1. Renaissance Artists: El Greco and Leonardo da Vinci
Presentation by Kate Keithley and Jane Bratcher

2. “The Annunciation” –Leonardo da Vinci (c. 1472)
Originally thought to be completed by Verioccio, this painting has since been confirmed as one of Leonardo da Vinci’s early works. Humanist ideas merging with religious aspects may be seen with the subtlety of the halos about the figures’ heads; hands and eyes are better-developed than Medieval artwork, but still a bit coarse in comparison to later pieces by da Vinci. There is the concept of a vanishing point implemented by the furthest-back mountain, but minute issues with the concept remain.

3. Leonardo da Vinci ( )
Despite being a renowned Renaissance polymath, da Vinci’s most famous talent is generally accepted to be his painting. Scientific aspects of anatomy, botany, geology, and perspective are evident in even his early works, making his artistic works clear evidence of his mental brilliance. His humanists concepts are evident in even his earliest singularly- completed work: “The Annunciation”, separating him from the prevailing trend of development of humanistic ideas for most Renaissance artists. Leonardo used tempura paint frequently so that he may better disguise his brushstrokes in his artwork, giving it a uniquely realistic appearance. He died at the house of his close friend, Count Francesco Melzi.

4. “St. John the Baptist”—Leonardo da Vinci (c. 1508)
Concepts of bone structure and realistic painting of the eyes are key aspects to the subject’s face. Creases in the skin and/or scarring are visible on the neck, highlighting the increased knowledge and development of anatomical functions conveyed in art. Hands bear creases, fingernails, and realistic proportion, although the size is ever-so-slightly exaggerated. Despite being a religious-based painting, a halo about John’s head may not be seen, stressing the humanist ideas of da Vinci.

5. “Dormition of the Virgin” –El Greco (c. 1565)
One of El Greco’s earliest works from the Cretan period, the painting relies heavily upon more Medieval forms of artwork. The painting is rather two-dimensional, with hands and faces only able to be portrayed by a small handful of angles, and the eyes of the subjects remaining flat and unseeing. The halos of the central religious figures shine clearly and hosts of gilded angels stand in the background as a dove radiating light shines nearest the top, clearly displaying the lack of humanism’s appearance at this moment in El Greco’s work.

6. El Greco ( )
Born in the city of Crete, this artist’s style is known to develop in stages based upon the regions in which he resided; the first period being that of Crete, the second of Italy, and the third and final segment of Spain. Greco’s more notable attributes are his elongated, graceful yet gaunt fingers and necks, and the use of pale skin tones, effectively giving his subjects a hallowed, ethereal look. He is known to be the father of expressionism and cubism; the combination of Byzantine and Western artistic theory lends a great hand to his art’s unique qualities. El Greco died in 1614 during the completion of a commission.

7. “The Disrobing of Christ” –El Greco (c.1579)
This painting comes from El Greco’s final period: that of Spanish influence. The majority of the hands in the painting hold a delicate, elongated look characteristic of El Greco’s works, with the hand of Jesus central in the painting. Christ bears no halo, and relatively little religious imagery may be seen, aside from the reference to Christ’s sanctity with the clear emphasis of light upon him. If one looks in the bottom corner, a piece of paper with El Greco’s name painted upon it may be seen, and it is a running trademark of his (almost bragging rights) to emphasize the unique accomplishment of accurately depicting paper.