新西兰历史学论文代写：文艺复兴运动
卡塞纳的Giorgioo Trissino（Giorgio Trissino）的肖像是16世纪意大利文艺复兴运动的产物，并以威尼斯艺术学院的特色实施。这幅肖像画真实地归功于Catena，虽然他是16世纪意大利最有灵感的艺术家之一，但他的履历和作品信息却很少。 “卡特纳当然是16世纪意大利一个连贯高产的工作坊的领导者，工作坊本身与大师自己创作的画之间的当代差距仍然不能令人满意，造成误解，并常常难以提取卡特纳的作品独特的美学“（Waldec 20）
Gioriorgio Trissino是油画画像，画于1510年左右，目前在文森扎的奥林匹克剧院举行。该片措施28 3/8 x 25英寸。像卡特纳的大部分作品一样，这幅画像是他与之接触的画像之一。卡泰纳主要是以他的当代帮凶的宗教题材和肖像画为基础。从肖像中可以看出解剖学知识的增强。解剖完美是归因于意大利文艺复兴时期艺术的主要特征之一。
这幅肖像作品由于其立体感和逼真的构造而成为实施解剖学强化的一个例子，迫使观众相信肖像正在盯着他们，而且确实活着。彩色对应于光线和连贯的高光在肖像中可见。由于文艺复兴时期艺术的一个共同特点是描绘从事他们经常活动的主题，卡泰纳描绘Trissino作为一本书，回应了作为一个16世纪的人道主义意大利和外交官的成立。
新西兰历史学论文代写：文艺复兴运动
Catena’s portrait of Giorgino Trissino (Giangiorgio Trissino) was a product of the 16th century Renaissance movement in Italy and is implemented with features of the Venetian School of Art. The portrait is authentically attributed to Catena, who though one of the most inspirational artistic figures of the 16th century Italy, there are scanty sources of his biographical and work information. “Catena was certainly the leader of a coherently productive workshop in 16th century Italy, and the contemporary discrepancy between the paintings produced by the workshop itself and those created by the master himself remains to an extent unsatisfactory, resulting in misunderstanding and often difficulty in extracting Catena’s distinct aesthetics” (Waldec 20)
Giangiorgio Trissino is an oil on canvas portrait, painted in around 1510 and is currently held at the Olympic Theatre in Vincenza. The piece measures 28 3/8 x 25 inches. Like most of Catena’s paintings, this portrait is one of those with whom he was in contact. Catena mainly based his paintings on religious subjects and portraits of his contemporary accomplices. An enhanced knowledge of anatomy is evident from the portrait. Anatomical perfection was one of the main features ascribed to Italian Renaissance Art.
This portrait is no exception from implementation of anatomical enhancement owing to its three dimensional and lifelike constructions, in a form which compel the audience to believe as if the portrait is staring back at them and indeed alive. Color correspondence to light and coherent highlights is visible in the portrait. And as it was a common feature of Renaissance art to depict subjects engaged in their regular activities, Catena depicts Trissino as holding a book, which responds to the latter’s establishment as a 16th century humanist Italian and diplomat.