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Note: Image #4 contains two art terms.
1. "Disegno." This dictum by Leonardo became the Florentine artists methodology during the Renaissance. It prescribed sketching out the idea of your painting in a notebook before you start to paint. It embodied the Humanist idea of the intellectual concept being important to the creation of the later image. This is Leonardo's sketch preceding his painting,"Virgin and St. Anne."
2. "La figura serpentinata." This is a Mannerist term referring to a twisting of the human body. Michelangelo had employed it in his High Renaissance phase. This sculpture by Giambologna, a Mannerist in Florence,is entitled "The Rape of the Sabine."
3. "Hieratic gesture/pose." A gesture that implies authority. Here it is used in Fra Angelico's "Annunciation" showing the mutual respect of the angel to the mother of God and Mary's respect for the messenger of God. Classically, it was done fully frontal, but here Fra Angelico employs a 3/4 front pose by both the angel and Mary.
4. "Contrapposto." A pose where one knee is bent and the opposing shoulder is lower than the other. Michelangelo famously used in in his "David" as well as by most other painters of the era. Here it is the pose of Truth in Botticelli's "The Calumny of Apelles." It is also, of course the pose of his Venus.
4. "Venus pudica" or "modest Venus." Again, note that Botticelli uses it for both Truth and Venus. Interestingly, no male nude is ever painted using such a gesture!
5. "Sacra conversazione." The enthroned Madonna flanked by various saints and often donors who paid for the artist including him (and his family often) in proximity to Mary and the infant Christ, is supposed to imagine a "holy conversation," although typically no one is speaking. This later, Mannerist work, entitled "Sacra Conversazione," is by Pontormo. It varies from the traditional Renaissance with a more disordered rendering of participants and a restless, squiriming Christ child.
6. "Colorito." This is the Venetian High Renaissance's practical and rather poetic alternative to the Florentine's insistence on "disegno." It emphasizes a harmonious blend of light transitions and merging planes of color. This is Titian's "Venus and Adonis." Note the brightness of Venus's nude back which draws the eye.
Hope you enjoyed this challenge! Next week, another challenge...
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