2. Giotto is the first person in history to express the characters' expressions by painting! ! It is said that Giotto was a student of Cimabue, the ancestor of modern painting. But when he was a child, he had portrayed nature in the lonely Shan Ye. Therefore, as soon as he left the teacher's studio, he could get rid of the traditional method and return to the lessons he had learned from nature-simplicity and simplicity. His art is the art of expressing the teachings of Saint France. His simple technique and no-guessing mood best commend Saint France's pure and simple religion of love. From now on, the images of the saints and the Virgin hanging in the air, with a heavy golden light behind them and inlaid with precious colored stones, can no longer excite people's hearts and souls. At this time, Giotto painted the touching stories of Francis, the lovely virgin and Jesus, the prophet and the apostle on the church wall, just like the biographies of these religious stories at that time, which made the people in the thirteenth and fourteenth centuries feel the enthusiasm and belief that the rich Byzantine paintings did not have.
Giotto's sketch and composition are also simple and concise. This is Giotto's characteristic. All Giotto's works have simple and serious beauty. This kind of beauty, like other beauty, is a kind of harmony. Modern artist B. Befeson once commented: "The passionate expression of painting, the confession of life and the conversion to the gods began with Giotto. This is also the spirit of Renaissance painting. In that case, Giotto is regarded as the pioneer of the Renaissance and the ancestor of the Florentine school of painting, which is an excellent comment both in spirit and form.
Giotto, a Dante figure in the art world, was the last painter in the Middle Ages and the first in the new era. Although the theme of his paintings is still mainly religious, and although his paintings are similar to the childishness of medieval barbarian art, there are hidden secular spirit and objective spirit relatively independent of religious culture and barbarian art in his paintings. In fact, this is the essence reappearance of humanism spirit and "representative theories" in Greek and Roman classical art. Judging from Giotto's Madonna on the Throne, although its composition and layout have hardly surpassed the conventions of medieval painters, there are no resplendent decorative interests and figures listed in his paintings. The solid volume and deep space reflect the obvious difference between Giotto's painting and medieval painting. The key to this difference lies not in technique, but in concept. Giotto's brand-new view of art not only created a simple, fresh, solemn and heavy aesthetic realm in his art, but also provided an artistic experimental way for future generations to study and express nature. Since Giotto, western artists have gradually realized that only the visible objective material world is an inexhaustible source of true knowledge.
3. In fact, these masters' paintings are basically based on religious stories, but the form of expressing the story content is not as dry as that in the Middle Ages. Moreover, the characters in the pictures are usually prototype in reality (the painter's sketches), and the scenes in the pictures are also revitalized, which fully embodies the humanistic love and care for people (Renaissance refers to the humanistic spirit of reviving ancient Greece)
4. Stylism, The word originated from Maniera, which was also translated into style doctrine and affectionism. It opposes the knowing function of reason to painting, emphasizes the artist's inner experience and personal expression, and the painting is fine, the surface effect is gorgeous, and there are many dramatic scenes. It replaces Raphael's unified style with asymmetry and turmoil.
Stylistism is often used to describe a trend that emerged in the late Renaissance (155-158). At that time, this trend portrayed human beings and animals with slender forms, exaggerated styles and unbalanced postures, thus producing dramatic and powerful images. Even Michelangelo was once called a stylist-the shapes of horses and humans in his later works were indeed almost out of balance. Under the chaotic situation in Italy at that time, stylism became an art school with the goal of inspiring and piety.
Stylism is usually the opposite of the artistic habits in the heyday of the Renaissance. This is not because painters are desperate to achieve Raphael-style balance and instant sexiness, but because this balance is no longer in line with the atmosphere and trend at that time. Stylistism has gradually matured under the development of two apprentices of Raphael, Giulio Romano and Andrea del salto. Andrea del salto's studio has also cultivated standard stylist painters Pontormo and Rosso Fiorentino.
In the heyday of the Renaissance, when the realistic depiction and perspective of the human body by classicism reached its peak, some painters began to deliberately distort the structure of the picture, resulting in irrational emotions and artistic space. Greco is also regarded by some people as a stylist painter, but Greco also expresses his unique personal characteristics in his paintings, not only the distorted design of the picture, but also the "acidic" tone in his paintings. The characters he depicts are slender and distorted, and the irrational perspective painting, suffocating light and crowded composition make viewers feel hazy and annoyed.
The Renaissance is characterized by humanism. The emergence of humanism affirms that man is the creator or master of life. They demand that literature and art should express man's thoughts and feelings, that science should benefit life, that education should develop man's personality, that thoughts, feelings and wisdom should be liberated from the bondage of divine right, and that individual freedom should be advocated to oppose personal attachment. Renaissance art developed on this basis.