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7/28/2019 Renaissance Techniques - Presentation
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RENAISSANCE TECHNIQUES
SFUMATO
CHIAROSCUROCANGIANTE
UNIONE
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SFUMATO
a technique making use of variations of a hue /gradient colours in order to stump / to blur the
outlines and to level the transition between the dark
and the light areas;
a technique attaining the illusion of depth throughfine effects of shades by means of which some
slight and delicate tone-hue transition is acquired;
a technique enabling
in the absence of marginsand contours whatsoever - the subtle transition
from the light areas to the dark ones.
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Leonardo - Mona Lisa
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Leonardo - Mona Lisa
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Gerard David - Rest
during the Flight toEgypt(c.1515)
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Pieter Paul
Rubens - Rape ofthe Daughters of
Leucippus
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Pieter Paul
Rubens - Rape ofthe Daughters of
Leucippus
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CHIAROSCURO
a technique whose role is to use light and
shade in order to suggest three-
dimensionality in objects;
a technique looking for a strong light-and-shade contrast (usually) all over the
canvas;
a technique by means of which objectsseem to loom / to get out of darkness.
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Georges de La Tour -
Mary Magdalene
(c.1625)
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Georges de La Tour -
Mary Magdalene
(c.1625)
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Gerrit van Honthorst - The Matchmaker(1625)
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Gerrit van Honthorst - The Matchmaker(1625)
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Giovanni Baglione -
Sacred Love vs.Profane Love (1602)
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Giovanni Baglione -
Sacred Love vs.Profane Love (1602)
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CANGIANTE
a technique that implies choosing a different tone
brighter or darker whenever the original tone
cannot be lightened or darkened any more. For
instance, the painter's hue could pass from yellowinto red (irrespective of the actual colour of the
object), when he paints the shades on a yellow
object, just because the yellow in question cannot
be darkened enough so as to properly render theshadow/s of that particular object.
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Michelangelo
Buonarroti -
Ceiling Of The
Sistine Chapel
'Sybils Erithraea'
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Michelangelo
Buonarroti -
Ceiling Of The
Sistine Chapel
'Sybils Erithraea'
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Michelangelo - The
Prophet Daniel
from the Ceiling ofthe Sistine Chapel
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Michelangelo - The
Prophet Daniel
from the Ceiling ofthe Sistine Chapel
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Marc Chagall - La
mariee (1950)
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Marc Chagall - La
mariee (1950)
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UNIONE
a technique that appeals to vivid, daring hues and
shiny tints which are nevertheless in harmony /
perfectly balanced;
Yet, Raphael avoids sharp contrasts, by makinguse of ultramarine blue softened with some
whitish grey or making use of some striking red
against an aquamarine blue background,
perfectly matching thus the shades and thegolden brilliance of the flesh.
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Andrea Mantegna - Parnassus (1496)
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Andrea Mantegna - Parnassus (1496)
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Masaccio - The Money Tribute
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Masaccio - The Money Tribute
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Raphael Santi -
Saint George
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Raphael Santi -
Saint George
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THE END