Name one famous Renaissance artist?

Question

Name one famous Renaissance artist and describe his or her contributions during the Renaissance.

Answer 1

Michelangelo: La Pieta a marble statue that shows the Virgin Mary grieving over the dead Jesus.
David a colossal sculpture figure of David
The ceiling of the Sistine Chapel in the Vatican

Leonardo da Vinci
Scientific study of light and shadow
Creating atmosphere and depth
Study of nature and anatomy, dissections of the human body
And off course , the painting Mona Lisa nad the Last Supper

Answer 2

Leonardo DA Vince;

Florentine artist, one of the great masters of the High Renaissance, celebrated as a painter, sculptor, architect, engineer, and scientist. His profound love of knowledge and research was the keynote of both his artistic and scientific endeavors. His innovations in the field of painting influenced the course of Italian art for more than a century after his death, and his scientific studies—particularly in the fields of anatomy, optics, and hydraulics—anticipated many of the developments of modern science.

Answer 3

The one and only Michelangelo Buonarotti!!!Because of his passion for work and because of his second sight when he looked at piece of marble:)))

Answer 4

I will name three.. Michelangelo, Leonardo Da Vinci, Rafael.. to name ONLY three. there were so many.

Answer 5

This link will give you all the information you need.

Answer 6

Why don't you ask the Ninja turtles

Answer 7

There are any number of Renaissance artist to choose. So I will give several, some of whom are not as well known as Da Vinci and Michaelangelo because I suspect many will choose either of these two to represent the Renaissance of whom Da Vinci was the man for whom the term "Renaissance Man" was virtually coined.

This first artist, Caavaggio was one of the most influential and his art inspired many later artists, particularly in Northern Europe.
Caravaggio, born in 1573, died in 1610 A notable painting is his Death of the Virgin displayed in the Louvre, with the dramatic quality that was found in most of his works. He used foreshortening, shadowing and detail to portray scenes that drew out the emotions of the viewers. Caravaggio is often given credit for inspiring the Renaissance painters of northern Europe including Rembrandt.

The second artist is considered to be the first or father of Renaissance Art.
Giotto born in 1267, died in 1337. Painted the Life of St. Francis of Assisi which is identified as one of his earlier works. Though an artist of the medieval period, he influenced such greats as Michelangelo and Raphael because he introduced some of the earliest solutions to creating the illusion of three-dimensionality in paintings and because his way of composing his paintings so effectively conveyed the the subject he was painting. Besides his work as an artist, he is famous for designing the Campanile (tower) of the Florence Duomo.

The third artist, Raphael, influenced almost everybody. His methodology influenced almost everybody after him.
Raphael, born 1483, died 1520. Popular with the popes of the period, Raphael decorated the papal apartments of Julius II, continued to do so under Leo X and, following Bramante, served as architect of St. Peter's. He is credited with revolutionizing portrait painting because of the style he used in the portrait of Julius II. He also designed the "cartoons" that are on the tapestries of the Sistine Chapel. A tour of the Vatican Museums should include the Raphael Rooms where you can see some of the artist's works (though Raphael died suddenly on Good Friday, 1520, before all the work was completed and much of it was finished by his students). In his painting The School of Athens, he reflected the classical influence upon Renaissance art, but he also paid tribute to the men who inspired him by using the faces of da Vinci, Bramante and Michelangelo as philosophers participating in the debate between Plato and Aristotle.

The next two are also among the founding fathers of the Renaissance period.
Masaccio born in 1401, died in 1428. Perhaps one of the most influential artists of the Renaissance. Historians claim that he, along with Donatello and Brunelleschi, inspired the style of art that typifies art of the period. In his 27 years on the planet, he developed a style that used perspective in a way that created an illusion of three-dimensions--a significant change from the flat style of painting that typified medieval art. His most famous work can be found in the Brancacci Chapel in Santa Maria del Carmine in Florence.
Donatello born in 1386, died in 1486. Famous for many things including the youthful sculpture of David in Florence. A less famous work in the city is the brass pulpits he build for the Old Sacristy of San Lorenzo which was built by Brunelleschi. Like Masaccio, Donatello was one of the earliest artists working with the idea of perspective. His method was sculptureand he brought dramatic shapes to life with his skills.

Among the Northern artists of the Renaissance period, I think Van Eyck is probably the most important followed by A. Durer (also spelled Drer) and H. Bosch and Breugel the Elder.

Artist: Jan Van Eyck (1390 - 1441)
Nationality: Flemish
Movement: Renaissance
Media: Painting,Illumintating
Influences:

Biography:
Jan van Eyck is considered the most influential Flemish painter of the northern Renaissance and is also credited with perfecting the oil on panel painting technique. These achievements led him to be known as one of the greatest masters of all time. Van Eyck served as court painter to two notable figures during his lifetime, the Count of Holland, John of Bavaria and the Duke of Burgundy, Philip the Good. In addition to his oil paintings, Van Eyck also created illuminated manuscripts.

The sense of balance and measure, the Renaissance concept of human dignity that is lacking in Grnewald, can be found in the work of Albrecht Drer (1471 1528), the greatest of German artists. He is associated primarily with the city of Nuremberg, one of the leading cultural and intellectual centers of Germany. The famous Nuremberg patrician, civic leader, and humanist, Willibald Pirckheimer, was a close friend of Drer. The artist has left two portraits of him, executed at different times.

Italy was very important in Drer's development and in the history of north European art in general. Before Drer's first Italian trip, which took place in 1494 95, the art of the Renaissance in Italy had had little effect in the North. "Drer's first trip to Italy, brief though it was, may be called the beginning of the Renaissance in the Northern Countries."16 Drer came back from Italy full of desire for German artists to participate in the "regrowth" of the arts that had been brought about by the Italians. Here is another clear witness to the fact that many of the leading men of the period were imbued with the idea that a rebirth, revival, or renewal was going on in their own day.

Drer went to Italy again from 1505 until the beginning of 1507, saw the superior social position and learning of Italian artists compared to Germans, and began to acquire for himself the new humanistic learning. Because he was a scholar as well as an artist, he was patronized from 1512 onward by the emperor Maximilian I. (Illustration page 444) He was also a scientist, with an all-inclusive interest in nature. In addition to his artistic work, he wrote books on geometry, fortifications, and human proportions.

Drer was able to capture the authentic classical spirit in his art, even though he had little contact with the original works, but had to approach them through Italian prints and drawings. Under these conditions, Erwin Panofsky thinks this achievement "almost a miracle."
The great medieval artistic tradition of the Low Countries was continued in the Renaissance. Of the numerous important artists who worked there, two can be mentioned here: They are Hieronymus Bosch and Pieter Bruegel the Elder, both of whom retained strong medieval elements in their work.

Bosch (c.1450 1516), a Dutchman, is one of the most fascinating and puzzling of painters, and it is impossible to decipher all the meanings in his works. Some of his paintings are fairly straightforward, and seem to reveal a distinctly pessimistic view of human nature. This is true of his many works dealing with aspects of the Passion, such as the Crowning with Thorns, the Mocking of Christ, or Christ Carrying the Cross. (Illustration page 431) In this work, we can see how the gentle, suffering face of the Savior, although placed in the center of the composition, is more or less overshadowed by the hideous, grotesque faces of his persecutors.

Bosch had a wild and lurid imagination, which in some of his works expresses itself in all sorts of fanciful monsters and apparitions. Devils abound, as do visions of Hell, with its ghastly lurid atmosphere illuminated by flames. There seems to be a satirical and moralistic strain in Bosch, even though his exact meaning is sometimes far from clear. He is untouched by many of the characteristics of the Italian Quattrocento, such as mathematical perspective and the careful study and representation of the human body. In his works, the human figures are flat and sketchily outlined, and perspective is ignored, although Bosch is important as a landscape painter. He departs even from the native Netherlandish tradition in not being skillful at portraiture or perhaps merely uninterested in it. On the other hand, he is often much concerned with precision of detail. Thus he is essentially a medieval artist in many ways, but there is no denying his power and artistic greatness. One of his admirers was King Philip II of Spain, an avid collector of Bosch's works.

Pieter Bruegel the Elder (c.1525 69) was referred to by some critics as a second Bosch, because many of his works do reflect Bosch's influence, but this description of him would be very incomplete. Equally misleading is the view that sees him largely as a painter of amusing scenes from peasant life. He is now regarded as one of the greatest artistic geniuses of his age, and a profoundly serious artist. Though his career was unfortunately short, he left a substantial body of paintings and drawings.

In Spain, there is "El Greco", The Greek.

And yet the most important Spanish artist of the period was a Greek, born on the island of Crete. Domenikos Theotokopoulos is, in fact, generally known as El Greco (1541 1614). In spite of his Greek origin and the fact that he lived and worked in Venice and Rome until he was about thirty-six, he seems to us the most Spanish of painters. He received a couple of commissions from Philip II, but the king rejected one of his paintings because it failed to please him.

One can see why. To an eye unaccustomed to his work, El Greco's art must have seemed strange. He deliberately distorts and elongates his figures, sets them often in a lurid, unearthly atmosphere, uses an agitated, flickering light, ignores the rules of perspective, and heightens the effect by areas of brilliant color. His painting is usually religious, and its effect is to express, in visions that seem to disregard the barrier between the natural and supernatural, a mystical intensity that is a fitting expression of the Spain of the Counter Reformation. (Illustration Burial of Count Orgaz page 448) Though he spent his last years in poverty and left great debts behind him, he has been granted the posthumous recognition that is accorded to great artists who dared to depart from the accepted usages of their age.