Renaissance

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>>2837145

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>>2837150
My all time favorite since i've seen it in firenze

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>>2837151

>>2837150
>that token wuzkang holding the bow
/pol/ btfo

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Andrea del Sarto

Recently coming more into the scope of Renaissance studies.

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>>2838414
There is however a tendency for him to be labeled a mannerist without much forethought based simply on the time and what art historians want to make sense in chronology.

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rubens- The Brazen Serpent

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>>2838414
Didn't know this guy, thanks for the discovery i guess!

>>2838436
Lippi's female faces are wonderful

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So many Marys.

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And reaction faces.

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And undoubdtedly some of the best drapery ever.

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>>2839029
>>2839026
>>2839035
If you like Mantegna, you'd surely like the Met lecture by Keith Christiansen.

https://www.youtube.com/watch?v=D6LeQ-csgHk

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>>2839057
I'll look into it sometimes, thanks.

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So few artists today who aspire towards the classicism of Renaissance. While it's the most studied out of any artistic era and draws millions to experience it.

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Van Eyck is mind blowing.

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Over 4 MB version:
https://upload.wikimedia.org/wikipedia/commons/f/fd/Jan_van_Eyck_069.jpg

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These folds are everything.

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Some classic hell imagery that still fuels children's nightmares today.

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This one almost looks pre-raphaelite

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This baby seems holy alright.

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If you think organ theft is bad today...

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>search donatello
>get lots of ninja turtles
>search donatello sculpture
>get a sculpture of a ninja turtle
>kek

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>>2839678
kek

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It looks like a 15th century twitter notification.

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>Is it considered cheating if you reference your own painting?

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Last madonna, I swear.

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Still some Jesus though.

>>2837145
>those fucking trees
>her fucking neck
>those lazy waves
>just everything about this
>>2837150
>this piss poor flat, boring perspective
>kid on right is as big as adults on left with the same head size
>that fucking grass
>>2837151
>that baby face
>that her face
>how disconnected the background feels from the characters
>>2837153
how disconnected the background feels from these fuckers is worse than the last one
>boring 1 point perspective that is fucked up by this artist anyway
>>2838414
Finally, one that's not shit
>>2838423
^
>>2838436
> looks like she has downs and is a corpse because the artist knew nothing about subsurface scattering and the colors of the planes of the face
>>2838613
Finally, a not shit one
>>2838730
>What the ever loving fuck is happening to the guy on the right?
>ear bush fucking ruins the flow
>>2839016
>jesus fuck thats awfull
>>2839020
How do 90% of these fuckers not know how to paint a kid without making them look like they have downs?
>>2839024
>photoedit

Too lazy to continue. Christ why are most of these fuckers so bad? did none of them read loomis?

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>>2839759
Fun with a Pencil, the earliest of a series of instructional drawing books by the American Illustrator Andrew Loomis, was written in 1939.
The images shown in this thread were created roughly between 1400 and 1600. The conclusion that can be made from this is that, with all that is known to us about physics to this day, their respective creators could not possibly have read any of Loomis' books.

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>tfw battling inner demons

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>>2839811

Why does not one create these kind of painting anymore?

These are insanely awesome.

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>>2839837
downright terrifying

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>>2839830
Good, someone actually enjoys these.
Different times, different fads. I'd just be glad they exist and are accessible like this. If you make stuff yourself, they are yours to learn from.

>>2839830


You need to master everything in anatomy down to every single contour, ligament, tissue and muscle in every angle, lightning and shadow each ligament makes. On top of mastering poetics, prose and philosophy to create a piece that astounding. It'll take at least 400-500 hours of non stop painting to make a painting in that tier and in this day and and age, no one has the time, the money to support themselves, the creativity nor the technical ability to make something of that caliber.

It isn't lucrative enough to learn how to paint something of that caliber when you can easily make a 10 hour digital piece with 1/10th the training and make a career drawing psuedo realistic images.

You would have to be an isolated, friendless, high IQ madman that reads as draw anatomy and practice daily to even attempt to make something of that caliber. Alas it takes a willpower of the gods to be able to concentrate that long, and peologned isolation and poverty will lead to the deterioration of mental and physical health which brings down ability focus and skill along with it. It's feasible impossible today in a fast paced world.

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>>2839898

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>>2839901

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>>2839902

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>tfw people are afraid of you just because you eat their flesh and torture their souls

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>>2839882
>>2839830
Mastering light and shadow for every ligament is not necessary. You can have the scheme quite simplified although you do have to be efficient. The lighting that they use is generally different from the lighting of very realistic painters today.

Practical training for it is hard enough, but even for those who want to produce works like the Renaissance, few could even discover the proper way to teach themselves how to draw let alone paint like the Renaissance.

As for the materials to read, it's more tempting to read about what others have written about the Renaissance than to read anything of what the painters and intellectuals of the time would have written and read. This is a fundamental issue as the way post-Renaissance art history looks at Renaissance art is different than how they themselves looked at art. It requires a certain quality of mind for many of the texts to make sense and apply to art and composition. To understand them, one has to have at least an intuition for classical poetics, iconology, rhetoric, philosophy, myths and history, and other fields of study. To discover some of the suitable reading materials requires luck, as no art education system cares for them. Many of the terms used then had rich meanings and implications, which now are either meaningless to the modern ears or have acquired a new and lame meaning.

He ought also to familiarize himself with architecture, ornaments, hair styles, drapes...

There is also the questions of categories, forms, regional variety. Some are more suitable for emulation than others. Some are too contained to the specific time and place.

There are the common dangers that someone wishing to paint Renaissance-classical will do only portraiture, make what amounts of period genre painting, or worse, both at once. But the worst offense of all is when painters today make parodies referencing famous works of art and think themselves to be influenced by the period.

>>2839804
With a little bit of imagination this is wojak and pepe in the middle, being tormented by demons.

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WTF I love the renaissance now.

I wonder one thing, why do a lot of you see renaissance paintings as the best there was and is? In my opinion 19th century painters had a bigger understanding of a lot of the fundamentals and just had nicer paintings?
Renaissance paintings have a certain stabilization to them that wasn't intentional, is that what some of you like? Or is it because the works are old?
I honestly don't like the exaggeration of every curve in the body and wonky faces.

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>>2842505
As the anon who posted most of the images itt, I'll say I don't think renaissance paintings are the best there was and is. I like exploring artists and paintings from different eras and took this thread as an occasion to get into some renaissance art. I'll save images when I like them or something about them and share some here.
>19th century painters had a bigger understanding of a lot of the fundamentals
Renaissance is pretty obsessed with anatomy though. And folds, there's some amazing folds.
>Or is it because the works are old?
There's a certain allure about tinted paper that has endured mulptiple centuries actually.

I also like the rigidness of some of them, the attention to detail, the insane tidiness in rendering, the severe staging, the naivete and weirdness in some, etc.

>>2842538
I am glad I got a nice answer, was a little worried I wouldn't. But yeah I completely agree with you. Especially about the folds, since some renaissance paintings had the best folds I have ever seen. If we just learn the best parts of everything we can get super good at some point : )

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>>2842546
Yeah, there is an abundance of inspiration and mastery from throughout history, a lot of it available at our fingertips, might as well take a look at it.

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>>2842505
First thing I should say is that, obviously, people will answer differently, both because they see different things, as well as the variety in Renaissance art forms. The wonky faces for example figure more in German art than anywhere. The reasons for why a person likes something might be exactly why another dislikes it or it could be that the reason why someone likes something is completely outside another's criteria for what is good, etc.

The Renaissance generally strives after and is an expression of a set of ideals which are not present in culture of other art periods. No other period in the history of art has visual art been so closely allied with so vast a library of philosophy and poetry. None of this has anything to do with fundamentals of drawing and painting, yet it's the framework and source of charm of Renaissance art. To strive after ideas in art necessarily guides which manner of forms and subjects are suitable. Ancient sculpture provided some model. In this way certain stylizations in Renaissance art are purposeful, that is, having an end, although not in the same way as we normally think of today about style. Some quirks of style, of course, are rather a defect of vernaculars.

One of the reasons for studying ancient sculpture is: it's understood that artists acquire some of the characteristics of the models after continual practice. The different reason why one undertakes such a labor also produces different results.

Inventiveness of design and modesty, two concepts which can easily be contrary, is also united in Renaissance art, and are indeed written about in art theory of the time.

As for skills in fundamentals, it's hard to match the lines of the Renaissance in drawing, especially those of Italians. And in some mystic way that can't quite be explained without losing meaning, it carries over to the painted forms even in the cases where they are quite finished.

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>>2842911
I do not, of course, claim that all the artists of that time were well read in the classics, but they nonetheless bathed in that culture. The patrons were very educated in the subjects and would naturally prefer to commission artists who could put into visual form their ideas.

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>>2844991

>>2839090
There aren't Churches anymore shilling out $50k for renditions of Bible scenes.

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Dürer bump

>>2839806
How did something this metal get made in 1470?

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>>2849842
They created the original metal, if you will. Today it's just posers.

>>2839797
Fell upon Def ears,sad really!

>>2849927
Sad!

>>2847814
>implying most of the patronages weren't private commissions
>implying Bible scenes were the only subjects
>implying anyone is even fit to be commissioned to paint like this
>implying there wouldn't be patrons who would shill out huge sums of money if there was a supply

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Unfinished to show the process.

>>2839604
this looks modern as fuck though