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Renaissance – A More Global View

Renaissance – A More Global View. Out of the Middle Ages [context]. Notre Dame Cathedral, Paris. Early Middle Ages were seen as “dark ages” because all the learning of the classical age (Greek and Roman) was lost or thought to be pagan. Pagan = vulgar (from whose perspective?)

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Renaissance – A More Global View

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  1. Renaissance – A More Global View

  2. Out of the Middle Ages [context] Notre Dame Cathedral, Paris • Early Middle Ages were seen as “dark ages” because all the learning of the classical age (Greek and Roman) was lost or thought to be pagan. • Pagan = vulgar (from whose perspective?) • Sacredness of everything, God always involved in people’s daily lives. God is proximate. Religion is interconnected with everything. Discovery France, History of Notre Dame de Paris, 2016, http://www.discoverfrance.net/France/Cathedrals/Paris/Notre-Dame.shtml (Feb. 5, 2016)

  3. Medieval Art • Art inspired reverence. • Various levels of the Church bureaucracy commissioned art (central = pope, bishops, parishes, monasteries). Madonna and Child, ca 1300 by Duccio di Buoninsegna. Metropolitan Museum of Art, Timeline of Art History, 2004 <http://www.metmuseum.org/toah/ho/07/eust/ho_2004.442.htm> (January 19, 2005);Veronica Sekules, Medieval Art: Oxford History of Art (Oxford:Oxford University Press, 2001), 52.

  4. Medieval Art con’t • Common subject matter: biblical scenes such as crucifixion, Last Supper, nativity, Virgin Mary. • Beauty is god-like, colour and light especially. • Altar is where holy communion is given, so it needs to be decorated with a special altarpiece. The Crucifixion, 14th century Italy. Part of a folding, portable altar. The Metropolitan Museum, The Cloisters, Works of Art, Collection Highlights, 2000, <http://www.metmuseum.org/Works_Of_Art/viewOne.asp?dep=7&viewmode=0&item=61.200.1> (January 19, 2005); . Veronica Sekules, Medieval Art: Oxford History of Art (Oxford:Oxford University Press, 2001), 61.

  5. Changes in Late Middle Ages • Sacred and secular together, not everything had to be related to God. • Re-introduction to classical myths and gods. • Timeline: 1300-ish

  6. Italian Renaissance • Starting in the mid-14th century, the commercial cities of northern Italy (Milan, Venice, Florence) were the scene of a great artistic and cultural revival. • Historians see it as a transition between the Middle Ages and the modern period.

  7. Rulers of northern Italian city-states had money to spend on patronizing the arts. The Medici family (bankers and traders) ruled Florence and sponsored well-known artists such as Botticelli and Michelangelo . Northern “Italy” Robert J. Walker, World Civilizations: A Comparative Study (Don Mills: Oxford University Press, 1998), 263-264.

  8. Mehmed the Conqueror • Ottomans conquered Constantinople in 1543 • Mehmed interested in classical learning • Trade treaty with Venice • Style of his TopkapiSaray Palace imitated in Venice Painted miniature of Mehmed II Rhoads Murphey, History Today, Ottoman Expansion Under Mehmed II, 1999, http://www.historytoday.com/rhoads-murphey/ottoman-expansion-under-mehmed-ii (Jan. 14, 2016); ); Jerry Broton, The Renaissance Bazaar: From the Silk Road to Michelangelo (Oxford: Oxford University Press, 2002), 48, 50, 146-149.

  9. Topkapi Saray Palace Lonely Planet, Istanbul Ottoman Relics Tour, 2016, http://www.lonelyplanet.com/europe/activities/history-culture/istanbul-ottoman-relics-tour-topkapi-palace-hagia-sophia-sultan-tombs/item-v-5828OTTOMON-id (Feb. 5, 2016)

  10. Eastern Influences and Relationships Giovani and Gentile Bellini, St. Mark Preaching in Alexandria, 1504-7 Web Gallery of Art, Bellini, Giovani - Biography, N.d., http://www.wga.hu/frames-e.html?/html/b/bellini/giovanni/1500-09/185serm.html (Jan. 14, 2016)

  11. Portuguese Caravel Based on Arab ship design Development of Sailing Ships, April 2014, http://www.iro.umontreal.ca/~vaucher/History/Ships_Discovery/#caravel (Jan. 14, 2016)

  12. Florence (Firenze) • Wealth based on banking, trade and commerce (textiles). • Importance of civic (secular) institutions. Palazzo Vecchio, Florence.

  13. Eastern-Influenced Architecture Doge’s Palace, Venice (Palazzo Ducale) 1309-1424 Great Buildings, Doge’s Palace, 2013, http://www.greatbuildings.com/buildings/doges_palace.html (Jan. 14, 2016)

  14. Islamic Influences Islamic knotwork motif on Italian plate, 1500-1520 The Getty, 2004, The Arts of Fire: Islamic Influences on the Italian Renaissance http://www.getty.edu/art/exhibitions/arts_fire/ (July 1, 2009).

  15. Back in Time • Islamic society in Spain (Al Andalus) was more open to reason and science than Europe well before the Renaissance • 800s: Al Khwarizmi • Algebra, astronomy, circumference of the earth • 1100s: Averroes (Ibn Rushd): • Medicine, astronomy, law, philosophy (commentaries on Aristotle) Averroes BBC Radio. In Our Time: Averroes. 2006. http://www.bbc.co.uk/radio4/history/inourtime/inourtime_20061005.shtml (August 14, 2009).

  16. Abbasid Caliphate, 9th Century Baghdad: access to Indian numbering system (became Arabic numerals) University of Arkansas at Little Rock. Applications: web-based Precalculus. 2001. http://ualr.edu/lasmoller/aljabr.html (August 14, 2009).

  17. Accounting Fibonacci, c. 1170-1250 • Son of a customs broker, Fibonacci learned Arab methods of accounting in Algeria, Egypt, Syria • Combined Hindu, Arabic and Greek methods • Results: replaced abacus and Roman numerals, introduced decimal point, used numerals from 0-9, introduced the +, - and x signs • Modernized business practices Luke Mastin, The Story of Mathematics, Medieval Mathematics – Fibonacci, 2010, http://www.storyofmathematics.com/medieval_fibonacci.html (Jan. 14, 2016); Jerry Broton, The Renaissance Bazaar: From the Silk Road to Michelangelo (Oxford: Oxford University Press, 2002), 42-43.

  18. Avicenna • 1000s: Avicenna (Ibn Sina) • Medical encyclopedia (Canon on Medicine) Canon, 1632 Arabic copy The “Persian Galen” at work A Unesco medal honouring Avicenna quotes him: “Cooperate for the well-being of the body and the survival of the human species.” William and Kathleen McKee, World History: Connections to Today. Teacher’s Ed. Upper Saddle River, New Jersey: Prentice-Hall, Inc., 2001. 261-266. Wellcome Library. Avicenna’s Canon of Medicine. http://library.wellcome.ac.uk/doc_WTX023437.html (August 14, 2009). Washington State University, College of Pharmacy, History of Pharmacy. 2009. http://www.pharmacy.wsu.edu/HISTORY/history13.html (August 14, 2009). UNESCO. Avicenna Medal. 2002. http://portal.unesco.org/en/ev.php-URL_ID=26452&URL_DO=DO_PRINTPAGE&URL_SECTION=201.html (August 14. 2009).

  19. Rome • The city had been home to the papacy since St. Peter was the first bishop of Rome. • It fell into hard times but was revived in the 15th century when it was rebuilt, inspired by Renaissance artistic virtues. • There was great interest in Rome’s ancient ruins, inspired by renewed interest in classicism.

  20. The Pantheon, Rome Built and re-built by the ancient Romans National Gallery of Art and Oxford University Press, Italian Renaissance Learning Resources: Recovering the Golden Age, 2016, http://italianrenaissanceresources.com/units/unit-7/essays/rise-fall-and-resurrection-of-ancient-rome/ (Feb. 5, 2016)

  21. Humanism • Study of the liberal arts: grammar, rhetoric, poetry, history, philosophy (also music, astronomy, geometry, theology, arithmetic). • Secular: focused on improving life here on earth, not just on the after-life. “Reason over revelation.” • Individualistic. • Admired the Greeks and Romans (classicism). • Perpetuated through education (humanist schools).

  22. Classicism • Revived interest in classical works of Greece and Rome: • architecture • art • more secular Sandro Botticelli, Birth of Venus - figures from classical mythology; ideal beauty; earliest nudes. WebMuseum, Paris, Botticelli, The Birth of Venus, 2002, <http://www.ibiblio.org/wm/paint/auth/botticelli/venus/> (January 25, 2005).

  23. Humanist Art • Portraiture: humans the centre, not the divine. • Nudes recall the classical love for ideal beauty. • Nature: humanistic focus on realism, this earth. • Incorporated the latest advances. Titian, Venus of Urbino

  24. Artistic Advances of the Renaissance • Linear perspective: • Method of portraying realism. • Foreshortening - gives a 3-D effect. • Anatomy - Michelangelo’s sculpting and painting of realistic musculature. Masaccio, The Trinity, 1425. Sister Wendy Beckett, The Story of Painting (Toronto: Little Brown (Canada), 1994),84-85; Painters of the Renaissance, Masaccio, N.d., http://paintersoftherenaissance.weebly.com/masaccio.html (Jan. 13, 2016)

  25. Leonardo da Vinci [art reflects age] • Born 1452 near Florence, died 1519 in France. • Worked for the duke of Milan as a military and civil engineer, sculptor. • Known as “Renaissance Man” for his many interests - reflecting the humanism, science, and learning of the era. National Gallery, Leonardo da Vinci Biography, <http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPublisher.woa/wa/artistBiography?artistID=384> (January 2005). Leonardo Self Portrait, 1516.

  26. Leonardo’s Science • Anatomy: dissected corpses to get accurate drawings. • Notebooks: 5000 pages of flying machines, submarines, parachutes, weapons, thread-cutting machine, water wheel. “It seems to me that those sciences are vain and full of error which do not spring from experiment, the source of all certainty.” Anatomical drawing. Boston Museum of Science, Renaissance Man: Scientist, <http://www.mos.org/leonardo/scientist.html> (January 25, 2005).

  27. Leonardo’s Use of Perspective Leonardo da Vinci, study for Adoration of the Magi, showing all the lines needed to create perspective. Exploring Linear Perspective, Boston Museum of Science, 1997.<http://www.mos.org/sln/Leonardo/ExploringLinearPerspective.html> (January 25, 2005).

  28. Leonardo’s Artistry • Mona Lisa - 1505 - a portrait of the wife of a Florentine merchant. • Sfumato - skillful use of shading, natural appearance: “how distance fades colours, how shadows modulate, and how surfaces pick up the reflected tints of nearby objects.” • Focus on the way the viewer interacts with the painting. Mona Lisa WebMuseum, Paris. Leonardo Da Vinci, La Jaconde, 2002, <http://www.ibiblio.org/wm/paint/auth/vinci/joconde/> (January 25, 2005).

  29. Michelangelo Buonarroti • Born 1475 Florence, died 1564. • Sculptor and painter. • Very religious. • Felt beauty is divine. • Sculpted David (1501-1504) 14 feet high - a biblical figure made to reflect the power and freedom of Florence. WebMuseum, Paris, Michelangelo, 2003 <http://www.ibiblio.org/wm/paint/auth/michelangelo> (January 25, 2005).

  30. Sistine Chapel • Michelangelo worked here, 1508 to 1512. • The holiest chapel because it is where popes prayed. The Sistine Chapel. Vatican Museums Online, Sistine Chapel, 2003, <http://mv.vatican.va/3_EN/pages/CSN/CSN_Main.html> (January 25, 2005).

  31. Sistine Chapel Ceiling The Creation of Man  Layout of the Ceiling, Michelangelo’s Cistine Chapel Ceiling, 2001, <http://sun.science.wayne.edu/~mcogan/Humanities/Sistine/Ceiling/index.html> (January 19, 2005); WebMuseum, Paris. Michelangelo, 2003, <http://www.ibiblio.org/wm/paint/auth/michelangelo> (January 25, 2005).

  32. Raphael (Raffaello Sanzio) • Born 1483, died 1520. • Used the latest techniques such as perspective to paint naturally and realistically. • Influenced by Leonardo and Michelangelo (also painted at the Vatican and for a time was the chief architect of the new St. Peter’s basilica). St. Catherine of Alexandria, 1507-08. Known for grace and movement. National Gallery, Past Exhibitions, <http://www.nationalgallery.org.uk/exhibitions/raphael/default.htm> (January 25, 2005).

  33. School of Athens - Raphael • Painted 1510-1511. • Classical figures include Plato, Aristotle, Pythagoras, Ptolemy, and Euclid. • Renaissance figures include Michelangelo, da Vinci, and himself. School of Athens - classical references Sister Wendy Beckett, The Story of Painting (Toronto: Little Brown (Canada), 1994), 128.

  34. Raphael con’t • School of Athens painted in the pope’s private apartment (library and private office). • Note: Averroes. Christus Rex, Stanze e Loggia di Raffaello, 2000, <http://www.christusrex.org/www1/stanzas/0-Raphael.html> (January 25, 2005).

  35. Bibliography Annenberg/Corporation for Public Broadcasting. Middle Ages. 1997. <http://www.learner.org/exhibits/middleages/>. Beckett, Sister Wendy. The Story of Painting: The Essential Guide to the History of Western Art. Toronto: Little Brown (Canada), 1994. Boston Museum of Science. Leonardo da Vinci. 1997. <http://www.mos.org/leonardo/>. Christus Rex et Redemptor Mundi. 1997. <christus.rex.org>. Dersin, Denise (ed.). What Life Was Like at the Rebirth of Genius: Renaissance Italy AD 1400-1550. Alexandria, Virginia: Time-Life Books, 1999.

  36. King, Ross. Michelangelo and the Pope’s Ceiling. New York: Penguin Group, 2003. Layout of the Ceiling, Michelangelo’s Cistine Chapel Ceiling, Wayne State University Humanities. 2001. <http://sun.science.wayne.edu/~mcogan/Humanities/Sistine/Ceiling/index.html>. The Metropolitan Museum of Art. Works of Art. The Cloisters. 2004. <http://www.metmuseum.org/Works_Of_Art/department.asp?dep=7>. The Metropolitan Museum of Art. Timeline of Art History. 2004. <http://www.metmuseum.org/toah/splash.htm>. McDonald, Jesse. Michelangelo. London: PRC Publishing Ltd., 2001.

  37. National Gallery. 2005. <http://www.nationalgallery.org.uk/default.htm>. Sekules, Veronica. Medieval Art: Oxford History of Art. Oxford:Oxford University Press, 2001. Vatican Museums Online. 2003. <http://mv.vatican.va/3_EN/pages/MV_Home.html>. Walker, Robert J. World Civilizations: A Comparative Study. Don Mills: Oxford University Press, 1998. WebMuseum, Paris. The Italian Renaissance. 2002. <http://www.ibiblio.org/wm/paint/tl/it-ren/>.

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