Showing posts with label Italy. Show all posts
Showing posts with label Italy. Show all posts
August 8, 2017
June 23, 2015
Italy - a bit of reflection from my journal
I write every day in my journal, a discipline I’ve
maintained since I did The Artist's Way after high school. I has served me well over the years in getting out what may
hinder me throughout the day taking up precious mental real estate. I would recommend it to anyone to try for themselves. It does mean I have to pack a book around when I travel. I keep a
daily odometer of how many days I’ve been alive to remind myself daily of my
mortality and the preciousness of each passing day. I also keep an active
sketch book practice. If I were to stack my collection of both they would be taller than me. This
is a collection of ideas and points distilled from both sources after I returned from my trip. I hope you enjoy getting inside my mind.
Day 1 – Monday May 11, 2015 – Spectacle
What a big day already. I have never flown for this long
before. We landed after a long arduous
journey into the new surroundings, hot sun and new language. Welcome to the
chaos that is Rome. My first impression on arriving is pure delight and awe at
the sheer scale and grandeur of the sights.
Fortunately we take a quick pit stop giving me a chance to
set down my backpack and collect myself before an adventure. In order to optimize our time and avoid the
jet lag we keep on going and get an initial orientation, we are within walking
distance of the coliseum, how advantageous.
The walk was long, the air, hot and humid. I’m overwhelmed with visual stimuli, a bit
delirious and elated to be here. I am so
elated to see Trajan’s column as it is part of my course curriculum and I’ve
never had a good image for slide presentations, that is until I took some!
I had no way of preparing for this epic spectacle. It’s the “wedding
cake” that causes my jaw to drop, imagine every other building since ancient
times, this white with marble, excessive, impressive, decorative, amazing!
Day 2 – Tuesday, May 12, 2015- Ancient Rome:
Forum, Coliseum, capitolini museum
Bright eyed and busy tailed, I arise excited to travel back
into history. We arrive at the site of
the earliest temple built on tuffa, the volcanic rock found all around the area
what would soon be ancient Rome. For a
time, these ruins were buried under cow pasture. Little remains, but there is
enough and continuing archeology to piece together the past. At the forum, our
guide, Liz, describes the history and uses of the many spaces that developed
with time. So much to see and Liz’s guidance was so
dynamic, interesting and informative. She had a book with her with vellum fold
overs to help explain what the ruins we were seeing were and what was once
standing. The death of Caesar signaled the transcendence of man, immortality,
the period where man could become a god.
Site has meaning. The intense story of the founding of this
city makes you wonder why its intention at birth did not drive people away. It
celebrates cunning fratricide, Romulus, Remus and the she wolf. The birth of a
city whose god, Vesta, the mother of all, takes on wayward sons. Giving men
without rank a chance to be part of something bigger than themselves, all
wanting to be great, orphans to become sons of Rome. I was amazed at the sheer scale, cost and number
of skilled men it would take to build something so impressive. Architecture =
immortality. Men becoming gods.
Once Nero’s personal residence and manmade lake was here, it
angered the people of Rome so it’s fitting that later the Coliseum would be
erected here, a political move to entertain the masses. For a time it was for
theatre, with elevators as a means to create special effects, later a place for
wild animals and gladiators. So many movies have been set here, it feels
surreal to be standing in this place. I get the sense that the residents are
indifferent to the history that surrounds them. Things in your vicinity do
eventually get taken for granted.
Day 3 –Wednesday, May 13, 2015 - Vatican,
Sistine Chapel, St. Peters
Upon entering we are given whispers and see a copy of Michelangelo’s
Pieta in plaster. It was beautiful and we were able to get much closer to it
than the original which was further away and encased in glass. I can’t believe
he was only 25 when he made this, puts my work in perspective, in a painful
way.
I pick up the last copy of Liz’s book in English at the
Vatican book shop. (I read it that night). We enter the collection and I’m
floored. Works of beauty I did not expect. Gorgeous, intricate tapestries by
Raphael. I learned that he was an artist ready to take on any medium. I fully
admit that I was brought to tears inspired by the beauty of the work of
Raphael. I went to the back of the group
to gather myself and really take it all in. I felt vulnerable admitting this
but glad that I did, learning that the same moving reaction was had by
Martinho.
Seeing Raphael’s school of Athens for real and in print, I
was surprised that the work was hard to see in reality, in the room to the side
adjacent to accompanying frescos that were never mentioned in my Art History
text but equally masterful. It was great to hear about the back and forth
competition between the artists of the day and the conjecture my question about
their relationships brought, no one really knows the answer.
The Laocoon and
other notable sculptures are in a beautiful outside garden. It is so impressive
to see these works in person. Once more my love for marble sculpture is
validated. Inside it is so hot and crowded, I have no idea how anyone could do
this during summer. Seeing the modern collection after all the great master
works really left me feeling as flat, dark, ugly and uninspired as the works
appeared.
The pace is grueling, yet I can’t possible stop taking it
in, my eyes and soul are fueled by beautiful artworks.
I was surprised by the scale of the work in the Sistine
Chapel, but also on how it was a completely enclosed space. No stained glass,
no windows, it felt like a gymnasium. I was humored how the silence of the
museum goers rose to cacophony so quickly then over a loud speaker a voice
boomed “silence please’, then the chapel was once again still in silence which
slowly rose once more in a crescendo of cacophony and the voice boomed again
and the scene repeated once more.
It was easy to see the greatness of Michelangelo’s depiction
of scaled figures and riving bodies in the last judgment over the alter. All of
this makes me question my existence and the validity of my art practice.
I didn’t want to leave the splendor of St. Peters. It is magnificent,
I am amazed and in love with the feeling in this holy place as well as Bernini’s
creations within. Imagine the span of the dove in the stained glass is nearly 6
ft. across, implying the floating chair in the air must be close to 40 ft. from
the base.
Day 4 –Thursday, May 14, 2015 – Piazzas, Trevi
fountain, Pantheon
Outdoor adventures, ate like a king. I wish I had more time
for sketching, for now I’ll have to let my camera replace it as we quickly
breeze through mountains of content. We toured the piazzas, fountains and Pantheon.
It was amazing to see the scale of the dome and quite different to be in a
round building.
Day 5 –Friday, May 15, 2015 – Santa Cecilia
Breathtakingly beautiful, fragile and delicate the marble of
St. Cecilia represents how her body was discovered when they opened her tomb. I
picked up a replica for the home alter. She is the saint for music I later
learned and enjoyed her life story as we went through the basement, the church
built on top on the location where her home was.
At this point it sinks in how I feel that the lifestyle of
the Italians is superior. The rest at lunch is seemingly more humane. The
unequivocal quality of the food, the pleasure taken it, the sharing around a
table together and the real connection people appear to have. I have always
questioned the pace and hectic stress here in Calgary. How I’m constantly
working, improving or chasing after the next thing. It seems there is not time
to rest or reflect and here I see how it works without the society crumbling.
And yet they are so centered around capitalism, or at least buying fashionable
wares. The women look amazing and take the risk of high heels on uneven
streets, somewhat comical but they do it with style and grace.
Day 6 –Saturday, May 16, 2015 – Basillicas and
Masterpieces
Today got turned into a free day, but I still want to hit the
stuff on the itinerary that will be closed on Monday. I got lost looking for the Barbarini Palace, 2
hrs of walking in circles, but eventually found it, totally worth it. I’m not
going to miss a thing, I had to lone wolf it in order to do it. Here I saw the
full spectrum of my favorite painters from Caravaggio to El Greco. I also got a
chance to see Michelangelo’s Moses. Afterwards I walk back to the Piazza
Venezia. I aim to get a bit of drawing done on my own, I just sat and ate lunch
while sketching. The birds were aggressive and came close in multiple attempts
to steal my lunch. I got one good watercolour out of it fortunately.
Day 7 –Sunday, May 17, 2015 –Gallery Borghese
Piazza, Catacombs
I walk around the huge park on the estate while waiting for
the Gallery to open. This would have been an extravagant suburban party place,
full of gloriously decorated rooms for entertaining and showing off their
power.
The catacombs were interesting and cooling off below the
earth was a real treat after being in the hot sun all day. The early Christians
came way out here to bury the deceased. They dug down into that same soft tuffa
that was the foundation for ancient Rome.
I was surprised at the sheer number, and how many were tiny, presumable
for babies and children. Later that evening we visited two practicing artists studios,
it really inspired me for what my bohemian sensibilities think an artist’s life
should look like.
Day 8 –Monday, May 18, 2015
Rodolpho Papa’s lecture about the New World Order and how
the CIA brought about the fall of great figurative Art, it was interesting but
we ran out of time. Tomorrow we leave Rome, so I plan to get as much in today
before its too late. I spent the final night photographing and hanging out with
Dan to do some sketching of the columns. Finally a chance to get in some
sketching. Martinho’s B-day is quickly approaching so I’ve been working on a
suitable card signed by everyone in the group.
Day 9 –Tuesday, May 19, 2015 – Travel to
Florence/orientation
Today we leave Rome and head to Florence on a high speed
train, I’ve never been on a high speed train before, the landscapes out the
window were gorgeous and I am surprised they don’t just whiz by like I
expected.
Brunelleschi’s Duomo in the heart of Florence is amazing,
the cathedral is white and highly decorated. There is a sculpture of its
creator looking up nearby, the gaze a time portal in between. We headed on over
to a sculpture park near the Uffizi filled with copies of the David, work by
Donatello and a copy of the Rape of the
Sabine Women. The copy of the David left me feeling unimpressed, I expect little
of the real thing. Later, we visited a real marble sculptor studio where a lot
of the magic was revealed. I was always under the impression given in school of
the pure genius of sculptors “releasing” the figures from the rock, but that is
not so. There is a process to the technique. A Maquette is made then a full
size version in clay, and then a measuring apparatus guides the sculptor in
marble. It kind of took the wind out of the sails in one sense and enhanced my
reverence for the craftsmanship and technical skill involved as well.
Day 10 –Wednesday, May 20, 2015 – Martinho’s B-day
Martinho’s B-day we took on the Florentine steak, never have
I feasted on such blue flesh, but it was good. For years I was vegetarian, I
wonder if I have the enzymes to digest such a heap of nearly raw meat.
Day 11 –Thursday, May 21, 2015 – Pitti palace, Angel
Academy
Slept like a rock and rose early to see the doctor then meet
up with the group at the Pitti Palace. I
didn’t think we’d cross paths so I took my time going through the extensive
collection and eventually caught up to my group. Donatello’s David, a Mercury
bronze cast, Michealangelo’s ability to bring riving figurative forms forth
carved in from the front of the stone, the cast room was immensely enjoyable as
were the icons on the hard to find access to their floor. A quick word on the breathlessness
caused by seeing the real David, it is truly epic. It is the largest sculpture from
one block since antiquity, soft massive and cartoony.
I got to see my friend Nicole who is an instructor at the
Angel Academy. It was great to see the process and teaching method at a
classical Atelier. Part of my reason to come to Italy was for reconnaissance to
see if Angel Academy could be a good next step for me, deciding after seeing it
in person that it was not. Glad I checked it out before diving in.
Day 12 –Friday, May 22, 2015 – Ravenna in the
rain
I’m glad we are taking this out of town trip, even though it’s
pouring and clearly the cheap umbrellas are useless. I love the rain, I refer to it as “liquid
sunshine”. I took a hilarious picture of Martinho with his destroyed umbrella
kind of covering his bald head while he speaks to the group. Warrior Christ and
the Easter calendar were important historical marks I was glad to see. Byzantine
era mosaics in ancient reclaimed spaces like a roman bathhouse turned
baptistery. The glinting and gleaming of the gold is mesmerizing. In some way
these meticulously made mosaics are far more impressive than frescos, they have
a real life to them in their cartoonish representations.
Day 13 –Saturday, May 23, 2015 –Uffizi gallery
We visit a Franciscan monastery filled with gorgeous frescos
by Fra Angelico in each of the monk’s rooms and a surprising selection of
illuminated manuscripts. My questions about the process of icon painting where
answered with a display at the back showing the tools and materials involved.
Botteccelli, was ruined when Martinho pointed out what was
being done in oil at the same time frame, like the works by Flemish artists. Or
haow about Da Vinci’s Annunciation. It
is clear when you see the work in the flesh. His angel to the left is so much
more masterful than his teachers. It was said that he quit never painting again
after seeing his pupils angel. Clearly. Some
of us stay behind in the gallery in order to make sure we see everything else
in the collection, there was an entire floor with walls painted a soft blue
filled with Dutch works, notable Rembrandt portraits plus tons of still life
and landscape paintings.
Day 14+ –Sunday, May 24, 2015 – Group leaves, I
continue on
Highlights – Brishigehlla and Favena – medieval town,
natural waterfalls, and gypsum mine, Natural Park with pet wolf, and “the best”
gelato. Everywhere you go in Italy everybody’s opinion is that what they have
is “the best”. I’m starting to expect it. Rather, what I hear now is what I
have is the best and therefore what you have is sh*t, it’s becoming almost
comedic.
I take a day to myself to visit the Specola, natural history
museum. I have had the Encyclopedia Anatomica book for reference for my art from
this very museum for so long it was breath taking to see them in person. Wax
replicas of every single layer of human anatomy, so realistically rendered so
that real bodies were unnecessary for dissection and education, yet creepy and
tragically beautiful as their sublime, angelic Botticelli like faces are frozen
in time with the contrast of their bloody entrails exposed. They are wax works
of art in their own right, maybe more suitable today for a death metal bands CD
cover.
I was advised by the doctor to extend my stay, with much
self reflection I eventually decide it’s not in my cards. I need to go back to
finish up projects and to do the required work for the class. C’est la vie. I
will miss Italy. Much more to come...
June 21, 2015
Andrea Del Sarto research essay
I'm back from my Art History trip to Italy, as part of the Sacred Arts diploma I am taking at St. Mary's University. One part of the required homework was to research and write an essay on a newly discovered artist I found while there. Its been a long time since I did a writing assignment for school, before the internet was such a convenience and help, we had to use actual books and research papers from the library, I spent weeks from home putting this together, I hope you enjoy it :D
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Andrea Del Sarto
“The painter without error” (Senza
errori)
Research essay by Brian Batista
It was a real treat to discover a new artist during St. Mary’s travel
study course. Andrea Del Sarto’s fresco The Last Supper in San Salvi, Florence,
was breathtaking and inspired me to delve deeper and learn more about this
artist. What was it about Del Sarto that peaked my interest? Why did his work
jump out at me amongst the innumerable master works we saw in Italy? It wasn’t
until I began my research, that I discovered in his work, lessons that surface
for some of the challenges I’ve been facing in my artistic practice.
Personal
Life
Andrea Del Sarto, was born in Florence on July 16, 1486. His father
Agnolo was a tailor (sarto) so he became known by the epithet “Del Sarto” the
“tailors son”. Del Sarto began training as a goldsmiths apprentice but his
drawing skills were quickly recognized by an unknown artist, who instructed him
in painting. He was then sent to apprentice under Piero Di Cosimo and later Raffaellino
del Garbo. Andrea
Del Sarto's rose quickly in the ranks of Florentine painters and was in high
demand while still a young painter earning him the nickname Senza Errori “the painter without
error”. His
reputation was so great that the King of France invited him to court.
We know about Del Sarto from the 16th century writings of
Giorgio Vasari. His writings are considered the ideological foundation for
art-historical writing making it an excellent resource to reference. Little of note is known about Del Sarto’s personal
life. It was considered uninteresting and uneventful as he spent most of his
life working in Florence. For a
time, Del Sarto’s hometown of Florence was under siege by papal forces, subject
to invasion and political intrigue. After the expulsion of the Medici, once
again, in 1527, he worked for the republican government of Florence. Work was
found for artists but of a dubious and unpleasant nature. Del Sarto was
commissioned to paint effigies of traitors, but he dared not refuse, nor did he
want to scar his reputation so he did them in secret until their unveiling. His
Sacrifice of Isaac, intended as a political present
to Francis I, was
painted in this period.
Del
Sarto was born at the beginning of the development of the modern world, the
world was in transition and times were tumultuous and restless. The influence
and power of the church diminished as feudal systems crumbled and towns
expanded. The rise of the merchant class
accompanied religious reform and the invention of the printing press. People were becoming fascinated with art,
science, politics and travel to far off lands.
The Medici families where influential and gave him his most significant
contract of his career—for part of the decoration of the Villa
Medici at Poggio a Caiano, near Florence. The patron was in fact the pope, Leo X, whom Sarto almost certainly visited
in Rome in 1519–20; but the project, the only one that ever offered Florentine
artists the scope that Raphael had in
the Vatican Palace, collapsed when the pope died in December 1521. Sarto’s
fresco Tribute to Caesar is a fragment now
incorporated into a much later decorational scheme.
Del Sarto married
Lucrezia (del Fede), widow of a hatter named Carlo, of Recanati, on 26 December 1512. He thought she was so beautiful, he
would dress her in the mornings, she was his muse. Lucrezia appears in many of
his paintings, as a Madonna. However, Vasari describes her as "faithless,
jealous, and vixenish with the apprentices." She is similarly
characterized in Robert Browning's poem titled Andrea Del Sarto published in 1855.
Browning’s
poem implies that Del Sarto is not as famous as many other artists because he
“shies away from the vivid and necessarily sexual fullness of life, and the
spirituality that is a part of that fullness.” Literary Scholar, Stephen Hawlin
further explains that “Del Sarto’s wife's beauty is without a soul to Del
Sarto, it’s only a beauty on the outside, which perfectly matches the state of
Del Sarto's art, which is beautiful, but spiritually empty.” Browning’s Andrea Del Sarto explores broad themes
such as if all human interactions are governed by aesthetic or exchange value,
failure, whether one's wife is a possession, and morality in general. Browning
chose to use renaissance painters as his subjects because art was much easier
to access than writing was, writing was only accessible to those of wealth.
A
few other things of note are known about Del Sarto. He was notably short in
stature and known to his friends as Andreino. In 1506 Andrea del Sarto set up a
joint workshop with his older friend Franciabigio. They painted many notable
frescos from 1508 – 1514. Del Sarto was
active in the generation which followed Leonardo, Botticelli, Perugino and Pinturicchio
and worked at the same time as Raphael. He was the instructor to Fiorentino and
Pontomoro who carried on many aspects of his style.
Andrea Del Sarto died in
Florence at age 43 during an outbreak of Bubonic Plague in either 1530 or 1531. He was buried unceremoniously in
the church of the Servites. Amy Steedman, describes his
last few days thusly "Perhaps Andrea had suffered for want of good food
during the siege, perhaps he was overworked and tired; but, whatever was the
cause, he was one of the first to be seized by that terrible disease. Alone he
fought the enemy, and alone he died. Lucrezia had left him as soon as he fell
ill, for she feared the deadly plague, and Andrea gladly let her go, for he
loved her to the last with the same great unselfish love. So passed away the
faultless painter, and his was the last great name engraved upon that golden
record of Florentine Art which had made Florence famous in the eyes of the
world. Other artists came after him, but Art was on the wane in the City of
Flowers, and her glory was slowly departing." After his death his renown was eclipsed by that of his
contemporaries, Leonardo da Vinci, Michelangelo,
and Raphael.
Del Sarto’s
Style
Andrea Del Sarto was instrumental in the development of the Florentine
mannerist style, which dominated the majority of the 1500’s until it was
replaced with the onset of the Baroque period. Del Sarto worked mainly in oil
but completed fresco cycles in the cloisters of the Scalazi and SS Annunziata
in Florence. His work shows strong
Mannerist tendencies in its agitated composition, formless and indeterminate
space, and in the tortured poses and exaggerated musculature of it’s bunches of
nude figures. The characteristics of mannerism are characterized by artiness and
artificiality through self-conscious cultivation of technical ability and
elegance. The figures are posed in seemingly contrived positions with elongated
stretched limbs, small heads and stylized facial feature, giving them an
overall appearance of gracefulness.
Mannerism is notable for
its intellectual sophistication, favoring compositional tension and instability
rather than the balance and clarity of earlier Renaissance painting. The
deep, linear perspectival space of High Renaissance becomes
flattened and obscured so that the figures appear as a decorative arrangement
of forms in front of a flat background of indeterminate dimensions. Mannerists
sought a continuous refinement of form and concept, pushing exaggeration and
contrast to great limits. The results included strange and constricting spatial
relationships, jarring juxtapositions of intense and unnatural colours, an
emphasis on abnormalities of scale, a sometimes totally irrational mix of
classical motifs and other visual references to the antique, and inventive and
grotesque pictorial fantasies.
Sarto combined Venetian colours with Florentine disegno, producing mainly religious pieces. Disegno is “drawing” or “design” is the foundation for any artistic
endeavor and tries to approximate nature. For the Florentines artists, the act of
drawing was not only the art of using line to define form: it was the artistic
underpinning of a work whereby an artist could express his inner vision.
As noted earlier, from a young age Del Sarto’s was an accomplished
draughtsman, his drawings are highly respected, especially his numerous works
in chalk and red chalk. His drawings are refreshingly natural,
marked by skillful arrangements and groupings of figures, harmonious coloration
and a graceful composition in combination with clever drawing.
Del Sarto’s used Venetian colour which is softer and less vivid than
Florentine color. Venetian
color application suggests form without sharp edges, creating a difficult to
achieve sense of depth and realism. Focusing
more on the process of layering and blending colors to
achieve a glowing richness while remaining naturalistic.
Best Known
Works
Del Sarto is best known for his painting of the Last Supper and the Madonna
of the Harpies. The first work of Del Sarto’s that spurred my interest was the
Last Supper at San Salvi. He worked on this fresco of this ancient Vallombrosan
monastery from 1511 until 1527.
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The scene takes place in a very plain setting. As noted, with the mannerist
style the setting tends to be plain and subdued while the grouping of figures
is dynamic and draws the eye around the picture plane. Clearly Del Sarto was knowledgeable of Leonanrdo’s
fresco of the Last supper when he painted his rendition. The
impact and movement of Leonardo's figural composition have been moderated by
Del Sarto. Del Sarto chose to depict the moment Christ reveals that someone will
betray him, “the one who will betray me for a piece of dipped bread”, he
depicts in the center of the fresco Jesus passing a piece of bread to Judas who
is seated next to him rather than at the other end of the table as is the usual
convention.
The Personages’ painted in the fresco appear to be portraits rather
than idealized inventions. The apostles are represented without halos and they
are depicted emotionally astonished and upset. All of these elements come
together to make Andrea's
narrative more human and touching; it reduces the heroic drama of gestures and
figures. It shows a nearly enclosed hall, in whose articulations the row of
apostles is embedded. The community at table with Christ is given a formal
pendant in the form of a window loggia. A charming, anecdotal subsidiary motif
results: two servants are conversing in the central opening. Above the entire
scene is a large arch painted with medallions displaying the Trinity and the
saint protectors of the Vallombrosan Order.
At
the Uffizi Gallery in Florence, there are a number of self-portraits by Del
Sarto and his Madonna and the Harpies.
Originally completed in 1517 for the convent of San Francesco dei Macci, the altarpiece now resides in the
Uffizi. The reason this piece was called Madonna of the Harpies is the figures
on the carved pedestal below. In this piece Del Sarto depicts the
Virgin Mary and child on a pedestal flanked by angels and two saints, Saint Bonaventure or
Francis and John the Evangelist on the right. I am drawn into Del Sarto’s work through
his rendering of clothing. I think his drapery and cloth work is stunning. St.
Francis on the left has clothing which serves as a great example of Del Sarto’s
clothwork. It is crisp and almost metallic, while remaining soft and deep and
dimensional. This work is pyramidal
shaped in composition with deep shadows resonating from behind the figures
allowing them to appear to pop out of the picture plane.
In my own art practice, I have always had a real challenge in creating
depth and illusionistic space, this can be attributed to skillful use of values.
Which brings me Del Sarto’s most ambitious monument, the studio frescos he
created around
1511 for the brotherhood in the Chiostro dello Scalzo. Here Andrea del Sarto painted frescos on the
subject of the life of John the Baptist and the Baptism of Christ a gray on
gray monochrome (grisaille).The cloister garden paintings have been outside for
500 years and have survived in fantastic condition. Here one can learn a lot
from his use of values. Young artists
use to visit these frescos and make studies of how the masters utilize chiaroscuro.
Below
we can see how Del Sarto depicts the virtues, Faith, Hope and charity figures
are drenched in light over a medium valued backdrop. The shadows are deep and
dark below. Showing skillful use of value to differentiate the background and
foreground elements. He skillfully represents 3 dimensions on a 2 dimensional
surface just with his use of lights and darks.
Some characters have less deep values to give them less emphasis in the
overall compositions while important central figures like the Christ appear
more predominant because of a greater range of values. This draws your eyes to the most important
elements. Deep shadows and bright highlights help draw your eye through his
dynamic compositions.
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Del
Sarto’s work really popped out for me. I think in part I am inspired by it in
order that I can learn from the things I most admire in his work and study them
so that I may apply them to my own. In
looking at these works for their skillful use of dark and lights or
chiaroscuro, and having great examples in his grisaille frescos one can see why
he is a hugely influential high renaissance painter. I not only value his work
but how he masterfully applies his values.
Bibliography:
Aston,
Margaret ed. The Panorama of the Renaissance. Thames and Hudson, 1996.
Fantechi,
Chiara Migliorini. Florence Guide to the City. Florence, Italy:
Editrice Giusti de Becocci S.r.l., 2005
Shearman, John K.G ed. Andrea Del Sarto Italian Painter. Encyclopedia Britannica, 2014.
Sorabella, Jean. Venetian Color and Florentine Design. In
Heilbrunn Timeline of Art History.
New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/vefl/hd_vefl.htm (October 2002)
Vasari, Giorgio. The Lives of the
Artists. Translated by George Bull. Baltimore: Penguin, 1965. A widely
available English translation of the sixteenth-century Italian original.
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