Renaissance art

src: www.london.anglican.org

Contributions to paintings and architecture are very rich. Art Mosan, Early Dutch

Renaissance Art is painting, sculpture and decorative in the period of European history, emerging as a different style in Italy around 1400, along with developments in philosophy, literature, music, and science.. Renaissance art, regarded as the grandest ancient tradition, takes its classical artwork, but changes the tradition by absorbing the latest developments in Northern European art and by applying contemporary scientific knowledge. Renaissance art, with Renaissanceist humanist philosophy, spread throughout Europe, affecting both artists and customers with the development of new techniques and new artistic sensitivities. Renaissance art marks the transition of Europe from the medieval period to the Early Modern era.

In many parts of Europe, Early Art was created in parallel with the art of the late Middle Ages.

Influences on the development of Renaissance men and women in the early fifteenth century were those who also influenced Philosophy, Literature, Architecture, Theology, Science, Government, and other aspects of society. The following list presents a summary, discussed more fully in the main article cited above.

• The classical text, lost from European scholars for centuries, becomes available. These include Philosophy, Prose, Poetry, Drama, Science, a thesis on Art, and Early Christian Theology.
• Simultaneously, Europe gained access to advanced mathematics which has its origins in the works of Islamic scholars.
• The advent of moving type printing in the fifteenth century meant ideas could be disseminated easily, and more books were written to the public at large.
• The establishment of the Medici Bank and subsequent trades generated brought an unprecedented wealth to an Italian city of Florence.
• Cosimo de 'Medici sets a new standard for the protection of art, unrelated to the church or monarchy.
• Humanist philosophy means that human relationships with humans, the universe and with God are no longer the exclusive province of the Church.
• Classical return to Classics brings the first archaeological study of Roman relics by the architect Brunelleschi and the sculptor Donatello. The revival of architectural styles based on classical precedent inspires an appropriate classicism in painting and sculpture, which manifests itself as early as 1420s in Masaccio and Uccello paintings.
• The increase in oil paint and the development of oil painting techniques by Dutch artists such as Jan van Eyck, Rogier van der Weyden and Hugo van der Goes led to his adoption in Italy from around 1475 and ultimately impacted the practice of painting. , around the world.
• The accidental presence in Florence in the early fifteenth century from certain individuals of artistic genius, especially Masaccio, Brunelleschi, Ghiberti, Piero della Francesca, Donatello and Michelozzo formed an ethos from which professors emerged from the High Renaissance , as well as supporting and encouraging many lesser artists to achieve exceptional quality work.
• A similar legacy of artistic achievement takes place in Venice through the talented Bellini family, his influential in-laws at Mantegna, Giorgione, Titian and Tintoretto.
• The publication of two treatises by Leone Battista Alberti, De Pitura ( On Painting ), 1435, and De re aedificatoria ( Ten Book on Architecture ), 1452.

Video Renaissance art

Histori

Proto-Renaissance di Italia, 1280-1400

In Italy in the late 13th and early 14th centuries, the statue of Nicola Pisano and his son Giovanni Pisano, working in Pisa, Siena and Pistoia showed a very classical tendency, probably influenced by the intimacy of these artists with the ancient Roman sarcophagus. Their masterpiece is the pulpit of Baptism and Pisa Cathedral.

Contemporary with Giovanni Pisano, Florentine painter, Giotto develops an unprecedented, naturalistic, three-dimensional, human-living and classical figurative painting, compared to his contemporaries and Cimabue's teachers. Giotto, whose greatest work is the life cycle of Christ at the Arena's Chapel in Padua, was seen by Giorgio Vasari's 16th-century biography as "saving and restoring art" from "rustic, traditional, Byzantine Style" prevalent in Italy in the 13th century.

Early Dutch art, 1400-1525

The painters from the Low Countries in this period included Jan van Eyck, his brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden, and Hugo van der Goes. Their paintings were developed independently of the Early Italian Renaissance paintings, and without the effect of deliberate and conscious effort to revive the ancient times. The style of painting grew directly from medieval temple painting art, stained glass and book illumination. The medium used is oil paint, which has long been used to paint the ceremonial skin of the shield and equipment, because it is flexible and relatively durable. The earliest Netherlandish oil painting is very meticulous and details like tempera paintings. The material is lent to the depiction of tonal variations and textures, thereby facilitating the observation of nature in great detail.

The Dutch painter did not approach the creation of the image through a framework of linear perspective and correct proportions. They maintained the medieval view of hierarchical proportions and religious symbolism, while delighted in the realistic treatment of material elements, both natural and man-made. Jan van Eyck, with his brother Hubert painting The Altarpiece of the Mystical Lamb. It is possible that Antonello da Messina became familiar with Van Eyck's work, while in Naples or Sicily. In 1475, Hugo van der Goes' Altar Portinari arrived in Florence where it had a great influence on many painters, most immediately Domenico Ghirlandaio painting an altar that mimics its elements.

Early Renaissance in Italy, 1400-1479

Although both Pisanos and Giotto had students and followers, the first Renaissance artist really did not appear in Florence until 1401 with a competition to sculpt a set of bronze doors of the Baptistery of Florence Cathedral which attracted entries from seven young sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, best known as the architect of the Cathedral dome of Florence and the Church of San Lorenzo, created sculptural works, including the Artificial Cross at Santa Maria Novella, renowned for its naturalism. His study of perspective is thought to have influenced the Masaccio painter. Donatello became famous as the greatest sculptor of the Early Renaissance, his work became his humanist and the stupendous erotic sculpture of David, one of the icon of the Florentine republic, and his great monument to Gattamelata, the first large bronze ever made since Roman times. time.

The contemporary of Donatello, Masaccio, is the pale descendant of Giotto, who continues the tendency towards form and naturalism of the faces and movements that he has begun from the previous century. Masaccio completed several painting panels but was most famous for the fresco cycle which he started in the Brancacci Chapel with the older artist Masolino and who had a major influence on later painters, including Michelangelo. The development of Masaccio was brought forward in Fra Angelico's paintings, especially in his paintings at San Marco Monastery in Florence.

The treatment of the elements of perspective and light in painting is of particular concern to Florentine painters of the fifteenth century. Uccello is so obsessed with trying to achieve a perspective view that, according to Vasari, it interrupts his sleep. The solution can be seen in his work, Battle of San Romano. Piero della Francesca makes a systematic and scientific study of light and linear perspectives, whose results can be seen in the fresco cycle of the True Cross History in San Francesco, Arezzo.

In Naples, the painter Antonello da Messina began using oil paints for portraits and religious paintings on dates that preceded the other Italian painters, probably around 1450. He brought this technique northward and influenced the Venetian painter. One of the most significant painters of Northern Italy is Andrea Mantegna, who adorned the interior of the room, Camera degli Sposi for its patron Ludovico Gonzaga, making portraits of family and palace into an illusionistic architectural space..

The End of the Renaissance The beginning in Italian art is marked, as originally, by certain commissions that attract artists together, this time in cooperation rather than competition. Pope Sixtus IV has rebuilt the Pontifical Chapel, named the Sistine Chapel in his honor, and commissioned a group of artists, Sandro Botticelli, Pietro Perugino, Domenico Ghirlandaio and Cosimo Rosselli to decorate his walls with a fresco circle depicting the Life of Christ and < i> The life of Moses . In sixteen large paintings, artists, though each working in his individual style, agree on formatting principles, and utilize lighting techniques, linear and atmospheric perspectives, anatomy, foreshortening and characterization that have been brought to the high point in large studios Florentine from Ghiberti, Verrocchio, Ghirlandaio and Perugino.

The beginning of the Renaissance in France, 1375-1528

French artists, (including duchies such as Burgundy) are often associated with the court, providing illuminated manuscripts and portraits for nobles as well as paintings and altarpieces of piety. Among the most famous are the Limbourg brothers, the Flemish illuminator and creator of TrÃÆ'¨s Wealth Heures du Duc de Berry. Jean Fouquet, the royal court painter, visited Italy in 1437 and reflected the influence of Florentine painters such as Paolo Uccello. Although famous for his portraits such as Charles VII of France Fouquet also created illuminations, and is considered the inventor of miniature portraits. There are a number of artists on this date who paint famous altarpieces, which are stylistically very different from Italians and Flemishes. These include two mysterious figures, Enguerrand Quarton who are thought to have originated from Pietena of Villeneuve-lÃÆ'¨s-Avignon, and Jean Hey, otherwise known as "Master of Moulins" after his most famous work, the Moulins Altarpiece . In these works, the realism and close observations of human figures, emotions and illumination combined with medieval formality, which includes a golden background. High Renaissance in Italy, 1475-1525 High Renaissance in Italy,

Leonardo da Vinci's "universal genius" is to further refine aspects of pictorial art (lighting, linear and atmospheric perspective, anatomy, foreshortening and characterization) that has captured the attention of early Renaissance artists, in a lifetime studying and closely recording his observations. from the natural world. The use of oil paints as its main medium means that it can portray light and its effects on landscapes and objects more naturally and with greater dramatic effect than ever before, as shown in Mona Lisa. His corpse dissection brings forward the understanding of bone and muscle anatomy, as seen in the unfinished St Jerome . His portrayal of human emotions in The Supper sets the standard for religious painting.

The contemporary art of Leonardo Michelangelo takes a very different direction. Michelangelo, neither his paintings nor his sculptures showed any interest in the observation of any natural object except the human body. He perfected his technique in describing it, while in the early twenties, by the creation of the great marble statue of David and Pieta, in St. Peter's Basilica, Rome. He then set about exploring the expressive possibilities of human anatomy. His commission by Pope Julius II to paint the Sistine Chapel ceiling produced a masterpiece of figurative composition, which had a major influence on every next generation of European artists.

Standing alongside Leonardo and Michelangelo as the third great painter of High Renaissance is the younger Raphael, who in short life spans painted a large number of life and interesting portraits, including portraits of Pope Julius II and his successor Pope Leo X, and many depictions of Madonna and Christ Child , including Sistine Madonna.

In Northern Italy, the High Renaissance is represented by the religious painting of Giovanni Bellini which includes some great altarpieces of a type known as "Holy Conversation" which shows a group of saints around the crowned Madonna. His contemporary giorgione left a small amount of enigmatic works, including The Tempest, whose subject is still speculation. The earliest works of the High Renaissance Renaissance date, including the great altar of The Assumption of the Virgin, combine human action and drama with spectacular colors and ambience.

German Renaissance Art

German Renaissance art falls into a broader category of Renaissance in Northern Europe, also known as the Northern Renaissance. The influence of the Renaissance began to emerge in German art in the fifteenth century, but this trend was not widespread. Gardner's Art Through the Ages identifies Michael Pacher, a painter and sculptor, as the first German artist whose work began to show the influence of the Italian Renaissance. According to the source, Pacher's paintings, St. Wolfgang Forced the Devil to Hold His Prayerbook (c.1481), Late in style, but also shows the influence of Italian artist Mantegna. Artisans, like engravers, become more concerned with aesthetics than just perfecting their craft. Germany has a major engraver, such as Martin Schongauer, who carved metal in the late 1400s. Gardner attributed this mastery of graphic art to advancements in printing that took place in Germany, and said that metal engraving began to replace wood cutting during the Renaissance. However, some artists, such as Albrecht DÃÆ'¼rer, continue to do woodcuts. Both Gardner and Russell describe the fine quality of wood pieces of DÃÆ'¼rer, with Russell declaring, in The World of DÃÆ'¼rer , that DÃÆ'¼rer "lifts it into high artwork."

In the 1500s, Renaissance art in Germany became more common because, according to Gardner, "The art of northern Europe during the sixteenth century was characterized by a sudden awareness of the progress made by the Italian Renaissance and by the desire to assimilate this new style.. "One of the famous German Renaissance art practitioners was Albrecht DÃÆ'¼rer (1471-1528). The appeal of DÃÆ'¼rer with classical ideas took him to Italy to study art. Both Gardner and Russell recognize the importance of Durer's contribution to German art in bringing the style and ideas of the Italian Renaissance to Germany. Russell calls this "Opening Gothic windows of German art," while Gardner calls it Dorp's "living mission". Importantly, as Gardner points out, DÃÆ'¼rer "is the first northern artist to fully understand the basic purpose of the southern Renaissance," although his style does not necessarily reflect that. The same source says that Hans Holbein the Younger (1497-1543) succeeded in assimilating Italian ideas while also maintaining a "tradition-realism near the north." This is in contrast to Derber's tendency to work in his "own German style" rather than combining German and Italian styles. Other important artists of the German Renaissance are GrÃÆ'¼newald, Albrecht Altdorfer, and Lucas Cranach the Elder.

Hieronymus Bosch is a Dutch painter, who employs the kind of strange form often used to decorate borders and letters in illuminated manuscripts, combining the forms of plants and animals with the architectonic ones. When taken from the context of illumination and inhabited by humans, these forms give Bosch a surreal quality that has no parallel in the work of other Renaissance painters. The masterpiece is triptych The Garden of Earthly Delights .

Maps Renaissance art

English

England is too late to develop a late Renaissance style and most artists from Tudor courts are imported foreigners, usually from Low countries, including Hans Holbein the Younger, who died in England. One exception is the miniature portrait, which artists including Nicholas Hilliard evolved into different genres, both before becoming popular throughout Europe. Renaissance art in Scotland is equally dependent on imported artists, and is largely confined to the courts.

src: www.museumriverina.com.au

Themes and symbolism

Renaissance artists paint various themes. Religious altarpieces, fresco cycles, and small works for personal devotion are very popular. For inspiration, painters in Italy and Northern Europe often turn to Jacobus de Voragine's Golden Legend (1260), a very influential source book for the lives of saints who had had a powerful influence on Medieval artists. The rebirth of classical beauty and Renaissance humanism also produced many mythological and historical paintings. The stories of Ovidia, for example, are very popular. Decorative ornaments, often used in painted architectural elements, are primarily influenced by classical Roman motifs.

src: history.hanover.edu

Technique

• the use of proportions - The first major treatment of the painting as a window into space appeared in the work of Giotto in Bondone, early in the 14th century. A linear perspective was properly formalized later, by Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more realistic art presentation, he encouraged Renaissance painters to create more paintings.
• foreshortening - The term foreshortening refers to the artistic effect of the shortening line in the image thus creating the illusion of depth.
• sfumato - The term sfumato was coined by the Italian Renaissance artist Leonardo da Vinci, and refers to fine art techniques that obscure or soften sharp lines with a smooth and gradual blend from one tone to another through the use of a thin layer. to give the illusion of depth or three dimensions. It comes from the Italian word sfumare which means yawning or fading. The Latin origin is fumare, for smoking.
• chiaroscuro - The term chiaroscuro refers to the effect of modeling art paintings using a strong contrast between light and dark to give the illusion of depth or three dimensions. It comes from Italian words meaning light (chiaro) and dark (scuro), a technique widely used in the Baroque Period.

src: i.ytimg.com

Italian Artist

• Leone Battista Alberti (1404-1472)
• Fra Angelico (ca. 1395 - 1455)
• Biagio d'Antonio (1446 - June 1, 1516)
• Giotto in Bondone (1267-1337)
• Donatello (c. 1386 - 13 December 1466)
• Leonardo da Vinci (April 15, 1452 - May 2, 1519)
• Michelangelo (March 6, 1475 - February 18, 1564)
• Raphael (April 6 or March 28, 1483 - April 6, 1520)
• Sandro Botticelli (c 1445 - May 17, 1510)
• Masaccio (December 21, 1401 - 1428)
• Domenico Veneziano (c. 1410 - May 15, 1461)
• Filippo Lippi (about 1406 - 8 October 1469)
• Andrea del Castagno (c. 1421 - 19 August 1457)
• Piero di Cosimo (January 2, 1462 - April 12, 1522)
• Paolo Uccello (1397 - 10 December 1475)
• Antonello da Messina (c. 1430 - 1479 February)
• Pisanello (about 1395 - c. 1455)
• Andrea Mantegna (c. 1431 - 13 September 1506)
• Luca Signorelli (about 1445 - 16 October 1523)
• Alessio Baldovinetti (October 14, 1425 - August 29, 1499)
• Piero della Francesca (c. 1415 - October 12, 1492)
• Masolino (c.1383 - c 1447)
• Titian (c 1488/1490 - August 27, 1576)
• Andrea del Verrocchio (ca. 1435 - 1488)
• Domenico Ghirlandaio (1449 - January 11, 1494)
• Benozzo Gozzoli (c. 1421 - 1497)
• Carlo Crivelli (ca. 1435 - c. 1495)
• Marco Cardisco (c.1486 - c 1542)
• Pietro Negroni (about 1505 - c.1565)

src: sommerville88.files.wordpress.com

Artists from Low Countries

Source of the article : Wikipedia