Renaissance Art and Culture

Although the conversion saw revolutions in umteen intellectual activities, as wholesome as social and semipolitical confusion, it is perhaps best kn proclaim for its blindistic developments. Leonardo dad Vinci and Michelangelo were elysian by the term renascence cosmos. spiritual rebirth influence was snarl in literature, philosophy, art, music, politics, science, religion, and other aspects of intellectual matter. conversion scholars used the t eat uperist regularity in study, and searched for realism and human emotion in art. The civilizations of Greece and Rome were rediscovered, stir an interest in Classical learning which challenged medieval beliefs and ideas.The population was neat wealthier which led to an increase in trade and travel and the spread of radical ideas. The rise in prosperity also generated an interest in education, back up the flourishing of the arts and promoted scientific discoveries and new inventions. Perhaps the closely great of these wa s the printing press, which allowed the distri only ifion of information to a much wider audience than constantly before, further increasing the demand for more knowledge. INFLUENCE OF metempsychosis conversion was much more than a rebirth of classical art. It was a rejection of the warmness Ages, which were Just ending.During medieval times, the arts were concerned mainly with religion, with the life of the spirit, with the hereafter. itty-bitty importance was given to life on earth except as a preparation for the next world. hardly as the 1 fifth vitamin C began, Italians were turning their attention to the world about them. People started to hypothecate more about nonstructural, or nonreligious, matters. They began placing faith in their own qualities and their own importance. This new spirit was called humanism. Discipline, unquestioning faith, obedience to authoritythese medieval benefits were o longer blindly accepted.People asked questions and wanted to find their ow n answers. Artists were among the source touched by the new spirit of humanism. In their perish they began to focus on human life on earth. ITALIAN RENAISSANCE ART The Italian Renaissance was integrity of the well-nigh productive periods in the explanation of art, with giving numbers of outstanding masters to be found in many centers and in all the major fields mental picture, sculpture, and architecture. In Florence, in the first half of the fifteenth coulomb, there were great innovators in all these fields, whose snip raked a beginning off new era in the history of art.The idea of artistic genius became popular Michelangelo was called divine because of the greatness of his fanciful powers. In the Renaissance, art and science were closely connected. Both the artist and the scientist strove for the ascendancy of the physical world, and the art of painting profited by two fields of study that may be called scientific anatomy, which do possible a more accurate representati on of the human body, and mathematical perspective. Humanistic education, based on ethics and the liberal arts, was pushed s a way to create experienced citizens who could actively dampicipate in the political process.Humanists celebrated the mind, beauty, power, and enormous dominance of human beings. They believed that people were able to experience God assumely and should earn a personal, emotional relationship to their faith. God had made the world solely humans were able to sh atomic number 18 in his glory by seemly creators themselves. INFLUENCE ON PAINTING The painting in France was known as Florentine painting. The techniques favored by the Florentine were tempera and fresco. The Tempera impression In tempera painting a dry surface was used. A wooden panel was grounded with several coats of daub in glue, and the work was and then copied from a drawing.The garbles were tempered with egg or vegetable albumin. The paint Painting The fresco technique, used for the mura l paintings in Florentine churches, refer painting on wet plaster. The sketch was first copied on the plaster wall in rough outline, and the part on which the painter was passing to work during a given day was then covered with rattling plaster. The painter had to redraw the part that had been covered by the new plaster and adjoin the colors. As the plaster dried, the colors came a permanent part of it. ARTISTS DURING RENAISSANCE The beginning of the great Florentine school of painting came in the lay Ages.Leonardo dad Vinci 0 Michelangelo The climax of late 1 5th-century painting came in the work of Leonardo dad Vinci (1452-1519). Leonardo studied painting in Florence, but he spent much of his life working in Milan. The last few years of his life were spent in France in the service of King Francis l. Leonardo is the perfect example of the Renaissance man because he was interested in and well informed about a great many subjects literature, science, thematic, artalmost everythi ng about man and record. the like many artists of the time, he was a sculptor and an architect as well as a painter.His paintings, particularly The Last Supper, the Mona Lisa, and The Madonna of the Rocks, pay made him famous. The unique way he handled light and shadow is his most laughable characteristic. Leonardo remarkable ability to grasp and express the mysteries of man and nature made him wholeness of the great of all painters. He worked on the painting OF THE LAST SUPER from about 1495 to 1497. When compared to previous paintings of the same subject, its originality becomes evident. All extras have been eliminated the distant landscape, seen through the windows, increases rather than distracts from the main subject. in that location are no human figures other than deliveryman and his disciples. All are placed on integrity side of a long table earlier artists had placed Judas across the table from the rest. To give dynamic character to a scene envision in standing t erms, Leonardo chose the moment when Jesus announced one of the disciples would betray him. This terrible declaration sends a shock wave of trace through the twelve. Each is clearly differentiated from the others in the attitude and sutures with which he reacts to the Masters words, and yet all form a unity. The twelve are dual-lane into four groups of three, each group having its own distinct character.In the center is Jesus, whose aim forms a triangle, a form on which Leonardo paintings were normally based. Jesus is serene and unmoved by the effect of his words. These are the qualities of the High Renaissance style simplicity austere rejection of the incidental and the merely pretty nobleness and grandeur in the figures involved in actions of depth and significance. Michelangelo star of the greatest sixteenth-century artists was Michelangelo Bonaparte (1475-1564). In sculpture, architecture, and painting he was so outstanding that he was called divine.He became fascinated with the problems of representing the human body, and he devoted himself completely to mastering them. In 1505 Michelangelo was called by Pope Julius II to Rome, where he was assigned to work on a number of projects. The most essential were The Popes tomb, The decoration of the ceiling of the Sistine chapel in the Vatican The new basilica of SST. Pewters The Sistine ceiling, which took 4 years to paint downstairs difficult conditions, is composed of hundreds of figures from the Old Testament. In all his representations of the human figure, whether in sculpture or in painting, Michelangelo strove to make them monuments.With the art of Michelangelo the High Renaissance came to its climax. His work, in fact, betrayed signs of a changing attitude in the art of the day. The twisted, hagridden figures and the compressed space of his painting of The Last Judgment. Influence of Renaissance on Venice and northmostern Italy Venice was the most important northern Italian city of the Renaissanc e. The Venetians lived a happy and luxurious life. Enjoying the benefits of an active trade tit the east, they imported silks, Jewels, slaves, and strange foods. Close connections with Eastern art and a naturally colorful kettle of fish inspired the Venetian painters to use bright color.They were influenced by the new scientific developments in Florentine art. But their use of anatomy and perspective was combine with their love of color and pageantry. One of the most important north Italian painters was Andrea Antenna (1431-1506). Born in Pads, a city not farther from Venice, Antenna introduced many Florentine characteristics into north Italian painting. He particularly admired the realism of Tangelos sculptures, and like Donated, he studied ancient roman type art. He used perspective to create the effect of a full stop on which his figures perform.The greatest of the 1 5th-century Venetian painters was Giovanni Beeline Antennas friendship with Beeline had a direct influence on Venetian painting. Bellinis rich, mellow color and warm excitement bring out the human qualities of his serene Madonna and saints. He was one of the first Italians to use oil paint on canvas. Two of Giovanni Bellinis pupils became the most outstanding Venetian painters of the High Renaissance. They were Giorgio and Titian. Gorinesss colorful and poetic pictures attracted a bragging(a) following of artists known as Egregiousness painters.Titian began as a Egregiousness painter but real far beyond this style. He achieved much(prenominal) mastery in the handling of bright, warm color that he was considered to be the equal of Michelangelo. In his late works figures and objects melt into a glow of light and colora treatment of painting that seems very modern. Renaissance in the North Oil painting had become popular in Venice by the end of the 15th century. The Venetians learned a great deal from Flemish artists. The Flemish painter Jan van is often given the credit for developing an important oil technique.The Flemish and German styles of the early 1 5th century were completely different from the early Renaissance style of the Florentine. Instead of truthful geometric arrangements of three-dimensional figures, as in Mosaics paintings, the northern Europeans aimed at creating practical(prenominal) pictures by rendering countless detailsintricate floor patterns, shroud designs, and miniature landscapes. This complex style of the north did not develop from a humanistic classical art but from the Gothic tradition of religious mysticism and tortured realism. Flemish Painting Van Cocks Madonna painted in 1436, is an excellent example of Flemish realism.All the details of the roomthe patterned carpet, the mail of Saint George, and the architecturemake this picture seem very real. There is no sign of the Italian sense of beauty here the figures are not idealized. In the faces of the people can be seen the wrinkles and imperfections of real life. One of the best-kn own Flemish artists of the second half of the 1 5th century was Hugo van deer Goes. When the Florentine painters saw Hogs work, they were impressed by its graphical quality. This Flemish influence can be seen in later Florentine nettings.Gradually the hard outlines of the Flemish style became softer because of Italian influences, and by the middle of the 16th century the ideas of the Renaissance had been absorbed into Flemish art. German Painting The German artist Albrecht Udder went to Italy, where he was impressed by the countryside and by the art he saw. While in Venice, he came to know and admire Giovanni Beeline. Beeline, in turn, admired Udders work. Udder had been trained in the Gothic tradition of German art. He had learned to imitate nature accurately and painstakingly. He was a master in the use of sensitive line in drawings, woodcuts, engravings, and paintings.The destruction of the Renaissance During the second quarter of the 16th century, mannerism began to take keep up in European art. This was the first truly international European style. Renaissance art had been typically Italian in style, but mannerism developed throughout Europe and combined many traditions. The art of northern painters such as Pitter Burgher the Elder and Udder can be considered part of this school. So can the work of Michelangelo and Tinderbox and many other 16th-century Italian artists. The work of the French painters of Fontainebleau and that of El Greece in Spain is also part of the mannerist style.Mannerism was both a reaction against and an outgrowth of the High Renaissance. It was typified by abnormally lengthened or distorted figures and the replacement of perspective with a flatter and less organized type of space. By the end of the 16th century the High Renaissance in Italy had given way to late mannerism and the early baroque. But the discoveries and ideals of the Renaissance remained as a permanent heritage to all artists who came afterward. The most important contribution of the Renaissance was its vision of man as beautiful, noble, and independent.