Painting
The High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design and their technique. The elongated proportions and exaggerated poses in the late works of Michelangelo, Andrea del Sarto and Correggio prefigure so-called Mannerism, as the style of the later Renaissance is referred to in art history.
The serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vinci's Mona Lisa and Raphael's The School of Athens. Raphael's fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno.
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Famous quotes containing the word painting:
“Talk to them about things they don’t know. Try to give them an inferiority complex. If the actress is beautiful, screw her. If she isn’t, present her with a valuable painting she will not understand. If they insist on being boring, kick their asses or twist their noses. And that’s about all there is to it.”
—John Huston (1906–1987)
“The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.”
—Sir Herbert Read (1893–1968)
“Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms.”
—Ralph Waldo Emerson (1803–1882)