Define Surrealism art.

Surrealism is more than an artistic style—it’s an artistic movement. Unlike other creative movements,
which can be characterized by themes of imagery, color choices, or techniques, defining Surrealist art is
slightly harder to do. Surrealist artists—like Joan Miró, Salvador Dalí, Pablo Picasso, or Michael Cheval,
among many others—seek to explore the unconscious mind as a way of creating art, resulting in
dreamlike, sometimes bizarre imagery across endless mediums. The core of Surrealism is a focus on
illustrating the mind’s deepest thoughts automatically when they surface. This thought process for
creating art known as “automatism.”

What is Baroque Art art?

In 1527 Europe, religious dominance had the power to direct and inform the content and climate of
society's artistic output. At the time, a backlash against the conservative Protestant Reformation was
compelled by the Catholic Church to re-establish its importance and grandeur within society. Artists
followed suit by reviving Renaissance ideals of beauty, infusing into the era's artwork, music, and
architecture a revived nod to classicism further enhanced by a new exuberant extravagance and
penchant for the ornate. This highly embellished style was coined Baroque and became marked by its
innovative techniques and details, delivering a lush new visual language into what had been a relatively
toned down period for art.

Define Impressionism art

Impressionism is perhaps the most important movement in the whole of modern painting. At some
point in the 1860s, a group of young artists decided to paint, very simply, what they saw, thought, and
felt. They weren’t interested in painting history, mythology, or the lives of great men, and they didn’t
seek perfection in visual appearances. Instead, as their name suggests, the Impressionists tried to get
down on canvas an “impression” of how a landscape, thing, or person appeared to them at a certain
moment in time. This often meant using much lighter and looser brushwork than painters had up until
that point, and painting out of doors, en plein air. The Impressionists also rejected official exhibitions
and painting competitions set up by the French government, instead organizing their own group
exhibitions, which the public were initially very hostile to. All of these moves predicted the emergence
of modern art, and the whole associated philosophy of the avant-garde

Define Symbolism art

As opposed to Impressionism, in which the emphasis was on the reality of the created paint surface
itself, Symbolism was both an artistic and a literary movement that suggested ideas through symbols
and emphasized the meaning behind the forms, lines, shapes, and colors. The works of some of its
proponents exemplify the ending of the tradition of representational art coming from Classical times.
Symbolism can also be seen as being at the forefront of modernism, in that it developed new and often
abstract means to express psychological truth and the idea that behind the physical world lay a spiritual
reality. Symbolists could take the ineffable, such as dreams and visions, and give it form.
What is Gothic art?

At the root of all Gothic art and architecture was the desire to construct something close to heaven on
Earth, a place where congregations could feel the presence of the divine. High, vaulted ceilings coupled
with towering, pointed spires represented the celestial aspirations of devout medieval Christians, with
these new heights all made possible by advancements in architectural engineering like pointed arches
and flying buttresses.

From about the mid-twelfth century to the sixteenth century—all across Western, Northern, and Eastern
Europe—grand cathedrals with the aforementioned characteristics were constructed with fervor as
countries and cities vied to establish symbols of their unrivaled wealth and piety.

The impressive stature that many of these cathedrals managed to achieve, the interior and exterior of
the buildings are covered in ornate decorations like stained glass, fresco mosaics, and decorative stone
tracery. Stained glass in particular is a staple of the Gothic period. Most cathedrals incorporate large
windows into their designs. These sometimes span once unimaginably large swaths of wall, reaching up
to the high ceilings.

These windows depict scenes from the Bible or saint’s lives with beautifully embroidered stone tracery
in between, projecting radiant, multicolored light throughout the interior of the buildings. It was
commonly believed during this period that light itself was divine, and these stained glass windows
accentuated the desired feeling of sanctity architects wanted when designing the naves of these
cathedrals.

Discuss Ajanta and Ellora in detail.

Ajanta and Ellora are two colossal rock-cut caves in India that epitomize the country's artistic and
architectural achievements. Despite the fact that these two monuments are separated by roughly 100
kilometers, they are frequently cited together due to their similar aesthetics and importance, as well as
the fact that they are both located in Maharashtra's Aurangabad district. While Ajanta is known for its
stunning Buddhist paintings on cave walls, Ellora is known for sculpture and architecture from three
different religions that were prevalent in the country in ancient times—Buddhism, Hinduism, and
Jainism. Ajanta and Ellora Caves are both UNESCO World Heritage Sites.

AJANTA CAVES

 Ajanta Caves are a collection of 30 caves of various sizes discovered in a horseshoe-shaped stretch of
rock embedded in a hill overlooking a narrow stream known as Waghora.

 Each cave was interconnected to the stream by a flight of steps that have since been removed, leaving
just a few remnants. The caverns are named after Ajanta, a local settlement.

 It contains masterworks of Buddhist sacred art, including figures of the Buddha and renditions of
stories concerning Buddha's previous lives.

 The caves were developed in two phases, the first beginning about the 2nd century BC and the second
approximately 400–650 AD.
ELLORA CAVES

Ellora is known for Hindu, Buddhist, and Jain cave temples built during the Kalachuri, Chalukya, and
Rashtrakuta empires' reigns 6th and 9th centuries. These caverns reflect a unique approach to creative
concept and execution. Some of them were so complicated that they took several generations of
planning and coordination to finish. The Kailasha, named after Mount Kailash, Lord Shiva's dwelling, is
the most famous of all Hindu caves. It appears to be a freestanding, multi-story temple complex, yet it
was carved out of a single piece of granite and spans an area twice the size of Athens' Parthenon. It took
a hundred years to finish the Kailasha alone.

Explain Rococo Art.

Rococo art movement

Centuries before the term "bling" was invented to denote ostentatious shows of luxury, Rococo infused
the world of art and interior design with an aristocratic idealism that favored elaborate ornamentation
and intricate detailing. The paintings that became signature to the era were created in celebration of
Rococo's grandiose ideals and lust for the aristocratic lifestyle and pastimes. The movement, which
developed in France in the early 1700s, evolved into a new, over-the-top marriage of the decorative and
fine arts, which became a visual lexicon that infiltrated 18th century continental Europe.

Key Ideas & Accomplishments

Genre paintings were popular ways to represent the Rococo period's bold and joyous lust for life. This
included fete galante, or works denoting outdoor pastimes, erotic paintings alive with a sense of
whimsical hedonism, Arcadian landscapes, and the "celebrity" portrait, which positioned ordinary
people in the roles of notable historical or allegorical characters.

Rococo art and architecture carried a strong sense of theatricality and drama, influenced by stage
design. Theater's influence could be seen in the innovative ways painting and decorative objects were
woven into various environments, creating fully immersive atmospheres.

Detail-work flourished in the Rococo period. Stucco reliefs as frames, asymmetrical patterns involving
motifs and scrollwork, sculptural arabesque details, gilding, pastels, and tromp l'oeil are the most noted
methods that were used to achieve a seamless integration of art and architecture.

The term "rococo" was first used by Jean Mondon in his Premier Livre de forme rocquaille et cartel (First
book of Rococo Form and Setting) (1736), with illustrations that depicted the style used in architecture
and interior design. The term was derived from the French rocaille, meaning "shell work, pebble-work,"
used to describe High Renaissance fountains or garden grottos that used seashells and pebbles,
embedded in stucco, to create an elaborate decorative effect.

Key Artists

François Boucher, Jean-Antoine Watteau, Thomas Gainsborough, Jean-Baptiste-Siméon Chardin,

Temples of South India were built, based on earlier brick and timber prototypes. The Pallava kings were
generous patrons of art and architecture. During their reign, long free-standing temples appeared in
South India, which had previously been lacking. The Pallavas pioneered the Dravidian architectural style.
The Pallava reign also saw a shift in temple architecture from "Rock-cut temples to Free-standing
temples.“

The religious revival of the time provided impetus for architectural activity. The Pallavas made enormous
contributions to Indian art and architecture. ▪In fact, the Pallavas were the forefathers of the Dravidian
style of Indian architecture in the south. It was a gradual progression from cave temples to monolithic
Rathas, culminating in structural temples

The Five Rathas, also known as the 'Pancha Pandava Rathas (Rock-cut Rathas)' at Mamallapuram,
represent five different architectural styles. The Kailashnath temple in Kanchi and the Shore temple in
Mamallapuram are the best examples of Pallava structural temples. The Kailashnath temple is Pallava
art's greatest architectural masterpiece. The Pallavas had also aided in the advancement of sculpture.
Beautiful sculptures adorn the walls of the Mandapas. The sculpture at Mamallapuram depicting the
"Descent of Ganges or the Penance of Arjuna" is a masterpiece of classical art. Music, dance, and
painting had also flourished under the Pallavas' patronage. The paintings in the Sittannavasal caves date
from the Pallava period.

The Pallavas had also aided in the advancement of sculpture. Aside from the sculptures found in
temples, a 'Open Art Gallery' at Mamallapuram is a significant landmark. ▪The most important sculpture
is The Descent of the Ganga, also known as Arjun's penance. ▪ Found in Mahabalipuram, Tamil Nadu,
made of a monolithic rock identified as Bhagiratha bringing Ganga down from Shiva's matted hair, it is
also known as Arjun's penance. It is listed as a UNESCO World Heritage Site. ▪The Sittannavasal jain
paintings date from the Pallava period.

The Pallavas encouraged the study of art and the construction of cave and structural temples, including
monolithic rathas and stone carvings of mythological scenes in Mahabalipuram. Two of the style's forms,
the rock-cut and the structural, were created by the Pallavas, who laid the groundwork for it

Write short note on the Hagia Sophia

The church of Hagia Sophia (literally “Holy Wisdom”) in Constantinople, now Istanbul, was first
dedicated in 360 by Emperor Constantius, son of the city’s founder, Emperor Constantine. Hagia Sophia
served as the cathedra, or bishop’s seat, of the city. Originally called Megale Ekklesia (Great Church), the
name Hagia Sophia came into use around 430. The first church structure was destroyed during riots in
404; the second church, built and dedicated in 415 by Emperor Theodosius II, burned down during the
Nika revolt of 532, which caused vast destruction and death throughout the city.

Immediately after the riots, Emperor Justinian I (r. 527–65) ordered the church rebuilt. The new building
was inaugurated on December 27, 537. Architects Anthemios of Tralles and Isidoros of Miletos most
likely were influenced by the mathematical theories of Archimedes (ca. 287–212 B.C.).
The vast, airy naos, or central basilica, with its technically complex system of vaults and semi-domes,
culminates in a high central dome with a diameter of over 101 feet (31 meters) and a height of 160 feet
(48.5 meters). This central dome was often interpreted by contemporary commentators as the dome of
heaven itself. Its weight is carried by four great arches, which rest on a series of tympana and semi-
domes, which in turn rest on smaller semi-domes and arcades. This complicated structural system was
prone to problems: the first dome collapsed in 558, to be rebuilt in 562 to a greater height. Earthquakes
and earth subsidence have also taken their toll on the building over the centuries, although the surviving
main structure is essentially that which was first built between 532 and 537.

The interior of Hagia Sophia was paneled with costly colored marbles and ornamental stone inlays.
Decorative marble columns were taken from ancient buildings and reused to support the interior
arcades. Initially, the upper part of the building was minimally decorated in gold with a huge cross in a
medallion at the summit of the dome. After the period of Iconoclasm (726–843), new figural mosaics
were added, some of which have survived to the present day.

After Mehmet II’s conquest of the city in 1453, Hagia Sophia was converted to a mosque (Ayasofya
Camii), which it remained until the fall of the Ottoman empire in the early twentieth century. A view of
Hagia Sophia during the conquest is conveyed in a woodcut by Pieter Coecke van Aelst, depicting the
procession of Süleyman the Magnificent through the Hippodrome (28.85.7a). During this period,
minarets were built around the perimeter of the building complex, Christian mosaic icons were covered
with whitewash, and exterior buttresses were added for structural support. In 1934, the Turkish
government secularized the building, converting it into a museum, and the original mosaics were
restored.

Explain Tanjore Painting.

The Thanjavur city of Tamil Nadu has contributed a lot to the history of Indian art. The city has been the
heart of art and architecture for centuries. Thanjavur was the capital of the Chola dynasty from the 9th
to the 13th century, and during this period, Thanjavur reached new heights in art and architecture. The
Brihadeesvara temple is the symbol of this period and houses several wall paintings from the Chola
Empire and Nayaka period.

The roots of Tanjore Paintings are also linked to Thanjavur. The painting style originated and flourished
here in the 16th and 17th centuries. The origin of this classical painting style is linked to the Vijayanagara
Empire (1336 A.D. to 1646 A.D.), including the areas of Tamil Nadu, Karnataka, and Andhra Pradesh. The
rulers of Vijayanagara were patrons of art and culture. The roots of this South Indian art form are linked
to the Mural art of the Vijayanagara Empire.

Tanjore Painting was first used for decorating the doors and walls of homes, palaces, and temples in
Thanjavur. The interior walls of the palaces were also painted with depictions of various events like a
coronation, battle victories, and other achievements of the rulers. In contrast, the walls of temples and
homes were decorated with murals and paintings involving religious themes and portraits of various
Hindu deities.
The remains of these ancient wall paintings are still present on the walls of Virupaksha Temple in Hampi,
the capital city of Vijayanagara Empire, Varadaraja Temple, Kamakshi Temple in Kanchipuram, and
Lepakshi Temple in Andhra Pradesh. Some of these paintings are also present in the Brihadeeswara
Temple’s gopuram of Periya Kovil in Thanjavur.

During the reign of Vijayanagara, the Rayas of Vijayanagara administered the kingdom through Nayaka
governors. These governors also administered the outlying states under the supervision of the Raya of
Vijayanagara. During the reign of Achyutappa (1564-1614), the Vijayanagara empire fell, and several
philosophers, artists, musicians, and litterateurs migrated to Thanjavur, Madurai, and Mysore.
Raghunatha Nayaka, the son and successor of Achyutappa, was the most successful Nayaka ruler and
patron of art and artists. He established a unique school for Thanjavur artists, who later evolved the
Tanjore Painting style during the reign of Marathas.

Discus briefly about Indian Modern art movement.

In the late 19th century in Calcutta, India, a new era of the artistic revolution was born in the country of
cultural colours and colonization. While freedom fighters were armed to drag the British out of India,
somewhere in the dark alleys of the unknown, there were artists expressing the agony of starving
countrymen and the beauty of a nation once known as the golden bird.

In the new art schools established by the British, especially in Bengal, traditional Indian art was being
revived with some western influence. Easel painting and oil paint helped artists like Raja Ravi Verma
create spectacular artworks like Shakuntala that is one amongst the most celebrated artwork of the
bygone era.

The revivalist of this era tried to bring back the tradition of epics and mythology in the art world with the
new techniques and oil paints sourced from the western world. However, their lack of originality and the
social consciousness to understand the classical times as well as the contemporary art didn’t contribute
much to the movement.

In 1947, after India gained independence from the British Raj, a group came into existence, profoundly
named as the Progressive Artist’s Group. The name itself suggests that the artists in this group intended
to change the ancestral path of the Indian art world and bring together something new and more
ambitious.

Though heavily influenced by Indian themes and culture, the artworks of this era comprise of strokes of
western influence. After the economic liberalization in the 1990s, new traditions of art like
Pseudorealism by Devajyoti Ray emerged and access to modern ideas and techniques paved the way for
more reflective and expressive artworks.

Under the eminent guidance of prodigies like H. A. Gade, M. F. Husain, K. H. Ara, S. K. Bakre, S. H. Raza,
and F. N. Souza, Indian artists found new ways to express their imagination in the post-colonial era. The
Progressive Artist’s Group added a new life to the dying Indian art heritage and helped it achieve
recognition globally.
The colourful canvas of the country’s art culture witnessed the rise of expressionistic style by F. N. Souza
and modified Cubist style by M. F. Hussain that he deployed to create narrative paintings, which were
quite new to Indian art lovers. You can view some of his narrative style paintings like Zameen in the
National Gallery Of Modern Art, New Delhi.

Jayasri Burman is one of the most celebrated names in the Indian art world and her paintings in the
post-colonial era were like a fresh breath of air. Her paintings evolved the unassertive Indian woman
into the fierce representation of goddesses and half-animal and half-human creatures.

Though the artist refuses to be labelled a feminist, her work is powerful and somehow represents the
Age of Aquarius, which is the astrological age that is said to witness the strengthening of the female
power or the rise of feminism in the world.

These are just a few of the artists who didn’t just proclaim fame at a time when the country was
witnessing major developments in various fields and writing about all of them in one piece of content
will turn this blog into a thesis. However, the point is that these artists bought a revolution and their
contribution is priceless.

The contemporary artists from India, who are now making a mark in the international art world wouldn’t
have succeeded without the efforts of these artists. Today, the timeless works of these remarkable
artists are a source of inspiration for the young artists, who are trying to spread their wings to soar high
and get an audience with the elites of the art world.

What's the difference between the early and high Renaissance

When looking through the art works of the Early Renaissance and the High Italian Renaissance you can
see there are characteristic that are certainly the same and yet there are others that differ. In high
renaissance there is less usage of religious figures and there is no more use of the halo around Jesus’
head. They create art to look more real, they have strong interest in anatomy. Early renaissance art they
were more interested in idealism along with naturalism. High renaissance also has moved away from the
triangular compositions and started creating pyramidal compositions instead as you can see in the
painting by Leonardo “The Virgin of the Rocks”. There are some similarities between early and high
renaissance art. As you see in the painting by Sandro Botticelli “Primavera” there are some great
gestures that the people are making which creates harmony. Both early and high renaissance have that
sense of harmony and balance.

In the painting by Botticelli you can see that there is the sense of the triangular composition. You see
that Venus is in the center while there are other people on the left and right of her, thus creating that
triangle. It looks as if some of the people are making eye contact with the viewer. That is also seen in the
painting of “The Virgin of the Rocks”. That is also another characteristic of the high renaissance period.
You can see people coming out of the painting thus creating that pyramidal composition. There are four
figures, the child, the virgin in the center, and then in the foreground there is the Christ child and the
angle. The virgin’s hand is also foreshortened that it creates that illusion that they are coming out at
you. They create that pyramid along with creating harmony. Another part of this painting that creates
that harmony is the gestures of the people they are leaning in, kneeling and the angle pointing. Each
gesture brings your eye around the painting. In Botticelli’s painting there is that sense of perfection with
the figures. Each person has a natural stance and natural features. Each feature of the figures is painted
with perfection, but with the painting by Leonardo there is more of realism. You can clearly see the
natural flaws of the children’s skin and curves.

Each period of Early and High renaissance have differences, the pyramidal and triangular
compositions, but yet they also have their similarities, somewhat of a naturalism and realism. Idealism
was used more in the early renaissance and high renaissance had more realism in the artwork.

Dynamic unity I think has to do with the way that you can tell what is happening in each of the
artwork. There are helpful factors in early renaissance art and in high renaissance art. However with the
two paintings I have mentioned I think there is more dynamic unity in the painting by Botticelli. I think
you can tell more about what is going on because it looks like the people in the painting are having a
celebration while in the painting by Leonardo it is hard to tell what they are doing. I think it has to do
with their placement in the painting along with the use of sfumato, smoky look to the painting. I just feel
it was harder to understand the story of this painting verse the Botticelli painting. Both have their
unique characteristics and styles. Each creates that naturalism and realism look, but some have more
illusionism. Both also have different composition styles. Both periods have created great works of art
that tell stories of the past, and all are done with naturalism in mind.

Write a brief note on the Byzantine art style?

Architectural Innovations

Known for its central plan buildings with domed roofs, Byzantine architecture employed a number of
innovations, including the squinch and the pendentive. The squinch used an arch at the corners to
transform a square base into an octagonal shape, while the pendentive employed a corner triangular
support that curved up into the dome. The original architectural design of many Byzantine churches was
a Greek cross, having four arms of equal length, placed within a square. Later, peripheral structures, like
a side chapel or second narthex, were added to the more traditional church footprint. In the 11th
century, the quincunx building design, which used the four corners and a fifth element elevated above
it, became prominent as seen in The Holy Apostles in Thessaloniki, Athens, Greece. In addition to the
central dome, Byzantine churches began adding smaller domes around it.

Poikilia

Byzantine architecture was informed by Poikilia, a Greek term, meaning "marked with various colors," or
"variegated," that in Greek aesthetic philosophy was developed to suggest how a complex and various
assemblage of elements created a polysensory experience. Byzantine interiors, and the placement of
objects and elements within an interior, were designed to create ever changing and animated interior as
light revealed the variations in surfaces and colors. Variegated elements were also achieved by other
techniques such as the employment of bands or areas of gold and elaborately carved stone surfaces.

For instance the basket capitals in the Hagia Sophia were so intricately carved, the stone seemed to
dematerialize in light and shadow. Decorative bands replaced moldings and cornices, in effect rounding
the interior angles so that images seemed to flow from one surface to another. Photios described this
surface effect in one of his homilies: "It is as if one had entered heaven itself with no one barring the
way from any side, and was illuminated by the beauty in changing forms...shining all around like so
many stars, so is one utterly amazed. [...] It seems that everything is in ecstatic motion, and the church
itself is circling around."

Iconographic Types and Iconostasis

This 13^th century Byzantine work exemplifies both the Eleusa depiction of Holy Mother and
Child and the use of mosaics to create icons, which were more commonly panel paintings. Byzantine art
developed iconographic types that were employed in icons, mosaics, and frescoes and influenced
Western depictions of sacred subjects. The early Pantocrator, meaning "all-powerful," portrayed Christ
in majesty, his right hand raised in a gesture of instruction and led to the development of the Deësis,
meaning "prayer," showing Christ as Pantocrator with St. John the Baptist and the Virgin Mary, and,
sometimes, additional saints, on either side of him. The Hodegetria developed into the later
iconographic types of the Eleusa, meaning tenderness, which showed the Madonna and the Child Jesus
in a moment of affectionate tenderness, and the Pelagonitissa, or playing child, icon. Other iconographic
types included the Man of Sorrows, which focused on depicting Christ's suffering, and the Anastasis,
which showed Christ rescuing Adam and Eve from hell. These types became widely influential and were
employed in Western art as well, though some like the Anastasis only depicted in the Byzantine
Orthodox tradition.

Iconostasis, meaning "altar stand," was a term used to refer to a wall composed of icons that separated
worshippers from the altar. In the Middle Byzantine period, the Iconostasis evolved from the Early
Byzantine templon, a metal screen that sometimes was hung with icons, to a wooden wall composed of
panels of icons. Containing three doors that had a hierarchal purpose, reserved for deacons or church
notables, the wall extended from floor to ceiling, though leaving a space at the top so that worshippers
could hear the liturgy around the altar. Some of the most noted Iconostases were developed in the Late
Byzantine period in the Slavic countries, as shown in Theophanes the Greek's Iconostasis (1405) in the
Cathedral of the Annunciation in Moscow. A codified system governed the placement of the icons
arranged according to their religious importance.

Novgorod School of Icon Painting

Theophanes the Greek's <i>The Savior's Transfiguration</i> (1406) combined a dramatic use of
geometric composition and vigorous color contrast that made him a leading and innovative icon painter.

The Novgorod School of Icon Painting, founded by the Byzantine artist, Theophanes the Greek, became
the leading school of the Late Byzantine era, its influence lasting beyond the fall of the Byzantine Empire
in 1453. Theophanes' work was known for its dynamic vigor due to his brushwork and his inclusion of
more dramatic scenes in icons, which were usually only depicted in large-scale works. He is believed to
have taught Andrei Rublev who became the most renowned icon painter of the era, famous for his
ability to convey complex religious thought and feeling in subtly colored and emotionally evocative
scenes. In the next generation, the leading icon painter Dionysius experimented with balance between
horizontal and vertical lines to create a more dramatic effect. Influenced by Early Renaissance Italian
artists who had arrived in Moscow, his style, known for pure color and elongated figures, is sometimes
referred to as "Muscovite mannerism," as seen in his icon series for the Cathedral of the Dormition
(1481) in Moscow.
Carved Ivory

In the Byzantine era, the sculptural tradition of Rome and Greece was essentially abandoned, as the
Byzantine church felt that sculpture in the round would evoke pagan idols; however, Byzantine artists
pioneered relief sculpture in ivory, usually presented in small portable objects and common objects. An
early example is the Throne of Maximianan (also called, the Throne of Maximianus), made in
Constantinople for the Archbishop Maximianus of Ravenna for the dedication of San Vitale. The work
depicted Biblical stories and figures, surrounded by decorative panels, carved in different depths so that
the almost three-dimensional treatment in some panels contrasted against the more shallow two-
dimensional treatment of others.

In the Middle Byzantine period, ivory carving was known for its elegant and delicate detail, as seen in
the Harbaville Triptych (mid-11th century). Reflecting the Macedonian Renaissance's renewed interest
in classical art, artists depicted figures with more naturally flowing draperies and contrapposto poses.
Byzantine ivory carvings were highly valued in the West, and, as, a result, the works exerted an Italian
Early Renaissance's use of depth and space, is predominantly informed by Byzantine conventions.
artistic influence. The Italian artist Cimabue's Madonna Enthroned (1280-90), a work prefiguring the