Museum of Fine Arts Houston; compare and contrast an Italian Renaissance painting with Greek vase painting.
In this work, I will analyze two works from the Houston Museum of Fine Arts, from different epochs and of different styles. Even the means involved are different. It may seem that these artworks can only be contrasted; however, it is an interesting challenge to compare them.
“Black-Figure Amphora Depicting two scenes: - Theseus slaying the Minotaur - Gods in array departing for Olympus”. Date 530-510 BC. Attributed to the Antimenes Painter, Greek
Greek ceramics is the most common finding in the archaeological studies of ancient Greece; you can find it all over the areal settlement of the ancient Greeks. The ancient Greeks painted all kinds of pottery, used for storage, meals and in the rituals and festivals. The works of ceramics, decorated very carefully, were usually brought as a gift to temples or placed in the burials. After a strong burning, resistant to environmental influences, ceramic pottery and fragments have survived in tens of thousands, so the ancient Greek vase painting is indispensable in establishing the age of archaeological finds (Brown 36).
Before us is vase, attributed to the 6th century BC. Between seventh and fifth century BC, black-figure pottery developed into an independent style of decorating ceramics. The image that we see on the vase is depicting a legend about Minotaur. We witness a moment before Theseus slays him. The figures are portrayed with perfect precision.
The neck and the bottom of the vase are decorated with traditional ornaments. There are palm tree leaves incorporated in the vase picture.
Domenico Tintoretto «Tancred Baptizing Clorinda»
Renaissance was a period of shift from very religious theme to more casual topics. Upon creating paintings on traditional religious subject, they looked at the international gothic, however began to use the new artistic techniques: construction of the bulk composition, use of the landscape, use of the landscape in the background, allowing them to make the image more realistically animated (Larsen). This was completely different from the works of the previous iconographic traditions that were full of conditionality of the image.
The given image depicts a scene where Tancred, the knight who headed the first crusade, took off the helmet from his mortally wounded opponent that asked to baptize him, and realized that under the mask was the woman he was in love with (Robusti,). There are also two angels and a dove descending on the body. Except for the figures in the image, Domenico Tintoretto, traditionally put many details in the background, making viewers look into it (Shultz 137).
I want to uncover the similarities and differences between the two masterpieces of their time, gradually, starting with things that are alike in the pictures and finishing with the gap between two cultures and styles of drawing.
Both images represent a story, a legend. The renaissance image holds a more religious theme, however, back in the 6th century stories about Greek Gods and the Olympus were a part of the only religion they knew. Thus, both images represent a religious subject. For more confirmation, there are godly figures in both images: angels – in the painting and gods on the vase.
In Tintoretto’s and Antimenes’s works people are the key figures. Moreover, in both pictures in is an action scene that is captured. Although in one image the rhythm is slower, and then more dynamic on the vase picture, the presence of motion is very well felt.
The mood of both pictures is somber. On the vase, it is the action that emphasizes it, while on canvas it is the play of dark colors and stormy skies that show the tragedy of the moment.
Now, the spacing and the location of the figures on both images is well balanced and logically placed. The scenes are portrayed at a good angle for the viewer’s eye. As for the background. Both images have symbols, attributes to their epochs. Angels and white doves for the painting and palm tree branches and meander.
Here, I think it is time to outlines the differences
Obviously, the techniques and the means are not similar. However, it is worth mentioning that in their own ways both images tend towards realism. Lines and shapes are strict and flat on the vase and voluminous and flowy on the renaissance image. As for the half-shades and play of light, it is hard to compare them, since in the work of Tintoretto there is a wide palette of colors and the presence of his signature chiaroscuro is well felt. This brings us to texture, which is two-dimensional on the vase, and very life-like and voluminous on the painting.
Interestingly that by looking at the artworks, the differences are striking; it is hard to believe there are any similarities. However, after a closer look and reflection it seems that they are not so contrast after all. Art is art, no matter where or when it was performed.
Works Cited
Brown, Shelby. “Greek Vase Painting Project: Procedures”. Archaeological Institute of
America Education Department. Web.
Schultz, Juergen. “Venetian painted ceilings of the renaissance”. University of California
Press. 1st Edition. 1968. Web.
Larsen, Michael. “Journal of the Royal Society of Arts” 126.5260 (1978): 243–244. Web
Robusti, Domenico Biography, “Tancred Baptizing Clorinda”. Web gallery of art. Web.
