To be nobility during the Renaissance was to be in possession of power which had to be carefully maintained and continuously nurtured. For noblemen, the desire to belong to an elite society led to the patronage of artists who were able to help consolidate their position. This essay will argue that the expression of princely power and culture would not have succeeded without artists and image makers. The development of princely culture over the sixteenth century was not limited to Kings and Emperors, it was through Dukes and Lords of smaller provinces and territories who also contributed to the idea of a magnificent elite. We will draw upon examples from Burgundy, Urbino and Mantua to illustrate this argument and examine specific artworks designed …show more content…
Il Principe was written specifically about the character of the prince and how he should behave and gain or maintain his power. Put simply Machiavelli believed that a prince needed to have “virtù” which is a set of skills that prime for success, the prince could use his virtù to achieve anything which would benefit him or his court and regardless of whatever consequence the ends would justify the means.4 Castioglione wrote his work while at the court of Urbino, he admired Federigo da Montefeltre’s court so much that he based “The book of the Courtier” on it. Castiglione details what a perfect court and perfect courtier would be like, he develops a concept called “sprezzatura” which is difficult to translate into English but would be adequately summarised by …show more content…
The four prominent Dukes from Burgundy were Philip the Bold, John the Fearless, Philip the Good and Charles the Bold. Burgundy was well known for its magnificent court and arguably set a precedent for future courts in Europe, the Burgundian Dukes were particularly skilled in self-promotion and providing a display of luxury which impressed foreigners from all over Europe.6 In Figure 1 we see an example of artwork used as self-promotion by Philip the Good, the painting shows Philip standing under a richly decorated canopy which almost looks like an altar piece with his court surrounding his as the centre of attention. Philip is almost standing in isolation from the figures around him as someone presents a literary work to please him, to Philip’s left side we clearly see that there are chivalric noblemen of high status as they wear the Order of the Golden Fleece demonstrating the prestige and influence which lived at Philip the Good’s
Niccolò Machiavelli was a man who lived during the fourteen and fifteen hundreds in Florence, Italy, and spent part of his life imprisoned after the Medici princes returned to power. He believed that he should express his feelings on how a prince should be through writing and became the author of “The Qualities of a Prince.” In his essay, he discusses many points on how a prince should act based on military matters, reputation, giving back to the people, punishment, and keeping promises. When writing his essay, he follows his points with examples to back up his beliefs. In summary, Machiavelli’s “The Qualities of a Prince,” provides us with what actions and behaviors that a prince should have in order to maintain power and respect.
“In the renaissance era, individual success was held in high esteem in France due to the inflation of money in the economy, insecurity of power, and the downfall in politics during the change between kings” (Manimtim, Marcello.
Although Machiavelli gives numerous points on what it takes to excel as a prince, he also shows some raw examples of how he feels a prince should act in order to achieve maximum supremacy. First, when he says, "ought to hold of little account a reputation for being mean, for it is one of those vices which will enable him to govern" proves Machiavelli feels mighty adamant about his view that being mean will help a prince achieve success (332). It is absurd to imagine the meanest prince as the most successful. Also, when Machiavelli states, "our experience has been that those princes who have done great things have held good faith of little account, and have known how to circumvent the intellect of men by craft" revealing his attitude to manipulate people into fearing and respecting the prince (335). Also, Machiavelli shows that for a prince to be successful, he must not think about good faith.
The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
Isabella d’Este left behind not only the great works of art that she collected and commissioned during her lifetime but a treasure trove “amounting to upwards of two thousand letters, which have fortunately been preserved.” Through these letters, scholars learn what kind of woman Isabella was, and what she expected from her patronage. One such example of Isabella’s correspondence is the “chronicles of [her] efforts between 1496 and 1505 to obtain the Battle Between Virtue and Vice from Pietro Perugino.” The Marchesa undoubtly, one of the great art patrons of her time, she lived among the masters of Renaissance art.
Machiavelli?s model for his ideal prince was Cesare Borgia, also known as Duke Valentino and son of Pope Alexander VI. He believed Cesare Borgia possessed all the qualities of a prince destined to rule and maintain power in his state. He believed that politics has a morality of its own. There is no regard of justness or unjustness, of cruelty or mercy, of approval or humiliation, which should interfere with the decision of defending the state and preserving its freedom. Therefore, the ruler/prince's single responsibilit...
The most astounding aspect of The Prince is Machiavelli’s view that princes may indeed, be cruel and dishonest if their ultimate aim is for the good of the state. It is not only acceptable but necessary to lie, to use torture, and to walk over other states and cities. Machiavellianism is defined as “A political doctrine of Machiavelli, which denies the relevance of morality in political affairs and holds that craft and deceit are justified in pursuing and maintaining political power (Def.)” This implies that in the conquest for power, the ends justify the means. This is the basis of Machiavellianism. The priority for the power holder is to keep the security of the state regardless of the morality of the means. He accepts that these things are in and of themselves morally wrong, but he points out that the consequences of failure, the ruin of states and the destruction of cities, can be far worse. Machiavelli strongly emphasizes that princes should not hesitate to use immoral methods to achieve power, if power is necessary for security and survival.
“The Prince”, by Niccolo Machiavelli, is a series of letters written to the current ruler of Italy, Lorenzo de’ Medici. These letters are a “how-to” guide on what to do and what not to do. He uses examples to further express his views on the subject. The main purpose was to inform the reader how to effectively rule and be an acceptable Prince. Any ruler who wishes to keep absolute control of his principality must use not only wisdom and skill, but cunning and cruelness through fear rather than love. Machiavelli writes this book as his summary of all the deeds of great men.
Bowron, Edgar Peters., Peter Björn. Kerber, and Pompeo Batoni. Pompeo Batoni: Prince of Painters in Eighteenth-century Rome. New Haven: Yale UP, 2007. 100-50. Print.
In this paper I'm focusing mainly on Renaissance art work, since that was the assignment, but I feel it's important to also mention the other important parts of the Renaissance, architecture, science, politics and religion.
In this brief monograph, we shall be hunting down and examining various creatures from the bestiary of Medieval/Renaissance thought. Among these are the fierce lion of imperious, egotistical power, a pair of fantastic peacocks, one of vanity, one of preening social status, and the docile lamb of humility. The lion and the peacocks are of the species known as pride, while the lamb is of an entirely different, in fact antithetical race, that of humility and forgiveness. The textual regions we shall be exploring include the diverse expanses, from palace to heath, of William Shakespeare, the dark, sinister Italy of John Webster, and the perfumed lady's chambers of Ben Jonson and Robert Herrick.
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.
In The Prince, Machiavelli separates ethics from politics. His approach to politics, as outlined in The Prince, is strictly practical. Machiavelli is less concerned with what is right and just, and instead with what will lead to the fortification of the government and the sustainment of power. Machiavelli believed that a ruler should use any means necessary to obtain and sustain power. He says, “…people judge by outcome. So if a ruler wins wars and holds onto power, the means he has employed will always be judged honorable, and everyone will praise them” (Machiavelli, 55). According to Machiavelli, the ends of an action justify the means (Machiavelli, 55). His motivation for these views in The Prince was the reunification of the Italian city-states (Machiavelli, 78-79). Machiavelli wanted Italy to return to its glory of the Roman Empire (Machiavelli 78-79). Some of the beliefs of Machiavelli could be perceived as evil and cruel, but he found them necessary. Machiavelli was not concerned with making people happy. His purpose was outcome and success, and in his opinion, the only way to be successful was to be realistic. These views of Machiavelli could classify him as one of the earliest modern
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
Niccolò Machiavelli wrote, in his novel The Prince, that strong central political leadership was more important than anything else, including religion and moral behavior. Machiavelli, writing during a period of dramatic change known as the Italian Renaissance, displayed attitudes towards many issues, mostly political, which supported his belief that strong government was the most important element in society. These attitudes and ideas were very appropriate for the time because they stressed strong, centralized power, the only kind of leadership that seemed to be working throughout Europe, and which was the element Italy was lacking. Machiavelli understood that obtaining such a government could not be done without separating political conduct and personal morality, and suggested that the separation be made. The Prince, written to the Medici family over five hundred years ago contained many truths, so universal and accurate that they still influence politics today.