Art Related To Popes Essay Research Paper

Art Related To Popes Essay, Research Paper

The three pieces discussed in this essay are all closely related to Catholic Popes of the Roman Catholic Church. Michelangelo s The Last Judgment, Raphael s School of Athens and Pietro da Cortona s Glorification of the Reign of Urban VIII non merely have their relation to a peculiar Catholic Pope in common, but besides are really good contemplations of the artistic motions and historical events of the clip in which each work was done.

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Raphael s The School of Athens was a work done on one wall of the Stanza della Segnatura, a former meeting room of the apostolic court and Julius II s so current private library, at the petition of Pope Julius II. Julius II had other creative persons working on the room when he saw some of Raphael s work. He so had the other creative persons stop work and called for Raphael to make the room alternatively. Raphael took over in 1508 ( the same twelvemonth Michelangelo was commissioned on the Sistine Chapel ) and had completed the occupation in 1511. This piece is most important in its contemplation of the historical period. It was in this clip during the Renaissance that the Medici household redefined concern and people like Machiavelli brought about new political thoughts in books like The Prince. A new moving ridge of thought and ground was distributing. The School of Athens brings together all the ancient doctrines and their celebrated representatives while go forthing out any mention to Christian subjects. The picture personifies the popular tendency of the clip. The picture is besides wholly representative of the High Renaissance manner. The attending is wholly on realistic, realistic portraiture of the figure. Notably the picture displays portrayals of his coevalss, Leonardo district attorney Vinci ( Plato ) and Michelangelo ( Heraklitos ) . The Leonardo portrayal is assumed to pay testimonial to his function as a mind and creative person in set uping the High Renaissance manner.

After returning back to Rome from Florence on the order of Pope Paul III, Michelangelo began work on The Last Judgment in 1534. He completed the work in 1541. There is ongoing statement as to what manner the picture should be classified as. The base for the cause of the statement lies in that Michelangelo s manner evolved as he aged, non an uncommon trait of any artist s work in analyzed throughout his or her life. Some argue that it is the stopping point or one of the last genuinely High Renaissance manner pictures while others argue that the piece signifies the beginning of another manner, idiosyncrasy. Both statements have foundation. Michelangelo is most def

initely a Renaissance creative person ; nevertheless, Michelangelo s late manner does portion certain features with of the mannerist tendency that was good under manner during the mid sixteenth century. The distorted airss and extremist contrapposto every bit good as the crowdedness and overdone muscular structure of the figures in the work are, if nil more, at least precursors to the mannerist motion. The Byzantine motion of the work may besides be brooding of the troubled times for the church and possibly for Michelangelo. It was during this clip that the Roman Catholic Church would be confronting the Protestant rebellion of the Reformation. John Calvin was busy reforming Geneva the same twelvemonth this work was started ( 1534 ) and Pope Paul III was cleaning up some of the muss caused by the Reformation the twelvemonth after its completion ( 1542 ) . This was an interesting clip for a sacredly related piece to be under manner.

Cortona s Glorification of the Reign of Urban VIII gives away its relationship to Pope Urban VIII in the rubric. The full work refers to Urban VIII s glorification and character. Although many heathen characters are used in the piece, they are used in allusion to events environing Urban VIII. Athena, for illustration, battles the pre-Greek giants, a scene which alludes to Urban s ain conflict to stamp our unorthodoxy. Other symbolism includes three bees which are a symbol of Urban VIII s household coat of weaponries, a laurel garland which links the Catholic Pope with the illustriousness of ancient Rome, and small putto that refers to Urban as a poet. The crossed aureate keys are a apostolic symbol. Artistically important is the Italian Baroque manner that this picture reflects. The unnatural position and dynamic expression of the work are churrigueresque qualities every bit good as the melodramatic presentation made in the centre of the piece where Divine Providence orders Immortality to put the Crown of stars upon the garland. The work is besides really cosmetic in the extremely elaborate, illusionistic painted sculpture that frames the ceiling every bit good as the fake bronze alleviations that corner the ceiling. They besides create the semblance of deepness which is a feature of the Baroque manner. This work has so many Baroque features that the lone just thing to state is that is wholly embodies the Baroque manner.

While some of these plants more strongly reflect the historical events of the clip and others more strongly reflect the artistic motions of the clip, they all have common land in their relationship to a Catholic Pope either in his backing of the work or the work s complete dedication to him.