The Medici Of Great Modern Art

Pope Leo kept Michelangelo as the Medici family and now Catholic Church’s “main artist” of the time. He also had commissioned Brunelleschi for the reconstruction of the San Lorenzo Basilica. Pope Leo X was known for his lavish out of control spending and just over all failure in helping the church in every aspect except art. The next Medici Pope, Giulio de Medici known as Pope Clement VII, was very similar. Clement VII had also commissioned many artists such as; Michelangelo to paint the altar of the Sistine Chapel and Italian artist, Sebastiano del Piombo to paint the very famous portrait of himself on both stone and canvas. The Medici’s never really did make very good popes considering they were rather spoiled and not the holiest of people although they did bring some great historic works of art into the church. Both of their art patronages were very good for the papacy and bring a greater element of art into the church seemingly allowed the church to expand and welcome more people due to people wanting to be part of the works of those great

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

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.

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Not only were they able to create a thriving economy and government, they made history through contributions to the arts. The Medici’s supported artists who made history through their works of mastery and continued to guide political and economic development. They gave extensive patronage to talented artist that would create art to communicate Medici power and rule. These artists would include Botticelli, Leonardo da Vinci, and Michelangelo (Renaissance Art). In addition to commissioning portraits and decorative objects for private and public display, the Medici family ordered the reconstruction of numerous civic buildings and private residences, and established several major institutions for artistic production and instruction (Artic). As the renaissance continued to flourish with the works of great artists, the economy and government system greatly

With this power, the Medici's produced four popes within Italy (Leo X, Clement VII, Pius IV and Leon XI), and used their influence throughout all of Europe . Coupled with these chain actions and events, the Medici shaped Florence with their own set of values, allowing their idealized view of Florence to come into fruition. Within the Memoirs of Marco Parenti , we can lay out a picture of the Wealthy Noble Class, using Parenti and the Medici's values and goals, to convey a different Florence. Household and The Family Subdivision of the common household would signify the fragmentation of the family and the growth of individualism .

YOUR NAME PROFESSOR'S NAME NAME OF CLASS DATE The Influence of Medici Family During Renassaince Era Boneish Bryan The Medici family made a tremendous impact during on the world of art during the Renaissance Era. They used their wealth to build more wealth and thus began to rule Florence. Their impact was a positive one especially for aspiring artists.

A post Middle Age Italy was afflicted by medieval wars and the bubonic plague. A change was needed to restore the vision of what Italy could become. This change was found within one family: the Medici’s, who helped to return the glory and influence to Florence. The Medici’s saw the value in contributing to the advancement of the greatest minds of the period. This was evident in their patronage of leading Artists such as Michelangelo and of renowned Teachers such as Galileo. The sphere of influence the Medici’s enjoyed also extended to the political arena, which happened to be heavily influenced by the Catholic Church at the time. The Medici’s were able to capitalize on the power of the Church and through this influence and the use of

Cosimo hired the young Michelozzo Michelozzi (an artist) to create what is today perhaps the prototypical Florentine palazzo, the austere and magnificent Palazzo Medici ("Cosimo De' Medici. Encyclopædia Britannica”). He was also a patron and confidante of Fra Angelico, Fra Filippo Lippi, and Donatello, whose famed David and Judith Slaying Holofernes were Medici commissions ( "Cosimo De' Medici Encyclopædia Britannica”). He kept great artists at his home and let them create their pieces of art, drawings and sculpture at their own

The Renaissance time period was home to many new ideas in art. This includes new artists bringing forth ideas that had yet to be discovered and made popular. New themes and types of art were also being brought forward during this period.

Out of most of the pieces on display in the Renaissance corridor located on the second floor of the museum, Lorenzo Monaco's Madonna and Child caught my eye in such a strange, peculiar manner. This was partially due to my fascination with early renaissance artwork and the artist of that era. It is a medium-sized tempera piece layered on panel placed right of the second room of the corridor. Historically speaking, it was devised between the years of 1370-1371 in Florence, Italy. This was the genesis of the renaissance era which also signaled an end to the medieval era of art. With this passing came renewed interest in the classical Greek philosophical themes and the discovery of humanism. While not the originator of painting,

The Mona Lisa has to be one of my favorite paintings of all time and has lead me to use this specific painting as a topic for this paper. Not to mention the love I have for Leonardo da Vinci. I, myself have always been drawn to da Vinci’s paintings and all of his other achievements that he has given us during his life. I, like Leonardo da Vinci love art and science just as much as it seems he did. He shares a love of art and a fondness for science. It also seems that he loves a good mystery, and the Mona Lisa just happens to be one clouded in mystery. And I too love a good mystery.

Beginning with the Renaissance (1400-1600) we see a change in the subject matter being portrayed by artists of the time. We can attribute this change not only to the change in patrons, from the Christian church to wealthy bankers and politicians, but also to the growing body of scientific knowledge. “The Renaissance was

Masaccio was not named among the painters ‘who have been illustrious in our age’ in Fazio’s De viris illustribus. Nor was Masaccio included among ‘the best masters who have existed for a good while back’ in the list of artists by whom the Florentine merchant Giovanni Rucellai owned works in c. 1470. This omission, however, presumably reflected the difficulty of acquiring panel paintings by Masaccio, which inevitably have always been rare, rather than an opinion that Masaccio was not one of ‘the best masters’ (Ahl 158).

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.