Magnificence And Requence In The Renaissance

The emphasis accorded these contingencies of physiognomy and the resolute refusal of any concession to our - or, so it would appear, antiquity’s - ideas of desirable physical appearance lead one easily to the conclusion that those portraits are uncompromising attempts to transcribe into plastic form the reality of what is seen, innocent of any “idealization” or programmatic bias. These are the portraits of the conservative nobility (and of their middle-class emulators) (luring the death-agonies of the Roman republic. There is no need to doubt that much of their character refers to quite real qualities of their subjects. These are men in later life because the carefully prescribed ladder of public office normally allowed those who followed it to attain only gradually and after many years to such eminence as would allow the signal honor of a public statue. One may well suppose that these hard-bitten and rather unimaginative faces closely reflect the prevailing temperament of the class and society to which they belong, and the twisted and

Historians and scholars often overlook the part that women played in the Renaissance. Did women have a Renaissance? The period did not occur in a male only vacuum; women played an important part in the changes taking place across Europe. No matter a woman’s station in the class system, women, were still considered the sinful daughter of Eve, the downfall of man. Into this world stepped Isabella d’Este, one of the great women of the Renaissance.

Throughout the Renaissance, many talented artists tried to express deep symbolism in their paintings, but no one came close to the ability of Jan Van Eyck. His paintings were so accurate and realistic that it was necessary for him to paint his miniaturists with a single strand of hair, on a brush. Jan's Arnolfini Wedding Portrait (1434) is so photo-realistic that it has been debated for decades of it's legality of a wedding document. This paper will help to understand Jan's extreme use of symbolisms and the multiple meanings of his Arnolfini wedding scene.

The diaries of Buonaccorso Pitti and Gregorio Dati have shown the multiple masculinities that are present for Renaissance Florentine merchant elites. Each of these men have led a different lifestyle, during a different frame of time, but each of them has written a diary that they knew their families will read. In these diaries, the men told stories about their lives from their own perspective and reflect the values and expectations from that age. Even though their stories may differ, a common theme in both diaries is masculinity and its features that are essential to merchant elites. The ideal man in the Renaissance Florence has honor, bravery and nobility, values their family and the importance of lineage and upholds a reputation in business and relationships with others.

The new emphasis on learning, especially via direct observation of the natural world, led to new artistic techniques that allowed artists to mimic those of the ancients. The Early Renaissance was, therefore, a progression of observing the works of the ancients, and undergoing a new process of trial-and-error learning from prior mistakes and tracing the path of artistic creation. The aim of the artists was to better their abilities at portraying human characteristics, both physical and emotional, while creating a more ideal finished product, something that was as significant in presence as the natural world itself. Much progress was made in these campaigns during the Early Renaissance, and the emergence of the High Renaissance was characterized by the true mastery of the method of creating mankind’s body and emotions[1], and an artwork as balanced as nature itself. Jean Hey’s “The Annunciation” demonstrates the product of this final Renaissance transition.

The paper serves as a critical analysis of Thomas F. Mathews’ “The Mistake of the Emperor Mystique” chapter in his book The Clash of Gods: A Reinterpretation of Early Christian Art. The scope of the analysis extends only to the chapter, the works included in the chapter and some supplemental sources by other art historians. It examines Mathews’ central argument and auxiliary claims, paying attention to his use of sources. Additionally it probes the validity of his assertions, drawing comparisons to other works or historians.

Between the fifteenth and sixteenth centuries masculinity in Renaissance Italy shifts from an expectation that a man is defined by his well-rounded understanding of a variety subjects to the expectancy that men should possess both and idealized mind and body. This shift is clearly demonstrated through the monumental figural sculptures that were used to convey the image of the ideal man at the time. The term “Renaissance man” refers to a man who has “multi-faceted interests and innovative ideas” as well as one who uses the “classical past as an inspirational model” to further his knowledge of “science, art, and politics.” The revival of ancient Greek and Roman culture during the Renaissance inspired self-reflection and identification of the importance individuality and, as Jacob Burckhardt argues, during the Renaissance “no conviction was more firmly rooted in the popular mind, than that antiquity was the highest title to glory.” Thus it is not surprising that Renaissance artists used sculpture to establish standards of masculinity in the same way that sculptures of “heroic citizens provide inspiration for young men and citizens walking through the Agora [city centre]” of ancient Greece. Although Renaissance artists featured biblical characters, rather ancient Greek and in their sculptures, the pieces were still granted the

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

The Renaissance began in Florence, Italy around the 1500’s to about the 1700’s. Florence, Italy was the mecca of this rebirth because at the time Florence was extremely wealthy and the people of the city had political freedom and those new ideals of the Renaissance were not being condemned in Florence as they were other cities. This was a time where the arts and the logic of one’s own mind was valued rather than criticized, the antiquated medieval ideals no longer matched the needs of those who were living during the early Renaissance. Eventually, a term for this way of thinking arose and was called Humanism, and what humanism is, is an ideology where humans can lead themselves to create a prosperous life and instead of leaning on supernatural forces for answers. Humanists believe that humans have enough logic to create conclusions themselves. This brand-new way of thinking caused a lot of controversy because it did question God’s ability and the church’s power, but the ideas behind it are still heavily used today, even in the 21st century. Humanism in the early Renaissance is important because it called for thinking with reason, it allowed an appreciation for human body and mind, inspired authors and caused a shift in power.

Renaissance art very commonly depicts women in many ways indicative of sexuality, specifically in regards to nudity and eroticism. Women in renaissance art were normally shown as sexual and often erotic beings specifically in their positioning which is indicative of one of the main sources of female power at the time, sexual, as proven by the high status of courtesans and larger social acceptance towards sex – while seen as a sin, it was still an activity most took part in. However, at the same time, this promoted a female beauty standard and a conventional view that female power lies predominantly in their sexuality. In this paper specifically, I will focus on this phenomena in three prominent paintings: The Birth of Venus by Botticelli, Danae by Titian, and the Portrait of Simonetta Vespucci by Piero di Cosimo.

The Renaissance period is known for the revival of the classical art and intellect born in ancient Greece and Rome. The Renaissance is also a time that is marked by growth, exploration, and rebirth. The Italian Renaissance started in Florence and progressively made its way into Venice and then into the great city of Rome. During the Renaissance, Rome was home to some of the most renowned works of art and the finest architectural masterpieces in the world - too many that still holds true today. Along with the delicate architecture and grand artistry, Rome was also home to a mixture of people and cultures. It is in this cultural context and through the book A Street Life in Renaissance Rome: A Brief History with Documents, that understanding how men, woman, and specifically Jews and Christians lived in Rome becomes important to better understand this period of renewal.

The Italian renaissance was a period of creative explosion. The term renaissance symbolizes rebirth, which is exactly what occurred in Italy during this time. An entire culture was remade through art. There was a resounding interest in the classics created by ancient artists. The humanist movement encouraged the study of humanity’s history in order to create a deeper understanding of how to move forward as a society. There was a seemingly unquenchable thirst for knowledge and creation. Many new art forms developed in this period, including opera. The Florentine Camerata, a group of scholars, created early forms of opera. Claudio Monteverdi, a renaissance composer, developed opera into the art form that is still performed today. The work of the Florentine Camerata and Claudio Monteverdi worked in harmony to create and develop this new form of music. Monteverdi’s educational background, his rebellious drive to create, his serendipitous career, and his unequaled talent allowed him to develop opera into an art form that no other composer of the time could have produced.

Nyctophobia; the fear of the dark. However, it’s not exactly the fear of darkness itself, but rather, what could be lurking within it. Now, the Dark Ages weren’t actually “dark”, but it was a time of rapid decline in Europe in which historians don’t have much information. After the fall of the Roman Empire, Europe was thrown into a never ending battle of hardships. From the Black Plague to the loss of beloved heroes and heroines, the country really was left in the dark, until a flicker of hope emerged offering a new beginning: the Renaissance. The Renaissance lasted from the 14th to the 17th century and was an era of “rebirth” in European history. During this period, culture throughout Europe underwent a dramatic reformation where classic

The fifteenth and sixteenth century Europe witnessed the increase of wealth, due to the revival of classical teachings- the Renaissance period- that would later cause the imbalance of churches and the division of religion- the Reformation. However, at the same time, there was a dispute of the status and role of women that would constantly recur throughout history. Initially, in the period of the Renaissance, women were viewed as an irrelevant topic, where they were not as important as men. Yet, in the Reformation, men were beginning to acknowledge that women were equal to them. Therefore, the view of the women were better in the Reformation than the Renaissance that affected the Les Querelles des Femmes.

The focus of this investigation will be “The Medici family supported the artists of the Renaissance era by providing them financial support, throughout mentorship and because of the prevailing philosophy and humanism.” This investigation will focus on the background of the Medici family and how they supported artists of the Renaissances era. This investigation will use a primary source from an artist's work and a secondary source relating to the Medici family uprising.San Lorenzo (church). Medici chapel. Tomb of Lorenzo de' Medici which held Sculptures by Michelangelo and Adrien, De Roover Raymond. The Rise and Decline of the Medici Bank, 1397-1494. Norton Library, 2012.Both sources provide background to the Renaissance time period and how the Medic family treated artists with their power. The two sources are examples of how the Medicis changed the renaissance era through their money and power to pursue artists for their own benefit and for the time periods.