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Chapter Twelve The Early Renaissance

Chapter Twelve The Early Renaissance. The resurgence of classical culture and the rise of a new humanism. The Character of the Renaissance. When was the Renaissance? Jules Michelet Jakob Burkhardt Charles Homer Haskins Florentine Renaissance characteristics

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Chapter Twelve The Early Renaissance

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  1. Chapter TwelveThe Early Renaissance The resurgence of classical culture and the rise of a new humanism

  2. The Character of the Renaissance • When was the Renaissance? • Jules Michelet • Jakob Burkhardt • Charles Homer Haskins • Florentine Renaissance characteristics • Artist as individual seeking fame • New artistic realism • New growth in economics/trade • Florentine banking and commerce • Humanism as outgrowth of Classical learning • Advancement of self and society through intellectual efforts

  3. Printing Technology and the Spread of Humanism • Aldus Manutius (1449-1525) • Humanists collated and corrected manuscripts • Vast scope of Greek, Latin, vernacular texts • Johann Gutenberg (c. 1395-1468) • Print technology and the diffusion of ideas • 6-9 million books, 13,000 editions before 1500

  4. Pico della Mirandola(1463-1494) • Synthesis of all learning yields truth • Student of languages and cultures • Oration on the Dignity of Man • Man bridges gap between heaven and creation • Humanity is a great miracle

  5. Two Styles of Humanism:Niccolò Machiavelli (1469-1527) • The Prince • Secular study of political theory • Inspired by Republican Rome • Realistic pragmatism • Success in governing is key to power • Wisdom and ruthlessness • Christianity’s role in politics is disastrous • “The end justifies the means”

  6. Florence, ItalyWhere the Renaissance begins…

  7. The First Phase:Masaccio, Ghiberti, and Brunelleschi • Florentine “representative” government • Arti, senior guilds • Wool trade • Banking, banking families • Stable monetary system • Revolutionary Florentine art • Renaissance

  8. The First Phase:Masaccio, Ghiberti, and Brunelleschi • Characteristics of artistic change • Gentile da Fabriano (c. 1385-1427) • Adoration of the Magi (1423) • Conservative International Gothic style • Tommaso Guidi, aka Masaccio (1401-1428) • The Holy Trinity (c. 1428) • Clarity of line, perspective, realism, psychology

  9. Medieval Art 10th Century Russian Icon (left) and 14th Century Florentine Passion (right)

  10. Medieval Art in the International Style Note the bright colors, crowded composition, and rounded figures No single-point perspective

  11. a concern with, and technical ability to handle, space and volume in a believable way • studious approach to model art from that of ancient Rome • departure from more ethereal mode of medieval otherworldliness to a greater concern for human realism • This is achieved through: • clarity of line • mathematically precise perspective • close observation of real people • concern for psychological states • uncluttered arrangements—artist doesn’t fill up all available space

  12. The First Phase:Masaccio, Ghiberti, and Brunelleschi • Masaccio • Realistic depiction of human beings • The Tribute Money (c. 1427) • Profound sense of emotion • Expulsion of Adam and Eve from Eden (c. 1425) • “…brought into existence the modern style”

  13. The First Phase:Masaccio, Ghiberti, and Brunelleschi • Lorenzo Ghiberti (1378-1455) • Florence Baptistery, North Door competition • Sentiment, mathematical perspective • East Doors = “Gates of Paradise” • Filippo Brunelleschi (1377-1466) • Renaissance architecture • Dome of Santa Maria del Fiore • Gothic + Classical Roman influences

  14. The First Phase:Masaccio, Ghiberti, and Brunelleschi • Foundling Hospital, Pazzi Chapel • Classical order • Intricate mathematical proportions • Serenity • Florentine Renaissance style • Space, ancient models, human realism • Reaffirmation of Classical ideals

  15. The pre-Renaissance Gothic style (Notre Dame Cathedral)

  16. Florence Cathedralcombines Gothic buttressing with Roman dome

  17. Brunelleschi’s austere Foundling Hospital

  18. Brunelleschi’s Pazzi Chapel; note the similarities to Rome’s domed pantheon Brunelleschi’s Renaissance Pazzi Chapel Ancient Rome’s Pantheon

  19. The Medici Era • Medici rule of Florence: 1434-1492 • Immense banking fortune • Branch banks throughout Western Europe • Extensive geographic, sociological influence • Giovanni Arnolfini and His Bride (1434)

  20. The Medici Era:Cosimo de’ Medici (1434-1464) • Ancient manuscripts • Greek language, philosophy • Platonic Academy • Search for truth and beauty • Marsilio Ficino • Platonic Love, Christian Platonism • Pater Patriae • Patron of the arts

  21. The Medici Era:Cosimo de’ Medici (1434-1464) • Donatello (1386-1466) • Saint George, David, Mary Magdalene • Michelozzo (1396-1472) • Convent of San Marco • Fra Angelico (1387-1455) • Annunciation fresco • Paolo Uccello (1397-1475) • Medici Palace paintings

  22. The Medici Era:Piero de’ Medici • Ruled Florence from 1464-1469 • Continued Cosimo’s patronages • Religious and civil art and architecture • Medici and the theme of the Magi • Sandro Botticelli (1444-1510) • Benozzo Gozzoli (1420-1495)

  23. The Medici Era:Lorenzo il Magnifico • Accomplished vernacular poet • Ficino, Botticelli, Michelangelo • Laurentian patronage of learning • University of Pisa • The Stadium of Florence • Greek as export from Florence

  24. The Medici Era:Lorenzo il Magnifico • Botticelli (1444-1510) • La Primavera (Springtime), The Birth of Venus • Platonic idealism, Christian mysticism • Leonardo da Vinci (1452-1519) • Mona Lisa, The Last Supper, Madonna of the Rocks • Notebooks • Mathematics, natural world and humanity, love for beauty

  25. Botticelli’s Birth of Venus; modeled on Greek and Roman statues

  26. Leonardo da VinciThe first “Renaissance Man” • He was a master painter • He was a keen scientist, mastering fields of geology, botany, and anatomy • He was a master engineer, designing airplanes and helicopters • He was a master mathematician

  27. Leonardo’s Notebooks From left to right: An underwater breathing machine; detailed studies of human anatomy; an artificial wing for human flight (strap it on and jump off a cliff! [don’t try this at home])

  28. Leonardo’s “The Last Supper”Note the mathematical precision

  29. The Medici Era:Lorenzo il Magnifico • Michelangelo Buonarroti (1476-1564) • Cameo carving: Madonna of the Stairs • Pietá • Michelangelo’s David • Statement of idealized beauty • Palazzo Vecchio: symbol of civic power

  30. Next class, chapter 13: Popes and Patronage • Cellini’s “Autobiography.”

  31. The Medici Era:Lorenzo il Magnifico • Fra Savonarola (1452-1498) • Dominican preacher, reformer • Laurentian Florence vs. Medieval Piety • Inspired many converts • Defied papal excommunication, died publicly

  32. Women and the Renaissance • Humanist education • Aristocratic families • Families who saw education as priority • Rise of printing / accessibility of books • Woman writers • Upper-class culture • Convent life • Women criticized for not following traditional societal roles

  33. Two Styles of Humanism:Desiderius Erasmus (1466-1536) • Wandering scholar, author • Christian Humanism • Classical learning + Christian living • The Praise of Folly (1509) • Attacked religious corruption • Sweeping social criticism • Outsold only by the Bible in the 16th century

  34. Music in the 15th Century • Guillaume Dufay (c. 1400-1474) • Secularization of the motet, Chanson masses • Synthesis of secular and religious • Johannes Ockeghem (c. 1430-1495) • Classical balance of intellect and emotion • Music in Medici Florence • No Classical models • Platonic and Aristotelian significance • Frittola, canto carnascialesco

  35. Chapter Twelve: Discussion Questions • Consider the role of art in Florentine politics. In what ways does artistic patronage serve as a vehicle for state propaganda? Explain, including principal discussions of the socio-religious works of Gozzoli and Michelangelo. • Contrast the medieval worldview with that of the Renaissance. What was the role of the individual during the Middle Ages? During the Renaissance? What was the role of the artist in each period? To what may we attribute the shift in perspective? Explain. • Citing specific artwork from Chapter Twelve, explore the artistic balance between Classical and Christian prerogatives. Which of the artists in the chapter had the most success balancing and/or synthesizing the two ideologies? • Compare the two styles of Humanism exemplified by Erasmus and Machiavelli. What variation on the theme does each provide? Consider the roles of Classicism and Christianity in their respective approaches.

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