The Renaissance1. DEFINITION

2. CHRONOLOGY

3. PERIOD

4. GENERAL OF ART

5. ARCHITECTURE

6. SCULPTURE

7. PAINTING

8. TERMINOLOGY

1. Definition

Renaissance otherwise form French is 're-birth', from Italian 'to be reborn‚

Artist from this period were returning to the classicistic standards in painting, sculpture and architecture

2. Chronology

XV and XVI centuryEarly Renaissance 1420-1500Mature/High Renaissance 1500-1525Late renaissance / Mannerism 1525-1590

Born in Italy in XIII century Popularization in West Europ XV century Popularization in Poland and Central-East Europ – II-half

XV-XVI centuries

3. The Renaissance period

Recurrence the interest in the culture of ancient Greece and Rome

Rebirth the study of classical languages and literature of ancient

The development of national languages

The gradual moving away from the medieval intellectual currents

The man at the centre of artists - anthropocentrism

Humanizm podstawową ideą filozoficzną

Pobożność nowoczesna (devotio moderna)

Upowszechnienie laickiego światopoglądu

Rozkwit nauki, literatury, sztuki, muzyki

Writers: N. Machiavelli, F. Petrarca, G. Boccaccio, W. Szekspir, F. Rabelais, J. Kochanowski, Ł. Górnicki, M. Rej

4. General characteristics

Recurrence of the interest in the culture of ancient Greece and Rome

Aim of art – mapping the beauty and harmony of the world

Referencing by the artists to aesthetic canons of antiquity

The gradual moving away from the medieval intellectual currents

The man at the centre of artists - anthropocentrism

The dissemination on large-scale the urban patronage of art

Art takes social themes, art have a cognitive character

Artists are interested in the real world and in believable way want to remodel it

Artists are gaining conviction about self-esteem

Harmony of form, calm, static, constructional clarity, the beauty specified by proportions (antique model)

Combining themes (mythological themes beside Christian), secular - historical and allegorical, pagan - mythological, nudes

Moving away from the anonymity – striving to universal recognition

5. Renaissance architecture

Square and circle are the basic themes of Renaissance architecture

In the early Renaissance, the proportions of the human body were an absolute measure of everything

Consisting of two layers dome of the Florence cathedral is the most important of this type of structure in the Renaissance

Florentine artists were the pioneers of a new style of architecture

Brunelleschi's Ospedale degli Innocenti is the first secular building of the modern era

Artists are inspired by the achievements of

antiquity

Renaissance palaces lean on the tradition of the Roman villa Suburban

Using antique elements

Secular architecture: villas, palaces, tenements town halls

Sacral Architecture: churches, basilicas

The development of urban planning: cities on the geometic set, pre-designed

The simplicity of the composition, horizontal divisions (cornices and friezes), symmetry

Internal courtyards surrounded by cloisters

6. Renaissance Sculpture

Themes: figure of David in the Old Testament, who won

Goliath

Pieta

Horse statues of rulers

scenes from the Old and New Testaments, Bible

Most commonly used raw material is marble

The sculpture can be classified into: architectural

freestanding

Portrait bust, equestrian (to the Renaissance horse images were reserved only for rulers),

nude and sepulchral sculpture

The study of human anatomy (or autopsy), antiquity and ancient themes helped make artists keep their work fidelity to nature, it gave the sculpture a new, realistic character

Classic contrapposto

Artists show to the implementation their own ideas

Gravestone is the dream symbol of immortality, the typical form of the gravestone is a wall gravestone

In the XVI and XVII centuries nudity of statues were often obscured by added later stone decoration

7. Renaissance painting

There are two basic periods of Renaissance artistic creativity: Quattrocento (C15)

Cinquecento (C16)

Painting focused on the structure and form of the presented objects, were used at the from studies on perspective convergent and colourful

In the field of painting techniques gradually decreasing interest in tempera, but was growing in oil technique. As a substrate of images more often alongside boards used canvas and wall paintings was dominated by frescoes. Painting in the Renaissance began to lose its handicraft character so far and studies on proportions, perspective, movement mechanics, anatomy gave art science qualities

In Italy, the Renaissance gradually began to give way to mannerism, which by some researchers is considered as a transitional phase between the Renaissance and the Baroque

Leonarda da Vinci

CHARACTERISTIC FOR PAINTERS OF THAT TIME WAS TO FIND NEW FORMS OF ARTISTIC EXPRESSION, SUCH AS LEONARDO DA VINCI BROUGHT COMPOSING FORM IN SYMMETRIC LAYOUTS, ALSO HAS DEVELOPED THE PRINCIPLES OF SFUMATO

portraits

PORTRAIT PAINTING START DEVELOP AND BECOME INDEPENDENT, ALSO THE INDIVIDUAL PORTRAITS WERE CREATED EQUALLY WILLINGLY AS A COLLECTIVE CHARACTERS, WILLINGLY THE PORTRAYED FIGURES WAS MADE IN INTERIORS AND OUTDOOR

Leonardo da Vinci

Lady with an Ermine 1489–90, oil on wood panel, Czartoryski Museum in Krakow

Mona Lisa or La Gioconda 1503–1505/1507, oil on poplar, Louvre

Piero della Francesca

Federico da Montefeltro and Battista Sforza 1465-70, tempera on panel, The Uffizi Gallery

Domenico Ghirlandaio

An Old Man and his Grandson 1490, tempera on wood, Louvre

Rafael Santi

Baldassare Castiglione 1514-5, oil on canvas, Louvre

Titian

Charles V 1548, oil on canvas, Alte Pinakothek in Munich

Equestrian Portrait of Charles V

1548, oil on canvas, Museo del Prado in Madrid

Hans Holbein the Younger

The Ambassadors 1533, oil and tempera on oak, National Gallery in London

Portrait of Erasmus of Rotterdam 1523, oil and tempera on wood, National Gallery in London, on loan from Longford Castle

Lucas Cranach the Elder

Luter

Albrecht Dürer

Self-Portrait at 28 1500, oil on wood panel, Alte Pinakothek in Munich

Self-Portrait 1498, oil on wood panel, Museo del Prado

religious

RELIGIOUS PAINTING WAS STILL VERY POPULAR, WHERE RENAISSANCE ELEMENTS ENTERED - A REALISTIC LANDSCAPE, PERSPECTIVE, CHIAROSCURO

Albrecht Dürer

Andrea Castagno

Andrea Mantegna

Correggio

Domenico Ghirlandajo

Filippo LippI

Fra Angelico da Fiesole

Jacopo Tintoretto

Leonardo da Vinci

Leonardo da Vinci

Lucas Cranach Starszy

MasacciO

MasacciO

Michał Anioł

Michał Anioł

Paolo Veronese

Piero della Francesca

Rafael Santi

Sandro Bottticelli

Titian

mythological

FOLLOWING THE INTEREST IN ANCIENT IN PAINTING WERE PUTTED OFTEN MYTHOLOGICAL THEMES, USUALLY AS AN EXCUSE TO PRESENT CONTEMPORARY LIFE

Lucas Cranach Starszy

Rafael Santi

Sandro Bottticelli

Titian

Pieter Bruegel the Elder

Albrecht Dürer

ALBRECHT DÜRER WAS A MASTER OF GRAPHIC DUPLICATED, IMPROVED COPPERPLATE PRINT TECHNIQUE. ALONG WITH DÜRER ALSO CHANGES POSITION ARTISTS IN GERMANY, WHO DEVELOP SELF-CONFIDENCE

ARTISTS ARE INTERESTED IN THE REAL WORLD AND IN BELIEVABLE WAY WANT TO REMODEL IT. ART UNDERTAKE SOCIAL ISSUES. THE MAN AT THE CENTRE FOR ARTISTS - ANTHROPOCENTRISM

Paolo Uccello

Giorgione

Jacopo Tintoretto

Pieter Bruegel the Elder

Pieter Bruegel the Elder

Pieter Bruegel the Elder

Bibliography:

Art. History for Dummies by Jesse Bryant Wilder; Polish edition

Sztuka cenniejsza niż złoto [translate: Art more precious than gold] by Jan Białostocki, publishing house PWN

http://www.zsplast.gdynia.pl/historia_sztuki/matura/inf_matura.pdf

http://www.zsplast.gdynia.pl/historia_sztuki/historia_sztuki.html

http://www.abcgallery.com/

http://artfolie.wordpress.com/2009/05/13/analiza-porownawcza/

http://theartwolf.com/

http://pl.wikipedia.org/wiki/Periodyzacja_sztuki