1. formal and iconographic characteristics are seen in high renaissanace, venetian and mannerist paintings. to begin with, in high renaissance michaelangelos Moses is shown holding the 10 commandments. You can clearly see the anger that is dipicted through the facial expression on moses. Michaelangelo wonderfully portrays the psychological states in moses, through the iconographic characteristics of his puffed lower lip, arched toes and the bulging of his veins. the formal characteristics are seen through michealangeols mastery of lines, which help create the anger that is being felt by moses. The formal characteristic of the lining of his beard and clothing show his inner turmoil. In the venetian painting of the virgin of the rocks by Leonardo Da Vinci, the artist magnificantly uses the chiaroscuro method of light and dark to model the expression and emotional states of the figures being portrayed. The lines, soft and subtle give the painting a more intimate feeling. The figures are all shown interacting with one another, praying, pointing, and blessing. He also presents the figures in a pyramidal group and sharing the same environment. The figures emerge through the use of light and shading from the half-light of the cavernous visionary landscape. For mannerism, formal characteristics are clearly seen in Parmigianino's Madonna with the long neck. Although nothing is shown in proportion the painting still apears soft and smooth, through the lines and colors used. The madonnas long neck, the delicacy of her hands and swaying elongation of her frames are all signs of mannerism. On the left stands the angelic creatures melting with emotions as soft and smooth as their limbs. on the right the artist includes a line of columns without capitals and an enigmatic figure with a scroll whose distance from the foreground is immeasureable and imbiguous.
2. Mannerist and reaissance architecture are both different from one another. Reainissance architecture is seen in...
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