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 [...]Read more
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 [...]Read more
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 [...]Read more
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.Read more
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!
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 [...]Read more
While I was in Antwerp, Belgium, a few weeks ago, I became inevitably immersed in the world of Peter Paul Rubens (1577 – 1640), the city’s most celebrated citizen. Although his art takes me beyond the boundaries of the early Renaissance and into the Baroque, Rubens was formed by the guild and workshop system of [...]Read more
Jan Gossaert’s Renaissance exhibition at The National Gallery, London (until 30 May 2011) is a must see for devotees of the Northern Renaissance as well as 3D spacial illusion. Through realism and visual metaphor, the intimate portraits in particular come to life, 500 years after their creation. The exhibition begins with an introduction to the [...]Read more
Immersion for seekers of new realities often starts with images that surround. 3D films and TVs, augmented reality apps, and surround vision goggles all provide a sense of another world supplanting reality. This world is one that may also include other sensory dimensions, but the primary building block is visual conjuring. At a basic level, [...]Read more
Following on from Math for Art’s Sake I, in this post I look again at geometry in the service of art, this time looking at Microsoft’s Kinect sensor technology and Piero della Francesca’s orthographic projection maps of the human head. Viewing a ‘Kinected’ object through infrared light reveals ‘a dissolution of surfaces into a constellation [...]Read more
“He who does not understand the supreme certainty of mathematics is wallowing in confusion.” Leonardo da Vinci. Artists of the Italian Renaissance were driven to understand the perfection of math and the natural laws of geometry (notably linear perspective) in order to create beauty in representational art. There are some art movements where math is [...]Read more