Summary Of The Stanze Per La Giostra

In subjects, such as the arts and literature, the involvement of religion was reduced. There was more focus on humans and life. This focus on humans is called Humanism. Humanism is the study of human behavior, abilities, and culture. In Document A, there are two paintings, one which was drawn during the Renaissance and one was drawn during the Middle Ages. The Mona Lisa, which was done by Leonardo da Vinci in the early 1500’s, portrays a beautiful woman. The painting drawn by Duccio di Buoninsegna in the late 1200’s is of a man and a child. The artwork which was done during the Middle Ages is very religious, as the two people are wearing halos. Not only is it religious, but it is also very plain. The image is 2-dimensional and very flat. There is hardly any creativity, nor any beautiful features. The painting from the Renaissance, on the other hand, depicts a beautiful woman with a nature-filled background. This shows how life was viewed as during the Renaissance. During the Middle Ages, life was poor and the afterlife was good. During the Renaissance, not only was the afterlife a “safe haven’, but life itself was also appreciable. “What a piece of work is a man! How noble in reason! How infinite in faculty! In form and moving how express and admirable!” (Document B). This excerpt from the play Hamlet, written by Shakespeare in 1601,

In order to do this, Cosimo determined that he would ‘express the triumphs and ambitions of his dynasty through the grand architectural magnificence of his palazzi and other public works.’ Cosimo was, unlike other Medici, not a connoisseur, but he appreciated the propagandistic value of art, and spent lavishly on glorifying himself and his family, while embellishing Florence at the same time. Cosimo engaged court painters, and founded a new artists’ academy, who began work on a repertory of images that communicated Medici power and dynasty rule. The painters Pontormo and, perhaps to a greater degree, Agnolo Bronzino, fashioned a specific court portrait style for the Medici, which would be characterised by courtly grace, while bristling with complex allegory. The early years of the Medici restoration developed propagandistic imagery and themes of dynasty and rule. These themes created a context of a Medicean mythology that associated itself with Lorenzo il Magnifico’s rule later in the previous century. ‘Imagery of the Medici restoration signified a cycle of birth, life, death

The growth of arts in the Italian Renaissance embodies the values of the humanism present there. As the ides of the educated changes, so too did their designed artwork, either commissioned or personally done, reflect that change. As humanism gained more ground in their society, scholars see the impact arising in the artwork itself.

The Medici Family was an extremely wealthy family who played a key role in developing Florence’s political system. They controlled much of Florence throughout the Renaissance and supported the growth of the arts within the city. Giovanni de Medici began in the banking business and by 1397 he was the banker of the Papal Court. (p.338 Crowley, Sharon, and Debra Hawhee. Ancient Rhetorics for Contemporary Students. 3rd ed., Pearson, 2004.) Centrally located in Florence, Giovanni and

The political stability and prosperity of the Renaissance Period created an atmosphere where people’s interests returned to the ancient teachings of Rome and Greece. This resulted in an increased interest in art, especially art that highlighted an individual’s experience. During this time there was little turmoil and the economy was flourishing, so people could live more extravagantly. The art of the Renaissance Period reflected this extravagance as well as the time period’s return to an interest in humanism. Humanism arose out of classical thinking in Rome and Greece and was based on the importance of the overall human experience.

Analyze the influence of humanism on the visual arts in the Italian Renaissance. Use at least THREE specific works to support your analysis.

Man’s view of man changes during the Renaissance due to a change in the style of art. In Document A, there was a painting from the Middle Ages (Madonna Enthroned Between Two Angels), and a painting from the Renaissance (Mona Lisa). The styles

Now that many people were educated they had to become active in their community which led to the creation of Civic humanism. Civic humanism originated in Florence, where they are hard working individuals. Before civic humanism the intellectual life seen as a lonely life of solitude. However the Florentines created a new view of the intellectuals life, an active life in one's community or state. Manuals and guides such as The Courtier and The Prince showed people how to life their life in a useful way. They could use their God-given gifts in many ways, such as public speaking or even painting or sculpting. Art became a huge part of the Italian Renaissance and reflected many aspects of humanism like individualism, secularism, Neo-Platonism, and liberal education. Botticelli's Birth of Venus shows that best of these aspects. In the painting

The Renaissance changed man's view of the world by art, scientific advancements, and the idea of humanism. Document A shows how the Renaissance changed man’s view because it shows how art was very important. Document A shows a comparison between the Mona Lisa by Leonardo da Vinci from the Renaissance, and The mother Mary by Duccio Di Buoninsegna from the Late Middle Ages. The reason that art was crucial to the Renaissance is because from the text I noticed that it says “... feels stronger emotions in the subjects… see well-defined landscapes,natural folds in drapery, and three-dimensional figures.” The reason this is so important is because before the Renaissance, the Middle ages and Classical period artworks were flat, 2D, and had no emotion.

During most of the Renaissance in Italy, the Medici family controlled Florence. They were most known for their success in banking and commerce. In these ways they were one of the main reasons for the political development of Florence. They were also known to be one of the biggest patrons of the arts of the time. Giovanni de Medici established in 1397 that Florence would be the Medici’s home. Giovanni was an influential, wealthy citizen, who was also the banker to the papal court. There was even a point in his life that he had even held every political office in Florence. He like most of his family, supported the arts and was a well-known patron. In 1429

Recognizing the need for oversight in public art as well as private art, in 1476, de’ Medici intervened in the town of “Pistoia’s choice of Verrocchio [a Florentine master painter, sculptor and goldsmith] for the cenotaph for Niccolò Forteguerri [papal legate and cardinal, one of few who held degrees in both civil and church law] in Pistoia Cathedral” Almost a decade later, de’ Medici also used his influence “to employ [Florentine sculptor and architect] Giuliano da Sangallo to build the church of Santa Maria delle Carceri.” de’ Medici’s influence continued when he again chose, in 1489, Giuliano da Sangallo for the building of the sacristy of Santo Spirto. With these buildings creating an impression on all who saw them, others began to look to de’ Medici for advice. Architects of the Palazzo Strozzi and the house of Bartolomeo Scala guided their work to model that established by de’ Medici in Florence. Thus, not only did this amazing patron have an influence on structures of his choice inside of his beautiful city of Florence, de’ Medici also had a large impact on those structures build by others in the same city.

The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.

The booming success of Renaissance Florence produced artworks which have become world renowned. Among them sits undoubtedly the works of Michelangelo, most notably ‘David’, ‘Pieta’, and the Sistine Chapel. A turn from religious glorification to a blend of classic secular subjects and Humanist appreciation through art, brought a new level to how and why artists create. A strive for Naturalism, or the desire to replicate the natural world through art, would be one of the rising factors in Renaissance achievement. Michelangelo’s ‘David’, although it depicts the religious figure from the book of Samuel, its’ interpretation through the lens of allegorical renewal is assuredly deeper. David was traditionally seen as a symbol of civic heroism, not to be the first featured in the city of Florence. Michelangelo’s, however, would harken back to the Stoicism of Hellenistic Greece, standing in wonder of the power and culmination of creation; the human form, and the

Although Botticelli’s painting of Venus is far more symbolic than Praxiteles sculpture, both works have their share of “hidden meaning.” In birth of Venus the audience sees the goddess Venus the moment she is born form the sea foam. Venus has rode to the shore from what appears to be a calm blue sea carried on a giant cockle shell, which has been a recurring representation for the women’s vulva. Hierarchy of scale makes the cockleshell of grave importance, hinting to the sexual arousal that Venus illuminates. As for the calm blue sea, it does not appear to be the wild and crashing sea that would normally been seen here in reality.

Also known by the titles "Venus, Cupid, Folly, and Time" and "A Triumph of Venus", this painting was on purpose designed as a complex, erotic allegory that includes an extent of iconographic symbols from the ancient world of mythology. It was a present from Cosimo de Medici to King Francis I of France. Being rich and vivid in symbolism relating to the constituting ideas of the High Renaissance, the painting gives Bronzino the opportunity to establish his maestro figure painting and portrait art. Through personification of qualities and varying contrast and brightness, Bronzino is able to justify that personal gains outweigh anything and everything that is moral.