Art History

1. formal and iconographic characteristics are seen in high renaissanace, venetian and mannerist paintings. to begin with, in high renaissance michaelangelos Moses is shown holding the 10 commandments. You can clearly see the anger that is dipicted through the facial expression on moses. Michaelangelo wonderfully portrays the psychological states in moses, through the iconographic characteristics of his puffed lower lip, arched toes and the bulging of his veins. the formal characteristics are seen through michealangeols mastery of lines, which help create the anger that is being felt by moses. The formal characteristic of the lining of his beard and clothing show his inner turmoil. In the venetian painting of the virgin of the rocks by Leonardo Da Vinci, the artist magnificantly uses the chiaroscuro method of light and dark to model the expression and emotional states of the figures being portrayed. The lines, soft and subtle give the painting a more intimate feeling. The figures are all shown interacting with one another, praying, pointing, and blessing. He also presents the figures in a pyramidal group and sharing the same environment. The figures emerge through the use of light and shading from the half-light of the cavernous visionary landscape. For mannerism, formal characteristics are clearly seen in Parmigianino's Madonna with the long neck. Although nothing is shown in proportion the painting still apears soft and smooth, through the lines and colors used. The madonnas long neck, the delicacy of her hands and swaying elongation of her frames are all signs of mannerism. On the left stands the angelic creatures melting with emotions as soft and smooth as their limbs. on the right the artist includes a line of columns without capitals and an enigmatic figure with a scroll whose distance from the foreground is immeasureable and imbiguous.

2. Mannerist and reaissance architecture are both different from one another. Reainissance architecture is seen in saint peters that strives for the effects of mass balance, order and stability which were the very hallmarks of high renaissance design. Reainissane architecture is all mathematically balanced and in order, which gives the sense

that everything

is rightfully in its own place. Mannerist architects utilized classical elements in an unorthodox way with specific aim at revealing the contrived nature of architectural design. in the Palazzo del T'e, the keystones either have not fully settled or seem to be slipping from the arches. Still the architecte even placed keystones in the pediments over the rectangular niches where no arches exist. The massive tuscan columns that flank these niches carry inconguously narrow architraves. the arachitraves break midway between the columns stresses their apparent structural insufficiency and they seem unable to support the weight of the triglyphs above which threaten to crash down on the head of anyone who so chooses to stand below them. Mannerist architecture breaks all rules that were followed for centuries on order stability and symmetry.

3. Religious and Philosophical influencens are seen throughout

Renaissance art. For example in the school of athens by Raphael, he shows a congregation of the great philosophers and scientists of the ancient world conversing and explaining their various theories and ideas. This appeald the the public because it was a time of discovery of new ideas and technology and rediscovery of classical thoughts. The artist rightufully places two statues in the upper corners of Apollo and Athena who were the patrons of the arts and wisdom. Here plato is shown holding his book Timaeus and points up to heaven, the source of his inspiration, while Aristotle carries his book nichomachean Ethics and gestures towared the earth from which his observations of reality sprang. On Platos side stand ancient philosophers who were concerned