or shorten view of this figure and so once the artists of the north get an understanding of material and linear perspective we're gonna start to see one of the greatest paintings ever created up to that time period here's a painting by Hans Holbein the younger and this one's called The Ambassadors and what it is it's a painting after the Reformation the Reformation is a political religious time period that happens in Europe after the end of the late Renaissance where we get a separation of churches there's the rise of the Protestant church and a different sort of interpretation of the the Christian Bible King James Version of the Bible and then the Renaissance artists especially in Italy they become known as the Roman Catholics okay before the Reformation it was just Christianity but then you get the separation between Catholicism and the Protestants during the Reformation so anyway one of the big things that the Protestants start to believe in is a religion that is there and not here very similar to Byzantine and Islam and so a lot of the images and paintings from this time period they didn't believe in worshipping false idols and so you wouldn't see many figures from the Christian Bible painted during this time and said we got genre paintings and these are paintings of everyday life so these are two ambassadors these are people that would have had the same job as an ambassador has today is they would have traveled and tried to build relations with different countries and what they have here shows that they did travel there's maps and globes and telescopes that they would use in their travels and they also have things that they've gathered from their travels there's Persian rugs there's Aztec tiles the lute here would have came from Italy and so they're surrounded by these different imageries one thing it's hard to see from this image look in your book or look online and you got to look really close but the loot here is above a hymn notebook this has a bunch of hymns from the Protestant faith and the two hymns that he chooses to depict here are two hymns that talk about that the two churches need to start building relationships or bad things are gonna happen the lute that would have came from Italy Roman Catholics has a string that's broken and what he's saying here is a symbol that these two churches are in disharmony right now that's why the string is broken and if this disharmony continues then war and death will break out which it did and still to this day if you travel through parts of Ireland there's still wars that happen between Protestants and Catholics there are cities that are literally split depending on their religion and so I'm sure you notice this big blob at the bottom here and you're probably wondering what that big blob was well it's actually remarkable if you were to stand at this painting from the side and look at it from the side and you change your perspective this is what you would see isn't that cool it's a human skull that with his amazing understanding of perspective he paints it that it can only be viewed from a certain perspective of the painting and then once you see it when you look at it from the front you can't unsee it it's a little bit of Gestalt psychology there but what is the what I just gave it away was the skull symbolize again of course death and so what he's saying is death is gonna sneak up on you if these two churches don't get into harmony soon so a pretty amazing painting great use of materials if you look at this thing online you really got to see the way he painted the fur and the materials and the shiny fabric and then it's absolutely unbelievable his control of materials and his great understanding of perspective all combined into one all right so then during the beginning of the late Renaissance there's another little blip in history that you should know and it's an art movement called mannerism mannerism after the high Renaissance you got artists that wanted to kind of shake things up a little bit and these artists were known as the Mannerist artist and what they do is they shake things up both conceptually and also formally first of all you can see these figures here this is Venus Cupid folly in time that the figures they look a little distorted don't they the proportions of the body look off Venus looks like her legs kind of fold underneath her is she kind of Neel stands or whatever she's doing and Cupid always it looks like his torso is too long doesn't it or these really short legs this figure here this little woman back here to me she always reminds me have a turkey doesn't this look like little feathers in this little turkey that comes out here so the proportions and perspective they're all thrown off but he does it intentionally the manner is a good way to remember it is they had bad manners right they they were sick of the rigidity of the Renaissance and they wanted to sort of shake things up a little bit so they got a little bit looser with their proportions and they started to play with things another thing they played with is concepts so if you know anything what the relationship of Venus and Cupid are well they're its mother and child and the way they're kind of embracing here is this weird sort of ancestral sort of grab that they're doing here and it's really kind of odd and so what time does is he sort of reveals what's happening here and cupid's buddies cheering them on yeah yeah and then with mannerism there's always a tell there's always a tell that they're kind of messing with us and the tell is this guy here this guy here goes oh right this is us when we're looking at this incestual act Oh what is going on here right and so there's always a little tell in mannerism here's another one this is the Madonna with the long neck another Mannerist artist and this is the pH another pH ah Madonna and Child in this case the child is this weird teenage baby alien figures Jesus that tries to sit on his lap but she doesn't really have a lap just a big lump of some kind of hip that he's kind of falling off there and kind of grabbing on to so obviously playing with proportions it's called madonna with the long neck because obviously madonna has this over exaggerated neck here and then here's the towel is this weird little guy who kind of sits at the bottom it's just kind of pointing like look look how weird I am look at this odd painting I've created right so that's mannerism that's from just sandwiched in the late Renaissance there so Titian is an artist from the late Renaissance and this is his fetch on prop Titian actually painted for a very long time he started painting during the high Renaissance and then he'll lead us in to the late Renaissance and we'll see a change that he makes as we get into the late Renaissance take this painting and kind of shuffle it in the back of your brain and store it in the back of your brain for a while we're gonna see someone who's inspired by this painting later that creates a very important painting that'll lead us to the modern age but anyway this is called it's basically a concert on a grass and what he has here are two figures from contemporary Italy at the time these are two musicians here and they're surrounded by two Greek goddesses so these aren't two women who just happened to take their clothes off and hang out in the garden these are symbols for Venus and some Greek goddesses any time we see a figure that's kind of fabric sort of draped around and they kind of cover themselves their symbols for Greek goddesses which again was a way for Titian to validate what he's doing at that time period here's a portrait of Renu keo for an easy he's a kid who ends up becoming Pope and he does Titian does this amazing portrait of him with one direct light source that he starts inventing in the late Renaissance and the Baroque artists that come next they're going to be fascinated with this during the late Renaissance instead of using multiple light sources a lot of Renaissance artists did instead they would use one direct light source and have the figures sort of go into these dark shadows it's a good way to use chiaroscuro to kind of round out the form and that becomes big in the late Renaissance and the Baroque artists are gonna fall in love with this technique here's a painting that Titian did when he was 75 years old and you can see some of the differences between the high Renaissance and the late Renaissance and this will lead us into the Baroque period baroque artists are gonna love this stuff first of all you see one direct light source and the figures that kind of go into shadows another thing that's hard to see that Titian does oh you can kind of see it on her wings here he starts to get these really loose brushstrokes Michelangelo and da Vinci and Rafa and other high Renaissance artists they would have glazed with so many layers that you couldn't even see brushstrokes right there are more solid colors and shapes he starts to get a little bit looser with his brushstrokes one of the reasons could be because he painted this when he was 75 years old his eyesight isn't quite the same so maybe he got a little bit looser but another thing that he does in this painting that I love that the Baroque artists are also gonna fall in love with is he starts to create more energy and emotion within his work the high Renaissance in the early Renaissance they're known as the calmer reason this is an Annunciation this is the same as the Murad altarpiece when the angel Gabriel comes to visit the Virgin Mary and says you were gonna have a son and it's going to be the Son of God in the Marotta altarpiece she kind of just sits there and calmly reads her Bible in this case the sky explodes the heavens explode all of these angels come down and say yo Jesus is coming to Earth this is a dove which is a symbol for the Holy Ghost it's kind of busted out of the sky here and in the Virgin Mary goes whoa what are you talking about here alright so we start to get more energy and emotion in the late Renaissance and that's really going to explode into the Baroque period which comes next this is Tintoretto this is his Last Supper from the late Renaissance and what I love about this one is as the Protestants start taking religious figures out of their art a lot of the Roman Catholics not only keep them in but they start creating a more natural environment of how it would have looked on earth if I think about da Vinci's Last Supper everyone sits on one side of the table and it almost looks like a movie poster of sort of presenting themselves this one here the Last Supper that Jesus would have had would have been in a tent like this where they would have cooked in the same room obviously where they were to ate they would've done the dishes these varmints are coming over here sort of eating from this bowl and the Holy Ghost is symbolized by this these plumes of smoke that have come off the fire and the fire kind of lights the people sitting in the Sistine Chapel from the back and almost gives them a halo so he's trying to mix the story with reality kind of together in one in one place almost as if the event really would have looked like here on earth because all the stories from the Christian Bible happened according with the Christians here on earth and again you can see the the high contrast in lighting and a lot more energy and emotion that the baroque artists are going to love sorry gang that was a long one but the Renaissance are extremely important for understanding where the art world is at today hope you enjoyed it