20.500.12556/DKUM-40785 CHIAROSCURO, PRINCIP SLIKANJA PORTRETOV V ČASU VISOKE RENESANSE IN BAROKA THE CHIAROSCURO PRINCIPLE OF PAINTING PORTRAITS DURING THE HIGH RENAISSANCE AND THE BAROQUE Diplomsko delo z naslovom Chiaroscuro, princip slikanja portretov v času visoke renesanse in baroka v svoji vsebini zajema preučevanje principa chiaroscura pri štirih tipičnih predstavnikih slikarske umetnosti: Leonarda da Vincija, Tiziana Vecellia, Michelangela Merisi da Caravaggia in Rembrandta Harmenzoona van Rijna. V teoretičnem delu diplomskega dela je razčlenjena definicija portreta, s katero se tematsko omejujem. Chiaroscuro je princip, s katerim s pomočjo svetlobe in sence dosegamo volumen, globino, trodimenzionalnost in dramatiko v slikah ter risbah. Študije chiaroscura segajo od zapiskov Leonarda da Vincija do ponovnega zanimanja za ta princip v času romantike v 19. stoletju. Teoretično delo zajema tudi preučevanje posameznega dela izbranih umetnikov: Leonarda da Vincija, La Belle Ferronnière; Tiziana Vecellia, Portret Gerolama (?) Barbariga; Michelangela Merisi da Caravaggia, Deček, ki ga je ugriznil kuščar; Rembrandt Rembrandta Harmenszoona van Rijna, Avtoportret pri 63 letih. V praktičnem delu diplomskega dela so prikazani postopki izvedbe principa vsakega posameznega preučevanega umetnika. Med njimi so prikazane vzporednice, razlike in razvoj samega principa. The diploma thesis The Chiaroscuro Principle of Painting Portraits during the High Renaissance and the Baroque contains the study of the Chiaroscuro principle used by four typical representatives of art painting: Leonardo da Vinci, Tiziano Vecellio, Michelangelo Merisi da Caravaggio and Rembrandt Harmenzoon van Rijn. I decided to restrict myself only to portraits which were presented and analysed in the theoretical part of the diploma thesis. Chiaroscuro is a painting principle in which we use light and shades to achieve the perception of volume, depth, three-dimensionality and drama in the paintings. The study of Chiaroscuro dates back to the time of Leonardo da Vinci. The study of Chiaroscuro becomes again relevant, when interest sparked again in the 19th century, in the romanticism. The theoretical part also contains the study of individual works of the chosen artists: Leonardo da Vinci, La Belle Ferronnière; Tiziano Vecellio, Portrait of Gerolama (?) Barbarigo; Michelangelo Merisi da Caravaggio, Boy Bitten by a Lizard; Rembrandt Harmenszoon van Rijn, Self portrait at the Age of 63. In the practical part I presented the realisation of the Chiaroscuro principle as used by these chosen artists. I have drawn parallels and pointed out differences between the artists, as also shown development of the Chiaroscuro principle. Chiaroscuro princip portret visoka renesansa barok Leonardo da Vinci Tiziano Vecellio Michelangelo Merisi da Caravaggio Rembrandt Harmenzoon van Rijn svetloba in senca Chiaroscuro principle portrait High Renaissance Baroque Leonardo da Vinci Tiziano Vecellio Michelangelo Merisi da Caravaggio Rembrandt Harmenzoon van Rijn light and shades true true false [K. Lukač] Slovenski jezik Angleški jezik Diplomsko delo 2013-06-15 17:55:36 2013-07-08 15:22:19 2022-05-03 03:06:12 2021-04-23 03:34:59 2013 0 Maribor 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 73/76(043.2) 19965192 URN:SI:UM:DK:ROJPEJFO UNI_Lukac_Kaja_2013.pdf UNI_Lukac_Kaja_2013.pdf 1 A19307668ED49F2CADE16480F27E28B9 2bd45b78e99883ed99ab11eb7718c1146c5e41eae8cd92a663c697e26a3eb30a 068a1474-7c0a-11eb-bb7a-00155d0001ca https://dk.um.si/Dokument.php?lang=slv&id=55955 Pedagoška fakulteta 0 0 0