Essay Question #1 There were quite a few innovations that came from Renaissance, Florence that is clear in some of the works presented. In Donatello’s piece, St. George, the figures on the bottom of the sculpture stand out from the background. This style was more commonly used during this time period in the fifteenth century and it is referred to as schiacciato. The point of this method is conveying distance in sculptures, to show that some objects or figures are farther away than others. Another innovation of art in Renaissance Florence is the depiction of naturalistic posture, proportions, and gestures. The statue of St. George is a good example of what a naturalistic pose looks like. He stands with his feet spread apart, slightly favoring …show more content…
John, and Two Donors. This painting is realistic in the sense that it depicts believable space. Each of the figures, Christ, God, and the Donors are all painted life-sized and with great detail. For instance, each figure is given their own facial expression, each one sorrowful. Jesus lay limp on the cross, his arms nailed to the cross, his head slumped down to the right, his legs dangling beneath him, lifeless. Lorenzo Ghiberti’s The Sacrifice of Isaac is another example of one of the innovations brought out of Renaissance Florence. Bronze casting was revived around this time and this particular piece is made from gilded bronze. Also, there are nude figures in the piece and the act of sculpting nude figures was brought back in this time period. Lastly, Filippo Brunelleschi’s Dome of Florence Cathedral is a marvel, as it was huge, double-shelled, and lightweight, as he used the lightest stone he could. Brunelleschi had to invent machines that would lift some of the heavier materials that the architects on the project could not carry themselves and he had to use specifically shaped bricks. All of these factors aided in Brunelleschi being one of the most innovative architects of that …show more content…
The red, green, and blue colors found in the painting are typical of the Renaissance era. Its basic form is a triptych that is comprised of three hinged panels and each of the three units has four panels. Across the bottom of this piece, there are groups of people who have gathered around an altar where a lamb is seen. The lamb is standing next to a wooden cross and the sun is shining directly above his head, giving the impression of a halo. The lamb is representing Christ, as he is referred to as the Lamb of God. Angels, popes, and Knights among other groups of people can be seen gathered all around, coming from four different sides. Above sits Christ with Mary and John the Baptist on either side of him. Angels can be seen playing instruments and singing melodies in the two panels on either side of Mary and John the Baptist. Adam and Eve are also displayed on this altarpiece and they were painted nude to convey to the viewer a sense of their naturalistic