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I’ve always been very intrigued by the world of renaissance art. Going to art galleries and museums, it’s what I look forward to the most. This photo collection explores the “rebirth” of renaissance art in a modern-day setting through photography. I wanted to combine my love for renaissance art with editorial photography and create something new. This collection can be seen in a gallery as well as in an editorial context.Â
In my research, I was drawn to three particular paintings. The Assumption of the Virgin, La Madonna presenta GesĂą Bambino - Santa Maria Maddalena de’ Pazzi and The Coronation of the Virgin. These paintings provided a composition that was very intriguing to me, from the subjects to the rounded frame.Â
The process of creating these images started with planning. Because these paintings were so complex in composition, I knew I had to plan ahead. I chose three renaissance paintings that I loved and wanted to recreate and assigned each model to a painting. The shooting process started in the studio, I determined a lighting set-up that was soft and gave a natural look, I used this throughout all my photographs to create cohesion. Having the reference images with me, I shot the models doing each pose in the scene making sure that it was accurate to the original. For the background I wanted the dreamy look of the paintings to translate into my photographs, so I went out into the field to capture the beautiful sunset skies to use as a backdrop.
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La Madonna presenta Gesù Bambino - Santa Maria Maddalena de’ Pazzi FINAL COMPOSITE
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SHOOT 3 - The Assumption of the Virgin - POST PROCESSING
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SHOOT 2 - The Coronation of the Virgin - POST PROCESSING
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SHOOT 1 - La Madonna presenta Gesù Bambino - Santa Maria Maddalena de’ Pazzi - POST PROCESSING
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SHOOT 3 CALL SHEET
MODELS:
Phoebe
LOCATIONS:
Photography Studio in WE Level 7
on location
STYLE GUIDE:
Using the studio lights, make sure the lighting stays consistent, so when it comes to compositing, all the images match up.
a soft lighting set up for an ethereal look
PLATFORM/ MEDIA/ CONTEXT:
Gallery/editorial
POST PRODUCTION
Use reference image of the painting to place subjects in correct place.
SHOTLIST:
Individual photos of each pose in the composite
Sunset sky
Clouds
EQUIPMENT:
Loaned Canon camera
Studio lighting provided by AUT
PROPS:
Pedestal (provided by studio)
Bouquet of flowers Â
OUTFITS:
Suit jackets to have a modern take on the renaissance reference images.
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SHOOT 2 CALL SHEET
MODELS:
Sophie
LOCATIONS:
Photography Studio in WE Level 7
on location
STYLE GUIDE:
Using the studio lights, make sure the lighting stays consistent, so when it comes to compositing, all the images match up.
a soft lighting set up for an ethereal look
PLATFORM/ MEDIA/ CONTEXT:
Gallery/editorial
POST PRODUCTION
Use reference image of the painting to place subjects in correct place.
SHOTLIST:
Individual photos of each pose in the composite
Sunset sky
Clouds
EQUIPMENT:
Loaned Canon camera
Studio lighting provided by AUT
PROPS:
Pedestal (provided by studio)
Bouquet of flowers Â
OUTFITS:
Suit jackets to have a modern take on the renaissance reference images.
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SHOOT 1 CALL SHEET
MODELS:
Edina
LOCATIONS:
Photography Studio in WE Level 7
on locationÂ
STYLE GUIDE:
Using the studio lights, make sure the lighting stays consistent, so when it comes to compositing, all the images match up.
a soft lighting set up for an ethereal look
PLATFORM/ MEDIA/ CONTEXT:
Gallery/editorial
POST PRODUCTION
Use reference image of the painting to place subjects in correct place.
SHOTLIST:
Individual photos of each pose in the composite
Sunset sky
Clouds
EQUIPMENT:
Loaned Canon camera
Studio lighting provided by AUT
PROPS:
Pedestal (provided by studio)
Bouquet of flowers Â
OUTFITS:
Suit jackets to have a modern take on the renaissance reference images.
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The Coronation of the Virgin: In addition to being a rare religious painting by a creator more renowned for his portraits, Velázquez’s coronation of the Virgin stands out for having a naturalness and simplicity absent from other Baroque religious paintings. Its design, which is based on an inverted triangle, exudes tremendous equilibrium, has aesthetically pleasing lines and is reminiscent of a heart in both colour and form. The principal character is the Virgin Mary, who has lowered eyes, a straight nose, curved lips, and a modest, reverent, and emotional face. Mary pointing to her own heart serves to emphasise the idea that the inverted triangle represents a heart and to evoke piety in the viewer.
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The sacristy of the Santa Maria Maddalena de’ Pazzi church, a magnificent example of Baroque architecture in the heart of Florence, houses Siriès Cerroti’s masterpiece. It is a beautiful replica of Luca Giordano’s earlier work in the church’s main chapel and honours the miraculous visions of a local Florentine saint. It is one of the very rare large-scale female religious works in Florence and was painted in 1767.Â
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Popularly referred to as the Assunta, the Assumption of the Virgin or Frari Assumption is a sizable altarpiece panel painting in oils by the Italian Renaissance master Titian, created between 1515 and 1518. It still sits on the high altar of the Venice church known as the Basilica di Santa Maria Gloriosa Dei Frari, where it was intended to belong. Due to the size of the church and the significant distance between the altar and the crowd, it is the largest altarpiece in the city with figures that are significantly larger than life-size. This painting was not painted by Titan but painted by Palma Vecchio. It signalled a change in Titian’s stylistic direction and revealed his understanding of the advancements in High Renaissance painting in Florence and Rome further south.
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