Download CHAPTER 13: The High Renaissance and

CHAPTER 13: The High Renaissance
and Mannerism in Italy
Essential Understanding:
What is “Renaissance Humanism”?
NOTE: You are responsible for knowing the terms in red throughout this slideshow.
This World or The Next World?
Perhaps the major contribution of the ancient Greeks was a “speculative leap”
from belief in the dominance of the spiritual or divine to a belief in human
rationality and perfectibility. To the Greek philosoper Protagoras, man became
“the measure of all things.” No longer was there an absolute truth or ancient
superstitution which dominated man’s destiny; now each man determined the
ideal, using his or her rational powers of reasoning and observation. The
perception of the ideal could be achieved through an understanding of this
world and the perfectibility of man. Thus, we see this optimism in the ideal
MAN in the pose of Zeus or the Republic of Plato or the Lyceum of Aristotle.
harmony of balance
and power
vision of the just
state and just man
a focus on empirical
research and study
Take a close look at Raphael’s “The School of Athens,” 1509-1511, currently
housed in Vatican City, Rome.
Although this is a Renaissance masterpiece, not a Greek painting, it does
incorporate the two central Greek philosophers, Plato (pointing upward to the
realm of ideas) and Aristotle (pointing downward toward matters of the earth),
perhaps symbolizing the notion that MAN is capable of determining the truth –
either through an understanding the ideals of philosophy or the empirical
evidence of the natural world around him. Or, through intellectual curiosity, not
spiritual devotion. Either way, it is man, not the gods, determining truth. Note the
other examples of human “genius” within the painting.
Renaissance HUMANISM
The Greek belief in man’s abilities and perfectibility was the focus of
Renaissance thinking: a “rebirth” of the Classical world’s belief in man, rather
than superstition or dogma. This outlook is the basis of Renaissance
humanism.
Furthermore, this Renaissance perspective seemed to follow naturally after the
failure of the medieval Catholic Church to keep all eyes and efforts pointed
upwards to the heavens and the rise of the middle class who found a better life
through education (literacy) and economics (the end of feudalism and advance
of mercantilism). The world was changing, and MAN, not the Church, was in
the driver’s seat. Opportunity, creativity, and nationality lifted man’s view of
himself and his/her destiny in this life. The secular (this world) has risen to
level of or surpassed the sacred (the next world).
What evidence is there of
Renaissance Humanism?
Or, where do we see a focus on man in THIS world, rather than the Middle Age’s
focus on the NEXT world?
#1. Pope Julius II took the name Julius in emulation of Julius Caesar (not a
saint), and he used his wealth and power to enhance his legacy (not his
destiny).
by Horace
Vernet, 1827.
Pope Julius II discussing the plans for the new St. Peter’s Basicalla
with the Bramante, Michelangelo, and Raphael around 1505.
#2. Important Renaissance characterizations, such as “terribilita” (passion) and
“sprezzatura” (effortless mastery), were focus on life and success in THIS world.
Michelangelo’s
“Moses” , 1513-15
“terribilita”
- an effect or expression
of powerful will and
immense angry force (as
in the work of
Michelangelo)
from Merriam-Webster
Dictionary
The Book of the
Courtier by
Castaglione, 1528
“sprezzatura”
- studied nonchalance;
perfect conduct or
performance of
something (as an artistic
endeavor) without
apparent effort
fromMerriam-Webster
Dictionary
#3. Patronage of the arts used to glorify one’s self or family or city (versus an
attempt to glorify God or other holy icons).
The Medici Chapels
Located at the
Basilica of San
Lorenzo in Florence,
Italy. These chapels
were to serve as
mausoleums for the
family. There are
numerous other
examples of Medici
patronage.
Sistine Chapel
Restored by Pope
Sixtus IV between
1477-80 and named in
his honor.
The family of Piero de’
Medici portrayed by Sandro
Botticelli in the “Madonna
del Magnificat,” 1481.
#4. Focus on Nature and science (versus Scholasticism’s focus on defending
religious dogma).
Heliocentricism
The Copernican model
departed from the Ptolemaic
or geocentric system that
prevailed in Western culture for
centuries, placing Earth at the
center of the Universe.
Copernicus’s model is often
regarded as the launching point
to modern astronomy and the
Scientific Revolution, as well as
contributing to conflicts with
Scholastic teaching.
Leonardo da Vinci
Often considered a prime
example of the “Renaissance
Man,” da Vinci’s view of the
world was logical rather than
mysterious or dogmatic, and
that the empirical methods
he employed were
unorthodox for his time.
#5. Emphasis on the “humanity” (not divinity) of subjects in painting and
sculpture.
The Last Supper
by Leonardo da Vinci, 1495-98
The focus is on the reaction
or emotion of the apostles
when Jesus tells them he
will be betrayed by one
them.
Madonna of the Meadow
by Raphael, 1505
Unlike da Vinci’s
Madonna, Rapheal
emphasizes the human
qualities (not divine) of
the characters and
provides a natural or
earthly landscape.
David
by Michelangelo, 1501-04
Unlike earlier
depictions, David is
shown during the
moment of decision,
strategizing his attack,
demonstrating his
rational confidence.
#6. Harmony and balance of proportion in Renaissance revival of Classical
architecture (versus Gothic cathedrals with exaggerated vaulting and spires).
St. Peter’s Basicalla, Rome, Italy
- demonstrating balance, proportion,
classical columns, domes, etc.
This proportion, classicism, and
balance were also characteristics of
the conservative music of the
Renaissance.
Milan Cathedral, Milan, Italy
- demonstrating the Gothic spires,
vaulting, buttresses, and exaggerated
height and windows.
#7. In literature, the Renaissance courtier, described in Castiglione's Book of the
Courtier, was accomplished in earthly matters, UNLIKE the devotion expected of
the medieval knight in the Code of Chivalry.
Note the spiritual focus of the medieval knight:
Castiglione’s courtier was expected to
have a warrior spirit, to be athletic, and
have good knowledge of the
humanities. He was supposed to
demonstrate “sprezzatura” (effortless
mastery) and represent the “uomo
universale” (well-rounded man) – the
“Renaissance Man.”
Gautier's Ten Commandments of chivalry are:
1.Thou shalt believe all that the Church teaches
and thou shalt observe all its directions (Believe
the Church's teachings and observe all the
Church's directions).
2.Thou shalt defend the Church.
3.Thou shalt respect all weaknesses, and shalt
constitute thyself the defender of them.
4.Thou shalt love the country in which thou wast
born.
5.Thou shalt not recoil before thine enemy.
6.Thou shalt make war against the infidel
without cessation and without mercy.
7.Thou shalt perform scrupulously thy feudal
duties, if they be not contrary to the laws of
God.
8.Thou shalt never lie, and shalt remain faithful
to thy pledged word.
9.Thou shalt be generous, and give largesse to
everyone.
10.Thou shalt be everywhere and always the
champion of the Right and the Good against
Injustice and Evil
The following QUIZ slides are optional
unless assigned.
QUIZ :
Answer either #1 or #2
#1. Can you put these images of David below in the correct chronological
sequence, NOT by identifying the artist and date of origin ONLY, but by listing
the characteristics that EXPLAIN their actual historical or intellectual sequence
(What is the artist emphasizing?)?
Artist:
Date of
Production:
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Emphasis:
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See next slide for #2
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#2. Select any three versions of “The Last Supper” painting and complete the
comparison chart below. Be sure to put these images in the correct
chronological sequence, NOT by identifying the artist and date of origin ONLY,
but by listing the characteristics that EXPLAIN their actual historical or
intellectual sequence (What is the artist emphasizing?)?
Artist:
Date of
Production:
__________________
_____________________
_________
_________
Emphasis:
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