Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The impact of the Renaissance in Italy
Italian renaissance rise
Italian renaissance rise
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The impact of the Renaissance in Italy
The Renaissance was a period of European history that began in 14th-century Italy and spread to the rest of Europe in the 16th and 17th centuries. In this period, the feudal society of the Middle Ages (5th century to 15th century) was transformed into a society dominated by central political institutions, with an urban, commercial economy and patronage of education, the arts, and music. The term renaissance, literally meaning "rebirth," was first employed in 1855 by French historian Jules Michelet (Paolucci 14). Swiss historian Jakob Burckhardt, in his classic work The Civilization of the Renaissance in Italy (1860), defined the Renaissance as the period between Italian painters Giotto and Michelangelo (Paolucci 18). Burckhardt characterized it as the birth of modern humanity after a long period of decay, although modern scholars have since debunked the myth that the Middle Ages were dark and dominant (Paolucci 18).
The Italian Renaissance developed in cities such as Florence, Milan, and Venice, which had emerged during the 12th and 13th centuries as new commercial developments allowed them to expand (Paolucci 12). This mercantile society contrasted sharply with the rural, tradition bound society of medieval Europe. A significant break with tradition came in the field of history, as Renaissance historians rejected the medieval Christian views of history (Cole 40). Studies such as the Florentine History (1525) of Niccolo Machiavelli revealed a secular view of time and a critical attitude toward sources (Cole 44). This secular view was expressed by many Renaissance thinkers known as humanists. Humanism was another cultural break with medieval tradition; under its ideas scholars valued classical texts on their own te...
... middle of paper ...
...rper and Row, 1987. 40-76.
Gilbert, Creighton. History of Renaissance Art: Painting, Sculpture, Architecture Throughout Europe. New York, N.Y.: H.N. Abrams, 1973. 36-67.
Gothic and Renaissance Art in Nuremberg, 1300-1550. Munich: Prestel-Verlag; New York, N.Y.: Metropolitan Museum of Art, 1986. 20.
Harbison, Craig. The Mirror of the Artist: Northern Renaissance Art in Its Historical Context. New York, N.Y.: Harry N. Abrams Inc., Publishers, 1995. 12-56.
Italian Renaissance Art and Architecture: History Through Art and Architecture. Boulder, Colo.: The Press, 1985. 20-67.
Koerner, Joseph L. The Moment of Self-Portraiture in German Renaissance Art. Chicago, Il: University of Chicago Press, 1993. 25-28.
Paolucci, Antonio. The Origins of Renaissance Art: the Baptistry Doors, Florence. 1st ed. New York, N.Y.: George Braziller, 1996. 14-37.
Hartt, Frederick, and David G. Wilkins. History of Italian Renaissance art. 6th ed. of the book. Upper Saddle River, N.J.: Prentice Hall, 2006.
...lved Mysteries of the Arnolfini Double Portrait." FluxBoston.org. N.p., 21 Jul 2007. Web. 8 Dec 2013.
Pieter Bruegel. New York: Abbeville Press Publishers, 2011. Snyder, James. The. Northern Renaissance Art. New York:
Brucker, Gene A. & Co. Renaissance Florence. Berkeley: University of California Press, 1969. Mandelbaum, Allen. A.
Located in a hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, vying for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Virgin Mary with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative
Turner, A. Richard. Renaissance Florence; The Intvention of a New Art. New York, NY`: Harry N. Abrams, Inc., 1997.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
Baxandall, Michael. “Conditions of Trade.” Painting and Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
Artists in the Renaissance aided the continuation of Renaissance ideals. Renaissance art, including paintings, sculptures, and architecture,...
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
...ed in the discovery and eventual colonization of North and South America. Painters, sculptors, and architects exhibited a similar sense of adventure and the desire for greater knowledge and new solutions; Leonardo da Vinci, like Christopher Columbus, discovered whole new worlds. With a new emphasis on the science, people like Philippo Brunelleschi were accomplishing great feats of artistic and architectural design. The new Renaissance “style” that emerged during this period called upon the classical roots of ancient Greece and Rome but new scientific understanding and a stronger emphasis on the individual also influenced the works created during this period.Bibliography Rice Jr., Eugene F.; Anthony Grafton. The Foundations of Early Modern Europe, 1460-1559. W. W. Norton & Company. New York, NY, 1993. Helton, Tinsley. World Book Encyclopedia, v16. “Renaissance”, pp. 222-224. World Book–Childcraft International Inc. Chicago, IL, 1979. Vasari, Gorgio. Lives of the Artists. Penguin Books Ltd. London, England, 1987
Jacobsen, Aaron H. Art and Architecture of the Middle Ages. Barbarian Art of Christian Europe, Romanesque Art, Gothic Art.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.