Early Renaissance

Profile poses had been the most well-known sort of pose employed by artists until the 1470s, as soon as artists started to paint portraits of people in three-quarter and full-face perspective. Botticelli's Portrait of the Young Man is practically a full-face portrait and, according to Tansey, Italian painters like Botticelli adopted such perspectives "perceiving that they enhance the viewer's information on the subject's appearance and allow the artist to reveal the subject's character" (719).

In Botticelli's painting, we can see the emergence of humanism in that it is atypical of most on the paintings just before it and even of individuals during its era. It's atypical in that it shows a young man who is very expressive in terms of psychology. The man is delicately posed, along with a graceful tilt of his head. He illustrates a sidelong glance and his hand is posed in an elegant gesture. These elements of composition combine to build us unsure whether he is musing or equivocal in his psychological stance. We also see that Botticelli has combined each feminine and masculine things inside painting, giving it an aura of tranquil but assured beauty. Inside the work we see the growing preoccupation with anatomy, as the explicit and sharp type in the portrait demonstrates. These kinds of a program was achieved by Botticelli by generating sharp, pure outlines of the figure after which filling them in with softer contours. That is specifically evident inside delicately posed hand from the young m

 

Tansey, R. G. (Ed.). Gardner's Art Through the Ages, (10th Edit.) New York, Harcourt Brace College Publishers, 1996.

The Battle of San Romano also illustrates the interest of many early Renaissance painters in celebrating the heroes and warriors in the past. The painting commemorates the victory with the Florentines over the Sienese in 1432 (Tansey 699). The obsession from the three-dimensional form by early Renaissance painters is clearly evident in Uccello's work. As Tansey explains, the piece is "constructed of immobilized, solid forms; broken spears and lances and a fallen soldier are foreshortened and carefully placed along the converging orthogonals with the perspective to produce a base plane being a checkerboard, on which the volumes are then placed in measured intervals" (698). Uccello's work uses value contrasts and definite placement of figures so that you can offer great depth along with a three-dimensional appearance towards the one-dimensional surface on the artwork.

The works of Paolo Uccello precede those of both Ghirlandaio and Botticelli. Uccello (1397-1475) was born in Florence and represents a single on the 1st best recognized painters with the early Renaissance (Early II, 9). Even though Ghirlandaio and Botticelli illustrate the increasing focus on anatomy in painting in the early Renaissance, Uccello's works show the increasing use of perspective to provide depth to pictorial space. 1 of Uccello's best known works that clearly illustrates the increasing use of perspective to add depth and three-dimensional qualities to a one-dimensional surface is the Battle of San Romano. The Battle of San Romano was painted in 1455 and measures 6' by 10' 5" (Tansey 699). Clearly much larger than another 2 works analyzed herein, Uccello's skillful use of perspective to supply depth to his rendering is clearly evident in this battle that may be tempera on wood and belongs on the collection of 3 wood panels decorating the Medici Palace.

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