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The Renaissance Artist: Flippo Brunelleschi

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In the time of the Renaissance, education was prevalent as was the expectation of gentleman to be well rounded individuals. The educational requirements of the time were highlighted by the study of perspective, proportion, geometry and mathematics. The discovery and visual evidence resulted in a philosophical revolution of artists controlling three dimensional forms on a two dimensional canvas, personalizing the experience for the viewer (Biography.com, n.d.). This study of perspective ushered in social changes during the period, formerly unknown artists of a guilds were now occupying their own confidence as social and mental equals of their patrons (Adams, 68). In this period men sought to define the world, or at least their art in mathematical…show more content…
Brunelleschi not only introduced a fusing of Roman antiquity with naturalism and perspective; but his technique of pictorial perspective spread like wild fire amongst artists and architects alike. While perspective was already in use it was Brunelleschi’s scientific approach that would change how art and architecture was perceived (Encyclopedia of Art, n.d.). Brunelleschi is heralded as an artist, architect and sculptor that embraced use of new techniques and old ideas simultaneously making them relatable (Encyclopedia of Art History,…show more content…
Bartolommeo or Michelozzo was an architect and sculptor, often referred to as contemporary of Brunelleschi (Oxford University Press, 2000). In his short time on earth Flippo is credited with the Medici Chapel at the Church of Sante Croce, the façade of Sant Agostino Church in Montepulciano and the Palace of Medici. Michelozzo is also responsible for the renovation or reconstruction of the Church and Monastery at San Marcos. The triple isled library in the Monastery featured a vaulted ceiling; Michelozzo’s reconstruction of the library on property would become the blueprint for other libraries in the century following his passing (The Editors of Encyclopedia Britannica, 2008). In viewing the cloister at the San Marcos Monastery, Brunelleschi’s influence is very prominent. Location dominates the religious symbolism of this holy place. The architecture is classical and simplistic, reminiscent of the Hospital of the Innocents; full of Romanesque influence. The front eve, or portico mirrors that of the other property, and features arches proportionate to the surrounding landscape in number and symmetrical on all sides of each cloister. The columns also mirror the unadorned simplicity seen at the Hospital of the Innocents, as does the color.
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