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How did contextual events impact on the art that was made?

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How did contextual events impact on the art that was made?

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How did Patrons impact on the art that was made?

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How did Patrons impact on the art that was made?

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Would colorito have been possible outside of venice?

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Would colorito have been possible outside of venice?

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What was so special about the way that Venetian artists worked with oil paint (their painting technique)

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"Especially relevant for the discussion on disegno e colore is Leonardo’s position in art history. Although a Florentine, the two technical devices he favoured, sfumato and aerial perspective, paved the way for the new colouristic sensation of space. Sfumato is a smoky rendition of contours by dint of shading colours gradually into one another, so as to avoid any kind of distinct edges in the objective world of the picture. An aerial perspective, or perspective of colour, is a concept closely related to sfumato, as it presumes that the more distant an object is, the more it loses in the distinctness of its hue"

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Mannerism influence of Disegno and Colorito

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Mannerism influence of Disegno and Colorito

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How did Colorito and Disegno influence mannerism?

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Interesting source about the development of disegno and colore/colorito

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Interesting source about the development of disegno and colore/colorito

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It seems to my inital research like art was very tribal, in regards to these two schools of making art.
e.g. pontormo built on Michelangelo's disegno technique with Mannerism and Tintoretto built on Titian's colorito approach. https://www.oxfordartonline.com/page/renaissance-paragone-disegno-and-colore

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I agree that they are contrasting ideas as designo is more restrictive and at times can lack colour or expression and only focuses on conveying an idea while Coloreto is more free and somewhat can reflect the enjoyment in Creating the artworks.

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I feel like I've gained a small amount of understanding about the two terms (and what they represent), but it'll take some more time before I'm fully caught up.

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Did any fuse together the styles of the two?

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The process of painting with tempera involved mixing egg yolk with colour pigments to form an emulsion that could be diluted with water and applied with a brush.  This paint

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I need to understand: Was there any cross over or neutral ground between colorito and disegno? 

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I need to understand: Was there any cross over or neutral ground between colorito and disegno? 

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Did anyone fuse together the styles of the two?

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there are many different ways of using oil paint to create unique effects. the versatile nature of oils is also a key aspect of its ability. in terms of the way that colorito artist used it: they had the layering technique as a fundamental proses, but the use of dark paint in comparison to light paint is interesting. dark paints would very much be added in thin layers to get the naturalist multi toned effect. but white, especially in highlights, would be applied very thickly, also crudely, to get the full power of light within the image expressed.

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I need to understand the process of fresco painting

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I need to understand the process of fresco painting

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I need to understand the process of painting with tempera

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I need to understand the process of painting with tempera

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I need to understand the process of carving carrara marble

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I need to understand the process of carving carrara marble

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I need to understand the process of oil painting in the renaissance

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I need to understand the process of oil painting in the renaissance

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Disegno - The Accademia delle Arti Del Disegno

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Disegno - The Accademia delle Arti Del Disegno

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The Accademia delle Arti Del Disegno in Florence, founded in 1563 is a home for designers (of any creative field) to collaborate, discuss and analyse art. Cristina Acidini say that drawing is the father of art, however it is the collaboration between designo and colorito that allows

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The arts are actually subordinate to drawing/design. The argument was that creative actions start first of all in the brain.

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The point of disegno was to create carefully finished works appealing to line and logic. Naturalism and careful construction was the objective. Venetian artists on the other hand are far more interested in colour, texture and emotion. Colour and texture are used as tools to appeal to emotion and experience rather than logic and rationality.

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painting nature is not the common goal though. colorito has the goal of painting a natural reality, where disegno is more concerned with portraying a truer yet not visually graspable reality. colorito appeals to the scences in the same way the world around us does. designo however appeals to the interlect. the nature of logic and reason is the only nature i see being portrayed

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I gave a presentation last week to introduce these. Check it out for an intor to those terms https://docs.google.com/presentation/d/1aKOaHtr1a3xFQ2-E8WrmmBfY9oy-F9aTuJuwCVotIS8/edit#slide=id.g5e0f674a05_0_1

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disegno involved painstaking planning, drawing and redrawing to get to the perfect composition. Everything was extremely considered

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Disegno often involved meticulous planning, and multiple mediums and styles of art work, such as sketching to plan the design and composition of an artwork before beginning.

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Oil paint can be layered to create a sense of richness which helps to convey a sense of psychological expression that was valued by colorise artists.

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media was very important for creating the different effects that are signature to each style. oil paints are really easy to blend and have beautiful vibrant colors so are extremely important for the colorito style. also, because oils take a while to dry they can be reworked easily, fresco drys quickly and so you would need to have a good compositional plan as reworking already dry paint is not possible (you would have to paint over)

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Venetian colorito artists worked out their compositions directly on the canvas, and use patches of coloured brushstrokes to define form rather than line. A high value was placed on the application of colour to achieve optimal naturalism.

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How important was the media of fresco, sculpture and tempera to disegno?

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How important was the media of oil painting to Colorito?

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I agree with Tim that there are aspects in both approaches that do cross over. However, in the eyes of the writers and artists of the time they were distinctly different approaches.

Source: https://www.oxfordartonline.com/page/renaissance-paragone-disegno-and-colore

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I don't really agree with this statement. I think that 'colorito' and 'disegno' are not opposing artistic responses, they are two different perspectives on nature. Both of these responses have traits that cross over. For instance, 'colorito' paintings still retain a sense of accurate anatomy, and 'designo' paintings still possess a range of colour. Both of these responses are going off on separate tangents from the same origin.

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Dolce's text l'Aretino, was written in response to Vasari's lives of artists, which did not include artists like Titian.

He has two arguments
-Titian was the greatest of the renaissance artists
-Highly critical of mannerism which he considered to be false or too 'mannered'.

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Accademia e Compagnia delle Arti del Disegno, or "academy and company of the arts of drawing"

It was here that the most famous artists of the renaissance were mentored or guided in their artistic production. It was a prestigious thing to belong to this academy.

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Key source:

http://www.metmuseum.org/toah/hd/vefl/hd_vefl.htm

General sources:

https://www.theartstory.org/movement-venetian-school.htm
https://www.metmuseum.org/toah/keywords/florentine-school/
https://www.theartstory.org/movement/high-renaissance/

http://venice11.umwblogs.org/disegno-vs-colorito/

http://www.artmumble.com/2011/12/colore-verses-disegno-juxtaposition-of.html

http://www.visual-arts-cork.com/painting/colorito.htm

http://www.researchomatic.com/essay/Colore-And-Disegno-95979.aspx

http://udel.edu/~monicadt/ARTH218/colorito.htm

http://www.inha.fr/colloques/document.php?id=1820

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Do you agree or disagree?
Why?
To what extent?

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‘Florentine ‘disegno’ and Venetian ‘colorito’, are opposing artistic responses to the Italian Renaissance challenge of representing nature in art’.

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Lodovico Dolce

http://en.wikipedia.org/wiki/Lodovico_Dolce

https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t1ck1540k&view=1up&seq=127

http://books.google.co.nz/books?id=2aFZAAAAYAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false

http://www.academia.edu/2118064/How_did_Ludovico_Dolce_go_about_attacking_the_art_of_Michelangelo_Why_did_he_think_Titian_to_be_a_supreme_painter

What did Dolce say about Colorito?

How do you know?

What is his argument?

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Georgio Vasari

http://en.wikipedia.org/wiki/Vasari

http://archive.org/stream/livesofmostemine01vasauoft#page/n7/mode/2up

https://journals.openedition.org/inha/1820

What did Vasari say about Designo?

How do you know?

What is his argument?