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The role of humanism in the Renaissance
Essay on baroque art
Essay on baroque art
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Recommended: The role of humanism in the Renaissance
Humanism is a stance of thought conferring to the major importance to people rather than heavenly or mystical matters. Humanists believe that trauma is the possible importance and goodness of human beings and pursue exclusively on balanced habits of resolving human problems; “The Renaissance stressed the natural and the human. It emphasized the pleasures of life, glorified the human body, and celebrated education” (139). In the Renaissance era, most of the humanists were Christian. There were well-known scholars that were attracted in conserving and learning from traditional texts and have precise translations of the Bible. In the Renaissance era and the age of humanism, The Ecstasy of St. Teresa by Gian Lorenzo Bernini was a debated sculpture …show more content…
Teresa is measured to be Bernini’s most contentious and attractive monument. This sculpture was particularly notorious since a saint has never been represented in the state of sensual ecstasy, but St. Teresa labeled her involvement in an stimulating way, “ The pain was so severe that it made me utter several moans. The sweetness caused me by this intense pain is so extreme that one cannot possibly wish it to cease.” Bernini was permitted to generate such a provocative bit of the sculpture by the way St. Teresa communicated about her involvement, “The sensuality of the piece is directly inspired by St. Theresa’s own writings, in which she describes her mystical experiences in overtly erotic terms.” The expression of St. Teresa is recognized to be the greatest attractive face to be fashioned in a sculpture. It is acknowledged to be that the angle’s appearance is flawlessly proportioned and each features of the expression is seamlessly situated and designed. Bernini poises St. Teresa’s impeccable magnificence and carnal ecstasy to accomplish the essence of Baroque art. This sculpture is notorious to be very Baroque since it portrays the maximum histrionic point in the saint’s lifetime and accommodates to the conception that God also means
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
Pico della Mirandola’s “Oration on the Dignity of Man” captures the essence of the humanist movement. He writes that God gave man the ability to make of himself what he wills. Although man is capable of depraved acts, he also possesses the profundity to distinguish him as a holy being. Pico praises the goodness of mankind when he writes, “man is rightly called and judged a great miracle and a wonderful creature indeed”.... ...
According to Nicholas Mann, "Humanism is that concern with the legacy of antiquity, and in particular but not exclusively with its literary legacy... it involves above all the rediscovery and study of Greek and Roman texts, the restoration and interpretation of them, and the assimilation of the ideas and values they contain." The Studia Humanitatis (Studies of Humanity) is a Latin term used by Roman writers describing a cycle of studies in the humanities including, grammar, rhetoric, history, poetry, and moral philosophy. Francesco Petrarch, an Italian scholar and poet of the fifteenth century, is considered by many to be the father of humanism. Petrarch 's influential texts had circulated widely throughout Florence and made their way into the government. Thus, humanist learning began to shape political ideologies in Florence. By inspiring humanist philosophy, Petrarch helped pave the way for the start of the Renaissance.
In Conclusion, this piece embodies humanism because the subject of the fresco is a gathering of humanist thinkers, there are many classical elements in the piece, and it uses techniques such as scientific and illusionistic rendering. The use of classical figures, as well as disguising artists of the time to celebrate their status as members of an educated society, definitely makes this a humanistic piece. It is one of the most famous pieces of the High Renaissance, and is considered to be Raphael’s masterpiece.
Humanists had been calling for reform in the Catholic Church long before Martin Luther penned his Ninety-Five Theses. Humanism was an intellectual and cultural movement of the Renaissance that emphasized the expansion of mans’ capacities. “[Humanism] was an attempt to discover humankind’s own earthly fulfillment. . . [it] developed an increasing distaste for dogma, and embraced a figurative interpretation of the scriptures and an attitude of tolerance toward all viewpoints” (Sporre 310). This perspective could not differ more from the Church’s strict reliance on tradition. People’s outlook on the world changed, but the Church continued on with what had previously worked. It soon became clear that reform in the Church was not in the foreseeable future, so people decided to take matters into their own hands. As humanism spread throughout Italy and northern Europe, more and more people agr...
This paper is a critical analysis of the Virgin Mary giving the Rosary to St. Dominic and St Catherine of Siena which is an iconic piece of art that is displayed in the Fine Arts Museum of the University Academic Center at Houston Baptist University. This art will be presented by detailing the description, the symbolism, a theory of the unknown artist and periods, and the aesthetics of truth, beauty and spirituality.
During the renaissance, there was a renewed interest in the arts, and the traditional views of society came into question. People began to explore the power of the human mind. A term often used to describe the increasing interest in the powers of the human mind is humanism. Generally, humanism stresses the individual's creative, reasoning, and aesthetic powers. However, during the Renaissance, individual ideas about humanism differed.
The influence of Erasmus on humanism during this time was so great as to ensure that Northern Renaissance humanism came to be labelled Erasmian. A movement which, unlike its Italian counterpart and predecessor, would place faith and piety at the centre of theology and would place a large emphasis on ad fontes, to the sources of Christian theology and biblical and patristic sources (Parrish article)
Bernini’s sculptures transform people’s imagination into concrete marble. Two of his work, David and the Ecstasy of Saint Teresa, were based on texts that illustrate human imagination. Nevertheless, Bernini was able to show the characters’ appearance, motion and feeling simultaneously in a visible way, thus his sculptures are even more impressive and express the fancy imagination even more explicitly than the text itself. The further analysis about David and the Ecstasy of Saint Teresa will prove this point.
The masculine and idealized form of the human body is an ever-present characteristic of Michelangelo’s sculpture. Many people over the years have speculated why this may be, but there has never been a definitive answer, and probably never will be. Through all of his sculpture there is a distinct classical influence, with both his subject matter and his inclination to artistically create something beautiful. In most cases, for Michelangelo, this means the idealized human figure, seeping with contraposto. This revival of classical influences is common for a Renaissance artisan, but the new, exaggerated form of the human body is new and unique to Michelangelo’s artistic style.
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.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
Bernini took it so far to even include the Cornaro family in box seating to view the theatrical work. Other elements such as the lighting further bring a dynamic element. The sculpture attempts to tell the story Teresa wrote about in ‘The Life of Teresa of Jesus’ in which she had an encounter with an angel that allowed her to be consumed by God’s love. Foremost, the sculptural group is demonstrating sensuality and eroticism. This use of eroticism starkly contrasts typical religious messages as well as the life of chastity lived by St. Teresa.
In this paper we are going to discuss the life, work and teachings of Saint Teresa of Avila, Doctor of the Catholic Church. St. Teresa was an important figure in the Church for her reforms of the Carmelite Order. Teresa’s reforms caused a fracture of the Order and formed the Order of Discalced Carmelites, which believes in the old ways of the Carmelite Order. St. Teresa is also well known for her three books.
As artist Duccio and his contemporaries such as Giotto of and Cimbuae were showing signs of transition between the medieval era of castles and lords to an age dominated by crossing the realm of religious mysticism with the realities of life. These realities themselves are seen in the way in which they are painted as almost byzantine like figures of the virgin tenderly holding her child while looking commandingly at the viewer reminding us possibly of our own place as her children or even being seen as a warning to avoid sinning against the church and god. Taking in to account Duccios homage to roman classics we derive a sense of pride in the Italian identity and heritage as not only being the center for the papal states but at the helm of the church and since the Italians were closer to church almost certainly Duccio as an artist felt he was closer to god. It was this closeness which allowed him to with pride engage in a mission one which was to be able to have viewers relate themselves to the divine but simply being painted with realism wasn’t enough he needed to draw attention to the sheer emotional volume exuding from the innocence of a child cradled and draped in the bussom of a maternal figure gently caressing the sides of