The Simple The Better By Wranke Analysis

The Renaissance was an incredible period for artistic patronage. It seemed as though it was nearly impossible for any well-to-do private individual to avoid some level of interaction with the art world, whether they required art to furnish their lavish houses, or to create religious iconography, or even to provide gifts for family and friends. For a royal family, or a member of the nobility, the need for artistic patronage was considerably larger, given the office they held. ‘Since an aura of personal splendour was a requirement of state, the line between public and private artistic consumption was often unclear. This was especially the case with the Medici, a family which long demonstrated

In the times of the Renaissance there were distinct social levels throughout the hierarchy of the Roman culture. Through this hierarchy there were dukes, serfs, peasants, aristocrats, and one specific group called “courtiers”. The book written by, Baldesar Castiglione, The Courtier helps define exactly what this social class consisted of. This book highlights many of the areas in which one would need to excel at to be considered better than an average man, and on his way to becoming a courtier. The main idea that being a courtier stems from is that of a universal man, or known during the Renaissance, “unos universal”. This was the idea of a man who was able to be proficient

In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and

“No painter can paint well without a thorough knowledge of geometry” (qtd. in Butterfield 27). The Italian Renaissance is famous for its art which includes unique style of painting and sculpting, however, the Renaissance made significant remark on the use of scientific techniques which also can be considered as the influence of classical ideas. Although, classical ideas were not advanced like in the Renaissance, it provided the foundation for the Renaissance to revive it again. The Italian Renaissance transformed the manner of viewing the arts. Before, most people in Italy were bounded by religious thoughts and beliefs. Renaissance helped people to shift their mind and behavior towards the secular ideas, instead of vague ideology like

The Italian and Northern Renaissances’ happened about the same time in the 15th century but the Italian Renaissance is the more famous of the two. The Italian Renaissance is well known because of artists’ like Michelangelo while the Northern Renaissance is well known because of artists like Jan Van Eyck. Although there are many differences in the two renaissances’ there are also a few similarities between them. Both of the Renaissances had distinct artists’ hubs or centers. The Italian’s was in Florence and the Northern Renaissance was in Flanders, Belgium and then eventually Germany.

The lives of those in renaissance Italy depended greatly on their social class. Their diets, pastimes, clothing where they lived and even down to their family customs depended heavily on their wealth- or lack thereof. This paper serves to analyze these important sections of their lives, comparing and contrasting them to the opposite class.

Without the guidance and support of Lorenzo Medici, a patron of the arts who lived in Florence (1449-1492), the art and architecture of the fifteenth century and its influence on later art would not be as great as it is today. Guided by the way he was raised, those he had around him, and what he did for the art community, even as a young patron, de’ Medici changed the time period itself. Earning the title Lorenzo de’ Magnifico for his success promoting and supporting artists, and not because of his political leadership, Lorenzo Medici made an important contribution to the world of art and architecture as one of the time’s major patrons. Throughout this research paper, I will write about several different aspects of de’ Medici’s life. First

During the late Fifteenth, the number of woodcarvers were more prevalent than butchers (“Patrons and Artist in Late 15th-Century Florence”). This example indicates that art was a more prioritized commodity than meat, which subsequently means artists were greatly valued. People who treasured art ranged from upper class to middle class, or lower class (“Patrons and Artist in Late 15th-Century Florence”). Much of the artists that were called by patrons in the courts because their projects came from southern Netherland cities such as: Burges, Brussels, Ghent, and Toumai (Davies et al. 476). Apparently, the patrons harbored a lot of jealousy of the unique status their artistic charges, that of independency in addition to the privileges

Merchants and bankers were the most socially mobile group in the renaissance. The often started from humble beginnings- as peddlers or craftsmen, for example- and exploited new commercial opportunities to become very wealthy. Once they were rich, they tried to behave like the nobility. Many became patrons and leaders of society (“Social Order” pp.58).

Having the social status of an actual artist one should have a bee paid in a monthly basis for his or her work. “The court environment for a painter was lacking privilege that other in the fields of singing could have. Satisfying a lord was no easy task in some frescos of Mantegna show the importance and power lords had for them the artist were not free to enter some specific areas, back in that time. “courtiers could not simple enter any room at will … “ (pg. 23) having choose a choir carrier was better life form a painters or illuminators because the lords were looking for more of a live performance in the act of they will also enjoy the process. For a painter the only time they would have been near or face to face would be in the process of creating frescos. Warnke introduce the Dioda, she was wa singer and a clown. Dioda was known as a buffone, the primary function of a buffone was to provide any act of amusement. Been a buffone would lack the respect from everyone else since every time had to make silly actions or saying funny sentence., Incorporating laughter

In fact, Giovanni and Lusanna reassures on the discussion of how much social status and wealth affected the citizens of fifteenth century Florence in several ways. From what information has

The Medici could be regarded as the very first inveterate collectors of great modern art, with their complicated emotions involved, such as their guilt, ambition of authority, and sexual lust. In the end, the Medici did not only collect paintings and sculptures; they had changed the very nature of art itself. Art had been transformed from serving Christianity to personal collecting purpose. Francesco I de’ Medici’s Studiolo could be marked as a sign of art as personal preference rather than being used on other larger perspectives. Following up his father Cosimo de’ Medici’s artistic projects, Francesco has led them to an ultimate conclusion and a glorious beginning. According to the name of Studiolo, we could infer that this is a place for collecting and displaying one’s rare, precious curiosities. The Studiolo was commissioned by Francesco I de’ Medici, who also known as the Grand Duke of Tuscany. Being different from his ancestors, Francesco was only interested in searching bizarre and fascinating art pieces for his own eyes. Francesco was obsessed amassing exotic objects for his whole life. Thus, he has built himself a private chamber to store his own collections. The death of the republicanism brought a turning point for the Medici in 1532. In 1564, when Francesco’s father, Grand Duke Cosimo, the First handed over control of the government to him, he became the prince regent. Though “Francesco I de’ Medici has not played a highlighting role in the history, and even

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

There was of yore in Florence, a gallant named Federigo di Messer Filippo Alberighi, whise feats of arms and courtesy had not his peer in Tuscany. As is the common lot of gentlemen, Federigo became enamored of a lady named Monna Giovanna, who in her day held rank among the fairest and most elegant ladies of Florence; to gain whose love he jousted, tilted, gave entertainments, scattered largess, and, in short, set no bounds to his expenditure. However, the lady, no less virtuous than fair, cared not a lot for what he did for her sake, nor yet for him.

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.