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The Renaissance

The Renaissance. The Renaissance The High Renaissance The Venetian Renaissance The Northern Renaissance Mannerism. Introduction .

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The Renaissance

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  1. The Renaissance The Renaissance The High Renaissance The Venetian Renaissance The Northern Renaissance Mannerism

  2. Introduction While the Catholic Church had always been the great patron of the arts in Western Europe, during the Renaissance there was a tremendous expansion of private patronage by merchants and noble families, such as the Medici in Florence and the Sforza in Milan. Great centres arose, notably the courts of Mantua and Ferrara, the republics of Florence and Venice, and the Papal States including Rome and Perugia. This ever changing patchwork of city-states and regions became the unified nation of Italy only 150 years ago. AUDIO TOUR http://nga.gov.au/exhibition/RENAISSANCE/Default.cfm?IRN=202365&BioArtistIRN=37007&MnuID=3&GalID=AUD&ViewID=2

  3. Gothic to Renaissance The Renaissance was preceded by International Gothic, a style of art and architecture that continued into the first decades of the 1400s. In Gothic art figures appear static, lacking depth, volume and pictorial realism. Artists favoured backgrounds of gold-leaf that embellished the image and accentuated its flatness. Figures become more three-dimensional, their movement fluid and natural. Detailed landscapes or Classical architectural settings demonstrate new theories of perspective. Sacred imagery—Jesus, Mary and saints—was no longer the only subject for art. Spurred on by humanist concepts derived through the revival of Greco-Roman texts, Renaissance artists made humans central to their paintings. However, the shift from Gothic to Renaissance ideas was slow and, as a result, many paintings from the first half of the fifteenth century remain rooted in the older tradition

  4. Madonna & Child One of most enduring images in Western art—a constant for more than a thousand years—is that of Mary with the baby Jesus. In the twelfth and thirteenth centuries the cult of the Virgin saw Mary cast as the Queen of Heaven, the personification of the Church, the Bride of Christ. She is regal, seated formally upon a throne, worshipped as an intermediary through whom humans seek salvation. During the Renaissance such hieratic images are replaced by less formal representations. Increasingly images of the Madonna and Child become convincing portrayals of a mother and her baby. The relationship between the two is emphasised by touch or tender glance. They are depicted in an architectural setting, often with a landscape beyond, sometimes accompanied by everyday objects. The Madonna and Child is the subject of small-scale works, for private devotion in the home or as portable altarpieces. The figures are placed in the front of the picture plane, physically closer to the viewer, to elicit a heightened emotional response.

  5. Audio Tour http://nga.gov.au/exhibition/RENAISSANCE/Default.cfm?IRN=202356&BioArtistIRN=36999&MnuID=3&GalID=AUD&ViewID=2 Giovanni BELLINIVenice? 1433 /1436 – Venice 1516 Madonna and Child (Alzano Madonna) [Madonna col Bambino, detta di Alzano] c.1488oil on wood panel 84.3 (h) x 65.5 (w) cm Accademia Carrara, BergamoBequest of Giovanni Morelli 1891

  6. Altarpieces & Portraits Spectacular multi-panelled altarpieces, known as polyptychs, were commissioned by the Church or private donors. Centred on a key image, usually a Madonna and Child or a Crucifixion, episodes from the lives of Mary or Jesus were depicted in the side panels or lower registers of the altarpiece. Individual saints, or scenes from their lives, were often incorporated. Diptychs and triptychs (works with two or three panels) also followed a set format, and their smaller scale allowed for their transportation or use in a private residence. While the panels of earlier Gothic altarpieces were decorative, usually crowned with pinnacles, during the Renaissance altarpieces became less elaborate, sometimes reduced to a single panel. Before the Renaissance the portrait as a discrete image was rare in Western art. During the late Middle Ages portraits were reserved exclusively for royalty or historic figures. Sometimes images of donors were included in altarpieces but theirs was a subordinate role—they were shown in profile and kneeling, usually smaller than the sacred figures, and often in a lower register. In the Renaissance individuals become the focus of paintings. As well as marking key events such as marriage, pregnancy or accession to power, portraits document a person’s likeness for future generations. Early Renaissance portraits represent the subject in profile like the image on a Roman coin or medallion. Later a greater range develops, from head-and-shoulders and three-quarter images to large, full-length depictions.

  7. High Renaissance The period from the late 1490s to the 1520s, known as the High Renaissance, is regarded as one of the greatest in the history of art. The experiments and innovations of early the Renaissance achieved their pinnacle, especially in Florence, Venice and Rome. Artists prized harmony and proportion as ideal values. The art of perspective was perfected and the human figure scrutinised closely. There was a greater emphasis on realism, an expanded range of expressions, gestures and poses. Novel subjects such as landscapes and complex historical scenes were achieved. The technology of painting also changed. Raphael and Titian revelled in the new medium of oil paint, using transparent glazes to achieve modelling and depth of colour. Botticelli, on the other hand, continued to work with his favourite medium of tempera, a mixture of pigment and egg yolk. Wooden panels, as supports for paintings, gradually gave way to canvas since it was lighter, cheaper and more malleable.

  8. Late Renaissance The artists of the late Renaissance adopted a variety of strategies and styles. They were influenced by, and reacted to, the naturalism and harmonious ideals of three masters: Raphael, Leonardo da Vinci and Michelangelo. As Raphael’s glorious Saint Sebastian demonstrates, by this time many painters had embraced the medium of oil, using strong hues and layers of transparent paint to build forms. Many artists used dramatic lighting, theatrical, often irrational perspective. The stance of figures becomes twisted and exaggerated, their necks, fingers and other physical features elongated. Compositional groups occupy such a large area of the canvas they almost burst out of the frames. Portraits emphasise an emotional intensity and give a strong sense of the individual.

  9. Northern Italy The regions of the Veneto, Lombardy and Piedmont produced remarkable artists who often moved to the cities of Venice, Milan and Turin for their training. As their skill and fame grew, some travelled to specific churches or palaces to paint altarpieces, frescoes or portraits. Cities with cultivated rulers were magnets for painters—the Sforza family, Dukes of Milan, built palaces and chapels, and famously invited Leonardo da Vinci to create the fresco of The Last Supper. Leonardo’s disciples adopted his technique of building volume through sfumato, the smoky shadows that both define and blur the forms. Bergamo itself became a centre for artists. Lorenzo Lotto remained there for thirteen years, his longest time in one place, fulfilling many important commissions. Lotto’s altarpieces, as well as those by followers such as Andrea Previtali, are still found in Bergamo’s churches. The following generation of painters was dominated by the great Giovan Battista Moroni. His quiet yet eloquent style of portraiture fulfilled the requirements of the Counter Reformation for a more austere art in response to the Protestant criticisms of excess in the Catholic Church.

  10. In European historiography ("the writing of history"), perhaps the most value-laden and contested historical category is the "Renaissance." First coined in 1867 by Jakob Burckhardt in his book, The Civilization of the Renaissance in Italy, the term has come to dominate our consciousness of what the historical experience of this period was. The Renaissance, as far as this book is concerned, is conceived as a departure from the Middle Ages, a fracture point where European culture suddenly changed into a new and different culture. There are two important aspects to this change, according to Burckhardt: the revival of classical learning, character, and life (hence the "rebirth" or "renaissance" of the classical world) and the beginning of the modern age

  11. The Renaissance (a word which literally means "born anew") is a name we've given to a period in Western history during which the arts - so important in Classic cultures - were revived. The arts had quite a difficult time remaining important during the Middle Ages, given all of the territorial struggles that were occurring throughout Europe. People living then had enough to do merely figuring out how to stay in the good graces of whomever was ruling them, while the rulers were preoccupied with maintaining or expanding control. With the large exception of the Roman Catholic Church, no one had much time or thought left over to devote toward the luxury of art.

  12. Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a Small Sketch for a Seated Figure (verso), 1508–12Michelangelo Buonarroti (Italian, 1475–1564)ItalianRed chalk (recto); charcoal or black chalk (verso) 11 3/8 x 8 7/16 in. (28.9 x 21.4 cm)Purchase, Joseph Pulitzer Bequest, 1924 (24.197.2)

  13. It will come as no surprise, then, to hear that "the Renaissance" had no clear-cut beginning date, started first in those areas which had the highest relative levels of political stability and spread, not like wildfire, but in a series of different phases which occurred between the years c. 1150 and c. 1600

  14. Sandro Filepepi (Botticelli), Birth of Venus 185 for the Medici. Uffizi

  15. Fifteenth-century Italian Art, often (and not incorrectly) referred to as the "Early Renaissance", generally means artistic goings-on in the Republic of Florence between the years 1417 and 1494. (This doesn't mean nothing happened prior to 1417, by the way. The Proto-Renaissance explorations had spread to include artists throughout northern Italy.) Florence was the spot, for a number of factors, that the Renaissance period really caught hold and stuck. Sixteenth-century Italian Art is a category which contains three separate topics. What we now call the "High Renaissance"was a relatively brief period which lasted from roughly 1495 to 1527. (This is the little window of time referred to when one speaks of Leonardo, Michelangelo and Raphael.) The "Late Renaissance" took place between 1527 and 1600 (again, this is a rough time table) and included the artistic school known as Mannerism. Additionally, The Renaissance thrived in Venice, an area so unique (and supremely disinterested with Mannerism) that an artistic "school" has been named in its honor.

  16. The Pre- (or "Proto"-) Renaissance began in a northern enclave of present-day Italy sometime around 1150 or so. It didn't, at least initially, represent a wild divergence from any other Medieval art. What made the Proto-Renaissance important was that the area in which it began was stable enough to allow explorations in art to develop. Venus de Milo, Parian marble, h 2.02 m (6 1/2 ft)Found at Milo,130-120 BC, Musee du Louvre, Paris

  17. Donato di Niccolo BARDI dit DONATELLOFlorence, vers 1386 - Florence, 1466La Vierge adorant l'Enfant dite Madone Piot Terre cuite avec traces de dorure, médaillons de cire sous verreH. : 0,74 m. ; P. : 0,07 m. Louvre

  18. The Renaissance in Northern Europe struggled to come into being, mostly due to the stranglehold Gothic art maintained for centuries and the fact that this geographical region was slower to gain political stability than was northern Italy. Nonetheless, the Renaissance did occur here, beginning around the middle of the fourteenth century and lasting until the Baroque movement (c. 1600). Now let's explore these "Renaissances" to get an idea of which artists did what (and why we still care), as well as learning the new techniques, mediums and terms that came from each. Albrecht Dürer - Young Hare, 1502

  19. Adam and Eve, 1504Albrecht Dürer (German, 1471–1528)Engraving 9 7/8 x 7 7/8 in. (25.1 x 20 cm)Fletcher Fund, 1919 (19.73.1) Not on view   Last Updated February 22, 2013

  20. The remains of Greco-Roman antiquity—coins, gems, sculpture, buildings, and the classics of Greek and Latin literature—fascinated the thinking men and women of the Italian Renaissance. The arts and the humanities, they reasoned, had declined during the "middle ages" that stretched between the end of antiquity and their own time, but by emulating the exemplary works of the ancients, even striving to surpass them, contemporary artists and writers might restore the arts and letters to their former grandeur. In Renaissance Italy, the desire to know and to match the excellence of the ancients often engendered passionate endeavor. The Florentine author Niccolò Machiavelli, for example, described his nightly retreats into his library in these memorable words: "At the door I take off my muddy everyday clothes. I dress myself as though I were about to appear before a royal court as a Florentine envoy. Then decently attired I enter the antique courts of the great men of antiquity. They receive me with friendship; from them I derive the nourishment which alone is mine and for which I was born. Without false shame I talk with them and ask them the causes of the actions; and their humanity is so great they answer me. For four long and happy hours I lose myself in them. I forget all my troubles; I am not afraid of poverty or death. I transform myself entirely in their likeness." Artists likewise worked to transform their art by studying, measuring, drawing, and imitating admired examples of classical sculpture and architecture

  21. In the sixteenth century, antique sculpture and architecture became popular subject matter for prints that eventually helped generate interest in classical art far beyond the reaches of the former Roman empire. An early example is Andrea Mantegna's Bacchanal with a Wine Vat an engraving produced shortly after the artist's 1488–90 sojourn in Rome. The frieze-like composition and figural types derive from antique Bacchic sarcophagi Mantegna saw in Roman churches and private collections. His pendant engraving Bacchanal with Silenus attracted the interest of artist Albrecht Dürer, who copied it during his visit to Venice in 1494–95, the first of two trips the German master would make to Italy to study Italian Renaissance and classical art. The fruits of this study are seen in Dürer's 1504 engraving Adam and Eve (in which the pose of Adam is derived from the famous Apollo Belvedere, excavated near Rome in the late fifteenth century. The statue was immediately recognized as a masterpiece, and Dürer may have known it from a drawing. By 1509, Pope Julius II had placed the marble in the Vatican collection, and its fame was spread through drawings and prints, including an engraving of ca. 1530–34 by Marcantonio Raimondi. The artist has taken care to draw the statue from an angle that shows the head in strict profile, an allusion to antique portrait medals

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