Renaissance and Baroque

“Madonna and Child” was painted by Francesco Granacci around the year 1520. Granacci was born in Villamagna, Italy and later moved to Florence, which is considered the birthplace of the Renaissance. He painted this piece during what was known as the High Renaissance, which was when Italian art reached its peak of accomplishment in the cities of Florence, Rome, and Venice. This piece is Renaissance because of Granacci’s strong use of color, the way he creates an illusion of depth of space, the stronger emotions within the piece, and the theme of Christianity. In his painting, Mary is sitting in a room with the Christ child in her arms. There is also an open window with some trees and a mountain in the background. You can see the folds in her dress and veil and the detail of her and the Christ child’s halo. Although there is shading in her dress and behind her that create an illusion of depth and space, Mary and the Christ child appear somewhat flat, like if they are coming out of the picture. This is because the composition of this picture seems to be inspired from a sculpture in low relief most likely by either Donatello or Michelangelo. Granacci had been a fellow pupil with Michelangelo in the workshop of Ghirlandaio, so it is possible he was inspired to paint his own version. Granacci has made the composition of his piece more pictorial by placing the figures in a light-filled room.

      “Saints Peter and Paul” was painted by Jusepe de Ribera around the year 1612. Ribera was born in Játiva, Spain and later moved to Naples, Italy. He painted this piece during the Baroque period, which lasted from about 1600 to about 1750. During the Baroque period, artists used Renaissance techniques to move art in the direction of drama, emotion, and splendor. Much of Baroque artwork shows great energy and feeling, and a dramatic use of light, scale, and composition. In this piece, the apostles and protectors of the city of Rome and the Papacy are depicted as though disputing. Peter is holding the keys to heaven and you can faintly make out the sword of martyrdom behind Paul. The light shining down on Peter and Paul expresses drama. Their close proximity shows tension, and their hand gestures make it appear as if they’re having an argument. You can even see and feel the tension in Peter’s face. The vivid realism of the piece, use of directed lighting, and strong contrasts testify to Ribera’s close study of the work of Caravaggio, one of the leading influences of the Baroque period.

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