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Timeline 1309: Clement V moves the papacy from Rome to Avignon. 1341: Petrarch is named Poet Laureate of Rome. This is cited as the beginning of the Renaissance. 1346-53: The Black Death sweeps across Europe. 1401: Ghiberti wins competition to design baptistery doors of the Cathedral of Santa Maria del Fiore in Florence 1420: Work begins on Brunelleschi‘s dome for the Cathedral of Santa Maria del Fiore. The Papacy returns to Rome from France. c1434-94: The Medici family become de facto rulers of Florence. 1450/55: Johannes Gutenberg invents the printing press, and prints the Gutenberg Bible. 1453: The fall of Constantinople and the end of the Byzantine empire. 1470: The first Italian printing press is set up in Venice. 1477: Ptolemy's map of the world is printed in Bologna. 1494: King of France Charles VIII, travels with his army through the Alps and captures Naples. He is forced out the following year. 1495: Leonardo da Vinci begins painting The Last Supper in the refectory of the Convent of Santa Maria delle Grazie, Milan. 1508: Michelangelo begins painting the ceiling of the Sistine Chapel in the Vatican. 1515: King of France, Francis I, wins a dramatic battle at Marignano and captures Milan. 1517: Martin Luther posts his 95 Theses on the door of the Wittenberg church. This is cited as the beginning of the Reformation. 1527: The Sack of Rome by Charles V of Spain. Resources for Teachers, Senior Cycle & Early Undergraduate Students In F cus THE ITALIAN RENAISSANCE: Origins, Context and Works from the National Gallery of Ireland (NGI) What was the Renaissance? The word Renaissance is a French word meaning “rebirth”. It refers to a period in history between the end of the 14th century and the beginning of the 17th century in Europe. These years saw an astonishing level of creativity in drawing, sculpture, fine art painting and architecture. The Italian Renaissance began in earnest in Florence, but quickly spread to other parts of Italy, such as Rome, Venice and Milan. The Renaissance emerged in other parts of Europe too such as France, Belgium, the Netherlands and Britain. The Black Death (or the Bubonic Plague) had social and economic implications. There was a large reduction in Europe’s population. This led to change in the availability of land and resources. Peasants’ wages increased as there were fewer workers. When the plague began to abate, a new class of bankers and merchants rose to power. An example of this is the Medici Family in Florence, who used their new-found power and wealth to become patrons of the arts. The influence of geometry and mathematics on the arts placed an emphasis on correct proportion and perspective which changed approaches in drawing, painting, sculpture and architecture. Why did the Italian Renaissance happen? The study of Greek and Roman history by medieval scholars, such as Petrarch, led to the popularity of Humanist thinking, and sparked a more critical approach to the arts. The invention of the printing press resulted in the widespread availability of texts, such as the Bible and classical writings. New ideas, theories and images of artworks also became more readily available. What was life like during the Italian Renaissance? Politics: Following the establishment of a commune in 1115, Florence considered itself a republic. It was ruled by a council, known as the signoria. This was made up of guild members who were elected every two months. Due to the dependence on the silk and wool trade in Florence, the textile guilds held the most power. However, there was a shift during the 15th Century; bankers and merchants gained more power and in Florence the Medici family, who were bankers to the papacy in Rome, took control of the city. Due to Florence’s wealth and banking strength, the Florentine Florin became the standard coinage around Europe. Vincenzo di Biagio Catena and unknown artist, Portrait of two Venetian Gentlemen, c1510. NGI.100 Perugino, Lamentation over the Dead Christ, c1495. NGI.942 Philosophy/Religion: The Renaissance saw a renewed study of Greek and Roman texts. Classical works by Aristotle, Plato and Ptolemy became cornerstones for Renaissance philosophers. Humanist philosophy gained popularity, and inspired new critical approaches to the Arts and Sciences. Key Renaissance figures include the poet Petrarch, the philosopher and scholar Marsilio Ficino, and the historian Leonardo Bruni. The Renaissance was also a period of religious turmoil, with incidents such as the Western Schism (1378-1417), in which three men simultaneously claimed to be the Pope, and the Fifth Council of the Lateran (1511), as well as continual accusations of corruption and nepotism. In 1517, Martin Luther published his 95 Theses which challenged the authority of the Church and ultimately led to the Reformation. Architecture: Italian architecture changed considerably over the course of the Renaissance, from the Gothic emphasis on pointed arches, ribbed vaults and flying buttresses to a more simple, geometric and harmonious style. In Florence, building design was influenced by classical antiquity mixed with local traditions. Columns, pilasters, lintels and domes became common. Filippo Brunelleschi is credited for pioneering this new approach to architectural design through his work on Florence Cathedral. Other notable architects include Leon Battista Alberti and Donato Bramante. Brunelleschi, Florence Cathedral Dome (detail), 1436. First page of an early printed edition of Dante's Divine Comedy. Cover page of 1550 edition of Machiavelli's The Prince. Literature: During the 13th century, writers began to write in their native language of Italian rather than in Latin or French. New styles of poetry and prose were developed, with a focus on platonic love and epic narratives. The invention of the commercial printing press by the German printer and goldsmith Johannes Gutenberg meant that works were more widely circulated and could be mass-produced. Humorous and political works gained popularity. Important works include Dante’s epic poem, the Divine Comedy c1310, and Niccolò Machiavelli’s treatise The Prince, 1513. Jacopo Vignali, Saint Cecilia, c1600. NGI.183 Filippino Lippi, Portrait of a Musician, c1480. NGI.470 Music: Between 1450 and 1600, music was largely composed for use by the Church, however over the course of the 15th century, music for secular purposes began to gain popularity. Common instruments included the viola, the lute, the recorder and the harpsichord. Composers came from Belgium and the Netherlands to Italy during the 15th and 16th century, and brought many new techniques and musical styles with them, such as polyphonic melodies and madrigals. Famous Italian composers include Giovanni Pierluigi da Palestrina, Costanzo Festa and Francesco da Milano. Giovanni Battista Moroni, Portrait of a Gentleman and his two Children, c1570. NGI.105. Luca Signorelli, Christ in the House of Simon the Pharisee, 1498. NGI.266 Lifestyle: Public events and celebrations were one of the few occasions where different classes would mix freely. Popular sporting events included jousting or bull-fighting, while board games like chess were widely played. Typical occupations for men during the Renaissance were farming, weaving, banking and working as a goldsmith. Noble women tended to be wives or could enter a convent, while women of lower ranks could work as seamstresses, silk weavers and midwives. At the start of the century, children were treated like small adults, and the majority of children were expected to work as soon as they were able. Only wealthy children, and usually boys, attended school, where they studied grammar and mathematics. Food: The use of spices and sugars meant medieval flavours and techniques developed during the Renaissance in Italy. Fruit was often served as a starter. Meat, poultry and fish became popular main courses. Pasta dishes such as macaroni and vermicelli became staples of Italian cuisine. Food was often flavoured with olive oil or citrus fruits. The nobility and upper classes would feast on a variety of foods such as soups, seafood and steaks. Those of a lower rank would usually dine on simple pasta dishes and only ate meat occasionally. Titian and Studio, The Supper at Emmaus, c1545. NGI.84 Lavinia Fontana, The Visit of the Queen of Sheba to King Solomon. C1600 NGI.76. Attributed to Giovanni Antonio Pordenone, Portrait of a Gentleman, c1515. NGI.866. Clothes: What you wore was defined by your class and place in society. Women’s clothing consisted of ornate sleeves and sweeping gowns with high waists. Hats were mandatory in public, with wealthier men often wearing a feather in their cap, while women sometimes wore a veil. Florence’s trade empire revolved largely around the production of wool, which meant it was the most common material used for clothes. However, with the growing wealth in Florence, more fabrics became available such as silk and velvet. These began to be produced in Italy, particularly in Florence, Venice and Genoa. Visual Art: Renaissance art in Italy saw the impressive development of new styles, techniques and genres. Paintings from this period reveal a greater interest in natural scenes, figures, and expressive gestures. Perspective and the illusion of depth was perfected through the use of foreshortening. There was also an increase in the application of sfumato and chiaroscuro techniques. Compositions became more complex with the use of pyramidal layouts. Some Renaissance works also tended to be monumental in style. Artists began to use slow drying oil paint instead of egg tempera which assisted in creating the illusion of realism in paintings. Italian Renaissance artworks can be divided into four key phases: c1350-1400: Late Gothic/Byzantine This period is characterised by very decorative and ornate works. They were often made for religious purposes. Figures appeared quite flat and works were painted in egg tempera and embellished with gold leaf. Key artists: Cimabue, Duccio, Giotto Di Bondone Key works: Giotto, The Arena Chapel frescoes, Padua, c1303. Cimabue, Maestà, Uffizi Gallery, Florence, 1280–85. From the NGI Collection: Silvestro dei Gherarducci, The Assumption of Saint Mary Magdalene, (detail) 1380s. NGI 841 c1400-1470: Early Renaissance The Early Renaissance saw figures becoming more realistic and three-dimensional in appearance. Backgrounds also became more detailed with the inclusion of classical style architectural settings, which demonstrated a new investigation into perspective. Key artists: Masaccio, Fra Angelico, Paolo Uccello. Key works: Masaccio, The Holy Trinity, Santa Maria Novella, Florence, c1425. Fra Angelico, The Annunciation, Prado, Madrid, 1438-45. From the NGI Collection: Paolo Uccello, Virgin and Child, c1435-40. NGI.603 c1470-1530: High Renaissance This period saw an explosion of creativity. Compositions were balanced and displayed a new level of perfection. Subject matter moved beyond religious topics with mythological and non-secular themes featuring in artworks. Other genres such as portraiture were developed. Use of colour became more sophisticated, and artists perfected the application of oil paint to create increasingly realistic and enticing works. Key artists: Leonardo da Vinci, Michelangelo, Raphael, Titian. Key works: Leonardo da Vinci, Mona Lisa, The Louvre, Paris, c1505. Michelangelo, The Sistine Chapel Ceiling, The Vatican, 1508-12. Raphael, The School of Athens, The Vatican, 1509. From the NGI Collection: Titian, Ecce Homo, c1558. NGI.75 c1530-1600: Mannerism Mannerism was a reaction to the perfection of the High Renaissance, and a new means for artists to express their creativity. It can be identified by its stylised compositions and elongated forms. Key factors in Mannerist works include unusual settings, the use of cooler colours and more complex narratives. Key artists: Parmigianino, Tintoretto, Bronzino. Key works: Parmigianino, Madonna with the Long Neck, Uffizi Gallery, Florence, 1534-40. Tintoretto, The Miracle of the Slave, Gallerie dell'Accademia, Venice, 1592-24. From the NGI Collection: Agnolo Bronzino, Saint John the Baptist in the Wilderness, c1580. NGI.1088 Examples of Renaissance works at the National Gallery of Ireland Fra Angelico: Saints Cosmas and Damian and their Brothers Surviving the Stake, c1439-42. NGI.242 Tempera on wood panel. Fra Angelico was one of the greatest early Renaissance painters in Florence. In 1407 he entered the Dominican monastery of Fiesole, and began his artistic career as a book illustrator. His talent was recognised very quickly, and soon he was receiving commissions for frescoes and altarpieces. This painting is a good example of his use of colour, and his knowledge of perspective. This small panel was part of the predella (lower register) of Fra Angelico's most important altarpiece in the San Marco cathedral in Florence. It was commissioned by Cosimo de' Medici. The panel depicts the attempted execution of Cosmas and Damian, two physician brothers who lived during the third century. They and their brothers were Christian, and would not renounce their faith during pagan persecutions. Lycias, the Roman Consul, submitted them to brutal tortures before beheading them. Francesco Granacci: Rest on the Flight into Egypt with the Infant Saint John the Baptist, c1494. NGI.98 Tempera and oil on wood panel. A pupil of Domenico Ghirlandaio, Francesco Granacci was an apprentice in Ghirlandaio's workshop in Florence at the same time as Michelangelo. The pair were lifelong friends, and Granacci was initially involved in the transfer of Michelangelo’s cartoons onto the ceiling of the Sistine Chapel. He returned to Florence where he remained for the rest of his life. There is evidence of Michelangelo’s influence on Granacci in this painting. The grouping of the three figures is almost sculptural, and similar in style to many of Michelangelo’s works. However, there are also elements that reflect the teachings of Ghirlandaio, such as the gentle nature of the Virgin’s face, and the colourful background. This painting was copied by a number of artists over the years. The painting depicts a scene taken from the Gospel of Matthew, which depicts the Holy Family fleeing to Egypt to escape King Herod. This is a common story depicted in Renaissance art, and the outdoor setting led to further explorations of the genre of landscape painting. Titian: Ecce Homo, 1558-1560. NGI.75 Oil on canvas. Titian was a famous High Renaissance Venetian painter. He trained alongside the artist Giorgione in the Bellini studio. The early death of Giorgione resulted in Titian becoming the leading artist in Venice. He had numerous patrons both from and outside of Venice, such as Pope Paul III and the Emperors Charles V and Philip II. This painting’s title Ecce Homo means “Behold the man” and was a common subject in religious painting. It depicts the moment where Jesus, having been flagellated and ridiculed, is presented by Pontius Pilate to the crowd. Titian portrays Christ as powerless and in tears, evoking sympathy and empathy from the viewer. The painting is executed with quick strokes of paint. The work also includes a pentimento, or alteration, where Titian has changed the position of the sceptre. Its original position is still visible. Agnolo Bronzino: Saint John the Baptist in the Wilderness, late 1580s. NGI.1088 Oil on wood panel. Agnolo di Cosimo, better know as Agnolo Bronzino, was a pupil of Pontormo, who would remain a lifelong collaborator. He was a founding member of the Florentine Accademia delle Arti del Disegno in 1563. He achieved fame and recognition under the patronage of the Medici family, and for most of his career was the official court painter of the Duke and his court. He is known for his portraits of the Florentine elite, but also for the highly idealised allegorical works, which he preferred to paint. This work is a good example of Bronzino’s use of cool colours. The figure of John the Baptist is depicted in a sharp inundating light, that gives the painting an intense beauty. There is an influence of Michelangelo in the elongated classical form of the figure. Bronzino‘s depiction of John the Baptist also shows his study of female nudes. This is a typical Mannerist work in that it is difficult to interpret. If the cross was not included in the painting, then it would be difficult to decipher who the figure represents. Glossary of Terms Patronage— Chiaroscuro— The sponsorship of artists and the commissioning of Contrasting effects of light and shade in a work of art. It works by wealthy and powerful people. is typically associated with artists such as Caravaggio. Guilds— Fresco— An organisation of people with similar professions, with Fresco is a technique of mural painting where paint is the purpose of protecting its members and applied to freshly-laid wet plaster on a wall. maintaining standards within the professional field. Predella— Humanist Philosophy— The painting or sculpture located along the frame at the A type of philosophy that emphasises the value of bottom of an altarpiece. human beings, both individually and collectively. It generally refers to a favouring of critical and logical Cartoons— thinking over established doctrine or faith. A preparatory or first drawing for a piece of art, such as a painting or sculpture. Reformation— A divide within Western Christianity that began in 1517. Pentimento— From the Italian word meaning ‘to repent’ or ‘change of Antiquity— mind’. It is an alteration made to a painting. It is where The classical civilisations of Ancient Greece and Rome, an artist changes their mind while working on the particularly before the Middle Ages. painting, and goes over their original design. Lintels— A structural horizontal block that is placed over an entrance to bear the load above it. Pilasters— A flattened column used as a wall decoration. Allegorical— Comes from allegory, which is a literary device used to illustrate complex ideas and concepts through the use of symbolic imagery so all audiences can understand them. Find Out More . . . Epic Poem— The National Museum of Ireland: A long poem typically about a significant event, and A number of Renaissance artefacts are located at the often featuring a hero. National Museum of Ireland Decorative Arts and History at Collins Barracks. Treatise— http://www.museum.ie/en/intro/the-collections.aspx A formal written work, a little longer than an essay, that investigates and explores a particular subject in detail. The National Library of Ireland: Publications and other resources are available on the Secular— Renaissance, as well as works from the period itself. Not connected with religious or spiritual matters. http://catalogue.nli.ie/ Polyphonic— A piece of music consisting of two or more lines of independent melody performed at the same time. The Crawford Art Gallery: Late Renaissance paintings and Canova casts of GrecoRoman sculptures are in the collection http://www.crawfordartgallery.ie/permanentcollectiona bout.html Foreshortening— A method of creating the illusion of depth within a picture. The artist recreates the distorted appearance of The Chester Beatty Library: an object when it is viewed from an unusual angle. Byzantine and Renaissance manuscripts are part of the collection at the Chester Beatty Library. Sfumato— http://www.cbl.ie/Collections/Introduction.aspx Derived from the Italian "sfumare" meaning “to tone down” or “to evaporate like smoke”. Sfumato is a smoky The Arts in Education Portal: blending of colours and tones. It is typically associated For further general information on National arts and with artists such as Leonardo da Vinci. education practices www.artsineducation.ie Devised by Sinéad K. Rice, NGI Education Officer - Teachers, Schools and Youth Produced by Sinéad K. Rice and Julie Daunt. © National Gallery of Ireland, 2015.