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| Cultural rebirth, Vasari believed rebirth occured originally in Italy, revival of classical antiquity. First used and defined by French historian Jules Michelet in his 1855 work, Histoire de France |
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| Revival of Classical Antiquity |
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| The return to ancient roman themes and styles in painting, sculpting and architecture. Greater attention to nature, emotions and creation of narratives (Humanism & Naturalism) |
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| Depiction of realistic objects in a natural setting |
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Humanism was a move away from a religious view of the world, where God and the Church were the centre of the social and cultural focus, to one which saw human beings as being the agents of their own destiny and thus the focus of society and culture.
A cultural and intellectual movement of the Renaissance that emphasized secular concerns as a result of the rediscovery and study of the literature, art, and civilization of ancient Greece and Rome. |
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| The cultural and artistic events of 15th century Italy are collectively referred to as the Quattrocento, from the Italian for the number 400. Quattrocento encompasses the artistic styles of the late Middle Ages (most notably International Gothic) and the early Renaissance. |
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The Italian city-states were a political phenomenon of small independent states mostly in the central and northern Italian peninsula between the 10th and 15th centuries.
Venice, Milan, Florence, Genoa, Pisa, Siena, Lucca, Cremona and many others, had become large trading metropolises, able to conquer independence from their formal sovereigns. |
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| Different Artistic Schools |
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| The schools of Siena & Florence were very important to the Proto-Renaissance |
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Maniera greca, characterized by a strict formality, a linear flatness, a shallow space, and an emphasis on the spiritual.
Bonaventura Berlinghieri and Cimabue |
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| Used greatly in the Italo-Byzantine Style works to show wealth. |
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| A permanent, fast-drying painting medium consisting of colored pigment mixed with a water-soluble binder medium, or egg whites |
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| Revival of the vows of poverty in the monastery |
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| Mendicant order formed by Saint Francis Assisi |
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| The chief altar in a church, raised on an elevated plane in the sanctuary, where it may be seen simultaneously by all the faithful in the body of the church. |
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| A technique of mural painting executed upon freshly laid lime plaster. Water is used as the vehicle for the pigment and, with the setting of the plaster, the painting becomes an integral part of the wall |
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Seen from an angle. An aspect of perspective.
The size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight |
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| Contrasts between light and dark |
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| Telling of a story through pictoral fields |
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Lorenzetti created paintings to show the effects of good government in the city & country.
Civic pride was the subject of many paintings |
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| Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of art-historical writing. |
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| The guilds were very powerful institutions in Florence, playing a prominent role in the life of the city, both in terms of their political influence and also as wealthy patrons of the arts. |
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| The Italian florin was a coin struck from 1252 to 1533. Was the unit of exchange for many years. |
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| Cathedral of Santa Maria Del Fiore |
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| Duomo of Florence. Engineered by Filippo Brunelleschi. |
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| Two of the Guilds had their headquarters very near Orsanmichele. Opposite the entrance to the church, you can see the 14th century Palazzo dell’Arte della Lana (The Palace of the Wool Merchants’ Guild). The palace is joined to the upper floor of the Orsanmichele by a huge arch, which spans the via dell’ Arte della Lana. |
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| In 1401, a competition was announced by the Arte di Calimala (Cloth Importers Guild) to design doors which would eventually be placed on the north side of the baptistry. with 21-year old Ghiberti winning the commission. |
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| to show or suggest that something will happen in the future |
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| A niche in classical architecture is an exedra or an apse that has been reduced in size, retaining the half-dome heading usual for an apse. One of the earliest buildings which uses external niches containing statues is the Church of Orsanmichele in Florence, built between 1380-1404. |
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| Between 1380 and 1404 Orsanmichele was converted into a church used as the chapel of Florence's powerful craft and trade guilds |
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| Sculpture in the round, not attached to any wall or fixture. New to this era. from classical antiquity |
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| Most of the weight on one foot so that the shoulders and arms twist off-axis from the hips and legs. From classical antiquity |
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| More artists starting to focus on the nude form, and show it in relation to some sort of divinity |
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| An altarpiece is a picture or relief representing a religious subject and suspended in a frame behind the altar of a church. |
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| International Gothic Style |
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| In this period, artists and portable works such as illuminated manuscripts traveled widely around the continent, creating a common aesthetic among the royalty and higher nobility and considerably reducing the variation in national styles among works produced for the courtly elites. |
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| As the distance between an object and a viewer increases, the contrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift towards the background color, which is usually blue, but under some conditions may be some other color (for example, at sunrise or sunset distant colors may shift towards red). |
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an approximate representation, on a flat surface (such as paper), of an image as it is seen by the eye. The two most characteristic features of perspective are that objects are drawn:
Smaller as their distance from the observer increases
Foreshortened: the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight. All lines recede to one point in the background |
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| Renaissance artists, therefore, would be looking at the beauty of the human body or the natural landscape as a reflection of the divine, and contemplating the journey from the earthly to the divine. |
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| We often think of the Renaissance as an entirely Italian phenomenon, but in northern Europe, in an area known as Flanders (which is the northern portion of Belgium today) there was also a Renaissance. Though profoundly different, the Italian and Northern Renaissances shared a similar interest in the natural world, and recreating the illusion of reality in their paintings and sculptures. |
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| Great patrons of the arts in the northern renaissance Their interests were along the lines of illuminated manuscripts, tapestries and furnishings |
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| Merode alterpiece is one. a work of art (usually a panel painting) that is divided into three sections, or three carved panels which are hinged together and can be folded shut or displayed open. |
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| Something that was becoming more common in the Northern Renaissance. Art was made for the home instead of public spaces. |
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| Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, and Jan van Eyck in particular, with the "invention" of painting with oil media on a wood panel support ("support" is the technical term for the underlying backing of a painting). However, Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, On Various Arts, written in 1125. At this period it was probably used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. Early Netherlandish painting in the 15th century was, however, the first to make oil the usual painting medium, and explore the use of layers and glazes, followed by the rest of Northern Europe, and only then Italy. |
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| generally refers to a painting (usually panel painting) which is divided into sections, or panels. |
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is the period denoting the apogee of the visual arts in the Italian Renaissance. The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo's fresco of the Last Supper in Milan and the death of Lorenzo de' Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Charles V.
Since the late eighteenth century, the High Renaissance has been taken to refer to a short (c. 30-year) period of exceptional artistic production in the Italian states, principally Rome, capital of the Papal States, under Pope Julius II. Assertions about where and when the period begins and ends vary, but in general the best-known exponents of painting of the High Renaissance, include Leonardo da Vinci, early Michelangelo and Raphael. Extending the general rubric of Renaissance culture, the visual arts of the High Renaissance were marked by a renewed emphasis upon the classical tradition, the expansion of networks of patronage, and a gradual attenuation of figural forms into the style later termed Mannerism. (1495-1520) |
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is a person whose expertise spans a significant number of different subject areas; such a person is known to draw on complex bodies of knowledge to solve specific problems. The term was first used in the seventeenth century but the related term, polyhistor, is an ancient term with similar meaning.
These thinkers embodied a notion that emerged in Renaissance Italy and that was expressed by one of its most accomplished representatives, Leon Battista Alberti (1404–1472), that "a man can do all things if he will."[3] The concept embodied a basic tenet of Renaissance humanism, that humans are empowered and limitless in their capacity for development, and it led to the notion that people should embrace all knowledge and develop their capacities as fully as possible.
The term applies to the gifted people of the Renaissance who sought to develop their abilities in all areas of knowledge as well as in physical development, social accomplishments, and the arts, in contrast to the vast majority of people of that age who were not well educated. This term entered the lexicon during the twentieth century and has been applied to great thinkers living before and after the Renaissance. |
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| The beginning of the Renaissance in Spain is closely linked to the historical-political life of the monarchy of the Catholic Monarchs |
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| "The Warrior Pope",[2] born Giuliano della Rovere, was the head of the Catholic Church from 1 November 1503 to his death in 1513. His papacy was marked by an active foreign policy, ambitious building projects, and patronage for the arts—he commissioned the destruction and rebuilding of St. Peter's Basilica, plus Michelangelo's decoration of the ceiling of the Sistine Chapel. 1503-13 |
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| central-plan church (as opposed to the longitudinal basilica), in which the altar is set in a circular or polygonal building, or one with four equal arms (the so- called Greek Cross). |
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| Rounded vault resting on circular or cylindrical base |
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| Medieval compilation of lives of saints |
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| Michelangelo. One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur |
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| the head of the Catholic Church from 13 October 1534 to his death in 1549. He came to the papal throne in an era following the sack of Rome in 1527 and rife with uncertainties in the Catholic Church following the Protestant Reformation. During his pontificate, and in the spirit of the Counter-Reformation, new Catholic religious orders and societies, such as the Jesuits, the Barnabites, and the Congregation of the Oratory, attracted a popular following. He convened the Council of Trent in 1545. He was a significant patron of the arts and employed nepotism to advance the power and fortunes of his family. |
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| 95 Theses (1517) German monk, Catholic priest, professor of theology and seminal figure of a reform movement in 16th century Christianity, subsequently known as the Protestant Reformation.[1] He strongly disputed the claim that freedom from God's punishment for sin could be purchased with money. He confronted indulgence salesman Johann Tetzel, a Dominican friar, with his Ninety-Five Theses in 1517. |
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| The Protestant Reformation was the schism within Western Christianity initiated by John Wycliffe, Jan Hus, Martin Luther, John Calvin, and other early Protestants. It was sparked by the 1517 posting of Luther's Ninety-Five Theses. The efforts of the self-described "reformers", who objected to ("protested") the doctrines, rituals, leadership, and ecclesiastical structure of the Roman Catholic Church, led to the creation of new national Protestant churches. |
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The Counter-Reformation (also the Catholic Revival[1] or Catholic Reformation) was the period of Catholic revival beginning with the Council of Trent (1545–1563) and ending at the close of the Thirty Years' War (1648), which is sometimes considered a response to the Protestant Reformation. The Counter-Reformation was a comprehensive effort composed of four major elements:
Ecclesiastical or structural reconfiguration
Religious orders
Spiritual movements
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| Paintings meant to operate in a manner similar to poetry |
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| Colorito. importance of color versus drawing |
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| a term used to describe a classic figural pose in Western art. In this, an unclothed female (either standing or reclining) keeps one hand covering her private parts. (She is a modest lass, this Venus.) The resultant pose - which is not, incidentally, applicable to the male nude - is somewhat asymmetrical and often serves to draw one's eye to the very spot being hidden. |
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