History of Art and Visual Culture 1400

History of Art and Visual Culture 1400 – 1900 Introduction The history of art and visual culture between the 15th and the 19th century has always remained a complex topic among historian, scholar, painters and poet thereby demanding a significant focus on the relationships between the principal religious, social and political contexts. Therefore, not only does the study of the history of art and visual culture shaped the landscape of histological inquiry, thought and translation, but also the level at which cases could be made whether the painters were familiar with the treatises art and literature (Zirpolo, 2008). On a broader point of view, Raphaels Entombment (Rome, Borghese Gallery) visualizes realistically the relationship between visual culture and the history of art as described by Leon Battista Albertis on Painting.

Critical and creative analysis and examination of the Raphael’s Entombment, (Rome, Borghese Gallery) uncovers the values and the role played by painting in the community as well as the impacts generated to the viewers. From a functional point of view, the act of painting is believed to possess a divine power that meets religious needs (Zirpolo, 2008). For instance, through the art painting, the death are presented for many centuries in a most respectable manner, ‘’the death go living for a very long time’’. However, the origin of painting is described to have been originated from the Ancient Egypt before even the Greeks could spread to Italy alongside religion (Trismegistus). Socially, visual art is regarded as a prestigious practice associated with richness, praises and endless fame from generations to generations (mark of honor as demonstrated by Martia, Varros daughter). In this regard, Painting was associated with Kings, princes, and noble people (Zirpolo, 2008).

Conversely, the Visual Art is regarded as a form of intellectual and cognitive learning skills and experiences. For example, the construction of the circle, rectangular drawings, and painting composition procedures are described to be having ability of demanding high judgment values from the painters. The body entombment was presented in its original size, shape, kind and color complying with the law of nature. In addition, the measurements and the proportions of the living creatures that were around d the death served as a point of reference in making the Entombment justification to be a real event (Zirpolo, 2008). However, death body manifested itself when the limbs and other parts of the body could not be able to perform any duty of life function.

Nevertheless, apart from the color, size, function and the kind composition abilities evaluated, individual confirming dignity of the entombed body was addressed. For instance, the clothing used in the death event presented type, function and dignity, a factor that was very essential in the ancient painting (Castor and Pollux historia). The Raphael entombment picture was pleasing and appealing. it had a mixture of old men and youths without indicating a virtual emptiness (Zirpolo, 2008). Additionally, the attitude and gestures were not appearing in the entombed feature as the mourners were in full control of the entombed movement activities (harmony in accordance with the action). The entombment emotions were presented moving in different directions presenting grief and anger. However, the surrounding environment concurred with the law of nature presenting a real world rather than virtual. For instance, the blue sky, trees, and the rocks were naturally introduced (Zirpolo, 2008).


In summary, a case can be made that the painter was familiar with the Albertis treatise based on the facts and evidence extracted from the Rafael entombment description. In this regard, it can be proved that, the Painter adhered to all painting guidelines and principles presenting the body in its natural composition. In addition, the entombment events are complying with color, function, size and dignity giving a correct impression of the pictorial presentation of a real occurrence of an event.


Zirpolo, L. H. (2008). Historical dictionary of Renaissance art. Lanham, Md: Scarecrow Press.