Transcript Renaissance 1 - dascolihum.com

The Renaissance
Toward the Renaissance
Renewed interest in Classical texts
 New artistic realism
 Attention to the world of nature
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– St. Francis of Assisi
New growth in economics/trade
 Florentine banking and commerce
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Renaissance and Mannerism in
Italy
Renaissance – from the French, means rebirth
– a term that covers a period of art from
approximately 1400 – 1600 when artists
returned to the classical ideals and themes of
the ancient Greeks and Romans
 The Medici family in Florence, Sforza family
in Milan and the Popes in Rome brought
about the causes for the Renaissance with
their wealth and power.
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Renaissance and Mannerism in
Italy
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1454 - Johann Gutenberg Prints the Gutenberg Bible. Gutenberg is
credited with the invention of the printing press in Europe, and ushers in
the age of printed books, making literature more accessible to all
Europeans
1492 – Discovery of America by Colombus; Expulsion of the Jews and
Arabs from Spain allows for intellectual movement elsewhere in Europe
1503 - The ascension of Pope Julius II begins the Roman Golden Age,
during which the city and Papacy both prosper. Julius II reverses the
trend of moral degradation in the Papacy and takes great steps in the
rebuilding of Rome
1513 – Niccolo Machiavelli publishes The Prince, a work of political
philosophy which contains the tenets – “the ends justify the means” and
“it is better to be feared than loved to be a good ruler”
1517 - Martin Luther posts his 95 Theses on the door of a church in
Wittenburg, Germany, igniting a movement which provokes an enormous
split in the Roman Catholic Church
The Character of the Renaissance
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When was the Renaissance?
– Jules Michelet
– Jakob Burkhardt
– Charles Homer Haskins
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Renaissance characteristics
– Artist as individual seeking fame
– Humanism as outgrowth of Classical learning
– Advancement of self and society through
intellectual efforts
Women and the Renaissance
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Humanist education
– Aristocratic families
– Families who saw education as priority
– Rise of printing / accessibility of books
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Woman writers
– Upper-class culture
– Convent life
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Women criticized for not following
traditional societal roles
Two Styles of Humanism:
Niccolò Machiavelli (1469-1527)
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The Prince
– Secular study of political theory
– Inspired by Republican Rome
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Realistic pragmatism
– Success in governing is key to power
– Wisdom and ruthlessness
– Christianity’s role in politics is disastrous
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“The end justifies the means”
Two Styles of Humanism:
Desiderius Erasmus (1466-1536)
Wandering scholar, author
 Christian Humanism
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– Classical learning + Christian living
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The Praise of Folly (1509)
– Attacked religious corruption
– Sweeping social criticism
– Outsold only by the Bible in the 16th century
Music in the 15th Century
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Guillaume Dufay (c. 1400-1474)
– Secularization of the motet, Chanson masses
– Synthesis of secular and religious
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Johannes Ockeghem (c. 1430-1495)
– Classical balance of intellect and emotion
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Music in Medici Florence
– No Classical models
– Platonic and Aristotelian significance
– Frittola, canto carnascialesco
The First Phase:
Masaccio, Ghiberti, and Brunelleschi
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Florentine “representative” government
– Arti, senior guilds
Wool trade – beginning of Middle Class
 Banking, banking families
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– Stable monetary system – The Florin
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Revolutionary Florentine art
– Renaissance
Filippo Brunelleschi
Sacrifice of Isaac
Florence, Italy
1401-1402
gilded bronze relief
1 ft. 9 in. x 1 ft. 5 in.
Lorenzi Ghiberti
Sacrifice of Isaac
Florence, Italy
1401-1402
gilded bronze relief
1 ft. 9 in. x 1 ft. 5 in.
Renaissance Art
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Dome of Florence
Cathedral
1420 – 1436
Florence, Italy
Artist: Filippo
Brunelleschi
This was the first domed
building since the Romans
Brunelleschi built it using
ribbing rather than
scaffolding, built in 2
layers
Renaissance Art – Dome
Design
Renaissance Art
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Sant’ Andrea
1470
Mantua, Italy
Artist: Leon Battista
Alberti
Combined design of an
ancient temple with a
Roman triumphal arch
– a tribute to the
classical ideal –
symmetrical
completely
Filippo Brunelleschi
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
Exact symmetry in style marks this work
Filippo Brunelleschi
Pazzi, Chapel, Santa Croce
Florence, Italy
begun ca. 1440
Interior rondels by the Della Robbia brothers
Renaissance Art
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Santa Maria Novella
1470
Florence, Italy
Artist: Leon Battista
Alberti
Alberti invented the
pendentives on the sides of
churches – no purpose
other than decoration
Again symmetrical
Renaissance Art
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Palazzo Medici – Riccardi
1445 – 1452; 1517
Florence, Italy
Artists: Michelozzo di
Bartolommeo (1445-52),
Michelangelo (1517 – 1st
floor windows)
Placement of windows is
equidistant
Exterior is plain to
disguise the extravagance
inside
Medici did not want to
seem overly powerful or
rich to others on the
outside
Michelozzo di Bartolommeo
Palazzo Medici-Riccardi
Florence, Italy
begun 1444
Interior much more heavily decorated
Paolo Uccello
Battle of San Romano
Florence, Italy
ca. 1455
tempera on wood
approximately 6 ft. x 10 ft. 5 in.
First to use linear perspective
Renaissance Art
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Gates of Paradise (East
Door)
1425 – 1452
Florence, Italy
Artist: Ghiberti
Gold gilded bronze
Michelangelo gave
them their nickname
Doors shine and show
amazing linear
perspective
Renaissance Art
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Creation of Adam and
Eve
1425 – 1452
Florence, Italy
Artist: Ghiberti
Close up of one panel
to show perspective
and depth
Renaissance Art
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Feast of Herod
1423 – 1427
Siena, Italy
Artist: Donatello
Gilded bronze relief
Perspective created by the
use of the space – each
layer seems to go further
back into the palace of
Herod
Renaissance Art
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David
1425 – 1430
Florence, Italy
Artist: Donatello
First nude since antiquity
Stone is still in sling
despite Goliath’s head
being beneath David’s foot
Showing a scene of both
before and after
Renaissance Art
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Mary Magdalene
1453 – 1455
Florence, Italy
Artist: Donatello
Carved wood – to
show more detailed
emotions
Her hair serves as her
clothing, even the belt
Andrea del Verrocchio
David
Florence, Italy
ca. 1465-1470
bronze
approximately 4 ft. 1 1/2 in. high
David became a symbol of the city of Florence
– the little Republic overcoming the giant of
the Church
Verocchio was DaVinci’s teacher
Renaissance Art
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The Tribute Money
1428
Florence, Italy
Artist: Masaccio
1st painting to use true
perspective
Shows a Biblical tale
Lines converge behind
Christ’s head
Renaissance Art
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Trinity
1427
Florence, Italy
Artist: Masaccio
Architecture in
painting adds the depth
Donors are shown as
individuals including
faults
Domenico Ghirlandaio
A Man with His Grandchild
ca. 1480-90
oil and tempera on wood
24 3/8 in. x 18 1/8 in.
Like the Romans, the Renaissance showed
people as they really looked and the gods or
religious figures as ideal perfect versions of
humans
Renaissance Art
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Battista Sforza (left) and
Federico da Montefeltro (right)
1472 – 1473
Florence, Italy
Artist: Piero della Francesca
Profile portraits were favored in
the early Renaissance
Realistic portrayal of people
including their faults (like the
Romans did)
Elegant and regal in appearance
over the landscape – painted
after her death
Renaissance Art
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The Annunciation
1438 – 1445
Florence, Italy
Artist: Fra Angelico
3 dimensional perspective
is obtained by using
architectural details
Set in the monastery itself
rather than ancient Israel
Arms crossed in reference
to Christ’s death and a sign
of respect
Fra Filippo Lippi
Madonna and Child with Angels
ca. 1455
tempera on wood
approximately 3 ft. x 2 ft. 1 in.
Teacher of Botticelli – you can see how much
influence he had on his student here
Renaissance Art
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Primavera
1482
Florence, Italy
Artist: Botticelli
An allegory of Spring
Return to pagan themes
Taken from classical
writers
Not a landscape painter –
his backgrounds are more
like stage curtains
Renaissance Art
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Birth of Venus
1484 -1486
Florence, Italy
Artist: Botticelli
Another pagan theme
Painted for same patron as
Primavera for his private home
These are large painting 6 x 10
feet
The return of the nude to
painting is seen here as well
Birth of Venus = Birth of the
Soul
Venus = Mary
Luca della Robbia
Madonna and Child
Or San Michele, Florence, Italy
ca. 1455-1460
terracotta with polychrome glaze
diameter approximately 6 ft.
The Della Robbia family all excelled at
Ceramic works
High
Renaissance
Andrea Mantegna
Dead Christ
ca. 1501
tempera on canvas
2 ft. 2 3/4 in. x 2 ft. 7 7/8 in.
A masterpiece in perspective and realism