![]() For example, he says that the paintings of 16th century can be termed as “ seeing in particulars” as against that of the 17th century’s “ seeing the whole.” He goes on to describe the Renaissance composition as “multiplicity” and that of Baroque as “unity.” The terms multiplicity and unity are then analysed from different angles by looking at some similar major works from the 16th and 17th centuries. Here Wolfflin is comparing the Renaissance composition of 16th Century - Classical or Renaissance - with the Baroque composition of the 17th century. Historical and National Aspects in Paintings. Unity is that of the Baroque paintings of the 17th century. Why is the title Multiplicity And Unity in Paintings? It’s because Multiplicity is the characteristics of the 16th century Renaissance paintings according to Wolfflin. So, this is an example of a Baroque work. Also, it will not be balanced and symmetric – the subjects will not be evenly distributed on either side from the middle. The composition of the picture will be marked by dramatic movement and light on the floor. Your camera won’t have clear view of the subjects in their entirety – one will be obfuscating the other. Now, thinking about taking the picture of a dance scene during the night. You will most likely put her in the middle of the picture and the picture will be balanced. The subject is seating – there is no movement. When you are taking the pictures of the bride, it is classical composition. The composition is not symmetric: subjects are not uniformly distributed on either side from the middle. They are fused – you cannot just extricate one figure without disturbing the composition of the entire painting (Wolfflin calls it Unity). It’s subjects are not clearly outlined – you have to struggle to find where one ends and where one begins. ![]() ![]() The subjects are symmetric: they are uniformly distributed on either side from the middle. An excellent example of a symmetrical Renaissance piece is Leonardo’s The Last Supper or Raphael’s The School of Athens.īut Baroque subjects are not static: they are dynamic. In that process it navigates through several important works of these periods.Īs a background, it is worth remembering a couple of points. Back to Principles Of Art History By Wolfflinįirst of all it is important to remember that this section discusses the composition techniques employed by the Renaissance painters in the 16th century and that of the Baroque painters of the 17th century.
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