masterpieces. In 1978, a major (and controversial) restoration was begun, and in 1994 protective airfiltration and climate-control equipment was installed. The restoration was completed in 1999, leaving the fresco
brightened considerably with details clarified, but also revealing the extensive loss of the original painting. Sketch
website: http://www.visi.com/~reuteler/leonardo.html
20
New
York
Times
#1
Bestseller
http://www.danbrown.com/novels/davinci_code/resources.html
21
Michelangelo Buonarroti
(1475 - 1564)
22
High
Renaissance:
Michelangelo:
Pieta,
1499
St.
Peters
Basilica,
Vatican
City:
Rome,
Italy
(nose
broken
off
by
crazed
man
–
now
protected
by
glass;
Michelangelo’s
only
signed
work)
23
Return
to
Florence
(1501-1505)
High
Renaissance:
Michelangelo:
David,
1501-04
14’
3”
high
(white
marble:
“The
Giant”)
{Galleria
dell’
Academia}
24
Detail:
David
On his return from Rome, Michelangelo found the
political climate in his hometown greatly changed
in the absence of the Medici. A new, more
democratic government on the Venetian model
had been established in 1494. A Great Council
with over 3000 members now passed laws and
made decisions on the awarding of civic
positions…the city’s artistic life flourished once
again…Michelangelo received important public
commissions, the most famous of which was for
his monumental David.
Michelangelo was commissioned at the age of 24
to complete David. The work shows a kind of pent
up energy, seems to be emotionally charged with
his muscular body at once calm and tense.
25
26
High
Renaissance:
Michelangelo:
Creation,
Sistine
Chapel
Ceiling
Panel,
Vatican
City:
Rome,
Italy
1508-1512
(fresco
mural)
27
28
29
The project was physically and emotionally torturous for Michelangelo.
Michelangelo recounts its effect on him with these words: "After four tortured
years, more than 400 over life-sized figures, I felt as old and as weary as
Jeremiah. I was only 37, yet friends did not recognize the old man I had
become."
http://michelangelo-buonarroti.wikiverse.org/
30
High
Renaissance:
Michelangelo:
Sketches
–
Study
for
the
Sybil
c.
1510
(red
chalk
on
paper)
{British
Museum,
London}
31
High
Renaissance:
Michelangelo:
Last
Judgement,
1536
-
1541
Sistine
Chapel,
Back
Wall,
Vatican
City:
Rome,
Italy
(Fresco)
32
High
Renaissance:
Michelangelo:
Self
Portrait
on
the
flayed
skin
of
St.
Bartholomew
(Detail
from
Last
Judgement)
33
High
Renaissance:
Michelangelo:
Dome
of
St.
Peter’s
Basilica,
1546
–
1564
(completed:
1590)
34
St.
Peter's
Basilica:
Michelangelo's
dome
•Construction
began
in
1452
and
was
completed
in
1626.
•St.
Peter's
is
the
largest
church
in
the
world
at
186
meters
in
length.
(614’
long)
•145’
tall
•Pope
Julius
II
/
Pope
Paul
III
•Michelangelo
–
7th
architect
•The
Apostle
Peter
(the
first
‘Pope’)
was
martyred
in
Rome
by
Emperor
Nero
•Still
considered
the
center
of
the
Catholic
Church
–
the
most
famous
church
in
the
world
•Extensive
study
of
Brunelleschi’s
dome
in
Florence
35
36
Raphael Sanzio
(1483 - 1520)
37
High
Renaissance:
Raphael,The
School
of
Athens,
1510-11
Vatican,
Rome:
Stanza
della
Signatura,
~19’
X
27'
(Fresco)
38
http://home.wlu.edu/~mahonj/Ancient_Philosophers/Plato&Aristotlepic.htm
Detail:
Plato
(Leonardo)
and
Aristotle
39
Detail:
Raphael,
Self
Portrait
in
School
of
Athens
40
Detail:
Raphael’s
Heraclitus
(Michelangelo)
41
Raphael,
Study
for
The
School
of
Athens,
c.
1510
42
High
Renaissance:
Raphael,
Sistine Madonna,
c.1513-1514
Oil on panel.
104” x 77”
{Dresden Gallery, Germany}
43
Detail:
Raphael,
Angels from the
Sistine Madonna,
c.1513-1514
44
High
Renaissance:
Titian:
Venus of Urbino,
1538.
Oil
on
Canvas,
~4’
X
5’
6”
{Uffizi}
45
Giorgione:
Sleeping Venus,
c.
1510
(oil
on
canvas)
46
46
Edourd
Manet:
Olympia,
c.
1863
(oil
on
canvas)
47
47
Mannerism:
Parmigianino,
Madonna
with
the
Long
Neck,
c.1535
Oil
on
wood
~7’
1”
X
4’
4”
6”
{Uffizi}
-elongated the human figure in order to make it more elegant
-criticized in its time for putting too much emphasis on ‘style'
Mannerism An artistic style of the late 16th century characterized by
distortion of elements such as scale and perspective - put emphasis on
the individual style of the artist.
48
Mannerism:
Parmigianino,
Madonna
with
the
Long
Neck,
c.1535
Oil
on
wood
~7’
1”
X
4’
4”
6”
{Uffizi}
-elongated the human figure in order to make it more elegant
-criticized in its time for putting too much emphasis on ‘style'
Mannerism An artistic style of the late 16th century characterized by
distortion of elements such as scale and perspective - put emphasis on
the individual style of the artist.
48
Mannerism:
Parmigianino,
Madonna
with
the
Long
Neck,
c.1535
Oil
on
wood
~7’
1”
X
4’
4”
6”
{Uffizi}
-elongated the human figure in order to make it more elegant
-criticized in its time for putting too much emphasis on ‘style'
Mannerism An artistic style of the late 16th century characterized by
distortion of elements such as scale and perspective - put emphasis on
the individual style of the artist.
48
Baroque
"If it ain't Baroque
Don't fix it!"
French,
from
Italian
barocco,
imperfect
pearl,
and
from
Portuguese
barroco.]
adj.
1. Baroque
Of,
relating
to,
or
characteristic
of
a
style
in
art
and
architecture
developed
in
Europe
from
the
early
17th
to
mid-18th
century,
emphasizing
dramatic,
often
strained
effect
and
typified
by
bold,
curving
forms,
elaborate
ornamentation,
and
overall
balance
of
disparate
parts.
2. Baroque
Music.
Of,
relating
to,
or
characteristic
of
a
style
of
composition
that
flourished
in
Europe
from
about
1600
to
1750,
marked
by
expressive
dissonance
and
elaborate
ornamentation.
3. Extravagant,
complex,
or
bizarre,
especially
in
ornamentation
Antonio
Vivaldi:
Italian
composer
and
violinist.
He
is
best
known
for
his
concertos,
particularly
The
Four
Seasons
(1725),
a
set
of
four
violin
concertos.
(1675-1741)
49
Baroque:
Caravaggio,
Bacchus
1597
(Italian)
Michelangelo
Carravaggio
(1571-1610)
•Italian
painter:
influenced
most
of
the
painters
of
his
time
through
his
use
of
great
contrasts
and
theatrical
lighting
•in
works
are
characteristic
dark
backgrounds
and
bright
highlights
called
chiaroscuro
•used
many
diagonals
which
makes
a
composition
more
active
50
Baroque:
Caravaggio,
The
Calling
of
St.
Matthew,
1597
–
1601
Oil
on
canvas
(11’
x
11’)
(Italian)
[chiaroscuro]
51
Baroque:
Caravaggio,
“The
Death
of
the
Virgin”
or
“Assumption”
c.
1604-06
52
52
Woman
Artist:
Baroque:
Artemisia
Gentileschi,
Judith
Slaying
Holofernes,
c.
1614
–
1620
(6’
6”
X
5’
4”)
{Uffizi}
Baroque
painting
had
many
of
the
same
attributes
that
Baroque
sculpture
and
architecture
had:
•theatrics
•innuendo
•violent
subjects
53
Judith
and
Her
Maidservant
54
Baroque:
Façade
of
St.
Peter’s
Basilica,
(1506
-
1666)
(Papal
audience)
55
Bernini,
Piazza:
St.
Peter’s
Basilica,
Vatican
56
Interior
:
St.
Peter’s
Basilica,
Vatican
57
Baroque:
Bernini:
Throne
of
St.
Peter,
58
Baroque:
Bernini,
Ecstasy
of
St.
Theresa,
1645
–
1652
Marble
(11’
6”
tall)
59
Baroque:
Bernini:
David,
1623
Marble
(~
5’
7”
high)
[Borghese
Gallery]
60
Compare
&
Contrast:
David
Donatello
Verrocchio
Michelangelo
Bernini
61
Northern
Renaissance
http://www.metmuseum.org/toah/splash.htm
62
Northern
Renaissance:
Jan
Van
Eyck:
The
Arnolfini
Wedding,
1434
(Dutch)
Group
Brainstorming:
Interpret the symbolism in the piece.
(Consider social conventions / customs of the
day)
63
The following excerpt is from Gardner's Art Through the Ages (pp. 576-578)
The intersection of the secular and religious in Flemish painting also surfaces in Jan van
Eyck's double portrait Giovanni Arnolfini and His Bride. Van Eyck depicts the Lucca financier
(who had established himself in Bruges as an agent of the Medici family) and his betrothed
in a Flemish bedchamber that is simultaneously mundane and charged with the spiritual. As
in the Mérode Altarpiece , almost every object portrayed conveys the event's sanctity,
specifically, the holiness of matrimony.
Arnolfini and his bride, Giovanna Cenami, hand in hand, take the marriage vows. Van Eyck
enhanced the documentary nature of this painting by exquisitely painting each object. He
carefully distinguished textures and depicted the light from the window on the left reflecting
off various surfaces.
(The picture's purpose, then, seems to have been to record and sanctify this marriage.
Although this has been the traditional interpretation of this image, some scholars recently
have taken issue with this reading, suggesting that Arnolfini is conferring legal privileges on
his wife to conduct business in his absence. Despite the lingering questions about the
precise purpose of Giovanni Arnolfini and his Bride, the painting provides viewers today with
great insight into both van Eyck's remarkable skill and Flemish life in the fifteenth century.)
http://employees.oneonta.edu/farberas/arth/arth200/gender/Arnolfini.html
64
…The all-seeing eye of God seems to be referred to twice. It is symbolized once by the single
candle burning in the left rear holder of the ornate chandelier…
65
…and again by the mirror, where viewers see the entire
room reflected.
The small medallions set into the mirror's frame show tiny
scenes from the Passion of Christ and represent God's everpresent promise of salvation for the figures reflected on the
mirror's convex surface.
66
The little dog symbolizes fidelity (the common canine name Fido
originated from the Latin fido, "to trust").
Rabbit’s foot:
Good luck (?)
The cast-aside clogs indicate this event is taking place on
holy ground
(…or symbolize comfort for the long road ahead ?)
67
The artist augmented the scene's credibility by including the convex mirror, because viewers can see not only the principals, Arnolfini and his wife, but
also two persons who look into the room through the door. One of these must be the artist himself, as the florid inscription above the mirror, "Johannes
de Eyck fuit hic," (‘Jan Van Eyck was here’) announces he was present.
68
Behind the pair, the curtains of the marriage bed have been opened. The
bedpost's finial (crowning ornament) is a tiny statue of Saint Margaret,
patron saint of childbirth. From the finial hands a whisk broom, symbolic
of domestic care.
69
The oranges on the chest below the window may refer to
fertility
(or innocence?)
Is she or isn’t she?
The Color Green: symbolism
Fertility (?)
70
Northern
Renaissance:
Jan
Van
Eyck:
The
Ghent
Altarpiece,
1432
(closed)
Saint
Bavo
Cathedral,
Ghent,
Belgium
Oil
on
wood,
(~11’
6”
X
15’
1”)
(Dutch)
71
Northern
Renaissance:
Jan
Van
Eyck:
The
Ghent
Altarpiece,
1432
72
Details:
Adam,
Eve,
And
God
Almighty
73
Detail:
Adoration
of
the
Lamb
of
Christ
74
Northern
Renaissance:
Albrecht
Durer:
The
Four
Horsemen
of
the
Apocalypse,
1498
(15”x11”)
Woodcut
block
print
[Metropolitan
Museum
of
Art,
NYC]
(German)
75
The third and most famous woodcut from Dürer's series of illustrations for The Apocalypse, the Four Horsemen presents a dramatically
distilled version of the passage from the Book of Revelation (6:1–8): "And I saw, and behold, a white horse, and its rider had a bow; and a
crown was given to him, and he went out conquering and to conquer. When he opened the second seal, I heard the second living creature
say, 'Come!' And out came another horse, bright red; its rider was permitted to take peace from the earth, so that men should slay one
another; and he was given a great sword. When he opened the third seal, I heard the third living creature say, 'Come!' And I saw, and
behold, a black horse, and its rider had a balance in his hand; … When he opened the fourth seal, I heard the voice of the fourth living
creature say, 'Come!' And I saw, and behold, a pale horse, and its rider's name was Death, and Hades followed him; and they were given
great power over a fourth of the earth; to kill with sword and with famine and with pestilence and by wild beasts of the earth." Transforming
what was a relatively staid and unthreatening image in earlier illustrated Bibles, Dürer injects motion and danger into this climactic moment
through his subtle manipulation of the woodcut. The parallel lines across the image establish a basic middle tone against which the artist
silhouettes and overlaps the powerful forms of the four horses and riders—from left to right, Death, Famine, War, and Plague (or Pestilence).
Their volume and strong diagonal motion enhance the impact of the image, offering an eloquent demonstration of the masterful visual
effects Dürer was able to create in this medium.
76
http://www.metmuseum.org/toah/works-of-art/19.73.209
76
Northern
Renaissance:
Hieronymus
Bosch:
Garden
of
Earthly
Delights,
1505
–
1510
(Oil
on
wood)
Creation
of
Eve
Garden
of
Earthly
Delights
(7’
2
5/8”
X
6’
4
¾”)
Hell
77
Northern
Renaissance:
Hieronymus
Bosch:
Garden
of
Earthly
Delights
(Hell),
1505-1510
(Dutch)
78
Detail:
Hell
79
Northern
Renaissance:
Pieter
Bruegel
the
Elder:
The
Peasant
Dance,
1567
(German)
80
Northern
Renaissance:
El
Greco:
View
of
Toledo,
1597
(Spanish,
Mannerist)
81
Northern
Renaissance:
Diego
Velazquez:
Las
Meninas,
1656
(Spanish,
Baroque)
-court
painter
for
Philip
IV
of
Spain
,
Oil
on
canvas
"Maids
of
Honor"
(English
translation)
is
a
view
into
the
artist's
studio
and
the
Royal
family's
lives
82
83
Northern
Renaissance:
Rembrandt:
Self-Portrait,
1658
(Dutch,
Baroque)
83
Northern
Renaissance:
Rembrandt:
Self-Portrait,
1658
(Dutch,
Baroque)
Rembrandt
van
Rijn
(1606-69)
•conveyed
character
and
drama
through
his
use
of
dark
and
light
•
Self
Portraits-
conveyed
these
ideas
of
character
in
light
and
shadow
•Chronicle:
he
did
them
each
year
83
84
Northern
Renaissance:
Rembrandt:
The
Nightwatch,
1658
(Dutch,
Baroque)
84
Rembrandt’s largest, most famous canvas was made for the Arquebusiers guild hall. This was one of several halls of
Amsterdam’s civic guard, the city’s militia and police.
Rembrandt was the first to paint figures in a group portrait actually doing something. The captain, dressed in black, is telling
his lieutenant to start the company marching. The guardsmen are getting into formation. Rembrandt used the light to focus on
particular details, like the captain’s gesturing hand and the young girl in the foreground. She was the company mascot.
85
85
Vocab
Review
•Perspective
•Patronage
•Quatrefoil
•Gilded
•martyr
•Divine
inspiration
•Apprenticeship
•Sfumato
•Glazes
•Mannerism
•Baroque
•Chiaroscuro
86