Tim Burton meets Raphael in the Darkness (and the Light)

Tim Burton meets Raphael in the Darkness (and the Light)

An exploration of Raphael’s late fascination with Chiaroscuro, whose multi-modal thinking can be discovered in the films of Tim Burton. A post inspired by and dedicated to the memory of Hasan Niyazi.

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Hasan Niyazi, Remembered

Hasan Niyazi, Remembered

A thing of beauty is a joy forever: its loveliness increases; it will never pass into nothingness.
John Keats”

Hasan retweeted this the day before his sudden death at the age of 37. Hasan, you – and your passion for beauty – are impossible to forget, too.

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Reflecting on the Ghent Altarpiece

Reflecting on the Ghent Altarpiece

Read the full post on 3 Pipe Problem

It’s wonderful to be back guest posting on the very happening Art History Blog, 3 Pipe Problem. The original purpose and symbolism of the Ghent Altarpiece is explored with insights from the 2012 Van Eyck studies symposium in Brussels.

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Natural Systems: Leonardo’s Energy Charge

Natural Systems: Leonardo’s Energy Charge

Leonardo’s expression of energy within natural systems, and the enhanced immersion of natural weather effects in contemporary games.

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perugio

Perugino in Munich

Read the full post on 3 Pipe Problem

Just for a change of pace this month, a review of the Alte Pinakothek’s Perugino: Raphael’s Master exhibition in Munich. Perugino’s Northern influence, particularly Memling is explored.

I’m once again very excited to have the opportunity to guest post on the Art History Blog everybody’s talking about, 3 Pipe Problem.

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Modes of Renaissance Colour

Modes of Renaissance Colour

Read the full post on 3 Pipe Problem

This month I’m thrilled to guest post on the fantastic art history blog 3 Pipe Problem. Modern 3D incarnations of sfumato, chiaroscuro, cangiantismo, unione and Cennini colouring are explored.
Read the full post and keep up with the latest developments in Renaissance art history on 3 Pipe Problem!

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Raphael’s Unione

Raphael’s Unione

My exploration of colour in the Rennaissance now leads me to Raphael (1483 –1520), who, according to Marcia B. Hall, was central to the development of two of the four modes of colour in Rome of the High Renaissance: Chiaroscuro and Unione.1 The other two modes which I’ve explored in earlier posts, were developed by [...]

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Leonardo’s Sfumato

Leonardo’s Sfumato

Well in advance of the Leonardo da Vinci exhibition at the National Gallery London in Nov 2011, I’m pleased to have a chance to focus on Leonardo’s approach to colour blending, sfumato. I’m once again mining Marcia Hall’s comprehensive book Colour and Meaning: Practice and Theory in Renaissance Painting. Colour is so central to my [...]

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Michelangelo’s Cangiantismo

Michelangelo’s Cangiantismo

In my previous post Cennini and the Superbrights I discussed the Cennini system of painting found in the treatise Libro dell ‘Arte (The Craftsman’s Handbook), written by Cennino d’Andrea Cennini in 1390. In this system painters model volume by using pure colours in the shadows, and adding white to the pure pigment to achieve mid-tones [...]

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Cennini and the Superbrights

Cennini and the Superbrights

The aspect of early Renaissance painting which first drew me in was colour.  The intense pure colours of early Flemish and Italian art still transfix no matter how many paintings I see.  Perhaps it’s a bit like being a magpie, genetically attracted to bright and luminous objects.  I finally had a chance to read ‘Color [...]

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