Apolo and Dafne. Bernini.

*Title: Apolo and Dafne.
*Author: Bernini.
*Year: 1622-1625.
*Style: Barroque
*Tecnique: Sculpted in marble.
*Laction: Borghese Gallery, Rome.
*General description: In this sculpture looks like Dafne it is becoming tree slowly because Dafne had launched an arrow whose effect was the rejection of love, then Apolo saw one day Dafne and this was hurt of love and lunged for her, but as Dafne fled suffered the contrary effect until exhausted sought help from his father, who was the Peneus river , which determined Dafne turning into a laurel , and when Apolo reached Daphne , this was already in the transformation . And it is what you see in the sculpture , as Dafne becomes gradually laurel to escape the love of Apolo.

This piece of architecture is called Apolo and Dafne , which is made ​​by Bernini , made in the seventeenth century, which holds its style is Baroque art.

This sculpture is a standing figure and consists of a high relief in some parts more than others, as in the elbow, the armpit... 

The technical means used is typically classical marble, with a highly polished surface on the face or skin, thus providing a lifelike anatomies, and more rugged in others, especially in the Dafne feet, which are rooted in the soil or in hands, becoming laurel.

The volumes that make up the sculpture is conical and irregular, in addition, Bernini uses a diagonal which brings dynamism and instability to the figures and uses in addition various curved lines, as the two parallel which form the bodies of the characters or the arms, thus accentuating the Baroque drama of the work in addition, it is free, individual and bulk round, as it can be seen from different points of view and creates movement by the Viewer. Bernini has moulded this sculpture, so you have a sense of the dramatic, sliding on the more polished surfaces and softening them and in the bodies of Apollo and Dafne you schedule create a chiaroscuro in more rough surfaces like hair.

The composition of this sculpture is open, that is designed to be seen from different points of view, and is clearly asymmetrical and dynamic by the expressions on the faces of Aplo and Daphne.

The function of this sculpture is didactic. The theme is the mythology, Since it represents Apolo, one of the major Olympic Greco-Roman deities, chasing after the nymph Daphne, who tries to escape and, after invoking his father, is transformed into a laurel so that God can not take her as wife.

This sculpture is idealized, with a classical canon on anatomies that makes them more slender, and a sensual and delicate beauty in the face of the nymph and the expressions, we can see the contrast between the horror of Dafne and the charm of the face of Apolo, thus highlighting the narrative, dramatic and theatrical character of the work.

This work of art is important because it is one of the very famous baroque sculptures and the features are very striking, besides the emotions this very named above all in the face of Dafne. Other artists of the Baroque art were Pedro de Mena with "Magdalene penitent", Gregorio Fernández with "Piety"...

Earlier influences were the subject, the mythology that was a subject of the Renaissance and the following influences were at the beginning of the Baroque.

This sculpture has seemed very nice and very emotional by the faces of Apollo and Daphne, also worked in marble is very nice and as it uses the technique of polishing in places like the car to make it look skin is impressive.

Court of the Lions.

Architectonic cards:

- Title: Court of the Lions

- Author: Mohamed V

- Year: 1362 - 1391

- Style: Nasrid architecture

- Technique: White marble

- General description: In the Alhambra, the palace of the Lions marks the climax of its architecture. Synthesis and symbol of its decorative richness and at the same time of the significnte of the hydraulic complex of the enclosure, its well known source has been preserved.


Introduction

The name of this palace is The Court of the Lions, commissioned by Mohamed V between the years 1362 and 1391. This palace marks the climax of its architecture.


Analysis

The plant od this palace is rectangular, and surrounded by a gallery as a Christian cloister, away from the style of the typical Muslim patio Andalusian, close to presenting the Patio de los Arrayanes, supported by 124 columns of white marble and fine shaft, which present at its top lots of rings, and hold cubic capitals and large abacus, decorated with inscriptions and atauriques. Under the frieze of carved wooden banked plaster arches, less of the pavilions and ends of the sides run longer Gallery, which are of muqarnas, with decorated pierced lozenge enjuntas. The two centers of the longer sides of the courtyard are greater than the rest semi-circular arches and possess a muqarnas archivolts, while the Spandrels decorated atauriques. These bows communicate the courtyard with the Hall of the Abencerrages and the Sala de Dos Hermanas. Above these arches we can distinguish the quarters of the women of the sultan. In the center of each of the short qanats are pavilions, advancing on the patio, of plant square, and covered by semi-spherical domes of wood inside.

Conclusion

I like this palace because is conserved very well. Muslims left many good things in our country, as for example this palace. When I see this palace comes me peace, since it has a source and the lions give me peace of mind, but not is beacuse.

El entierro del conde Orgaz

PAINTING

Title: el entierro del conde Orgaz
Author: el Greco
Year: 1587
Style: mannerism
Technique: oil on canvas
Laction: Church of Santo Tome (Toledo)

Introduction: this is a painting that is do for el Greco in 1587, the title of this painting is the entierro del conde Orgaz, have the characteristics of the period for example the clothes. In this period  the monarch is Felipe II start the counter reformation.

Analysis: el entierro del conde Orgaz is do for oil in canvas that consist in mixing pigments a based on oils a painting directly to the canvas.Utilize the light using shadows and the clarity and with the top utilize more clarity for observe the celestial part. Utilize dark colours for have more different to the celestial part. This painting is divided in two parts the top part that stay the celestial part and in the bottom stay the earthly area, for theocentism of this period stay the virgen Maria low to the cental figure and Cristo near to the virgen Maria. The function of this painting that was a charge for the church of the Santo Tome. El Greco utilize the elongation of the charcaters that form part of the mannerism. Utilize the expresivity for example in the virgen Maria. El Greco apart of this other important painting for example La trinidad, el sueño de Felipe II...

Conclusion: this is a very important painting and one of the most important painting to for el Greco, in this painting is appreciated the style of el Greco that is the mannierism and the theocentirsm of this period.

The burial of Christ, by Juan de Juni.

*Title: The burial of Christ.

*Author: Juan de Juni.

*Year: 1541-1545.

*Style: Rennaisance, Cinquecento and Manerism.

*Tecnique: The sculpture is made of wood.

*Location:It is now in the National Museum of Sculpture in Valladolid San Gregorio.

*General descripcion:This sculpture represents the death of Christ in a very realistic way , next to Christ they are Joseph of Arimathea , Mary Magdalene , Salome , Nicodemus , Mary, the Mother of God and San Juan who they accompany him in his death.

This sculpture is called "The Burial of Christ " by Juan de Juni , Renaissance , John began to build in 1541 and finished in 1545.



This sculpture is in high relief, it is also a group of people around to another, moreover they are all standing and kneeling, less Christ, who is lying.
This sculpture is carved from wood, and stone and is molded in clay orwaxy then cast in bronze, and then to give it more color painted.This sculpture volume is the cubic geometric, to the site where is Christ died, tapered to the cane that is e irregular toothed by Felts that accompany Christ in his death bed.
This sculpture does not have plenty of light, but if there are nuances on some sides so you highlight more, also is has done the effect of light and shadow to highlight more parts and make sculpture more interesting.The scene, formed by seven figures of slightly larger than natural size, picks up the time of the burial of the body of Jesus. It has a classical distribution: the figure of Christ stands in expressive and compositional, central axis from which the secondary characters in a completely symmetrical rhythm is established.
The dynamics of this sculpture is the religion, since it leaves a burial and over that burial is that of Christ.
The subject matter in the sculture is bible.The figure is emotional and realistic.

Sculpture in general is very important for the realism of the figure, also the expressions on the faces imposes, in addition is a mixture of the rencimiento and the Mannerism.Another very important Spanish sculptor during this period was Martín Díez, that some of his works more famous were: Mollet del Vallés, Hunstanton and Canyamars, and the altarpiece from Arenys de Munt.

This sculpture has seemed very emotional, because the expressions are very emotional and very realistic, the position of the sculpture is also very impressive.

Venus of Botticelli.

*Piece of art name: The birth of Venus of Botticelli.

*Author: Boticelli.

*Style: Renaissance Quattrocento.

*Year: 1484.

*Tecnique: Tempera on canvas.

*Location: Galery Ufficy, Florence, Italy.

*General description: This piece of art you see the brith of Venus and represent the rencarnation of the spiritual kingdom´s, also represents the incarnation and illustrates our birth misteriode.


The picture of "The birth of Venus" was made by Botticelli in the 1484, his style is Renaissance. This work is enigmatic and revolutionary, because given its context and its time, suddenly appears a nakedness that captivates and even disrupts the then society; on the other hand, given the author Christian neo-Platonic influences, it seeks to unify Christianity with Paganism or classical culture.

Techniques and materials urilizados in this work are tempera paints them on a canvas.

The spatial system of this artwork is created linearly.

This work light source are the lines drawn on the whole picture, the direction where light, is charged mainly is the face of Venus, as well as those warm colors and the bottom cake. His character and his intensity cool output is religious.

The colors used in the chart are warm, sensitive and cake, to give the table a touch of sensitivity and tenderness, as well as brightness.

Its composition is smooth and symmetrical.

Its function is religious.The subject of this work is mythological , and born a goddess of Greek mythology that was created to illustrate the mystery of our birth.
The figure of this picture is idealistic because it shows the birth of a goddess.
This work is important because in the Renaissance paintings were not naked, it was instead the related and religion.
Other works of art in this period were made ​​by Botticelli : the leaves...

This picture inspires me calm and think you have to be very valuable to be one of the first to paint his love like a goddess and is the religious picture.

The Sacrifice of Isaac by Alonso Berruguete

SCULPTURE CARD

Title/name: "The Sacrifice of Isaac"
Author: Alonso Berruguete.
Year: 1526.
Style: Spanish Mannerist art.
Technique: Gilding technique in polichromed wood.
Location: Valladolid.
General description: The piece represents the sacrifice of Isaac in which Isaac is going to be killed.


INTRODUCTION

This piece is called "The sacrifice of Isaac" because in it Isaac is going to kill to his son. The author is Alonso Berruguete. Alonso Berruguete was born in 1490. He was a Spanish sculptor and painter and some of their most famous pieces are "The Sacrifice of Isaac" and "The martyrdom of San Sebastian" He died in 1561. He was an author of the Mannerist art. The Mannerism was the artistic style which was started in Italy during the second half of XVI century and it was developed when the Renaissance elements stopped to be used. This piece was done in 1526 during the XVI century.


 ANALYSIS

The type of sculpture is high relief. The technical used is the Gilding technique in polichromed wood. In the piece we can see two men. The two figures are dramatics. They show the senses of pain. The volumes have the human figure. We can see that the figures are elongated. This is a characteristic of the pieces of Berruguete. We can see that in other of his pieces such as "Ecce homo". 
We can see the realism. The tunic of Isaac is gold colour and the skin has light colours, also, they have geometric formes in their body. This is to show the pain and the senses. 
It has religious funtion. The story is that God told Isaac that to show he loved God he killed his son, he was going to do it but God stopped him before do it. For that we can see the pain in the face of Isaac, the men who is going to kill. It has subject matter in the Bible.
The historic context is significative. In politics there was an increase in the Authoritarian monarchies, it was a period of increasing with the discovering of America and also there was an incrasing in the power of the bourgeoisie.
Other important sculptor of the Mannierism was Juan de Juni and one of his pieces was The Entombment of Christ.


CONCLUSION

Berruguete was inspired in Michelangelo and Laocoonte. This piece shows some of the new interests in the mannerism, the idealism and serenity, the human body, the elongated of the body and the expressivity. I like this piece because it is expressive and it transmits the pain to me.

David de Donatello

- Title: David de Donatello.

- Author: Donatello.

- Year: 1440.

- Style: lineal perspective and the color contrast.
-Technique: bronze.

- General description: David is a bronze sculpture of 158 cm in height by the Italian sculptor Donatello. The work was done in lathe to 1440, comissioned by Cosme de Médici, who wanted to place in the gardens of her palace in Florence.

Introduction.

The sculture that we can see was created by Donatello, the work belongs to the Italian Resaissance (quattrocento), the sculture was finished in 1440.

Analysis.

 This sculture is in raised, is fastened on a small pillar. This work that recreates the time after the biblical battle between David and Goliath was the return to the nude as a subject after nearly a thousand years of absence in the history of Western art. The biblical theme of the David and Goliath confrontation becomes a simple excuse to represent nudity as the classical sculptors. Thus David appears as if it were Apollo and the influence of Praxiteles is clear both in the pose of the sculpture and the modeling of the body, of ambiguous sexuality. The work can be put into context in the fullness if the Quattrocento. It was comissioned by Médicis Cosme, Florentine nobleman that returning power to the Repunlicof the Florence is identified with the Biblical character. It is a symbol of victory over his enemies, so David is associated with the figure of Cosme returning from exile as a winner. The texture of its surface is smooth and polished, because the artist seems to mimic the appearance of human skin, trying to make more credible such sculpture, which also provides a certain feeling of softness and smoothness.

Conclusión.

I liked this sculpture because it gives feeling of freedom and victory, when you see something and you don't know its meaning as that you matter less, but if you know it is as if you had more curious about that.