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Renaissance - Italian Renaissance (painting). early renaissance painting early renaissance painting

The Renaissance brought great changes to the art of painting. Artists have mastered the ability to subtly convey light and shadow, space, the poses and gestures of their characters have become natural. With great skill they depicted complex human feelings in their paintings.

In the painting of the Early Renaissance, or Quattrocento (XV century), major notes usually sound; it is distinguished by pure colors, the characters are lined up and outlined by dark contours that separate them from the background and light backgrounds. All the details are very detailed and meticulous. Although the painting of the Quattrocento is not yet as perfect as the art of the High and Late Renaissance, it touches the viewer to the core with its purity and sincerity.

The very first significant painter of the Early Renaissance was Masaccio. Although the artist lived only 28 years, he managed to leave a significant contribution not only to Renaissance painting, but to everything. world art. His paintings are distinguished by deep color, the figures seem dense and surprisingly alive. Masaccio perfectly conveys perspective and volume, owns chiaroscuro effects. He was the first of the painters of the Early Renaissance to depict the naked human body and presented his heroes as beautiful and strong, worthy of respect and admiration. Later, such great masters of the High Renaissance as Leonardo da Vinci, Michelangelo and Raphael studied on the works of Masaccio (“Expulsion from Paradise”, “Miracle with a Fee”).

During this period, many wonderful artists created their creations. Paolo Uccello worked in Florence, who painted battle scenes and was famous for his ability to portray horses and riders in complex angles and poses. Giorgio Vasari, a mediocre artist and a remarkable biographer and art historian who lived in the 16th century, said that Uccello could not leave his house for weeks and even months, solving the toughest problems perspectives. To his loved ones, who begged him to interrupt these studies, he replied: "Leave me, there is nothing sweeter than the prospect."

The painter Filippo Lippi worked in Florence. In his youth, he was a monk of the monastery of the Carmelite Brothers, but soon left it, devoting himself to painting. There are many legends about his life. They say that the whole of Florence followed the love affairs of the former monk with interest. The artist kidnapped his future wife, Lucrezia Buti, from the monastery. In the future, he more than once wrote her in the image of the Madonna (“Coronation of Mary”, 1447; “Madonna under the Veil”). The paintings of Filippo Lippi are only formally connected with religious themes: they are devoid of drama and pathos, there is no grandeur and monumentality in them. At the same time, cheerful curly-haired angels, pretty children and lovely women captivate the viewer with their charm. With great skill, the artist paints cozy and fresh forest landscapes, which are the background for biblical scenes. Among contemporaries, the works of Filippo Lippi were very popular; he was the favorite artist of Cosimo de Medici, who was then the ruler of Florence.

At the same time, another Florentine master, a Dominican monk and abbot of the monastery of San Marco, Fra Beato Angelico, worked, whose works are filled with a deep religious feeling. All my life Fra
Angelico dedicated to the creation of icons and frescoes for monasteries. His painting is distinguished by bright and pure colors, shining gilding. The gothically elongated figures of his Madonnas seem spiritualized, detached from everything earthly. One of the best works Fra Angelico - altar composition"The Coronation of Mary" (c. 1435-1436). His Mother of God is the embodiment of poetic, pure femininity, joyful and calm. There is no gloomy mysticism in the painting of the Florentine master; even in the multi-figured altar on the theme of the Last Judgment on the left side, the artist depicted a blissful paradise with figures of happy angels in beautiful clothes.

At this time, oil paints were invented in the Netherlands, which allowed painters to make color transitions more subtle, to use light more freely to revive color. They also helped to achieve a single color tone. First of Italian artists oil paints began to write a representative of the Florentine school, a Venetian by birth, Domenico Veneziano. Already in his early works (“The Adoration of the Magi”, 1434), the artist’s coloristic talent is clearly manifested. Pure, almost transparent colors, saturated with light, form a single tonal range. Later works amaze with the virtuoso transmission of the light-air environment - it is believed that Domenico Veneziano was one of the first to depict it on his canvases.

The skill of the painter was especially fully expressed in the famous Florentine portraits of Domenico Veneziano.

Most often he portrayed female faces in profile (the names of most models are not established) against the background of a silvery sky or landscape. Trying to make the colors cleaner and brighter, the artist added linseed oil to them.

The achievements of Domenico Veneziano were developed by his student and follower Piero della Francesca, who was considered by his contemporaries to be the "monarch of painting". A native of Tuscany, who worked in Florence, he studied the work of Giotto, Masaccio and Paolo Uccello. He also had some influence dutch painting. Not only an artist, but also a well-known art researcher, Piero della Francesca wrote theoretical treatises - "On Perspective in Painting" and a booklet "On Five Correct Bodies".

The works of Piero della Francesca are distinguished by their clear and precise composition, skillful transmission of the light and air environment, clean and fresh colors. The person in his paintings is devoid of that internal conflict that will appear later in the painting of the Late Renaissance and Baroque. The heroes of Piero della Francesca are calm, majestic and courageous. It is these qualities that are inherent in the images of the Duke and Duchess of Urbino - Federigo da Montefeltro and his wife, Battista Sforza, in the famous pair portrait.

The commander, politician and philanthropist, the ruler of Urbino Federigo da Montefeltro was a close friend of the artist. Piero della Francesca portrayed the duke in another famous painting - "Madonna with saints and angels and the customer Federigo da Montefeltro."

Perfectly able to convey perspective, Piero della Francesca wrote magnificent architectural veduta (veduta - a picture-plan of the “ideal city”), which had a great influence on the work of contemporary architects.

During the High Renaissance, the art of Piero della Francesca began to seem outdated, and the Pope invited Raphael to paint the walls of the Vatican, covered with frescoes by Piero della Francesca. Rafael agreed and masterfully coped with the work.

The most vivid artistic ideals of the late Quattrocento were represented by the master of the Umbrian school of painting, Pietro Perugino. His painting, calm, contemplative and lyrical, is filled with fragile and graceful images, surrounded by the poetic hilly landscapes of Umbria. The clear harmony of Perugino's paintings brings his painting closer to the art of the High Renaissance ("Lamentation of Christ", c. 1494-1495; "Madonna with Saints, 1496). Painter
had a great influence on his student - the famous Raphael.

In almost every city in Italy there was an art school that had its own personality.
But they all sought to show in their art the beauty of the earth and man. In this era, one of the most significant cultural centers was Padua with its famous university. In this city in the XV century. lived the connoisseur of art Francesco Squarcione. He collected ancient coins, medals, fragments of bas-reliefs in the vicinity of Padua, as well as far beyond the city. His enthusiasm was transferred to the Padua painters, sculptors, goldsmiths, who surrounded him and considered him their teacher.

Squarcione brought up the great painter Andrea Mantegna, who came to his house as a ten-year-old boy. The work of Mantegna, who lived a long life, is unusually multifaceted: in addition to painting and engraving, he was fond of geometry, optics, and archeology. Loved art in the house of Squarcione ancient Rome(in the Renaissance in Italy they did not yet know about art Ancient Greece), the painter used his images in his works, giving them heroic and romantic features. His saints, rulers, warriors, painted against the backdrop of a gloomy rocky landscape, give the impression of greatness and power. Many of Mantegna's works are permeated with deep drama. Such is his famous composition "Dead Christ", which struck contemporaries with its emotionality.

Mantegna also became famous as a talented copper engraver. He was the first to make engraving an equal form of fine art.

The painting of the Proto-Renaissance reached its peak in the work of Botticelli.

Sandro Botticelli

Not much information has come down to us about the life of Sandro Botticelli and the history of his creation of works that later became the pearls of world fine art. Art critics and historians have become aware of only some facts from the biography of the great master.

Botticelli was born in 1444. He studied painting at the art workshop of Filippo Lippi. Early work Botticelli is marked by the influence of Lippi's art, as well as the ideas formed at the court of Lorenzo de' Medici. However, with a great deal of confidence, we can say that the images created by the great artist were more voluminous and meaningful than the works of painters working under the auspices of the Medici.

The early portraits of Botticelli bear traces of the influence of the painting style of Filippo Lippi, as well as Andrea Verrocchio and Pollaiolo. In later works, the individuality of the master manifests itself more deeply. Thus, the well-known canvas The Adoration of the Magi depicts members of the Medici family and a self-portrait of the artist. The composition is distinguished by richness, brightness and at the same time tenderness of colors, as well as subtle grace and lightness. The images created by Botticelli are filled with lyricism and extraordinary beauty coming from the depths of the soul.

In the 70s. 15th century the first painting by Botticelli appears, bringing the painter great fame among contemporaries and left the memory of the master for centuries. This canvas is "Spring", now stored in the Uffizi Gallery in Florence. The work was written after the artist read one of Poliziano's poems. The images-allegories are presented against the backdrop of a wonderful forest landscape. Similar to paradise, the garden amazes with its unusualness and unearthly beauty. The central place in the composition is given to Venus. On the right side of it is Flora, scattering fabulous flowers, on the left - dancing graces, light and airy, similar to white, almost transparent clouds. Dynamics is created precisely due to the image of graces moving in a round dance.

The whole picture is distinguished by extraordinary beauty and tenderness. Despite the fact that its name is “Spring”, when looking at the picture, a feeling of slight sadness arises, with which we are not used to identifying spring. In the minds of any person, spring is the renewal of the world, joy, delight. Botticelli, on the other hand, is rethinking the generally accepted and familiar images.

In 1481, Sandro Botticelli went to Rome, where he painted the walls of the Sistine Chapel. Among other frescoes of his brush belongs the famous "Life of Moses".

In 1482 the artist again settled in Florence. Art historians and biographers consider this year the most fruitful for the formation and development of the master painter's work. It was then that the famous canvas “The Birth of Venus” appeared, which is now in the Uffizi Gallery in Florence.

There is no planar image in the picture - Botticelli acts here as a master of transferring spatial lines.
It is they who create the impression of depth and volume, designed to show the dynamics of the movements of the characters in the pictorial narrative. The light pastel colors of the canvas and skillfully used combinations of colors (transparent green waters of the sea, blue capes of marshmallows, golden hair of Venus, a dark red cloak in the hands of a nymph) create a feeling of extraordinary tenderness and speak of the subtle sense of color of the artist.

The central figure of the composition is Venus, which has just emerged from the waters of the blue sea. She is naked. However, thanks to her calm and spiritual look, the viewer does not have a feeling of awkwardness. Goddess is beautiful as beautiful as can be unearthly creature that came down from heaven. The image of Venus can be easily recognized on the canvases created by Botticelli based on well-known biblical motifs. Among the paintings with religious content, the most notable are the Madonna Enthroned (1484) and the Madonna in Glory (Magnificat).

Both are currently in the Uffizi Gallery in Florence. "Madonna in Glory" is distinguished by the subtle lyricism of images. The dynamics of the composition is created thanks to the round shape of the picture, the rhythms of which are repeated.
in the arrangement of moving figures. The landscape, brought to the background of the composition, creates volume and space.

The portrait works of the great painter are also unusually beautiful and lyrical. Among them, of particular interest are
portrait of Giuliano Medici and "Portrait of a Youth". However, at present, some art historians attribute the authorship of the last work to Sandro Botticelli's student Filippino Lippi (son of Filippo Lippi).

90s The 15th century became a turning point for the artist. This time is marked by the expulsion of the Medici and the rise to power
Savonarola, whose religious sermons were aimed at denouncing the Pope and wealthy Florentine families. He
he also criticized secular art, and, according to Savonarola, all artists and poets, after death, were expected by fiery hell. To avoid this, it is necessary to renounce art and repent of sins...

These sermons significantly influenced the worldview of Botticelli, which could not but affect his work. The works of the painter, created during this period, are distinguished by unusually deep pessimism, hopelessness and doom. The author is now increasingly turning to Christian subjects, forgetting about antiquity. A characteristic work of Botticelli of this time is The Abandoned Woman, now kept in the Pallavicini collection in Rome. The plot of the picture is quite simple: a weeping woman sits on stone steps against a wall with tightly closed gates. But, despite the simplicity of the content, the picture is very expressive and creates a depressing, sad and dreary mood in the viewer.

In the 1490s 15th century Botticelli's illustrations for Dante's Divine Comedy appear. Only 96 drawings have survived to this day, which are now in the museums of Berlin and the Vatican. All images of sketches are unusually fragile, airy and light, which is a hallmark of all Botticelli's work.

In the same 90s. the great master created the canvas "Slander", stored in the Uffizi Gallery in Florence. The picture is notable for the fact that the manner of writing is somewhat changing here. The lines that create images become sharper and more pointed. The composition is filled with pathos, emotionality and greater, in comparison with other works, certainty of images.

The pinnacle of the expression of the artist's religious fanaticism was a painting called "Lamentation of Christ." Currently, variants of the canvas are stored in the Poldi Pezzoli Museum in Milan and the Alte Pinakothek in Munich. Of particular interest here are the images of those close to Christ, filled with deep sorrow and longing. The impression of tragedy is enhanced by the artist's use of contrasting, sometimes dark, sometimes bright colors. The viewer is no longer incorporeal, almost weightless and invisible images, but quite specific and clear figures.

One of the brightest works related to late period creativity of Botticelli, is the painting "Scenes from the Life of St. Zenobius", currently stored in Dresden art gallery in Germany. Made in the style of painting on ancient altar chapels, the composition is a kind of collage made up of individual paintings that tell about the life of the saint. However, despite the resemblance to old art, in the canvas quite clearly manifested creative individuality painting masters. His images are solid and clear. They are placed not in an abstract space, but against the backdrop of a concrete landscape. The place of action at Botticelli is clearly defined: most often these are ordinary city streets with a beautiful forest visible in the distance.

Of particular interest are the combinations of colors used by the painter. From this point of view, the manner of writing is in many respects similar to the technique of painting ancient icons, the coloring of which is based not on bright contrast, but on the selection of calm, close in color tones.

Sandro Botticelli died on May 17, 1510. His work had a great influence not only on the masters of the XV-XVI centuries, but also on many painters of later eras.

In the era of the Proto-Renaissance, such remarkable artists as the Sienese painters, who lived at the same time as Duccio, the brothers Ambrogio and Pietro Lorenzetti, also worked; the Florentine Masolino and Benozzo Gozzoli, the Umbrian Gentile de Fabriano; painter and medalist Pisanello; Florentines Filippino Lippi (son of Filippo Lippi) and Piero di Cosimo. Representatives of the Umbrian school were painters Luca Signorelli, Pinturicchio, Melozzo da Forli. Cosimo Tura, Ercole Roberti, Francesco del Cossa, Lorenzo Costa worked in Ferrara.

In the XV century. in Florence, another pictorial genre was very popular. Many families had elegant chests (cassone) in which the girls kept their dowry. Masters covered them with skillful carvings and elegant painting. Most often, artists used mythological themes for murals.

Venetian painting

A special place in the art of Quattrocento belongs to Venice. The amazing city, located on one hundred and eighteen islands, separated from each other by one hundred and sixty channels, was in that era a city-state. Venice, a republic of merchants trading with Egypt, Greece, Turkey, Syria, Baghdad, India, Arabia, North Africa, Germany, and Flanders, was open to other cultures.

Venetian painting was designed to capture all the beauty, wealth and splendor of this great city. It reached its peak in the second half of the 15th century. The works of Venetian masters, colorful and festively decorative, adorned temples, palaces, premises of various public institutions, delighting rulers and ordinary citizens.

A prime example Venetian painting is the work of Vittore Carpaccio. His ingenuous narrative compositions poetically represent Venice during solemn ceremonies ("Reception of Ambassadors"). The artist depicts everyday life hometown; he paints scenes from sacred history, interpreting them from the point of view of modernity. These are his "Life of St. Ursula" (1490s), "Scenes from the Life of Mary", "Life of St. Stephen" (1511-1520).

The realistic tendencies of Venetian painting of the Early Renaissance were reflected in the work of Antonello da Messina. One of his most famous paintings is St. Sebastian" (1476). The theme of the martyrdom of St. Sebastian, who became a victim of the enemy of Christianity Diocletian, was widespread among Renaissance artists, but Antonello da Messina interprets it in a special way: in the image of Sebastian there is no that suffering exaltation that is characteristic of works written on the same subject by other painters with this subject. The artist makes the viewer admire the beauty human body and admire the courage and fortitude of a beautiful young man. Air and light permeate the calm landscape against which Sebastian is depicted. Majestic city buildings rise behind him, an antique column lies at his feet.

Antonello da Messina is a wonderful portrait master, the best works of this genre - the so-called. "Self-portrait" (c. 1473), "Condottiere", "Portrait of a Man" (1470s). These works are characterized by restraint and generalization, qualities that were so appreciated by the artist's contemporaries. The portrait work of the master anticipated the work of Giovanni Bellini.

A major master of the Venetian Quattrocento, Giovanni Bellini is considered one of the founders of the High Renaissance. Tragic grandeur marked his work "Madonna with Saints" (1476), "Lamentation of Christ" (1475). His mysterious Madonna of the Lake (c. 1500), inspired by a French poem, attracts attention.
about the golden age "Pilgrimage of the Soul". United in this picture beautiful images antiquity and dreams of a Christian paradise.

Until now, researchers have not fully figured out what the artist wanted to say by depicting ordinary people next to the Virgin, the apostles and saints.

Bellini painted several wonderful portraits (“Boy”, “Portrait of the Doge Leonardo Loredano”, etc.), which began the flowering of portraiture in Venice. The painter's skill in depicting nature, which is an integral part of all his works (St. Francis, 1470s), had a great influence on many Venetian landscape painters of subsequent generations. Bellini's students were such well-known painters as Giorgione and Titian.

Giorgione

Giorgione, not only great painter, but also a talented musician and poet, clearly stands out among the Venetian painters. Vasari wrote that "his lute playing and singing were revered as divine." Probably, hence the special musicality and poetry of Giorgione's paintings - in this he has no equal not only in Italian, but also in world art.

Little is known about Giorgione's life. His real name is Giorgio Barbarelli da Castelfranco. As Vasari writes,
nickname Giorgione ("Big Giorgio") the artist received "for the greatness of the spirit."

Giorgione was born around 1478 in Castelfranco. In his early youth he came to Venice, where he entered the workshop of Giovanni Bellini. Since then, the painter almost did not leave Venice, where he died in 1510 during a plague epidemic.

One of the most famous paintings by Giorgione is the famous "Judith", kept in the Hermitage. The legend tells that the beautiful Judith entered the tent of the leader of the enemy army, Holofernes, and seduced him. When Holofernes fell asleep, the girl beheaded him.

About this mysterious picture Russian artist A. Benois wrote: “ strange picture, the same "ambiguous" and "insidious" as the paintings of Leonardo. Is it Judith? - I want to ask about this strict sad beauty with the face of the Dresden Venus, so calmly trampling on her severed head. Indeed, this canvas contains some kind of contradiction and mystery: the merciless biblical Judith appears in the work of Giorgione in the poetic image of a dreamy girl against the backdrop of a calm and quiet nature.

And this is not the only mystery in the work of Giorgione.

What secret is hidden in the picture “Thunderstorm”, in which, under a stormy sky, among trees and fragments of ancient columns, we see a young woman sitting, feeding a child, and a young man walking at a distance? It is also not clear what the artist wanted to say when he depicted two naked women in the company of two musicians sitting in the shade of a tree on the canvas called “Country Concert”. In the "Country Concert" - his latest work- Giorgione did not have time to finish the landscape in the background, and Titian did it for him. Already in another era, the concept of composition was used by E. Manet in his famous “Breakfast on the Grass”.

Trees, hills, bright distances in the works of Giorgione are not just a background against which figures of people are depicted. The landscape is inextricably linked with the characters with the idea of the works of the Venetian master. So, in the composition “Three Philosophers”, an old man in antique robes, a middle-aged man in an oriental turban and a young man, embodying different stages of the knowledge of nature, represent a single whole with it: the delicate greenery of a mountain valley, a rocky mass, a pale sky illuminated by soft sunbeams.

The same idea of the harmony of man and nature was reflected in one of the masterpieces of Giorgione - the canvas "Sleeping Venus". The sensual and at the same time chaste nudity of the sleepy beauty became the personification of the delightful and at the same time simple Italian landscape, the golden yellow tones of which are repeated in the warm shades of the body of Venus. Later, the motive of "Sleeping Venus" was used by Titian ("Venus of Urbino"), then D. Velasquez ("Venus in front of a mirror"), F. Goya ("Mach") and E. Manet ("Olympia").

Giorgione's deep interest in landscape as an independent element of composition prepared the emergence of a new genre in Italian painting - the landscape.

The work of Giorgione had a significant impact not only on Venetian, but on all Italian painting. The remarkable artist became one of the founders of the art of the High Renaissance. Later, the principles and ideas of his art Giorgione were reflected in the works of a student of Titian.

) - having global importance an era in the history of European culture that replaced the Middle Ages and preceded the Enlightenment and the New Age. It falls - in Italy - at the beginning of the XIV century (everywhere in Europe - from the -XVI centuries) - the last quarter of the XVI century and in some cases - the first decades of the XVII century. A distinctive feature of the Renaissance is the secular nature of culture, its humanism and anthropocentrism (that is, interest, first of all, in a person and his activities). Interest in ancient culture is flourishing, its “revival” is taking place - this is how the term appeared.

Term rebirth already found among the Italian humanists, for example, in Giorgio Vasari. IN modern meaning the term was coined by the 19th-century French historian Jules Michelet. Currently the term rebirth turned into a metaphor for cultural flourishing.

general characteristics

The growth of city-republics led to an increase in the influence of estates that did not participate in feudal relations: craftsmen and artisans, merchants, bankers. All of them were alien to the hierarchical system of values created by medieval, in many respects church culture, and its ascetic, humble spirit. This led to the emergence of humanism - a socio-philosophical movement that considered a person, his personality, his freedom, his active, creative activity as the highest value and criterion for evaluating social institutions.

Secular centers of science and art began to appear in the cities, the activities of which were outside the control of the church. The new worldview turned to antiquity, seeing in it an example of humanistic, non-ascetic relations. The invention of printing in the middle of the 15th century played a huge role in spreading the ancient heritage and new views throughout Europe.

Renaissance periods

Revival is divided into 4 stages:

Proto-Renaissance (2nd half of the 13th century - 14th century)
Early Renaissance (early 15th - late 15th century)
High Renaissance(late 15th - first 20 years of the 16th century)
Late Renaissance (mid-16th - 1590s)

Proto-Renaissance

The Proto-Renaissance is closely connected with the Middle Ages, and actually appeared in Late Middle Ages, with Byzantine, Romanesque and Gothic traditions, this period was the forerunner of the Renaissance. It is divided into two sub-periods: before the death of Giotto di Bondone and after (1337). In the first period, the most important discoveries are made, the brightest masters live and work. The second segment is connected with the plague epidemic that hit Italy. At the end of the 13th century, the main temple building was erected in Florence - the Cathedral of Santa Maria del Fiore, the author was Arnolfo di Cambio, then the work was continued by Giotto, who designed the campanile of the Florence Cathedral.

The art of the proto-Renaissance first manifested itself in sculpture (Niccolò and Giovanni Pisano, Arnolfo di Cambio, Andrea Pisano). Painting is represented by two art schools: Florence (Cimabue, Giotto) and Siena (Duccio, Simone Martini). The central figure of painting was Giotto. Renaissance artists considered him a reformer of painting. Giotto outlined the path along which its development went: filling religious forms with secular content, a gradual transition from planar images to three-dimensional and relief images, an increase in realism, introduced a plastic volume of figures into painting, depicted an interior in painting.

Early Renaissance

The period of the so-called "Early Renaissance" in Italy covers the time from 1500 to 1500. During these eighty years, art has not yet completely renounced the traditions of the recent past (the Middle Ages), but is trying to mix into them elements borrowed from classical antiquity. Only later, and only little by little, under the influence of ever more strongly changing conditions of life and culture, do artists completely abandon the medieval foundations and boldly use models. ancient art, both in the general concept of his works, and in their details.

Whereas art in Italy was already resolutely following the path of imitation of classical antiquity, in other countries it long held on to traditions. gothic style. North of the Alps, as well as in Spain, the Renaissance comes only at the end of the 15th century, and it early period lasts until about the middle of the next century.

High Renaissance

The third period of the Renaissance - the time of the most magnificent development of his style - is commonly called the "High Renaissance". It extends in Italy from about 1527 to about 1527. At this time, the center of influence of Italian art from Florence moved to Rome, thanks to the accession to the papal throne of Julius II - an ambitious, courageous, enterprising man who attracted best artists Italy, which occupied them with numerous and important works and giving others an example of love for art. At the same time, the Pope and his closest successors, Rome becomes, as it were, the new Athens of the time of Pericles: many monumental buildings are being built in it, magnificent sculptural works, frescoes and paintings are painted, which are still considered the pearls of painting; at the same time, all three branches of art harmoniously go hand in hand, helping one another and mutually acting on each other. Antiquity is now being studied more thoroughly, reproduced with greater rigor and consistency; tranquility and dignity replace the playful beauty that was the aspiration of the preceding period; reminiscences of the medieval completely disappear, and a completely classical imprint falls on all works of art. But the imitation of the ancients does not stifle their independence in the artists, and with great resourcefulness and liveliness of imagination, they freely process and apply to business what they consider appropriate to borrow for themselves from ancient Greco-Roman art.

Creativity of the three great Italian masters marks the pinnacle of the Renaissance, these are Leonardo da Vinci (1452-1519), Michelangelo Buonarroti (1475-1564) and Raphael Santi (1483-1520).

Late Renaissance

The Late Renaissance in Italy covers the period from the 1530s to the 1590s-1620s. The art and culture of this time are so diverse in their manifestations that it is possible to reduce them to one denominator only with a great deal of conventionality. For example, the Encyclopædia Britannica writes that "Renaissance, as a holistic historical period ended with the fall of Rome in 1527. In Southern Europe, the Counter-Reformation triumphed, which looked with caution at any free thought, including the chanting of the human body and the resurrection of the ideals of antiquity, as the cornerstones of the Renaissance ideology. Worldview contradictions and a general sense of crisis resulted in Florence in the "nervous" art of contrived colors and broken lines - mannerism. In Parma, where Correggio worked, Mannerism reached only after the death of the artist in 1534. The artistic traditions of Venice had their own logic of development; until the end of the 1570s, Titian and Palladio worked there, whose work had little in common with the crisis phenomena in the art of Florence and Rome.

Northern Renaissance

The Italian Renaissance had little or no influence on other countries until r. After r., the style spread across the continent, but many late Gothic influences persisted even into the advent of the Baroque era.

The very concept of "Renaissance" (rinascita) arose in Italy in the 14th century as a result of understanding the innovation of the era. Traditionally, Dante Alighieri is considered the founder of the Renaissance in literature. It was he who first turned to man, his passions, his soul in his work called "Comedy", which will later be called " Divine Comedy". It was he who was the first poet who clearly and adamantly revived the humanistic tradition. The Northern Renaissance is a term used to describe the Renaissance in northern Europe, or more generally all of Europe outside of Italy, north of the Alps. The Northern Renaissance is closely associated with Italian Renaissance, but there are a number of characteristic differences. As such, the Northern Renaissance was not homogeneous: in each country it had certain specific features. In modern cultural studies, it is generally accepted that it was in the literature of the Renaissance that the humanistic ideals of the era, the glorification of a harmonious, free, creative, comprehensively developed personality, were most fully expressed.

The Renaissance period in the Netherlands, Germany and France is usually singled out as a separate style direction, which has some differences with the Renaissance in Italy, and called the "Northern Renaissance".

The most noticeable stylistic differences in painting: unlike Italy, the traditions and skills of Gothic art were preserved in painting for a long time, less attention was paid to the study of the ancient heritage and the knowledge of human anatomy.

Renaissance in Russia

Renaissance tendencies that existed in Italy and Central Europe, influenced Russia in many ways, although this influence was very limited due to the large distances between Russia and the main European cultural centers on the one hand, and the strong attachment of Russian culture to its Orthodox traditions and Byzantine heritage, on the other.

The science

In general, the pantheistic mysticism of the Renaissance, which prevailed in this era, created an unfavorable ideological background for the development of scientific knowledge. Final formation scientific method followed by the Scientific Revolution of the 17th century. associated with the Reformation movement, which was opposed to the Renaissance.

Philosophy

Philosophers of the Renaissance

Literature

The true ancestor of the Renaissance in literature is considered to be the Italian poet Dante Alighieri (1265-1321), who truly revealed the essence of the people of that time in his work called Comedy, which will later be called The Divine Comedy. With this name, the descendants showed their admiration for the grandiose creation of Dante. The literature of the Renaissance most fully expressed the humanistic ideals of the era, the glorification of a harmonious, free, creative, comprehensively developed personality. The love sonnets of Francesco Petrarch (1304-1374) revealed the depth of a person's inner world, the richness of his emotional life. In the XIV-XVI century, Italian literature flourished - the lyrics of Petrarch, the short stories of Giovanni Boccaccio (1313-1375), the political treatises of Niccolo Machiavelli (1469-1527), the poems of Ludovico Ariosto (1474-1533) and Torquato Tasso (1544-1595) put forward her among the "classical" (along with ancient Greek and Roman) literature for other countries.

The literature of the Renaissance relied on two traditions: folk poetry and "bookish" ancient literature, so often the rational principle was combined in it with poetic fiction, and comic genres gained great popularity. This manifested itself in the most significant literary monuments eras: Boccaccio's Decameron, Cervantes' Don Quixote, and François Rabelais's Gargantua and Pantagruel. The emergence of national literatures is associated with the Renaissance, in contrast to the literature of the Middle Ages, which was created mainly in Latin. Theater and drama became widespread. The most famous playwrights of this time were William Shakespeare (1564-1616, England) and Lope de Vega (1562-1635, Spain)

art

Renaissance painting is characterized by the appeal of the artist's professional view to nature, to the laws of anatomy, life perspective, the action of light and other identical natural phenomena.

Renaissance artists, working on paintings of traditional religious themes, began to use new artistic techniques: building a three-dimensional composition, using the landscape as an element of the plot in the background. This allowed them to make the images more realistic, lively, which showed a sharp difference between their work and the previous iconographic tradition, replete with conventions in the image.

Architecture

The main thing that characterizes this era is the return in architecture to the principles and forms of ancient, mainly Roman art. special meaning in this direction is given symmetry, proportion, geometry and order constituent parts, which is clearly evidenced by the surviving examples of Roman architecture. The complex proportion of medieval buildings is replaced by an orderly arrangement of columns, pilasters and lintels, asymmetrical outlines are replaced by a semicircle of an arch, a hemisphere of a dome, a niche, an aedicule. Five masters made the greatest contribution to the development of Renaissance architecture:

Filippo Brunelleschi (1377-1446) - the founder of Renaissance architecture, developed the theory of perspective and the order system, returned many elements of ancient architecture to construction practice, created for the first time in many centuries the dome (of the Florence Cathedral), which still dominates the panorama of Florence.
Leon Battista Alberti (1402-1472) - the largest theorist of Renaissance architecture, the creator of its holistic concept, rethought the motives of the early Christian basilicas of the time of Constantine, in the Rucellai Palace he created a new type of urban residence with a facade treated with rustication and dissected by several tiers of pilasters.
Donato Bramante (1444-1514) - the founder of High Renaissance architecture, a master of centric compositions with perfectly adjusted proportions; the graphic restraint of Quattrocento architects is replaced by tectonic logic, plasticity of details, integrity and clarity of design (Tempietto).
Michelangelo Buonarroti (1475-1564) - chief architect of the Late Renaissance, supervising grandiose building works in the papal capital; in his buildings, the plastic principle is expressed in dynamic contrasts, as it were, incoming masses, in majestic tectonicity, foreshadowing art

federal agency of Education

St. Petersburg State University of Architecture and Civil Engineering

Department of History

Discipline: Culturology

Titans and masterpieces of Renaissance culture

Group 1 student ES 2

E. Yu. Nalivko

Supervisor:

to. and. n., teacher

I. Yu. Lapina

Saint Petersburg

Introduction…………………………………………………………3

The art of the early Renaissance………………………..4

High Renaissance period…………………………….5

Sandro Botticelli……………………………………….5

Leonardo Da Vinci…………………………………………7

Michelangelo Buonarroti …….………………………10

Raffaello Santi…………....…………………………….13

Conclusion……………………………………………………..15

List of used literature……………………....16

Introduction

The Renaissance is an important period in world culture. Initially a new phenomenon in European cultural life looked like a return to the forgotten achievements of ancient culture in the field of science, philosophy, literature. The phenomenon of the Renaissance lies in the fact that the ancient heritage has become a weapon for the overthrow of church canons and prohibitions. In essence, we must talk about a grandiose cultural revolution that lasted two and a half centuries and ended with the creation of a new type of worldview and a new type of culture. Nothing like this was observed outside the European region at that time. Therefore, this topic aroused my great interest and desire to analyze this period in more detail.

In my essay, I want to focus on such prominent people like Sandro Botticelli, Leonardo Da Vinci, Michelangelo Buonarroti, Raffaello Santi. It was they who became the most prominent representatives of the main stages of the Italian Renaissance.

1. The Art of the Early Renaissance

In the first decades of the 15th century, a decisive turning point took place in the art of Italy. The emergence of a powerful center of the Renaissance in Florence led to the renewal of the entire Italian artistic culture.

The work of Donatello, Masaccio and their associates marks the victory of Renaissance realism, which differed significantly from the "realism of details" that was characteristic of the gothic art of the late trecento. The works of these masters are imbued with the ideals of humanism. They glorify and glorify a person, raise him above the level of everyday life.

In their struggle with the Gothic tradition, the artists of the early Renaissance sought support in antiquity and the art of the Proto-Renaissance. What the masters of the Proto-Renaissance searched for only intuitively, by touch, is now based on accurate knowledge.

Italian art of the 15th century is distinguished by great diversity. The new art, which won at the beginning of the 15th century in advanced Florence, did not immediately receive recognition and distribution in other areas of the country. While Bruneleschi, Masaccio, Donatello worked in Florence, the traditions of Byzantine and gothic art, only gradually supplanted by the Renaissance.

Florence was the main center of the early Renaissance. The Florentine culture of the first half and the middle of the 15th century is varied and rich. Since 1439, since the ecumenical church council held in Florence, to which the Byzantine emperor John Palaiologos and the patriarch of Constantinople arrived, accompanied by a magnificent retinue, and especially after the fall of Byzantium in 1453, when many scientists who had fled from the East found refuge in Florence, this city becomes one of the main centers in Italy for the study of the Greek language, as well as the literature and philosophy of Ancient Greece. And yet the leading role in the cultural life of Florence in the first half and the middle of the 15th century undoubtedly belonged to art. 1

2. The period of the High Renaissance

This period of time represents the apogee of the Renaissance. It was a short period, lasting about 30 years, but quantitatively and qualitatively, this period of time is like centuries. The art of the High Renaissance is a summation of the achievements of the 15th century, but at the same time it is a new qualitative leap, both in the theory of art and in its implementation. The unusual "densification" of this period can be explained by the fact that the number of simultaneously (in one historical period) working brilliant artists is a kind of record even for the entire history of art. Suffice it to name such names as Leonardo da Vinci, Raphael and Michelangelo.

3. Sandro Botticelli

The name of Sandro Botticelli is known throughout the world as the name of one of the most remarkable artists of the Italian Renaissance.

Sandro Botticelli was born in 1444 (or 1445) in the family of a tanner, Florentine citizen Mariano Filippepi. Sandro was the youngest, the fourth son of Philippepi. Unfortunately, almost nothing is known about where and when Sandro was trained as an artist, and whether, as old sources say, he really first studied jewelry, and then began to paint. In 1470, he already had his own workshop and independently carried out the received orders.

The charm of Botticelli's art always remains a little mysterious. His works evoke a feeling that the works of other masters do not evoke.

Botticelli was inferior to many artists of the 15th century, some in courageous energy, others in true authenticity of details. His images (with very rare exceptions) are devoid of monumentality and drama, their exaggeratedly fragile forms are always a little arbitrary. But like no other painter of the 15th century, Botticelli was endowed with the ability for the finest poetic understanding of life. For the first time, he was able to convey the subtle nuances of human experiences. Joyful excitement is replaced in his paintings by melancholic reverie, outbursts of fun - aching melancholy, calm contemplation - uncontrollable passion.

The new direction of Botticelli's art receives its extreme expression in the last period of his activity, in the works of the 1490s and early 1500s. Here the devices of exaggeration and dissonance become almost unbearable (for example, the "Miracle of St. Zenobius"). The artist then plunges into the abyss of hopeless sorrow (“Pieta”), then surrenders to enlightened exaltation (“Communion of St. Jerome”). His pictorial manner is simplified almost to icon-painting conventions, distinguished by some kind of naive tongue-tiedness. Plane linear rhythm completely obeys both the drawing, brought to the limit in its simplicity, and color with its sharp contrasts of local colors. The images, as it were, lose their real, earthly shell, acting as mystical symbols. And yet in this, through and through religious art the human principle is forcing its way with great force. Never before has an artist invested so much personal feeling in his works, never before have his images had such a high moral significance.

With the death of Botticelli, the history of Florentine painting of the Early Renaissance ends - this true spring of Italian artistic culture. A contemporary of Leonardo, Michelangelo and the young Raphael, Botticelli remained alien to their classical ideals. As an artist, he belonged entirely to the 15th century and had no direct successors in High Renaissance painting. However, his art did not die with him. That was the first attempt to reveal the spiritual world of a person, a timid attempt and ending tragically, but through generations and centuries it received its infinitely multifaceted reflection in the work of other masters.

The art of Botticelli is a poetic confession of a great artist that excites and will always excite the hearts of people. 2

4. Leonardo Da Vinci

In the history of mankind it is not easy to find another person as brilliant as the founder of the art of the High Renaissance, Leonardo da Vinci (1452-1519). The comprehensive nature of the activities of this great artist and scientist became clear only when the scattered manuscripts from his legacy were examined. Colossal literature is devoted to Leonardo, his life has been studied in detail. And, nevertheless, much in his work remains mysterious and continues to excite the minds of people.

Leonardo da Vinci was born in the village of Anchiano near Vinci: not far from Florence. He was illegitimate son a prosperous notary and a simple peasant woman. Noticing the boy's extraordinary ability in painting, his father gave him to the workshop of Andrea Verrocchio. In the picture of the teacher “The Baptism of Christ”, the figure of a spiritualized blond angel belongs to the brush of the young Leonardo.

Among his early works is Madonna with a Flower (1472), painted in oil painting, then rare in Italy.

Around 1482, Leonardo entered the service of the Duke of Milan, Lodovico Moro. The master recommended himself, first of all, as a military engineer, architect, specialist in the field of hydraulic engineering, and only then as a painter and sculptor. However, the first Milan period of Leonardo's creativity (1482-1499) turned out to be the most fruitful. The master became the most famous artist in Italy, studied architecture and sculpture, turned to fresco and altar painting.

The picturesque paintings of Leonardo of the Milan period have survived to our time. The first altarpiece of the High Renaissance was Madonna in the Grotto (1483-1494). The painter departed from the traditions of the fifteenth century: in the religious paintings of which solemn stiffness prevailed. There are few figures in Leonardo's altarpiece: the feminine Mary, the Infant Christ blessing little John the Baptist, and a kneeling angel, as if looking out of the picture. The images are perfectly beautiful, naturally connected with their environment. This is a kind of grotto among dark basalt rocks with a gap in the depths - a landscape typical of Leonardo as a whole is fantastically mysterious. Figures and faces are shrouded in an airy haze, giving them a special softness. The Italians called this technique Deonardo sfumato.

In Milan, apparently, the master created the canvas "Madonna and Child" ("Madonna Lita"). Here, in contrast to the Madonna with a Flower, he strove for a greater generalization of the ideality of the image. Not a certain moment is depicted, but a certain long-term state of peace of joy in which a young beautiful woman is immersed. Cold clear light illuminates her thin soft face with a half-lowered gaze and a slight, barely perceptible smile. The picture is painted in tempera, giving sonority to the tones of Mary's blue cloak and red dress. The fluffy dark golden curly hair of the Infant is amazingly painted, his attentive gaze directed at the viewer is not childishly serious.

When Milan was taken by French troops in 1499, Leonardo left the city. The time for his wanderings has begun. For some time he worked in Florence. There, Leonardo's work seemed to be illuminated by a bright flash: he painted a portrait of Mona Lisa, the wife of the wealthy Florentine Francesco di Giocondo (circa 1503). The portrait is known as the "Gioconda", has become one of the most famous works of world painting.

A small portrait of a young woman, shrouded in an airy haze, sitting against the backdrop of a bluish-green landscape, is full of such lively and tender trembling that, according to Vasari, one can see the pulse beating in the deepening of Mona Lisa's neck. It would seem that the picture is easy to understand. Meanwhile, in the extensive literature dedicated to the Mona Lisa, the most opposite interpretations of the image created by Leonardo collide.

In the last years of his life, Leonardo da Vinci worked little as an artist. Having received an invitation from the French king Francis 1, he left for France in 1517 and became a court painter. Soon Leonardo died. In the self-portrait - drawing (1510-1515), the gray-bearded patriarch with a deep mournful look looked much older than his age.

The scale and uniqueness of Leonardo's talent can be judged by his drawings, which occupy one of the places of honor in the history of art. Not only manuscripts devoted to the exact sciences, but also works on the theory of art are inextricably linked with drawings by Leonardo da Vinci, sketches, sketches, and diagrams. A lot of space is given to the problems of chiaroscuro, volumetric modeling, linear and aerial perspective. Leonardo da Vinci owns numerous discoveries, projects and experimental studies in mathematics, mechanics, and other natural sciences.

The art of Leonardo da Vinci, his scientific and theoretical research, the uniqueness of his personality have gone through the entire history of world culture and science and have had a huge impact. 3

5 Michelangelo Buonarroti

Among the demigods and titans of the High Renaissance, Michelangelo occupies a special place. As a creator of new art, he deserves the name Prometheus of the 16th century

The beautiful marble statue, known as the Pieta, remains to this day a monument to the first stay in Rome and the full maturity of the 24th summer artist. The Holy Virgin sits on a stone, on her lap rests the lifeless body of Jesus, taken down from the cross. She supports him with her hand. Under the influence of ancient works, Michelangelo discarded all the traditions of the Middle Ages in the depiction of religious subjects. He gave harmony and beauty to the body of Christ and to the whole work. It was not the death of Jesus that was supposed to evoke horror, but only a feeling of reverent surprise towards the great sufferer. The beauty of the naked body benefits greatly from the effect of light and shadow produced by the artfully arranged folds of Mary's dress. In the face of Jesus, depicted by the artist, they even found similarities with Savonarola. The eternal covenant of struggle and protest, eternal monument hidden suffering of the artist himself remained Pieta.

Michelangelo returned to Florence in 1501, at a difficult moment for the city, where from a huge block of Carrara marble, which was intended for a colossal statue of the biblical David to decorate the dome of the cathedral, he decided to create an integral and perfect work, without reducing its size, and it was David. In 1503, on May 18, the statue was installed on the Piazza Senoria, where it stood for more than 350 years.

In the long and bleak life of Michelangelo, there was only one period when happiness smiled at him - this is when he worked for Pope Julius ll. Michelangelo, in his own way, loved this rude warrior dad, who had not at all papal sharp manners. The tomb of Pope Julius did not turn out as magnificent as Michelangelo intended it to be. Instead of the Cathedral of St. Peter, she was placed in a small church of St. Peter, where she did not even enter in its entirety, and its individual parts dispersed to different places. But even in this form, it is rightfully one of the most famous creations of the Renaissance. Its central figure is the biblical Moses, the liberator of his people from Egyptian captivity (the artist hoped that Julius would free Italy from the conquerors). All-consuming passion, inhuman strength strain the powerful body of the hero, his face reflects will and determination, a passionate thirst for action, his gaze is directed towards the promised land. In Olympian majesty sits a demigod. One of his hands rests powerfully on a stone tablet on his knees, the other rests here with a carelessness worthy of a man who needs only a movement of his eyebrows to make everyone obey. As the poet said, “Before such an idol, the Jewish people had the right to prostrate themselves in prayer.” According to contemporaries, Michelangelo's “Moses” actually saw God.

At the request of Pope Julius, Michelangelo painted the ceiling of the Sistine Chapel in the Vatican with frescoes depicting the creation of the world. His paintings are dominated by lines and bodies. 20 years later, on one of the walls of the same chapel, Michelangelo painted the Last Judgment fresco - a stunning vision of the appearance of Christ at the Last Judgment, at the wave of whose hand sinners fall into the abyss of hell. Muscular, Herculean giant does not look like the biblical Christ, who sacrificed himself for the good of mankind, but the personification of the retribution of ancient mythology, the fresco reveals the terrible abyss of a desperate soul, the soul of Michelangelo.

In the works of Michelangelo, the pain caused by the tragedy of Italy is expressed, merged with pain about his own sad fate. Beauty, which is not mixed with suffering and misfortune, Michelangelo found in architecture. Michelangelo took over the construction of St. Peter's after Bramante's death. A worthy successor to Bramante, he created a dome and to this day is unsurpassed in either size or grandeur,

Michelangelo had no pupils, no so-called school. But there was a whole world created by him. 4

6. Rafael

The work of Rafael Santi is one of those phenomena of European culture that are not only covered with world fame, but have also gained special significance - the highest landmarks in the spiritual life of mankind. For five centuries, his art has been perceived as one of the examples of aesthetic perfection.

The genius of Raphael was revealed in painting, graphics, architecture. The works of Raphael are the most complete, vivid expression of the classical line, the classical beginning in the art of the High Renaissance (Appendix 3). Raphael created a "universal image" of a beautiful person, perfect physically and spiritually, embodied the idea of the harmonious beauty of being.

Raphael (more precisely, Raffaello Santi) was born on April 6, 1483 in the city of Urbino. He received his first painting lessons from his father, Giovanni Santi. When Raphael was 11 years old, Giovanni Santi died and the boy was left an orphan (he lost the boy 3 years before the death of his father). Apparently, over the next 5-6 years, he studied painting with Evangelista di Piandimeleto and Timoteo Viti, minor provincial masters.

The first works of Raphael known to us were performed around 1500 - 1502, when he was 17-19 years old. These are miniature-sized compositions “Three Graces”, “Dream of a Knight”. These simple-hearted, still student-timid things are marked by subtle poetry and sincerity of feeling. From the very first steps of creativity, Raphael's talent is revealed in all its originality, his own artistic theme is outlined.

The best works of the early period include the Conestabile Madonna. Compositions depicting the Madonna and Child brought Raphael wide fame and popularity. The fragile, meek, dreamy Madonnas of the Umbrian period were replaced by more earthly, full-blooded images, their inner world became more complex, rich in emotional shades. Raphael created a new type of depiction of the Madonna and Child - monumental, strict and lyrical at the same time, gave this topic an unprecedented significance.

He glorified the earthly existence of man, the harmony of spiritual and physical forces in the paintings of the stanzas (rooms) of the Vatican (1509-1517), achieving an impeccable sense of proportion, rhythm, proportions, harmony of color, unity of figures and the majesty of architectural backgrounds. There are many images of the Mother of God ("Sistine Madonna", 1515-19), artistic ensembles in the murals of the Villa Farnesina (1514-18) and the loggias of the Vatican (1519, with students). In portraits, he creates the ideal image of a Renaissance man (Baldassare Castiglione, 1515). Designed the Cathedral of St. Peter, built the Chigi Chapel of the Church of Santa Maria del Popolo (1512-20) in Rome.

Raphael's painting, its style, its aesthetic principles reflected the worldview of the era. By the third decade of the 16th century, the cultural and spiritual situation in Italy had changed. Historical reality destroyed the illusions of Renaissance humanism. The revival was coming to an end. 5

Conclusion

During the Renaissance, interest in the art of ancient Greece and Rome arose, which prompted Europe to change, which marked the end of the Middle Ages and the beginning of the new time. This period was not only a time of “revival” of the ancient past, it was a time of discoveries and research, a time of new ideas. Classical examples inspired new thinking, emphasizing the human personality, the development and manifestation of abilities, and not their limitations, which was characteristic of the Middle Ages. Training and Scientific research were no longer exclusively the work of the church. New schools and universities arose, natural science and medical experiments were carried out. Artists and sculptors strove in their work for naturalness, for a realistic recreation of the world and man. Classical statues and human anatomy were studied. Artists began to use perspective, abandoning the planar image. The objects of art were the human body, classical and modern subjects, as well as religious themes. Capitalist relations were emerging in Italy, and diplomacy began to be used as a tool in relations between city-states. Scientific and technological discoveries, such as the invention of the printing press, contributed to the spread of new ideas. Gradually, new ideas took possession of the whole of Europe.

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Details Category: Fine arts and architecture of the Renaissance (Renaissance) Posted on 12/19/2016 16:20 Views: 9452

The Renaissance is a time of cultural flourishing, the heyday of all the arts, but the fine arts were the most fully expressing the spirit of their time.

Renaissance, or Renaissance(French "newly" + "born") was of world importance in the history of European culture. The Renaissance replaced the Middle Ages and preceded the Enlightenment.
The main features of the Renaissance- the secular nature of culture, humanism and anthropocentrism (interest in a person and his activities). During the Renaissance, interest in ancient culture and there is a kind of “rebirth” of it.
The revival arose in Italy - its first signs appeared as early as the 13th-14th centuries. (Tony Paramoni, Pisano, Giotto, Orcagna and others). But it was firmly established from the 20s of the 15th century, and by the end of the 15th century. reached its highest peak.
In other countries, the Renaissance began much later. In the XVI century. the crisis of the ideas of the Renaissance begins, the consequence of this crisis is the emergence of mannerism and baroque.

Renaissance periods

The Renaissance is divided into 4 periods:

1. Proto-Renaissance (2nd half of the XIII century - XIV century)
2. Early Renaissance (beginning of the XV-end of the XV century)
3. High Renaissance (late 15th - first 20 years of the 16th century)
4. Late Renaissance (mid-16th-90s of the 16th century)

The fall played a role in the formation of the Renaissance Byzantine Empire. The Byzantines who moved to Europe brought with them their libraries and works of art, unknown to medieval Europe. In Byzantium, they never broke with ancient culture either.
Appearance humanism(of the socio-philosophical movement, which considered man as the highest value) was associated with the absence of feudal relations in the Italian city-republics.
Secular centers of science and art began to appear in the cities, which were not controlled by the church. whose activities were outside the control of the church. In the middle of the XV century. typography was invented, which played an important role in spreading new views throughout Europe.

Brief characteristics of the Renaissance periods

Proto-Renaissance

Proto-Renaissance is the forerunner of the Renaissance. It is still closely connected with the Middle Ages, with Byzantine, Romanesque and Gothic traditions. It is associated with the names of Giotto, Arnolfo di Cambio, the Pisano brothers, Andrea Pisano.

Andrea Pisano. Bas-relief "Creation of Adam". Opera del Duomo (Florence)

The painting of the Proto-Renaissance is represented by two art schools: Florence (Cimabue, Giotto) and Siena (Duccio, Simone Martini). The central figure of painting was Giotto. He was considered a reformer of painting: he filled religious forms with secular content, made a gradual transition from planar images to three-dimensional and relief images, turned to realism, introduced the plastic volume of figures into painting, depicted the interior in painting.

Early Renaissance

This is the period from 1420 to 1500. The artists of the Early Renaissance of Italy drew motives from life, filled traditional religious subjects with earthly content. In sculpture, these were L. Ghiberti, Donatello, Jacopo della Quercia, the della Robbia family, A. Rossellino, Desiderio da Settignano, B. da Maiano, A. Verrocchio. Free-standing statues, picturesque reliefs, portrait busts, and equestrian monuments begin to develop in their work.
In Italian painting of the XV century. (Masaccio, Filippo Lippi, A. del Castagno, P. Uccello, Fra Angelico, D. Ghirlandaio, A. Pollaiolo, Verrocchio, Piero della Francesca, A. Mantegna, P. Perugino, etc.) are characterized by a sense of the harmonious ordering of the world, conversion to the ethical and civic ideals of humanism, joyful perception of the beauty and diversity of the real world.
Filippo Brunelleschi (1377-1446), an architect, sculptor and scientist, one of the creators of scientific theory perspectives.

A special place in the history of Italian architecture is occupied by Leon Battista Alberti (1404-1472). This Italian scholar, architect, writer and musician of the Early Renaissance was educated in Padua, studied law in Bologna, and later lived in Florence and Rome. He created theoretical treatises On the Statue (1435), On Painting (1435–1436), On Architecture (published in 1485). He defended the "folk" (Italian) language as a literary language, in the ethical treatise "On the Family" (1737-1441) he developed the ideal of a harmoniously developed personality. In architectural work, Alberti gravitated towards bold experimental solutions. He was one of the pioneers of the new European architecture.

Palazzo Rucellai

Leon Battista Alberti designed a new type of palazzo with a façade treated with rustication to its full height and dissected by three tiers of pilasters, which look like the structural basis of the building (Palazzo Rucellai in Florence, built by B. Rossellino according to Alberti's plans).
Opposite the Palazzo stands the Rucellai Loggia, where receptions and banquets for trading partners were held, weddings were celebrated.

Loggia Rucellai

High Renaissance

This is the time of the most magnificent development of the Renaissance style. In Italy, it lasted from about 1500 to 1527. Now the center of Italian art is moving from Florence to Rome, thanks to the accession to the papal throne. Julia II, an ambitious, courageous, enterprising man, who attracted the best artists of Italy to his court.

Raphael Santi "Portrait of Pope Julius II"

Many monumental buildings are being built in Rome, magnificent sculptures are being created, frescoes and paintings are being painted, which are still considered masterpieces of painting. Antiquity is still highly valued and carefully studied. But imitation of the ancients does not stifle the independence of artists.
The pinnacle of the Renaissance is the work of Leonardo da Vinci (1452-1519), Michelangelo Buonarroti (1475-1564) and Raphael Santi (1483-1520).

Late Renaissance

In Italy, this is the period from the 1530s to the 1590s-1620s. The art and culture of this time is very diverse. Some believe (for example, British scholars) that "The Renaissance as an integral historical period ended with the fall of Rome in 1527." The art of the late Renaissance is a very complex picture of the struggle of various currents. Many artists did not seek to study nature and its laws, but only outwardly tried to assimilate the "manner" of the great masters: Leonardo, Raphael and Michelangelo. On this occasion, the aged Michelangelo once said, looking at how artists copy his "Last Judgment": "My art will make many fools."
In Southern Europe, the Counter-Reformation triumphed, which did not welcome any free thought, including the chanting of the human body and the resurrection of the ideals of antiquity.
Famous artists of this period were Giorgione (1477/1478-1510), Paolo Veronese (1528-1588), Caravaggio (1571-1610) and others. Caravaggio considered the founder of the Baroque style.

Details Category: Fine arts and architecture of the Renaissance (Renaissance) Posted on 12/19/2016 16:20 Views: 9453

The Renaissance is a time of cultural flourishing, the heyday of all the arts, but the fine arts were the most fully expressing the spirit of their time.

Renaissance, or Renaissance(French "newly" + "born") was of world importance in the history of European culture. The Renaissance replaced the Middle Ages and preceded the Enlightenment.
The main features of the Renaissance- the secular nature of culture, humanism and anthropocentrism (interest in a person and his activities). During the Renaissance period, interest in ancient culture flourished and, as it were, its “revival” took place.
The revival arose in Italy - its first signs appeared as early as the 13th-14th centuries. (Tony Paramoni, Pisano, Giotto, Orcagna and others). But it was firmly established from the 20s of the 15th century, and by the end of the 15th century. reached its highest peak.
In other countries, the Renaissance began much later. In the XVI century. the crisis of the ideas of the Renaissance begins, the consequence of this crisis is the emergence of mannerism and baroque.

Renaissance periods

The Renaissance is divided into 4 periods:

The fall of the Byzantine Empire played a role in the formation of the Renaissance. The Byzantines who moved to Europe brought with them their libraries and works of art, unknown to medieval Europe. In Byzantium, they never broke with ancient culture either.
Appearance humanism(of the socio-philosophical movement, which considered man as the highest value) was associated with the absence of feudal relations in the Italian city-republics.
Secular centers of science and art began to appear in the cities, which were not controlled by the church. whose activities were outside the control of the church. In the middle of the XV century. typography was invented, which played an important role in spreading new views throughout Europe.

Brief characteristics of the Renaissance periods

Proto-Renaissance

Andrea Pisano. Bas-relief "Creation of Adam". Opera del Duomo (Florence)

Early Renaissance

This is the period from 1420 to 1500. The artists of the Early Renaissance of Italy drew motives from life, filled traditional religious subjects with earthly content. In sculpture, these were L. Ghiberti, Donatello, Jacopo della Quercia, the della Robbia family, A. Rossellino, Desiderio da Settignano, B. da Maiano, A. Verrocchio. Free-standing statues, picturesque reliefs, portrait busts, and equestrian monuments begin to develop in their work.
In Italian painting of the XV century. (Masaccio, Filippo Lippi, A. del Castagno, P. Uccello, Fra Angelico, D. Ghirlandaio, A. Pollaiolo, Verrocchio, Piero della Francesca, A. Mantegna, P. Perugino, etc.) are characterized by a sense of the harmonious ordering of the world, conversion to the ethical and civic ideals of humanism, joyful perception of the beauty and diversity of the real world.
The ancestor of Italian Renaissance architecture was Filippo Brunelleschi (1377-1446), an architect, sculptor and scientist, one of the creators of the scientific theory of perspective.

Palazzo Rucellai

Loggia Rucellai