The most famous historical figures of the Renaissance. Renaissance culture

FRANCESCO PETRARCA(1304-1374) - the founder of the Italian Renaissance, the great poet and thinker, political figure. Coming from a popolan family in Florence, he spent many years in Avignon under the papal curia, and the rest of his life in Italy. Petrarch traveled a lot in Europe, was close to the popes, sovereigns. His political goals: the reform of the church, the cessation of wars, the unity of Italy. Petrarch was a connoisseur of ancient philosophy, he deserves the merit of collecting manuscripts of ancient authors, their textual processing.

Petrarch developed humanistic ideas not only in his brilliant, innovative poetry, but also in Latin prose writings - treatises, numerous letters, including his main epistolary "The Book of Everyday Affairs".

It is customary to say about Francesco Petrarch that he is stronger than anyone - at least in his time - focused on himself. What was not only the first "individualist" of the New Age, but much more than that - a strikingly complete egocentric.

In the works of the thinker, the theocentric systems of the Middle Ages were replaced by the anthropocentrism of Renaissance humanism. Petrarch's "discovery of man" made it possible for a deeper knowledge of man in science, literature, and art.

LEONARDO DA VINCI ( 1454-1519) - brilliant Italian artist, sculptor, scientist, engineer. Born in Anchiano, near the village of Vinci; his father was a notary who moved in 1469 to Florence. Leonardo's first teacher was Andrea Verrocchio.

Leonardo's interest in man and nature speaks of his close connection with humanistic culture. He considered the creative abilities of man to be unlimited. Leonardo was one of the first to substantiate the idea of ​​the cognizability of the world through reason and sensations, which was firmly established in the ideas of thinkers of the 16th century. He himself said about himself: "I would comprehend all the secrets, getting to the bottom!"

Leonardo's research concerned a wide range problems of mathematics, physics, astronomy, botany, and other sciences. His numerous inventions were based on a deep study of nature, the laws of its development. He was also an innovator in the theory of painting. Leonardo saw the highest manifestation of creativity in the activity of an artist who scientifically comprehends the world and reproduces it on canvas. The contribution of the thinker to the Renaissance aesthetics can be judged by his "Book on Painting". He was the embodiment of the "universal man" created by the Renaissance.

NICCOLO MACHIAVELLI(1469-1527) - Italian thinker, diplomat, historian. After the restoration in Florence, the Medici authorities were removed from state activity. In 1513-1520 he was in exile. This period includes the creation of the most significant works of Machiavelli - "The Sovereign", "Discourses on the first decade of Titus Livius", "History of Florence", which earned him European fame. political ideal Machiavelli - the Roman Republic, in which he saw the embodiment of the idea of ​​​​a strong state, the people of which "much surpass the sovereigns both in virtue and in glory." ("Discourses on the first decade of Titus Livius"). The ideas of N. Machiavelli had a very significant impact on the development of political doctrines.

THOMAS MOP(1478-1535) - English humanist, writer, statesman.

Born into the family of a London lawyer, he was educated at Oxford University, where he joined the circle of Oxford humanists. Under Henry VIII, he held a number of high government posts. Very important for the formation and development of More as a humanist was his meeting and friendship with Erasmus of Rotterdam. He was accused of high treason and executed on July 6, 1535.

Most famous work Thomas More - "Utopia", which also reflected the author's passion ancient Greek literature and philosophy, and the influence of Christian thought, in particular Augustine's treatise "On the City of God", as well as an ideological connection with Erasmus of Rotterdam, whose humanistic ideal was in many ways close to More. His ideas had a strong influence on social thought.

Erasmus of Rotterdam(1469-1536) - one of the most prominent representatives of European humanism and the most versatile of the then scientists.

Erasmus, the illegitimate son of a poor parish priest, early years spent in the Augustinian monastery, which he managed to leave in 1493. He studied the works of Italian humanists and scientific literature with great enthusiasm, and became the greatest connoisseur of Greek and Latin.

Erasmus' most famous work is the satire Praise of Stupidity (1509), modeled after Lucian, which was written in the home of Thomas More in just one week. Erasmus of Rotterdam tried to synthesize the cultural traditions of antiquity and early Christianity. He believed in the natural goodness of man, he wanted people to be guided by the requirements of reason; among the spiritual values ​​of Erasmus - freedom of spirit, abstinence, education, simplicity.

THOMAS MUNZER(circa 1490-1525) - German theologian and ideologist of the early Reformation and the Peasants' War of 1524-1526 in Germany.

The son of a craftsman, Müntzer was educated at the universities of Leipzig and Frankfurt an der Oder, where he graduated with a bachelor's degree in theology, and became a preacher. He was influenced by mystics, Anabaptists and Hussites. In the early years of the Reformation, Müntzer was an adherent and supporter of Luther. He then developed his doctrine of the popular Reformation.

In the understanding of Müntzer, the main tasks of the Reformation were not to establish a new church dogma or new form religiosity, but in the proclamation of an imminent socio-political upheaval, which should be carried out by a mass of peasants and the urban poor. Thomas Müntzer strove for a republic of equal citizens, in which people would take care that justice and law prevail.

For Müntzer, Holy Scripture was subject to free interpretation in the context of contemporary events, an interpretation directly addressed to the spiritual experience of the reader.

Thomas Münzer was captured after the defeat of the rebels in an unequal battle on May 15, 1525 and, after severe torture, was executed.

Conclusion
Concluding the consideration of the philosophical searches of the Renaissance, it is necessary to note the ambiguity of assessments of its heritage. Despite the general recognition of the uniqueness of the Renaissance culture as a whole, this period for a long time was not considered original in the development of philosophy and, therefore, worthy of being singled out as an independent stage philosophical thought. However, the duality and inconsistency of the philosophical thinking of this time should not belittle its significance for the subsequent development of philosophy, cast doubt on the merits of Renaissance thinkers in overcoming medieval scholasticism and creating the foundations of the philosophy of the New Age.

The most important discovery of the Renaissance is the discovery of man. In antiquity, the sense of kind was not conducive to the development of individuality. Stoicism, putting forward the idea of ​​personality and responsibility, and Christianity, insisting on the real existence of the soul, which lies outside the sphere and jurisdiction of worldly power, created a new concept of personality. But the social system of the Middle Ages, built on status and custom, discouraged the individual, emphasizing the importance of class and group.

The Renaissance went beyond the moral precepts of Stoicism and the spiritual uniqueness of Christianity and saw a man in the flesh - a man in his relationship to himself, to society, to the world. Man has become the center of the universe instead of God. Many countries participated in the Renaissance, but from beginning to end, Italy's share was the largest. Italy never broke with antiquity, the dead weight of uniformity did not crush her as in other countries. Here social life was in full swing, despite wars and invasions, and the city-states of Italy were islands of republicanism among the sea of ​​European monarchies. Superiority in international trade and finance has made Italian cities rich and created the conditions for the flourishing of the sciences and arts.

Renaissance figures formulated new views on public life. Biblical stories about the paradise life of Adam and Eve, about the life of the Jews in the Promised Land, the teachings of Augustine (Aurelius) about the church as the kingdom of God on earth no longer suited anyone. Renaissance figures tried to portray what a person needs society without any mention of the Bible or the teachings of the Holy Fathers. For them, the figures of the Renaissance, society is a necessary environment for human life. It is not in heaven, not a gift from God, but on earth and the result of human efforts. In their opinion, society, firstly, should be built taking into account human nature; secondly, for all people; thirdly, it is a society of the distant future. The greatest influence on the history of philosophical thought and on historical destinies European nations had the teachings of the Renaissance on the state system. This is their doctrine of the monarchy and the communist system. The first of these was the ideological basis of Absolutism, which was established later, and the second contributed to the creation of various kinds of communist theories, including Marxist communism.

This concludes our review of the boundless history of the philosophical thought of the Renaissance. On the foundation of this thought, over a period of one and a half to two centuries, a whole galaxy of unique and great philosophers grew up, including John Locke and Niccolò Machiavelli.

Table number 1. Philosophy of the Renaissance.

The chronology of the Italian Renaissance is connected with the definition of the main features - renaissance . The time in which the features mentioned above barely appear is characterized as the Pre-Renaissance (Proto-Renaissance), or in the designation by the names of the centuries - ducento (XIII century) and trecento (XIV century). The period of time when a cultural tradition that meets these features can be clearly traced is called early renaissance(quattrocento (XV century). The time that became the heyday of the ideas and principles of Italian Renaissance culture, as well as the eve of its crisis, is commonly called the high Renaissance (cinquecento (XVI century).

The culture of the Italian Renaissance gave the world poet Dante Alighieri, painter Giotto di Bondone, poet, humanist Francesco Petrarch, poet, writer, humanist Giovanni Boccaccio, architect Philip Bruneleschi, sculptor Donatello, painter Masaccio, humanist, writer Lorenzo Valla, humanist, writer Pico della Mirandola , philosopher, humanist Marsilio Ficino, painter Sandro Botticelli, painter, scientist Leonardo da Vinci, painter, sculptor, architect Michelangelo Buonarotti, painter Rafael Santi and many other prominent personalities.

The clear focus of the Renaissance on man is associated with socio-economic factors, in particular with the development of a simple commodity-money economy. In many ways, the reason for the independence of man, his nascent free-thinking was urban culture. It is well known that medieval cities were the concentration of masters of their craft - people who left the peasant economy and who fully believe to live by earning their own bread by their craft. Naturally, ideas about an independent person could only be formed among such people.

The cities of Italy were famous for their various crafts, in addition, they actively participated in transit trade. It is obvious that the reasons for the development of Italian cities were different nature, But exactly urban culture created new people. However, the self-affirmation of the individual in the Renaissance was not distinguished by a vulgar materialistic content, but was of a spiritual nature. The Christian tradition had a decisive influence here. The time in which the revivalists lived really made them realize their significance, their responsibility for themselves. But they have not yet ceased to be people of the Middle Ages. Without losing God and faith, they only looked at themselves in a new way. And the modification of medieval consciousness was superimposed on a close interest in antiquity, which created a unique and inimitable culture, which, of course, was the prerogative of the tops of society.

Early humanists: the poet-philosopher F. Petrarch (1304-1374), the writer G. Boccaccio (1313-1375) - wanted to create a beautiful human personality, free from the prejudices of the Middle Ages, and therefore, first of all, they tried to change the education system: to introduce into it humanitarian sciences with an emphasis on studying ancient literature and philosophy. At the same time, the humanists by no means overthrew religion, although the church itself and its ministers were objects of ridicule. Rather, they sought to combine two scales of values.

In his "Confession" Petrarch wrote that the ascetic morality of Christianity purifies the soul, but no less important is the awareness of the value of earthly existence, inherited from the Greeks and Romans. Thus, the medieval opposition of flesh and spirit was eliminated. The rehabilitation of the earthly was manifested in that era, primarily in the apology for the beauty of the world and human body, carnal love.

Artists also began to see the world differently: flat, as if incorporeal images of medieval art gave way to three-dimensional, relief, convex space. Rafael Santi (1483-1520), Leonardo da Vinci (1452-1519), Michelangelo Buonarroti (1475-1564) sang with their creativity a perfect personality, in which physical and spiritual beauty merge together in accordance with the requirements of ancient aesthetics.

The great artist Sandro Botticelli expressed the spiritual content of the early Renaissance more sharply than others. His work answers all characteristic features early Renaissance. This period, more than any other, is focused on search for the best opportunities in the transmission of the surrounding world. It was at this time that developments in the field of linear and aerial perspective, chiaroscuro, proportionality, symmetry, overall composition, color, image relief. This was due to the restructuring of the entire system of artistic vision. To perceive the world in a new way meant to see it in a new way. And Botticelli saw him in line with the new time, but the images he created are striking in the extraordinary intimacy of inner experiences. In the work of Botticelli, the nervousness of lines, impetuous movements, grace and fragility of images, a characteristic change in proportions, expressed in excessive thinness and elongation of figures, falling hair in a special way, characteristic movements of the edges of clothing, captivate. In other words, along with the distinctness of lines and drawing, so revered by the artists of the early Renaissance, in the work of Botticelli there is, like no other, the deepest psychologism. This is unconditionally evidenced by the paintings "Spring" and "The Birth of Venus".

The tragedy of the worldview - the discrepancy between the idea, grandiose and great, the result of creativity, beautiful for contemporaries and posterity, but painfully insufficient for the artist himself - makes Botticelli a true revivalist. The tragedy shines through in the secret spiritual movements shown by the great master in his portraits and even in the sad face of the goddess of beauty Venus herself. . Culturology: Textbook for University Students Ed. by G.V. Fight. - Rostov-n-D: "Phoenix", 2003. S. 244.

The fate and work of Botticelli, as well as the fate of many revivalists, was influenced by the personality of Girolamo Savonarola (1452 - 1498). From one rather traditional point of view, Savonarola is difficult to rank among the cultural figures of the Renaissance. His thoughts and beliefs are too different from the general style of the Renaissance worldview. On the other hand, he is a true representative of this culture. His writings were a great success. He constantly exposed the vices of the aristocracy and the clergy. Yet Savonarola was a revivalist. True faith in Christ, incorruptibility, decency, depth of thought testified to the spiritual fullness of his being and thus made him a true representative of the Renaissance culture. The very appearance of Savonarola's personality confirms the fact that the culture of the Renaissance, not having a folk basis under it, affected only the tops of society. The general style of Renaissance thinking, the modification of religious consciousness did not meet with responses in the souls common people, and Savonarola's sermons and his sincere faith shocked him. It was a broad understanding of the people that helped Savonarola, in fact, defeat the humanistic enthusiasm of the Florentines. Savonarola remains in history a vivid example of a revivalist, but only of a completely different type than the humanists F. Petrarch and L. Valla or the artists Leonardo da Vinci and Raphael. And this only expands the idea of ​​​​the amazing and attractive culture of the Renaissance - a restless time, “when a person begins to demand freedom, the soul breaks the fetters of church and state, the body blossoms under heavy clothes, the will conquers the mind; from the grave of the Middle Ages, next to the highest thoughts, the lowest instincts break out, "when" human life a whirlwind movement was reported, it spun in a spring round dance, ”A. Blok figuratively described this culture.

A man with his earthly passions and desires also appeared in literature. The forbidden theme of carnal love, its naturalistic descriptions have gained the right to exist. However, the carnal did not suppress the spiritual. Like philosophers, writers tried to create a harmony between the two principles, or at least to balance them. In Boccaccio's famous Decameron, mischievous frivolous stories about voluptuaries alternate with tragic stories about unrequited or selfless love. In the sonnets of Petrarch, dedicated to the beautiful Laura, earthly features are given to heavenly love, but earthly feelings are elevated to heavenly harmony.

Among the representatives of the culture of the Renaissance there are individuals who most fully expressed the features of one or another of its periods.

The largest representative of the Proto-Renaissance period, Dante Alighieri, is a legendary figure, a man whose work showed the first trends in the development of Italian literature and culture in general for centuries to come. Peru Dante owns the original lyric autobiography " New life”, the philosophical treatise “Feast”, the treatise “On in native language”, sonnets, canzones and other works. But the most, of course, his famous work is the "Comedy" called the descendants of the Divine. In it, the great poet uses a plot familiar to the Middle Ages - he depicts himself traveling through Hell, Purgatory and Paradise, accompanied by the long-dead Roman poet Virgil. However, despite the plot, which is far from everyday life, the work is filled with pictures of the life of contemporary Italy and is full of symbolic images and allegory.

The first thing that characterizes Dante as a person new culture, this is his appeal at the very beginning creative life to the so-called "new sweet style" - a direction full of sincerity of emotions, but at the same time of profound philosophical content. This style differs in resolution central problem medieval lyrics - the relationship of "earthly" and "heavenly" love. If religious poetry has always called for abandoning earthly love, and courtly poetry, on the contrary, sang of earthly passion, then the new sweet style, preserving the image of earthly love, spiritualizes it to the maximum: it appears as an incarnation of God accessible to human perception. The spiritualized feeling of love brings with it a joy that is alien to religious morality and asceticism.

The task of approaching the world of eternal essences, to the divine idea, confronts all the artists of the Renaissance, and the fact that Dante gravitates towards symbolism emphasizes this desire. In Dante's Divine Comedy, the personal attitude towards sinners diverges from the generally accepted norms of divine justice. great poet practically rethinks the medieval system of sins and punishments for them. Dante sympathizes with sinners condemned for sensual love. Of course, only a person of a new era could be so compassionate, even though it was only emerging, but already distinguished by its originality and originality.

All Dante's work: both his "Divine Comedy", and his canzones, sonnets, philosophical works - testify to what is coming new era filled with a genuine deep interest in a person and his life. In the work of Dante and in his very personality are the origins of this era. Culturology. History of world culture: Textbook for universities / Ed. A.N. Markova. M.: Culture and sport, UNITI, 1998. S. 338.

Drawing the ideal human personality, the figures of the Renaissance emphasized her kindness, strength, heroism, the ability to create and create around them new world. The Italian humanists Lorenzo Valla (1407-1457) and L. Alberti (1404-1472) considered the accumulated knowledge that helps a person to make a choice between good and evil as an indispensable condition for this. The high idea of ​​a person was inextricably linked with the idea of ​​his freedom of will: a person chooses his own life path and is in charge of her own destiny. The value of a person began to be determined by his personal merits, and not by his position in society: “Nobility, like a kind of radiance emanating from virtue and illuminating its owners, no matter what origin they are.” The era of spontaneous and violent self-affirmation of the human personality was coming, freeing itself from medieval corporatism and morality, subordinating the individual to the whole. It was the time of titanism, which manifested itself both in art and in life. Enough to remember heroic images, created by Michelangelo, and their creator himself - a poet, artist, sculptor. People like Michelangelo or Leonardo da Vinci were real examples of limitless possibilities person.

During the Renaissance, the formation modern performance about art, the theory of art - aesthetics - is developing. Man and nature are at the center of art. Artists and sculptors are looking for means and techniques for the appropriate reproduction of life in all its diversity and richness. To do this, artists turn to mathematics, anatomy, and optics. A feature of the aesthetics of the Renaissance was that it was directly associated with artistic practice. The essence of art was defined as "imitation of nature", therefore it is painting, as a form of art, that most accurately reflects reality, develops most intensively. Aesthetics of the Renaissance, based on the definition of the essence of art, pays great attention to resemblance. The world surrounding a person is beautiful and harmonious, and therefore deserves to be reproduced in its entirety. Therefore, so much attention is paid to the technical problems of art: linear perspective, chiaroscuro, tonal color, proportions.

In the Renaissance, an idea is formed of a person as an "earthly God", who is the real creator of his essence and everything that human hands and intellect create. This idea is most fully embodied in the figure of the artist, in his work he combines the human (i.e. skill, performance) and the divine (idea, talent). It is such a person who becomes a truly universally developed personality. It is the artist, combining theory and practice in his activity, creating real objects from "nothing", from an idea, a plan, who is likened to God. Therefore, art occupies such an important place in the culture of the Renaissance, and the artist from a craftsman, as he was considered in the Middle Ages, turns into an artist, enjoys public respect. renaissance motif culture illusory

One of the central figures of the Renaissance was the Italian architect, art theorist, writer Leon Battista Alberti (1404-1472). He developed his own ethical doctrine, in which he solved the problems of beauty and artistic creativity. At the center of Alberti's aesthetics is the doctrine of beauty. Beauty, in his opinion, lies in harmony. Unlike the aesthetics of the Middle Ages, he denied the divine nature of beauty, considering it a sign of the object itself. "Beauty, - he writes, is a certain agreement and consonance of parts in that, parts of which it is." It was in the harmony that organizes these parts that I saw the essence of beauty. This harmony reigns throughout the world. The task of art is to discover the objective foundations of beauty and to be guided by them. The harmony of each art lies in the ordering of certain elements inherent only to it, for example, in music, such elements are rhythm, melody, composition. In explaining the phenomenon of creativity, he emphasized the innovation and invention of the artist - the owner of unlimited creative possibilities.

There are three elements that make up beauty, in particular beauty architectural structure. These are number, constraint and placement. But beauty is not a simple arithmetic sum of them. Without harmony, the higher harmony of the parts falls apart. It is characteristic how Alberti interprets the concept of "ugly". Beautiful for him is an absolute object of art. The ugly acts only as a certain kind of error. Hence the demand that art should not correct, but hide ugly and ugly objects.

The aesthetics of Leonardo da Vinci (1452-1519) is associated with artistic practice. His aesthetic concept is based on the idea of ​​the priority of experience (feelings) over human thinking. Leonardo da Vinci in his life, scientific and artistic creativity embodied the humanistic ideal of a "comprehensively developed personality." The range of his practical and theoretical interests was truly universal. It included painting, sculpture, architecture, pyrotechnics, military and civil engineering, mathematics and science, medicine, and music.

Just like Alberti, he sees in painting not only "the transfer of the visible creations of nature", but also "witty fiction". At the same time, he fundamentally looks at the purpose and essence of visual arts, primarily painting. The main issue of his theory was the definition of the essence of painting as a way of knowing the world. "Painting is a science and a legitimate daughter of nature" and "should be placed above any other activity, for it contains all forms, both existing and not existing in nature."

Painting is presented by Leonardo as that universal method of cognition of reality, which covers all objects of the real world. Moreover, the art of painting creates visible images that are understandable and accessible to the understanding of everyone without exception. In this case, it is the personality of the artist, enriched with deep knowledge of the laws of the universe, that will be the mirror that reflects real world refracted through the prism of creative individuality.

The personal-material aesthetics of the Renaissance, very clearly expressed in the work of Leonardo da Vinci, reaches its most intense forms in Michelangelo Buonarroti (1475-1564). Revealing the failure of the aesthetic revival program that placed the individual at the center of the whole world, the figures High Renaissance different ways express this loss of the main support in their work. If in Leonardo the figures depicted by him are ready to dissolve in their environment, if they are, as it were, enveloped in some kind of light haze, then Michelangelo is characterized by a completely opposite feature. Each figure in his compositions is something closed in itself, so the figures are sometimes so unrelated to each other that the integrity of the composition is destroyed.

Carried away to the very end of his life by an ever-increasing wave of exalted religiosity, Michelangelo comes to the denial of everything that he worshiped in his youth, and above all, to the denial of a flowering naked body, expressing superhuman power and energy. He ceases to serve the Renaissance idols. In his mind, they are defeated, just as the main idol of the Renaissance turns out to be defeated - faith in the unlimited creative power of man, through art becoming equal to God. The entire life path he passed from now on seems to Michelangelo to be a complete delusion.

The message on the topic: “The Renaissance”, summarized in this article, will tell you about this amazing era in the history of culture.

Report "Renaissance"

Renaissance culture swept Italy, and Florence was its center. For the first time the term "revival" was used by the famous architect, art historian and painter Giorgio Vasari in his work "Biography of the most famous painters, sculptors and architects. But why is the era called the Renaissance? The fact is that it relied on Antiquity, and the Renaissance on initial stage was meant as a revival of Antiquity. Later, it meant the revival of man, humanism. This is a unique and unique culture that has left behind many masterpieces. There are two types of Renaissance - Northern Renaissance and Italian Renaissance.

Features of the Renaissance are expressed in its features:

• Humanism
• anthropocentrism
• New attitude to the world
• Revival of ancient philosophy and ancient monuments of art
• Modification of the Christian medieval tradition

The essence of the Renaissance

In the Renaissance, they adhered to medieval views - the hierarchy of the worlds, the divine origin of the world, symbolic analogies of the divine and earthly worlds. But, nevertheless, there is a slight difference in the ideas about the world order: the essence of this era is in the doctrine of double truth. That is, in justifying the distinction between the power of the state and the power of the church.

The figures of the Renaissance or the Renaissance contributed to the scientific - rationalistic worldview, thanks to discoveries in astronomy. Their ideas of the heliocentric model and the infinity of the Universe, the multiplicity of worlds became the basis of a new worldview.

During the Renaissance, formed new type personal behavior: awareness of one's own originality and uniqueness, thanks to which a person is able to do a lot. The culture has a pattern cultured person- Homo universalis. She characterized a creative and hard-working personality.

During this period, the influence of the church on society began to weaken. And the development of book printing contributed to the growth of the level of literacy, education, the development of arts, sciences, and fiction. Representatives of the bourgeoisie created a secular science, which was based on the study of the heritage of ancient writers and nature.

In addition to the bourgeoisie, artists and writers dared to speak out against the church. They carried to the masses the idea that not God is the greatest value, but man. In his earthly life, he must realize personal interests in order to live it meaningfully, fully and happily. Such cultural figures were called humanists.

The Renaissance is characterized by a cycle of changes in literature. Appeared new genre Renaissance realism, which was looking for an answer to the question of the importance and complexity of establishing a person as a person, the formation of his effective and creative beginning.

Representatives of the Renaissance rejected the slavish obedience preached by the church. In their understanding, man was presented as the highest creation of nature, filled with the beauty of the physical appearance, the richness of the mind and soul.

The world of the Renaissance is most expressively and vividly expressed in the Sistine Chapel of the Vatican, the author of which was Michelangelo. The vault of the chapel is decorated with biblical scenes. Their main motive is the creation of the world and the creation of man. The fresco "The Last Judgment" is a work that completed the Renaissance in art.

A few words should also be said about the Northern Renaissance. It played more of an economic role, penetrating into commodity-money relations, market pan-European processes. They changed people's minds. The influence of Antiquity is little felt here, it is more like a reformation movement.

"Renaissance or the Renaissance" - "Love struggle in a dream" (1499) - one of the highest achievements of the Renaissance printing. The Italian Renaissance had practically no influence on other countries until 1450. In the 15th century (1459), the Platonic Academy in Careggi was revived in Florence. Astronomical instruments in Holbein's The Ambassadors (1533).

"Culture of the Renaissance" - Periodization of the Renaissance. Man's faith in his unlimited possibilities. Matthew", "Madonna and Child", "Madonna Doni" (Uffizi), the Medici tombs in Florence. Bellini, head of the Venetian school, a wonderful colorist and portrayer of the naked body. Humanism (from lat. Graduation.

"Renaissance" - The Renaissance. Contradictions of the Renaissance. Renaissance and Reformation: Contradictions of the Renaissance. N.Machiaveli. Jean Calvin "The Pope of Geneva" 1517 - 95 theses of Martin Luther Protestantism. A tragic sense of world catastrophe prevails. Reasons for the Reformation. Secular ethics. Sistine Madonna 1515 - 1519.

"Renaissance Time" - "Madonna de Litta". Secret supper. Rafael Santi. The Renaissance ends with the emergence of new musical genres - solo songs, cantatas, oratorios and operas, The Birth of Christ. Ariosto, Ludovico (Ariosto, Lodovico) (1474-1533), Italian poet. Northern Renaissance. "The Abduction of Europe". Jan van Eyck (c. 1390-1441).

"Renaissance Renaissance" - Alessandro Filipepi, Filipepi) (1445-1510), Italian painter. France. He was close to the Medici court and the humanistic circles of Florence. An original Renaissance culture developed in Spain, Portugal and England. RAFAEL SANTI ( Raffaello Santi) (1483-1520), Italian painter and architect. Rafael Santi. "Dispute".