line with the poetic imagination of the Italian Renaissance.[footnoteRef:1] However, it is not just representative o the poetic imagination of the Italian Renaissance; it is also representative of the move to realism that was coming at the end of the High Renaissance and that would burst forth in the Baroque era during the Counter-Reformation. [1: Paul Barolsky, “Botticelli's Primavera and the Poetic Imagination of Italian Renaissance Art.” Arion: A Journal of Humanities and the Classics 8, no. 2 (2000): 7.]
This realism is especially noteworthy because throughout Europe the first rumblings of the Protestant Reformation were approaching at the… Continue Reading...
of origin and era, in suitably-designed galleries. For example, Italian Renaissance art gallery walls feature hand-painted plastering and Italian travertine paneling, with door- and base- surround decorations and inbuilt recesses for displaying sculptures. On the other hand, seventeenth-century Dutch artworks are portrayed in galleries having wood paneling for bringing to mind their real setting (National Gallery of Art, 2016).
A monumental sculpture garden can be found to the original edifice's west. In the midst of arcing paths and curvilinear native plant beds, I was delighted to come across Louise Bourgeois' Spidery, Roxy Paine's Graft, Roy Lichtenstein's House I, and… Continue Reading...
(Italian Renaissance, 2015). Why would a church want David for its outside, a kind of greeter at the door? The reason is that David is viewed as the antecedent of Christ. Christ is descended from the House of David, historically speaking (Kaiser, 1995). The Christian worldview presented by this work, therefore, is that Christ—whose life and sacrifice are celebrated inside the church—has a historical connection to this world that can be traced all the way back to the biblical figure of David. The worldview presented through David is the idea… Continue Reading...
