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The sixteenth century was a critical turning point in artistic history that had several contributions to changing style, form, meaning, and marketing. A lot of the changes in art throughout the 16th century is from the reformation from within the Catholic Church (Pg. 692), which played a large role in religious beliefs, and walking into the new times of printing presses, literature was revolutionized, as was Italian and northern art. In italy, colorful, detailed art was hot and commissioners loved the realism and mannerism that was changing art style as a whole. Throughout the 16th century, full body and upper body portraits were becoming more and more detailed, as the use of realism, texture, and lighting was displayed in works. This new style stands slightly in opposition compared to the 15th century where differing nudes, animals, colorful and linear backgrounds, and lower class individuals were focused on. This gallery is a representation of the differing styles revolving around 16th century northern and Italian art.

Italian

16th century Northern Italian art, though dominated by Rome, was a time where elites and powerful families spent no shortage of money to commission painters to make what we see now as a mannerist, colorful, and illusionistic style. The major cities where the wealthiest displayed a plethora of colorful “pleasure places”, dedicated art rooms, and portraits. In many cases, painters, sculptures, and architects had fun with making works that give a sensation of rooms falling in, miniature sculptings, support posts leaning, breaking, or just jokingly standing crooked.

Northern

The renaissance being one of the most identifiable and recognizable styles in art history left it with a serious high standard to uphold. If someone were to be asked what they think of in terms of famous art pieces, they would most likely think of works like the Mona Lisa, Michelangelo’s David, and Raphael’s Stanza Della Segnatura. With all of that in mind, the renaissance paved the way for the future of art: colorful frescos, portraits, sculptures, and is by far most people's favorite style of art.

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Metropolitan Museum of Art, 5th Avenue, New York, NY

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Paolo Veronese - Portrait of Alessandro Vittoria 1580 

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Paolo Veronese - Portrait of Alessandro Vittoria 1580 

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Paolo Veronese's portrait of Alessandro Vittoria is not only an extremely influential painting, but also the most favorable portraits to use when discussing Vittoria. This classic oil on canvas not only shows him as himself, but who he was and what he did for a living with two of his most famous sculptures he's made sitting at both sides of him. We see a smooth, grey background showing a warm and calm atmosphere, while supporting that warmth with a detailed table that Vittoria is leaning on. Paolo does an amazing job at making lighting his friend when showing the chiseled muscular anatomy on the sculptures, complimenting how good the artist was at perfect proportions. Though Vittoria sits less defines with black clothing, Paolo still uses skilled brushwork to portray what Alessandro's body and face looked like.

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National Gallery of Art, Constitution Avenue Northwest, Washington, DC

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Though there is little if ay information on how or why this painting was made by Titan and assistants for Vincenzo Cappello, but I do think that this is a prime example of Titan's work and mastered proportions for upper torso portraits. In this piece, Titan's brush work and meticulous  detail with this oil on canvas allows for perfect spacial proportions, making the viewer feel like they're in the room with the naval captain. Something that really caught my eye in this work that shows the evolution of 16th century art, is the display of lighting and how it gives texture to the metal armor, as well as the soft maroon cloth that reflects the light coming from above. Another small detail that portrays the lighting is the hamlet sitting next to the captain, as well as the strap dangling which casts a shadow on the stone.

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Museo del Prado, Calle de Ruiz de Alarcón, Madrid, Spain

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Lavinia Fontana - Portrait of Antonietta Gonzales 1594-1595

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Lavinia Fontana - Portrait of Antonietta Gonzales 1594-1595

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Being one of Lavinia Fontana's most famous signed paintings, this portrait of Antonietta Gonzales set a new standard for individuals with rare conditions. Appearing less than 10 years old, Antonietta is shown holding a personal letter which states " ‘Don Pietro, a wild man discovered in the Canary Islands, was conveyed to his most serene highness Henry the king of France, and from there came to his Excellency the Duke of Parma. From whom [came] I, Antonietta, and now I can be found nearby at the court of the Lady Isabella Pallavicina, the honourable Marchesa of Soragna'. Though Fontana was not the only artist to paint Gonzales, she does an amazing job with her recognizable attention to detail with oil on canvas, beautifully displaying the condition with the play on light and texture.

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National Gallery of Art, Constitution Avenue Northwest, Washington, DC

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Jacopo Bassano - The Miraculous Draught of Fishes, 1545

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Jacopo Bassano - The Miraculous Draught of Fishes, 1545

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Bassano's painting of the famous Luke 5 Bible scripture, displays how Biblical art is still a very relevant and important part of almost any artists career. One thing that makes Biblical art especially harder is that you are always competing with another artist that has a different outlook and imagination on how the scene would have looked. This oil on canvas painting is quick to catch the eyes of the viewer with the bright colors that make it pleasing to the eye. Though the proportions of this painting are a little offsetting, I think it displays how descriptive backgrounds were rising to be the new style in the 16th century, adding to the contexts of paintings where, when, and what the preface of the work even is. Bassano does an amazing job at making this seem like a candid photo rather than a painting, perfectly capturing what it must have been like the moment everyone realizes the miracle they are witnessing, when they don't have strong enough boats or nets to hold the amount of fish in the water.

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Albrecht Dürer - Portrait of Hieronymus Holzschuher 1526

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Albrecht Dürer - Portrait of Hieronymus Holzschuher 1526

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While Durer displayed excellence in print making and designing, one of his portraits of Hieronymus Holzschuher displays his gift in painting as well. The video labeled "Durer" shortly touches on the fact that he had a gift for displaying textures, colors, and especially shadows and how light projects on certain textures like clothing, hair, and skin. Though roughly a pretty simple painting, Durer does this in the portrait above as well, seen in the jacket fur jacket as well as the hair on the right side of the painting, shining from the angle of the light, causing a sense of depth and a fluffy texture. In some ways you could relate this oil on panel work to the Mona Lisa, facing the same way, and giving an effect that the eyes are looking right into yours, like the painting is trying to get your attention to speak to you.

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Victoria & Albert Museum, Cromwell Road, London, UK

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Raphael and assistants -  Christ’s Charge to Peter 1515-1516

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Raphael and assistants -  Christ’s Charge to Peter 1515-1516

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This work displays one of the greatest works ever displayed in Renaissance, made by the most influential Renaissance Artist, Raphael. Made with Distemper on paper (now transferred to canvas), this is one of the many cartoons by Raphael commissioned by Pope Leo for the Sistine Chapel in the Vatican Palace. In this we see another Biblical story of what appears to be Jesus, after his resurrection, handing one of his Deciples, Peter, the keys to the gates of Heaven (Matthew 16: 18 – 19 & John 21: 15 – 17). This work describes with great detail an emotional moment between Christ and his followers, and maintains a smooth transition for the eyes when looking at each person, bright colored robe, and surrounding background. Raphael perfectly portrays his individual style with the combination of detail and smoothness, all together mending the strong emotions between Christ and his followers.

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Hieronymus Bosch - The Garden of Earthly Delights (Open) 1490 - 1510

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Hieronymus Bosch - The Garden of Earthly Delights (Open) 1490 - 1510

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This masterpiece made by Hieronymus Bosch is one of the major references in mannerist art, displaying true creativity in a Triptych oil painting. This piece has many meanings behind it, whether it be depicting the admonition of worldly fleshy indulgence, the warnings of dangerous temptation, and examples of pure and ultimate sexual pleasure. This painting left a lot of viewers confused and offended, while other's admired the pure imagination used to skillfully made such a perfectly detailed painting. Bosch proved himself to be a master at detail, linear perception, and three dimensional affects, making the viewer feel lost in this inhuman world of a painting.

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Giorgione or Titian - The Pastoral Concert 1510 

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Giorgione or Titian - The Pastoral Concert 1510 

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This oil on canvas by Giorgione is one of the faces of renaissance art, due in part that it was accredited to none other than Renaissance maser Titan. This work visualizes an evening in Rome where the feeling of the quiet outdoors, mystery, love, and beauty are displayed, not only visually but audibly. The painting displays two men and two women, both women nude, and both men clothed, one man with a stringed instrument, and one woman with a pipe, assumingly playing together in harmony. The painting, as said by Marilyn Stokstad and Michael W.Cothren, “displays love and innocence”, as anyone visualizing the art wished to be in such an atmosphere. The dark, musty loo of this photo makes viewers automatically think of Renaissance art, and love.

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Parma Cathedral, Piazza Duomo, Parma, Province of Parma, Italy

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Correggio - assumption of the virgin 1526–1530

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Correggio - assumption of the virgin 1526–1530

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This Fresco by Correggio displays the new style of evolving Renaissance art, revolving around apostles, and mainly the Virgin Mary reuniting with her son. The piece was meant to use a dome to give the effect that you are looking up into heaven with limbs and people sitting on the clouds above, executing excellent trompe l’oeil. This work is one of many that focuses on giving an illusion that things will fall on you, making your ability to stand up straight hard. The amount of detail and colors make this masterpiece almost impossible not to stare at. This commission gave Correggio the ability to prove himself as a valuable and extremely talented artist, despite the dislike from fellow church members and priests that thought this artwork was just "frog leg stew".

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Pieter Bruegel the Elder - Return of The Hunters 1565

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Pieter Bruegel the Elder - Return of The Hunters 1565

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Bruegel is one of the most influential artists of the 1500s, for the most part, some would say he dominated the figure/ landscape style of the day. Bruegel does an immaculate job at displaying the fast area both in and after the town with many hills and mountains with oil on wood. In this, we see the hunters coming from a large hill looking down over the city. Bruegel projects his unmatched ability to give a sense of being in the scene of the painting in the 1500s, where we can almost hear the crunch of the snow, and smell the smoke coming from the chimneys, displaying the development of how important perception and backgrounds will be in the future of paintings.