A thrilling aspect of the revolutionary field of art is the freedom of expression contained in works. Growing over the ages; art has been marred with great strides utilizing different means to enhance appearance. Techniques utilize firsthand experience and observance which is then construed to artificial pieces by artists. Georgio Vasari (1511-1574) was a famous Italian art historian who lived during the 16th century. He perceived a sort of “evolutionary” model in the visual arts over time, which he organized in “stages.”
In his submission, he was of the view that the stages informed the development of Renaissance art; an insightful form that emerged in Italy during ancient periods. Vasari perceived art to be expressed in a humanistic and natural way, entailing sophisticated techniques of design and perception, and the emergence of new styles translating to perfection. The first stage involved utilizing artists such as Cimabue and Giotto, the first artists of the Renaissance. The two had relatively similar techniques. The second stage illustrates the fifteenth-century arts using the artistic works of Masaccio, Mantegna and Piero Della Francesca. The third utilizing those commonly mentioned in contemporary times such as Raphael, Leonardo, and Michelangelo attributed to the highest peaks of the Renaissance. The objectives being the depiction of Vasari’s native as a forerunner in artistic excellence, the magnetizing status of the artist and a unique view in the society, and aligning his work to other displays, which he viewed as the most significant in his time. In his evolutionary model, Vasari proposed that artists be aware of the subject matter that one’s work is trying to portray. In his submission, he is of the thought that the three stages are significant in showcasing outstanding artists as they contributed to civilization. The status of the individuals is upheld, and an avenue for maintaining the exemplary works (that would have disappeared instead) formulated. In describing the three stages, he uses the metaphor “like human beings themselves, are born, grow up, become old, and die.” An attribution to the biological concept of the arts of antiquity drawn to historical development. The metaphor recognizes the need to uphold artistic works giving them the recognition they deserve. The stages occur in a revolutionary approach deemed to better the Renaissance art from the predecessors. The visual effect and technical aspect explained to be developing over time. The metaphor is significant to the humanism of the Renaissance as it is a display of the biological format depicted in the art. The cultural value in addition to being a source of anecdote derived from the composition. Vasari is of the idea that arts entail their internal cycle where Renaissance art is revived because of the tenants provided by the environment in Italy. At the highest stage, an artist attains a sense of beauty in his/her work through being true to nature. The best work attributed to that which can topple naturalism.
Vasari provided an insightful piece on vital artworks depicted during the Renaissance. In his submissions, he recognizes the impactful nature of contribution by various artists who should be awarded the respect they deserve. In three stages, Vasari manages to illustrate the evolution that occurred in Renaissance art. He recognizes the beauty of artistic displays and the lifeline entailed in the works. In his assessment, he concludes his submissions by observing nature as the most significant tool of use to exemplify artistic works.
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