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History of Europe 1 HISTORY Subject : History Paper No. : Paper - V The Rise of Modern West Topic No. & Title : Topic – 1 European Renaissance (1330 AD – 1530 AD) Lecture No. & Title : Lecture - 3 Renaissance Art (For under graduate student) FAQs 1. How did humanism affect Renaissance art, architecture and sculpture? Renaissance art was humanist art in its sources, content, and style. It was in the Renaissance that man once more became the focal point of human interest instead of a cog in a theological machine. It was this humanism of the Renaissance that gave its art forms their undeniable affinity with those of classical antiquity and it was also because of humanism and the admiration of the human body History of Europe 2 that led men to construct buildings and sculptures, both temporal and ecclesiastical that were of harmonious ratios. 2. Did Renaissance mark a break with the artistic tradition of the Middle Ages? Early Renaissance art saw an almost complete revolution in the thought of the time as it was characterized by a rational interpretation of experience as opposed to the institutional mysticism of the Middle Ages, and called for a wholly new approach to reality. This implied a systematic investigation of the world man knows through his senses, and a correlation of sense impressions with the organized knowledge of science. The interest in nature that is apparent in Renaissance thinking may seem to be the logical outcome of the realistic view of material forms in the Middle Ages. But medieval realism reflected the then prevalent conception of nature as a manifestation of divine purpose, whereas Renaissance realism was scientific in the modern sense and was born of a searching inquisitiveness History of Europe 3 about things believed to have meaning in and of themselves rather than as symbols in a previously determined abstract order. 3. Why is Florence called the ‘cradle of Renaissance Art’? Florence produced most of the major figures of the early Renaissance, who brought a new sense of humanity and drama to religious painting. Most of the artists were patronized by the merchant houses, and acted according to the dictates of these people. The artist had a kind of independence not regarding the subject but in the execution of the painting like style, perspective and colour. In Florence, the old cathedral of Santa Reparata, became Santa Maria del Fiore – a very important edifice, where every important artist in Florence worked, like Brunelleschi, Giberti, Donatello, Celini, and Michelozzo. And each of these artists was working in a particular craft. It is due to the vast range of skills in different fields of art that Florence has been Renaissance art’. described as the ‘cradle of History of Europe 4. 4 How did Masaccio influence Leonardo da Vinci, Michelangelo and Raphael? One of the giants of the early Renaissance painting in Florence was Massacio(1401-1428). His outstanding work is on the walls of the Brancacci Chapel in the church of the Carmine in Florence which he decorated in fresco between 1422 and 1427. In ‘Tribute Money’ the chief fresco at the chapel, Massacio reveals a new freedom. His men seem to stand on their own feet, to move freely of their own volition and for the first time the action takes place in a deep landscape. All great Florentine artists like, Leonardo da Vinci, Michelangelo and Raphael went to this little chapel to learn from Massacio about how to show forms in motion, how to indicate the organically functional structure of the human body, and how to suggest the interaction of atmosphere and colour and the bending of colours in light and air. History of Europe 5. 5 Why was the early 16th Century called the golden age of Italian Renaissance? The early sixteenth century has been called the ‘Golden Age’ of Italian Renaissance as this was the time that the three great masters – Leonardo da Vinci, Michelangelo and Raphael lived and worked. Through their minds and in their works, Italian art acquired the discipline that gave it the status of classic authority. The work of Leonardo da Vinci reveals the nature of the transformation that took place. In works like ‘The Adoration of the Magi’, ‘The Last Supper’ and ‘Mona Lisa’, Leonardo gave a definitive exposition of the Renaissance science and art of painting. Michelangelo was another titan of the age, an architect, painter, poet and above all a sculptor he embraced all the arts. His great works are the ‘Fall of Man and Expulsion’, ‘God Separating Day from Night’ and the ‘Resurrection’. His paintings convincingly portray the powerful symbols of humanity like birth and death and of exaltation and suffering. Raphael is the third of the great masters who painted masterpieces of the Madonna and Child. History of Europe 6 In seeking clarity through order and consistency he pursued a dominant principle of Italian art. 6. Assess Durer’s contribution to Renaissance art. In Northern Europe Albrecht Durer’s contribution to Renaissance art was in the field of the graphic artswoodcut, engraving and etching. Apprenticed as a youth to one of the leading book illustrators in Germany in the late 15th century, he used literary subjects for his own first distinctive projects, notably the ‘Apocalypse, the Revelation of St. John the Divine’. ‘The Four Horsemen’ of the ‘Apocalypse’ is the most widely known of the fifteen woodcuts of the series. Durer was also familiar with the work of many Italian artists through the medium of prints. Even so, Durer still thought largely in medieval terms, and the difference between his rather harshly angular figures and those of his Italian contemporaries was not lost upon him. For some years around 1500, he strove conscientiously to grasp the principles of classic beauty which guided the Italians. ‘The Fall of Man’ sums up Durer’s interests that resulted from these History of Europe studies. 7 On his return to Germany in 1507, he did three metal engravings between 1513 and 1514‘Knight, Death and Devil’, ‘St. Jerome in his Cell’, and ‘Melencolia I’, which reveals his ultimate compromise between the fundamentally emotional values of his northern inheritance and the rational beauty of Italian Renaissance forms. 7. What was the contribution of Bramante to the architecture of High Renaissance? Donato Bramante (1444–1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482– 1486). Space was limited, and Bramante made a History of Europe 8 theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan he also built the tribune of Santa Maria delle Grazie (1492–99) and the cloisters of Sant'Ambrogio. 8. Why is Michelangelo famous? When Michelangelo was born, the Renaissance was two hundred years old and at its peak. Michelangelo is looked upon as a superman who tackled singlehandedly the kind of tasks that others approached with teams of assistants like painting the vast ceiling of the Sistine Chapel, carving colossal statues and directing work on the largest church in Christendom. The Sistine Chapel fresco was completed in four years and presents philosophically traditional an unified Christian incredibly complex composition that theology with neo but fuses Platonic thought. His sculpture ‘David’ has remained another indicator of his genius. History of Europe 9. 9 Who was Andrea Palladio? Andrea Palladeo (1508 – 1580) was an Italian Renaissance architect active in the Republic of Venice. He is widely considered the most influential individual in the history of Western architecture. All of his buildings are located in northern Italy, but his teachings, summarized in the architectural treatise I Quattro Libri dell'Architettura (The Four Books of Architecture), and gained him wide recognition. His talents were first recognized by Count Gian Giorgio Trissino, an influential humanist and writer, who gave him the name by which he is now known (Palladio is an allusion to the Greek goddess of wisdom Pallas Athene, and to a character of a play of Trissino itself). After Trissino's death in 1550 Palladio benefited from the patronage of the Barbaro brothers who encouraged his studies of classical architecture. The Palladian style, named after him, adhered to classical Roman principles he rediscovered, applied and explained in his works. He designed many palaces, villas and churches, but Palladio's reputation has been founded on his skill as a designer of villas. History of Europe 10 10. How did the sculpture of the High Renaissance differ from that of early Renaissance? In early Renaissance sculpture one notices a renewed interest in classical forms and a more positive realism. The early fifteenth century witnessed a return of the nude human figures as this determined harmonious ratios. The perfection of the human body was sought to be upheld by the sculptors of this period. The works of Lorenzo Gilberti (1378 to 1455), one of the three outstanding sculptors of the early Renaissance in Italy, illustrates the early Renaissance interest in classical forms. In the second half of the fifteenth century, the two trends that can be distinguished in Florentine sculpture are the search for lyrical beauty and the tendency towards drastic realism that developed from the scientific aspect of Donatello’s art. The youthful and feminine forms contrast sharply with the aged male portraits of the realists. One of the best examples of this lyric style is a relief of Madonna and Child by Desiderio da Settignano. Renaissance The dominant sculpture was personality of Michelangelo High whose History of Europe 11 ‘David’ done in 1504, shows the hooked wrist of the right hand, the detailed anatomy, the fixed gaze of the eyes which were all fifteenth century characteristics. The great height of the figure, the manifestations of physical proportions, the strain created by exaggerating the difference in the shoulder level and the tension of the neck muscles that results from turning the head towards the left or raised side of the body, are all characteristic of High Renaissance styles, which aimed to create a form that would typify the unbound energy and confidence of youth in all its physical strength.