Renaissance

Renaissance Art
Art

Revision
Renaissance
Renaissance Architecture
Architecture
Renaissance architecture is the architecture of the period
between the early 15th and early 17th centuries in different
regions of Europe, in which there was a conscious revival and
development of certain elements of Classical Greek and
Roman thought and material culture.
The Renaissance style places emphasis on symmetry,
proportion, geometry and the regularity of parts as they are
demonstrated in the architecture of Classical antiquity and
in particular, the architecture of Ancient Rome, of which
many examples remained.
Orderly arrangements of columns, pilasters and lintels, as
well as the use of semicircular arches, hemispherical domes,
niches and aedicules replaced the more complex proportional
systems and irregular profiles of medieval buildings
Renaissance
Renaissance Architecture
Architecture

Historians often use the following

designations:
Renaissance (ca. 1400–1500); also known
as the Quattrocento and sometimes
Early Renaissance
High Renaissance (ca.1500–1525)
Mannerism (ca. 1520–1600)
Renaissance
Renaissance Architecture
Architecture
Quattrocento
In the Quattrocento, concepts of architectural order
were explored and rules were formulated. The study
of classical antiquity led in particular to the adoption
of Classical detail and ornamentation.
Space, as an element of architecture, was utilised
differently to the way it had been in the Middle Ages.
Space was organised by proportional logic, its form
and rhythm subject to geometry, rather than being
created by intuition as in Medieval buildings. The
prime example of this is the Basilica di San Lorenzo in
Florence by Filippo Brunelleschi (1377–1446
Renaissance
Renaissance Architecture
Architecture
High Renaissance
During the High Renaissance, concepts derived
from classical antiquity were developed and
used with greater surety. The most
representative architect is Bramante (1444–
1514) who expanded the applicability of
classical architecture to contemporary
buildings. His San Pietro in Montorio (1503) was
directly inspired by circular Roman temples. He
was, however, hardly a slave to the classical
forms and it was his style that was to dominate
Italian architecture in the 16th century
Renaissance
Renaissance Architecture
Architecture
Mannerism
During the Mannerist period, architects experimented
with using architectural forms to emphasize solid and
spatial relationships. The Renaissance ideal of harmony
gave way to freer and more imaginative rhythms. The best
known architect associated with the Mannerist style was
Michelangelo (1475–1564), who is credited with inventing
the giant order, a large pilaster that stretches from the
bottom to the top of a facade. He used this in his design
for the Campidoglio in Rome.
Prior to the 20th century, the term Mannerism had
negative connotations, but it is now used to describe the
historical period in more general non-judgemental terms
Renaissance
Renaissance Architecture
Architecture
Characteristics of Renaissance architecture:
The obvious distinguishing features of Classical Roman
architecture were adopted by Renaissance architects.
However, the forms and purposes of buildings had
changed over time. So had the structure of cities.
Among the earliest buildings of the reborn Classicism
were churches of a type that the Romans had never
constructed. Neither were there models for the type
of large city dwellings required by wealthy merchants
of the 15th century.
Conversely, there was no call for enormous sporting
fixtures and public bath houses such as the Romans
had built. The ancient orders were analysed and
reconstructed to serve new purposes
Renaissance
Renaissance Architecture
Architecture
Elements: Plan
The plans of Renaissance buildings have a square,
symmetrical appearance in which proportions are usually
based on a module. Within a church the module is often
the width of an aisle.
The need to integrate the design of the plan with the
façade was introduced as an issue in the work of Filippo
Brunelleschi, but he was never able to carry this aspect
of his work into fruition. The first building to
demonstrate this was St. Andrea in Mantua by Alberti.
The development of the plan in secular architecture was
to take place in the 16th century and culminated with
the work of Palladio
Renaissance
Renaissance Architecture
Architecture
Elements: Facade
Façades are symmetrical around their vertical axis.
Church facades are generally surmounted by a pediment
and organized by a system of pilasters, arches and
entablatures. The columns and windows show a
progression towards the centre.
Domestic buildings are often surmounted by a cornice.
There is a regular repetition of openings on each floor,
and the centrally placed door is marked by a feature
such as a balcony, or rusticated surround. An early and
much copied prototype was the façade for the Palazzo
Rucellai (1446 and 1451) in Florence with its three
registers of pilasters
Renaissance
Renaissance Architecture
Architecture
Elements: Columns and Pilasters
The Roman orders of columns are used:- Tuscan,
Doric, Ionic, Corinthian and Composite.
The orders can either be structural, supporting an
arcade or architrave, or purely decorative, set
against a wall in the form of pilasters.
During the Renaissance, architects aimed to use
columns, pilasters, and entablatures as an
integrated system.
Renaissance
Renaissance Architecture
Architecture
Elements: Arches
Arches are semi-circular or (in the Mannerist style)
segmental. Arches are often used in arcades, supported
on piers or columns with capitals.
There may be a section of entablature between the
capital and the springing of the arch. Vaults
Elements: Vaults
Vaults do not have ribs.
They are semi-circular or segmental and on a square
plan, unlike the Gothic vault which is frequently
rectangular.
The barrel vault, is returned to architectural vocabulary.
Renaissance
Renaissance Architecture
Architecture
Elements: Domes
The dome is used frequently, both as a very large structural
feature that is visible from the exterior, and also as a means
of roofing smaller spaces where they are only visible internally.
Domes had been used only rarely in the Middle Ages, but after
the success of the dome in Brunelleschi’s design for the
Basilica di Santa Maria del Fiore and its use in Bramante’s plan
for St. Peter's Basilica (1506) in Rome, the dome became an
indispensable element in church architecture and later even for
secular architecture, such as Palladio's Villa Rotonda.[12]
Elements: Ceilings
Roofs are fitted with flat or coffered ceilings.
They are not left open as in Medieval architecture.
They are frequently painted or decorated.
Renaissance
Renaissance Architecture
Architecture
Elements: Doors
Door usually have square lintels.
They may be set within an arch or surmounted by a
triangular or segmental pediment.
Openings that do not have doors are usually arched and
frequently have a large or decorative keystone.
Elements: Windows
Windows may be paired and set within a semi-circular
arch. They may have square lintels and triangular or
segmental pediments, which are often used alternately.
Windows are used to bring light into the building and in
domestic architecture, to give views.
Stained glass, although sometimes present, is not a
feature.
Renaissance
Renaissance Architecture
Architecture
Elements: Walls
External walls are generally of highly-finished ashlar masonry, laid in
straight courses.
The corners of buildings are often emphasised by rusticated “quoins”.
Basements and ground floors were often rusticated.
Internal walls are smoothly plastered and surfaced with white-chalk paint.
For more formal spaces, internal surfaces are decorated with frescoes.
Elements: Details
Courses, mouldings and all decorative details are carved with great
precision.
Studying and mastering the details of the ancient Romans was one of the
important aspects of Renaissance theory. The different orders each
required different sets of details.
Mouldings stand out around doors and windows rather than being recessed,
as in Gothic Architecture.
Sculptured figures may be set in niches or placed on plinths. They are not
integral to the building as in Medieval architecture
Renaissance
Renaissance Architecture
Architecture
Influences of the Italian Renaissance:
Italy never fully adopted Gothic style.
Independent cities influenced in the movement of
artists.
Cities had a prosperous trade.
The return of the Pope to Rome gave new impetus to
religiosity.
The development of printing made possible the
expansion of ideas and the desire of acquiring
knowledge.
Humanism made of the man the centre of Univers.
Patronage made possible artists’ work.
Renaissance
Renaissance Architecture
Architecture
Quattocento: Brunelleschi
The underlying feature of the work of Brunelleschi was "order".
The buildings remaining among the ruins of ancient Rome
appeared to respect a simple mathematical order in the way
that Gothic buildings did not. One incontrovertible rule
governed all Ancient Roman architecture—a semi-circular arch
is exactly twice as wide as it is high.
From the observation of the architecture of Rome came a
desire for symmetry and careful proportion in which the form
and composition of the building as a whole and all its subsidiary
details have fixed relationships, each section in proportion to
the next, and the architectural features serving to define
exactly what those rules of proportion are.
Works: Florencia’s Cathedral dome, Hospital degli Innocenti,
San Lorenzo
Renaissance
Renaissance Architecture
Architecture
Quattrocento: Michelozzo
He was an architect under the patronage of the Medici
family, his most famous work being the Palazzo Medici
Riccardi. A decade later he built the Villa Medici at Fiesole.
He was one of the first architects to work in the
Renaissance style outside Italy.
The Palazzo Medici Riccardi is Classical in the details of its
pedimented window and recessed doors, but, unlike the
works of Brunelleschi and Alberti, there are no orders of
columns in evidence. Instead, Michelozzo has respected the
Florentine liking for rusticated stone. He has seemingly
created three orders out of the three defined rusticated
levels, the whole being surmounted by an enormous Roman-
style cornice which juts out over the street by 2.5 meters.
Renaissance
Renaissance Architecture
Architecture
Quattrocento: Alberti
Alberti perceived the architect as a person with great
social responsibilities.
He designed a number of buildings, but unlike
Brunelleschi, he did not see himself as a builder in a
practical sense and so left the supervision of the work
Dynamic buildings.
Triumphal façades marked by extreme contrasts.
Projection of the order of pilasters that define the
architectural elements.
The light and shade play dramatically over the surface of
the building.
Works: San Andres of Mantua, Palazzo Rucellai and Santa
Maria Novella.
Renaissance
Renaissance Architecture
Architecture
High Renaissance: Bramante
In Rome Bramante created what has been described as "a
perfect architectural gem", the Tempietto in the Cloister
of San Pietro in Montorio. This small circular temple marks
the spot where St Peter was martyred. The building adapts
the style apparent in the remains of the Temple of Vesta,
the most sacred site of Ancient Rome. It is enclosed by
and in spatial contrast with the cloister which surrounds it.
Bramante went on to work at the Vatican where he
designed the impressive Cortili of St. Damaso and of the
Belvedere. In 1506 Bramante’s design for Pope Julius II’s
rebuilding of St. Peter’s Basilica was selected, and the
foundation stone laid.
Works: San Pietro in Montorio, Santa Maria delle Grazie
Renaissance
Renaissance Architecture
Architecture
High Renaissance: Sangallo
His fame rests upon his association with the Farnese
Palace, “the grandest palace of this period”, started in
1530.
The impression of grandness lies in part in its sheer
size, (56 m long by 29.5 meters high) and in its lofty
location overlooking a broad piazza. It is also a building
of beautiful proportion, unusual for such a large and
luxurious house of the date in having been built
principally of stuccoed brick, rather than of stone.
Against the smooth pink-washed walls the stone quoins
of the corners, the massive rusticated portal and the
stately repetition of finely-detailed windows give a
powerful effect, setting a new standard of elegance in
palace-building.
Renaissance
Renaissance Architecture
Architecture
Mannerism: Michelangelo
Michelangelo’s dome of Saint Peter was a masterpiece of design
using two masonry shells, one within the other and crowned by a
massive lantern supported, as at Florence, on ribs. For the exterior
of the building he designed a giant order which defines every
external bay, the whole lot being held together by a wide cornice
which runs unbroken like a rippling ribbon around the entire building.
Laurentian library: It is a long low building with an ornate wooden
ceiling, a matching floor and crowded with corrals. But it is a light
room, the natural lighting streaming through a long row of windows
that appear positively crammed between the order of pilasters that
march along the wall. The vestibule, on the other hand, is tall, taller
than it is wide and is crowded by a large staircase that pours out of
the library, and bursts in three directions when it meets the
balustrade of the landing. It is an intimidating staircase, made all
the more so because the rise of the stairs at the centre is steeper
than at the two sides, fitting only eight steps into the space of nine.
Renaissance
Renaissance Architecture
Architecture
Mannerism: Palladio
Palladio was to transform the architectural
style of both palaces and churches by taking a
different perspective on the notion of
Classicism.
When he used the “triumphal arch” motif of a
large arched opening with lower square-topped
opening on either side, he invariably applied it
on a small scale, such as windows.
This Ancient Roman motif is often referred to
as the Palladian Arch.
Works: Villa Capra, San Giorgio Maggiore.
Renaissance
Renaissance Architecture
Architecture
Geography: France
During the early years of the 16th century the
French were involved in wars in northern Italy,
bringing back to France not just the
Renaissance art treasures as their war booty,
but also stylistic ideas.
In the Loire Valley a wave of building was
carried and many Renaissance chateaux
appeared at this time, the earliest example
being the Château d'Amboise (c. 1495) in which
Leonardo da Vinci spent his last years. The
style became dominant under Francis I .
Renaissance
Renaissance Architecture
Architecture
Geography: Netherlands
As in painting, Renaissance architecture took some time
to reach the Netherlands and did not entirely supplant
the Gothic elements.
In the early 17th century developed the Amsterdam
Renaissance style, not slavishly following the classical
style but incorporating many decorative elements, and
giving a result that could also be categorized as
Mannerism.
Local characteristics include the prevalence of tall
narrow town-houses, the "trapgevel" or Dutch gable and
the employment of decorative triangular pediments over
doors and windows in which the apex rises much more
steeply than in most other Renaissance architecture, but
in keeping with the profile of the gable.
Renaissance
Renaissance Architecture
Architecture
Geography: England
Renaissance architecture arrived in England during the reign
of Elizabeth I, having first spread through the Low countries
where among other features it acquired versions of the
Dutch gable, and Flemish strap work in geometric designs
adorning the walls. The new style tended to manifest itself in
large square tall houses such as Longleat House.
The first great exponent of Renaissance architecture in
England was Inigo Jones (1573–1652), who had studied
architecture in Italy where the influence of Palladio was very
strong. He began to design such buildings as the Queen's
House at Greenwich and the Banqueting House at Whitehall.
These works, with their clean lines, and symmetry were
revolutionary in a country still enamoured with mullion
windows, crenelations and turrets
Renaissance
Renaissance Architecture
Architecture
Geography: Spain
In Spain, Renaissance began to be grafted to Gothic
forms in the last decades of the 15th century.
The new style is called Plateresque, because of the
extremely decorated facades, that brought to the mind
the decorative motifs of the intricately detailed work of
silversmiths, the “Plateros”.
Classical orders and candelabra motifs (a candelieri)
combined freely into symmetrical wholes.
From the mid-sixteenth century, under such architects
as Pedro Machuca, Juan Bautista de Toledo and Juan de
Herrera there was a closer adherence to the art of
ancient Rome, sometimes anticipating Manierism,
examples of which include the palace of Charles V in
Granada and the Escorial.
Renaissance
Renaissance Sculpture
Sculpture
The discovery of the nature and the human body were
more important than the imitation of Antiquity.
The polychromes, the gilding and the various techniques
employed emphasize the pictorial quality of the works.
An innovation was that the artist was no longer content
to be a mere craftsman, but he had the mission of
adorn.
Sculpture and painting are going to be together many
times.
Projects were important in cities such as Florence were
competitions were hold when they had to command an
important work, as in the case of the Doors of the
Baptistery.
Renaissance
Renaissance Sculpture
Sculpture
During the Quattrocento there is an intention to
define an idealized, perfect bur naturalistic
representation of the human body.
The novelty is the concept of beauty embodied by
youth, whereas the gerontocracy in power strove to
relegate the young and adolescent to the sidelines of
social life.
The sculptures have three characteristics:
Gothic tradition
Renewal of Antiquity
Resource to the single point of view that underlines
frontality.
Renaissance
Renaissance Sculpture
Sculpture
Tomb sculpture.
The wall tomb was the favourite framework used by
the Renaissance sculpture.
The backed tombs were contaminated by the
successive forms taken by altarpieces: the recess was
surrounded by statuette aligned vertically on the
pilasters.
Artists adopted a tripartite structure, contrasting the
central arcade, which emphasized the image of the
deceased with lateral niches containing statues of
saints or virtues.
The development of the representation of the dead
denoted a new conception of the portrait. Depiction of
faces was often dictated by the concept of the ideal
Renaissance
Renaissance Sculpture
Sculpture
Revival of the equestrian statue
Life-size representation of a horse and rider was and
attractive subject for sculptors but did not become possible
until the second half of the century, due to the cost of
execution and technical problems to cast the bronze.
The monuments were reserved to the representation of the
civic and secular virtues of illustrious men and took as a model
the Marcus Aurelius.
Previously other models in short-lived materials were used.
The best examples are the Condottiero Gattamelata made by
Donatello, and the Condottiero Colleoni, work of Verrochio.
Renaissance
Renaissance Sculpture
Sculpture
The portrait
The art of medallist developed
They tended to specify and define the natural
features of an individual, with attention to
physiognomy and its psychological bearing, and
without forgetting the course of the time.
Female portraits implied a searching focus on the
beauty of woman, and inspired the artist to a
celebration of beauty, with a softer and more
tender treatment.
Renaissance
Renaissance Sculpture
Sculpture
Nude
There is a predominance of male nudes. They
follow the Gothic tradition.
Female nudes appear in small bronze statues,
imitating the antique statuary.
Male nude kept the workshops especially busy.
Some of the models are those made by
Michelangelo: Bacchus and, later on, David.
Renaissance
Renaissance Sculpture
Sculpture
Mannerism
Works oscillated between the fantastic and the
maniera (following the example of Michelangelo)
Sometimes the ideal took preference
Powerful images opposed to elongated weightless
ones
Undulating spirals animated groups and twisted
sinuous bodies
Exaggerated expression to the point of morbidity
and the bizarre was preferred
Instead of being a sign of decadence, the diversity
shows an art in search of itself.
Renaissance
Renaissance Sculpture
Sculpture
Materials and technique
Bronze substituted other precious
materials. It was casted and finished by
chisel. At the beginning it was not highly
polished
Extensive use of marble and fine
calcareous stones
Details of images are sometimes gilded
Backgrounds can be coloured
Renaissance
Renaissance Sculpture
Sculpture
Authors and examples:
Ghiberti: Doors of the Baptistery in
Florence (East Doors and Paradise Doors)
Donatello: David, Condottiero Gattamelata
Michelangelo: (Terribilita) Pieties, David,
Medici’s Tombs
Mannerism:
• Cellini: Perseus
• Berruguete: Toledo’s Choir stalls
• Leoni: Charles V’s portraits
Renaissance
Renaissance Sculpture
Sculpture
Mannerism:
Materials: stucco, a mix of plaster, lime and
sometimes powdered marble is well suited for
modelling.
The search for effect was often concentrate
on polychrome sculpture.
Fountains appear combining sculpture with the
effects of water.
In tombs marble and bronze are the main
materials.
Artists were itinerant, attracted by rulers to
their courts.
Renaissance
Renaissance Painting
Painting
Naturalism:
people must be represented as they are
observation is essential
Rationalism:
Things are represented following the reason
Use of perspective and backgrounds
Universalism:
Subjects general for any culture
Related to human beings
Renaissance
Renaissance Painting
Painting
Idealisation:
Characters are idealised
They do not have deformations
Order, proportion and harmony:
Things transmit calm and serenity
Perfection:
Works perfectly finished
Attention to the small detail
Renaissance
Renaissance Painting
Painting
Supports
Wall painting was frequent in Italy;
mosaic left way to mural painting in
Venice
Even if the canvas advanced, wood was
of frequent use
Poliptics were common in Spain and
Northern Europe whereas in Italy they
used an only panel.
Renaissance
Renaissance Painting
Painting
Techniques:
In Italy the fresco continued
Book illumination lost importance with
the printed books
Engraving on wood and on copper
developed
Drawing became more important
Temple was replaced by oil
systematically
Renaissance
Renaissance Painting
Painting

Themes:
Religious continued being important,
mainly in Northern Europe and Spain.
In Italy mythology was more important
Portrait developed
Landscape, without being independent,
acquired more importance in the
paintings
Renaissance
Renaissance Painting
Painting
Composition:
Space was rationalised with the resource to
lineal and atmospheric perspective
The organization of the painting put more
attention in the centre than in the periphery
Sometimes the shapes are organised following
simple shapes.
The background used traditional motives or
architectures of Roman inspiration.
Renaissance
Renaissance Painting
Painting
Drawing, colour and brushstroke:
Gold disappeared, the same as light
colours in the strategic areas of the
painting
Palette diversified, being commonly light
Oil painting permitted the use of
delicate nuances (transparencies,
luminosity)
Triumph of the sfumato.
Renaissance
Renaissance Painting
Painting
Images:
Faces are full of a new realism
Bodies must be convinced by the
imitation of real forms.
Worry for idealization, especially in
nudes, using canons of beauty
The normalisation of beauty led to the
apparition of their antagonists, with
grotesque or caricaturized images.
Mannerist
Mannerist Painting
Painting
Technique and support:
Are the same as those of the Renaissance
Format of paintings:
• Big in churches and palaces
• Small for stamps
Themes:
Religious were frequent
Mythology and allegory depiction improved
Portrait developed more
Mannerist
Mannerist Painting
Painting
Composition, drawing, colour and
brushstrokes:
Everything tried to create surprise
Compositions are not centred
Colours are not common
Images are numerous
Images:
They try to surprise
Deformations and complicated lines
Renaissance
Renaissance Painters
Painters

Massacio:
Material characters with power and
dignity
Perfection of detail
Sense of tactile values
He painted frescoes
Works: Brancaci Chapel
Renaissance
Renaissance Painters
Painters

Ucello:
Famous for his paintings that remain
medieval period
Interested in perspective
Figures appeared solid and real
He did not know how to use light and
shade
Preocupation with applied geometry
Works: San Romano’s Battle
Renaissance
Renaissance Painters
Painters

Filippo Lippi:
Author of crowded fresco scenes
Madonnas and saints holy, serene
His works were more naturalistic with
the time.
He used tempera.
Work of precision, depth and fluidity
Works: Madonna
Renaissance
Renaissance Painters
Painters

Fra Angelico:
He used a simple style, sacrificing
perspective to it.
He produced many frescoes
His works are elegant and delicate
Works: Annunciation, frescoes at San
Marco’s convent.
Renaissance
Renaissance Painters
Painters
Piero della Francesca
Perspective and geometry are dominant
in his works
He liked to organise large, plain masses
of colour in patters which suggest and
underlyin geometrical scheme
Light palette
Large areas of white or near-white
Works: The Baptism of Christ, The
Nativity.
Renaissance
Renaissance Painters
Painters
Botticelli
Individual and graceful style
Pure visual poetry
Denial of rational spatial construction and no
attempt to model solid-looking figures
Figures float on the forward plane, agains a
decorative landscape
Form outlined
Personal type of femenine beauty
Works: The Spring, The Birth of Venus
Renaissance
Renaissance Painters
Painters
Mantegna
Mastery of perspective
Adapt the scene to low viewpoint
Scorzo
Works: Death Christ
Bellini
Famous for his portraits
Large-scale narrative paintings
Works: Portrait of the Dux
Renaissance
Renaissance Painters
Painters
Leonardo
Delicate treatment of the characters
portrayed
Lack of rigidity in the contours
Sfumato or special way of changing colours,
covering them with shadows
Direct gazes of enigmatic meaning
Variety of techniques not always successful
Works: Mona Lisa, The Virgin of the Rocks,
Saint John
Renaissance
Renaissance Painters
Painters
Raphael
Clear organization of the composition
Avoidance of excessive detail
Expansive style of composition which presented
itself as a homogeneous and easily intellegible
whole
Painting was no longer to be a portrayal of an event
but an interpretation of its subject-matter
He adopted the innovations of Leonardo and
Michelangelo
Works: The Athens School, Madonna Sixtina, The
Weddings of the Virgin.
Renaissance
Renaissance Painters
Painters

Michelangelo
His characters are depicted in an
sculptoric way, with an important entity
Images are full of movement
Characteristic terribilitá
Richness of colours, light in general
Works: Ceiling of the Sixtine Chapel,
Panel of the Last Judgement, Tondo Doni
Renaissance
Renaissance Painters
Painters
Giorgione
The landscape is more that just the background
Images depicted without detail
Work: The Tempest
Titian
History paintings
Portraits with high level of felicity
Works: Charles V at Mülbherg, Baccanal
Veronese
Regular volumes
Strong colours and great contrasts
Conventionalised figures
Works: marriage at Cana
Renaissance
Renaissance Painters
Painters

Dürer
The greatest artist of Northern
Renaissance
First author who painted self-portraits
Woodcuts and engravings
Author of magnificent altarpieces and
powerful portraits
Diversity of subjects in his watercolours
Works: Adan and Eve, Self-portrait
Renaissance
Renaissance Painters
Painters
Grünewald
Religious paintings of visionary expressiveness
Intense colours and agitated lines
Work: The Isenheim Altarpiece
Holbeing the Younger
Excellent portratist
Portraits do not reveal the personality
Taste for illusionist effects
Works: Henry VIII , The Ambassadors
Cranach the Elder
Portraits and female nudes
Works: Luther, Duke Henry of Saxony
Renaissance
Renaissance Painters
Painters
Yañez de la Almedina
Introduced the High Renaissance in Spain
Masip
Combined Italian and Netherlandish influences
Juan de Juanes
Ideal Counter-Reformation images
Influences of Leonardo and Raphael
Sfumato effects
Mannerist
Mannerist Painters
Painters
Corregio
Conscious elegance, soft sfumato and gestures
of captivating charm
Sensuous mythologies, as his Venuses
Tintoretto
Figures full of heath
Effects of light and shadow
Colossal conception of the human but with
elegance
Mannerist
Mannerist Painters
Painters
Morales
Devotional images influenced by Leonardo
Sanchez Coello
Pioneer of the Spanish portrait painting
Ease of pose and execution, dignity and sobriety
and warmth of colouring
El Greco
Influenced by the mysticism of Counter-
Reformation
Elongated figures
Intense and unusual colour
Ardour and energy