The Renaissance
The Rebirth of Classical Learning and Thought

The Medieval Period

• Medieval society was divided into 3 sections: The Aristocracy, The Church, and The Peasants.
• Very little value was placed on human life, or emotion. In the Medieval Period, Artists were considered laborers.

The Middle Ages

• The Middle Ages were called that, because they were between the Classic cultures of Greece and Rome, and the Rebirth of Classicism, The Renaissance

Medieval Art

• Medieval art was characterized by a strict adherence to traditional models.
• Medieval sculptors were also the masons and builders.
• Medieval painters were also house painters, make-up artists, or book copyists.

Medieval Art

• Lacks realistic depth, or perspective
• Lacks a feeling of realism, or volume.
• Lacks a feeling of movement.
• Lacks a knowledge of human anatomy.

The Renaissance

• The renaissance began because there was surplus income, and the class structure of society had begun to change.
• Artists and philosophers began to look back on the classic civilizations of Greece and Rome for inspiration.

The Renaissance

• Renaissance artists pushed for a return to classical humanism. They insisted that individual people could work together to improve society.
• They thought that art, and science should be based on observation of the real world.
• They brought forward the idea that artists could be people of unique and individual genius, not simply laborers.
• They wanted to show the value of the individual in society, and the importance of human emotion.

Renaissance Florence
Filippo Brunelleschi

• Was the first architect since Greek and Roman times to be considered a genius.
• Invented a way to complete the Duomo in Florence without center support
• Invented hoists and cranes to complete the work.

(slide)Florence Baptistery doors
(slide)Florence Cathedral begun 1296
(slide)Brunelleschis inventions

Ambrogio Lorenzetti: Active 1319-1348

• The Effects of Good and Bad Government from the Pallazo Publico in Florence 1338-1339.
• Mural for the meeting room for the voting members of the republic.

Lorenzettis Good and Bad Gov.

• Communicates the importance of good government to all classes of society.
• Supports the republican government, and thus the value of the individual.

(slide)Lorenzettis Good and Bad Gov.

Lorenzetti

• There is an attempt to add movement to figures, and to put them in more realistic space.
• True perspective, using a vanishing point is not present.

Masaccio: 1401 - 1428

• No painter in history is recognized for contributing as much to a new style of painting as Masaccio.
• Innovations include: realistic perspective, realistic proportions, single source lighting effects, heightened sense of human emotion.

Masaccio

• Creates fully 3-D figures that seem to exist in real space. This creates a window to the past where the viewer can seem more like a participant.
• Supports the power of the wealthy classes by painting them into Biblical scenes.
• Affirms the value of the individual by making everyone the same size.
• Affirms the existence and value of human emotion.

(slide)Masaccio: Brancacci Chapel
(slide)Masaccio: The Tribute Money
(slide)Masaccio: Explulsion
(slide)Masaccio: detail

Masaccio

• There was no one who could show Masaccio how to paint realistically.
• He worked from life, becoming aware of anatomy, science and math, as well as current breakthroughs in architecture.

Masaccio:Trinity - Details

Sandro Botticelli: 1444-1510

• Painted in the Vatican for Pope Julius II
• Humanist agenda: he paints classical Greek subjects as well as Christian ones.
• Paints his friends as well as patrons.
• Places donors as active participants in Biblical narratives.

(slide)Botticelli: Birth of Venus - 1482
(slide)Andy Warhol: Venus
(slide)Botticelli: Adoration of the Magi

• This work was painted for the chapel of Guasparre Lami (agent of the Bankers Guild) in the church of Santa Maria Novella. In the background are the ancient ruins of a city. The Medicis are depicted taking part in the procession through the streets with the Confraternity of Magi, dressed as oriental kings as they did every year in Florence in reenactment. Botticelli looks out at us from the right hand side in the brown garment. Guiliano de' Medici stands on the left and leaning against him is the poet Poliziano. Beside them Pico della Mirandola. The Magus kneeling at the feet of Jesus is Cosimo the Elder, the King with the red cloak is Piero the Gouty (father to Lorenzo). Lorenzo is seen in profile on the right wearing a short black costume.

  (slide)Botticelli: Primavera

• The work represents a mythological version of the coming of Spring. Even the title of the painting (Primavera means Spring in Italian) reflects this view. In addition, there is much in the piece itself to support this theory.
• One of the most striking visual aspects of the Primavera is the beautiful garden setting. The garden, with its glorious profusion of flowers, establishes the season. However, this garden setting also becomes the stage for a drama - and this drama involves some interesting players from Classical mythology.
• The garden itself represents the Garden of Venus. In Classical myth, Venus is the goddess of love and beauty. The goddess is literally center stage, and the activity revolves around her. On her right, there is a trio of figures. This group is identified as Zephyrus, Chloris, and Flora. Zephyrus, who is the god of the wind, grasps the fleeing nymph Chloris. As a result, Chloris is transformed into Flora, the goddess of Spring and flowers. Flora is the embodiment of abundant nature, and her dress is covered with the floral symbols of her role (see detail above).
• To the left of Venus, we see another group, which consists of the Graces and the god Mercury. The Graces dance together, celebrating Spring, while Mercury banishes the clouds from the garden. Finally, near the top of the work, hovering above the head of Venus, is the winged Cupid, aiming an arrow of love at an unsuspecting Grace.

  (slide)Botticelli: 3 Graces
  Botticelli: Modern Usages
  Botticelli: Venus and Mars

• Mars, god of war, was one of the lovers of Venus, goddess of love. Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all. Mars is sleeping the 'little death' which comes after making love, and not even a trumpet in his ear will wake him. The little satyrs have stolen his lance - a joke to show that he is now disarmed.

Botticelli painted his friends as well as the rich