The Change the Occurred in Western Thought and How This Was Reflected in Western Art

We all have an idea of the importance of the Renaissance era in European history, and the age of innovation and enlightenment that and so characterizes it. The art that came from this time is nonetheless among us today, from revivals in popular civilisation to the originals housed in art galleries all over Europe. If y'all are interested in this part of history and wondering what the Renaissance fine art period was all most, what characterized information technology, and where information technology took identify, this overview volition provide you with all you lot need to know.

Table of Contents

1 What Was the Renaissance?
- 1.one Read More than About the Renaissance Art Period
- 1.ii Humanism
- i.three Classical Artifact
- one.iv The Medici Family
2 The Evolution of Renaissance Art
- 2.one Renaissance Art Characteristics
three The Chronology of Renaissance Art
- 3.1 Proto-Renaissance
- 3.2 Early Renaissance
- 3.iii High Renaissance
- 3.iv Northern Renaissance Art
4 After the Rebirth: A Matter of Mannerism
5 Frequently Asked Questions
- 5.i What Is the Renaissance Timeline?
- 5.2 What Characterized Renaissance Fine art?
- v.3 Who Were the Main Renaissance Artists?

What Was the Renaissance?

Before nosotros begin, let us take a brief await at the Renaissance meaning and where it fits inside a broader historical context. Renaissance is a French word, deriving its origins from the Italian word rinascita, which ways "rebirth". The Renaissance era was a catamenia of rebirth in almost all the cultural and societal faculties and institutions throughout Europe, including fine art, scientific discipline, mathematics, engineering, philosophy, religion, and politics, to proper name a few.

The Renaissance fourth dimension period had its starting bespeak in Florence, Italy, during the 1300s (14^th Century), soon afterwards the Medieval menstruum in Europe. The Medieval menstruation is characterized equally beingness a darker time in Europe's history, and is often referred to as the Dark Ages because of the diverse socio-economic and political upheavals.

When we expect at the contrast betwixt the Medieval era and the Renaissance, information technology can seem similar a dark versus light menses in history. The Renaissance evolved new ideas and concepts and birthed many bang-up human beings who contributed their talents and money to the era's fame and fortune throughout history.

Humanism

I of the new ideas and concepts that emerged during the Renaissance was Humanism. This was a philosophical thought or intellectual movement during the 1300s that influenced the style people perceived themselves and God in relation to the globe. It too informed a new approach towards visual arts and subject matter, providing a main framework towards the overall Renaissance meaning.

The Humanism philosophy placed man at the center of the universe, so to say. Information technology believed in the inherent capabilities of man as a creative force. This was wholly different from how things were done according to the Catholic church, who had almost of the power and say over homo's place in the universe.

Humanism focused on the learning of various fields of the humanities, known equally studia humanitatis. For case, these included disciplines like rhetoric, languages, grammar, literature like verse, philosophies, and diverse others. It was a time of new discoveries and exploration past man, both figuratively and literally.

Six Tuscan Poets (1569) by Giorgio Vasari, depicting a group of Italian Humanists ( Dante Alighieri, Giovanni Boccaccio, Petrarch, Cino da Pistoia, Guittone d'Arezzo, andGuido Cavalcanti);Giorgio Vasari, Public domain, via Wikimedia Commons

Classical Antiquity

Another of import concept in the Renaissance fourth dimension menstruum was the return to Classical Antiquity, beingness the Greek and Roman ethics. The Greeks sought to emulate dazzler, harmony, and symmetry or perfect proportions in their art. This was as well chosen Realism, which depicted the human grade with anatomical correctness. This was different from the more abstracted, idealized forms of human figures from the preceding Byzantine art flow.

Greek and Latin literature also became important reading material and intellectual resource that influenced Renaissance scholars and philosophers. The work past the Roman architect, Vitruvius, from the 1st Century BC offered insights on applying mathematical proportions to painting and human beefcake.

The Medici Family

The Renaissance would not have been the same without the Medici family unit. They were wealthy Italian bankers who ruled Florence during the 1400s, starting under Cosimo de' Medici. The Medici Banking company, established in 1397 to 1494, was the largest bank in Europe, which gave the Medici significant respect and status in club.

Furthermore, the Medicis were of import patrons of the arts during the Renaissance period in Florence, and deputed diverse artists and provided financial support to establishments like libraries in favor of developing arts and civilisation. Cosimo de' Medici was likewise an avid art lover and collector.

The family of Ferdinando Two de' Medici, G Knuckles of Tuscany, circa 1621, by an unknown creative person;Anonymous Unknown writer, Public domain, via Wikimedia Eatables

The Evolution of Renaissance Art

Some historical context of the Renaissance time period will assist us to improve understand the evolution of art during this flow in European history. There are different characteristics that define Renaissance art, exist information technology paintings, sculpture, or compages – the dominant art forms during this time. There are also several Renaissance timelines that categorize fine art, nosotros will discuss these in more item below, including the nearly prominent artworks from each menstruum.

Renaissance Fine art Characteristics

At that place are several primary characteristics that help usa empathize Renaissance paintings and other modalities like sculpture and compages. These all contribute to the aesthetics, the way colors and light are utilized, and the correctness of the proportions portrayed in these compositions. Some characteristics include concepts like Naturalism, Contrapposto, Chiaroscuro, and One-Point Perspective, otherwise known equally Linear Perspective.

Naturalism

Naturalism evolved from the development of how artists studied the human being form. It was depicted with more realism, appearing more truthful to nature. Human anatomy was better understood by some artists past studying expressionless bodies, which created even more realistic portrayals of muscles and limbs.

LEFT: Michelangelo's Studies for the Libyan Sibyl (c. 1510-1511);Michelangelo, CC0, via Wikimedia Eatables | RIGHT: The Libyan Sibyl (1508-1512) past Michelangelo, from the ceiling of the Sistine Chapel;Michelangelo, Public domain, via Wikimedia Commons

Contrapposto

Contrapposto was another technique employed by many artists, which enhanced the realism of figures and the way they stood, making the limerick more fluid and life-like. This technique originally started during the Classical era and was rebirthed during the Renaissance era one time once again. Information technology is often compared to the flatter and more vertical portrayals of figures from previous fine art periods.

Contrapposto is an Italian word, significant "counterpoise". This is depicted by the body continuing with one hip higher than the other, and with more weight on 1 foot than the other. This gives a characteristic "S" curve throughout the whole body's posture.

This technique is oft described as dynamic and gives the figures a more relaxed disposition.

Chiaroscuro

Chiaroscuro is some other Italian discussion, pregnant "lite-nighttime". It involves the play between color contrasts of low-cal and night, which creates a iii-dimensional effect likewise every bit a heightened emotional intensity. Information technology also adds to the realism of the limerick equally information technology depicts light and shadows.

Sfumato

Sfumato also comes from Italian origins, with meanings related to the give-and-take smoky, soft, or blurry. This technique was used to blur colors from low-cal to nighttime so that they combined into a haziness, thus giving the idea of the illusion of infinite or form. It was as well used to blur lines and borders so that the limerick appeared more than natural. This technique was oft utilized in landscapes for backgrounds and to create what is termed an "atmospheric" issue on facial features.

The sfumato technique is especially evident in the background of Leonardo da Vinci's La Vierge, l'Enfant Jésus et sainte Anne (' The Virgin and Child with Saint Anne', c. 1503);Leonardo da Vinci, Public domain, via Wikimedia Eatables

Linear Perspective and the Vanishing Betoken

Linear perspective (as well chosen one-point perspective) and the vanishing point were two important techniques that were widely utilized to create a sense of iii-dimensionality in paintings. This was a revolutionary technique, and it gave artists the ability to create new spaces within compositions and elevate the stature of their art to new levels, quite literally and figuratively, also every bit illusionistically.

The Italian architect Filippo Brunelleschi pioneered this technique during the early 1400s.

Brunelleschi discovered that linear perspective consisted of parallel lines (orthogonal and transversal) that converge with a horizon line that meets at a vanishing betoken in the altitude. This technique too gave rise to the idea that each painting is viewed past a single viewer, because in that location is just one viewpoint to the painting. This was contrasted by Medieval fine art, which depicted compositions from multiple viewpoints.

The Chronology of Renaissance Art

Renaissance art is categorized into several timelines or phases, namely, the Proto-Renaissance, the Early Renaissance, the High Renaissance, also as other regions outside Italy, which is collectively referred to equally the Northern Renaissance.

The Renaissance dates are also distinguished by dissimilar Italian names related to the yr.

The Renaissance began in around the 1300s, with what was chosen the Trecento period, the Italian give-and-take for "300". The flow from the 1400s is called Quattrocento, meaning "400", and the 1500s is chosen the Cinquecento flow, significant "500". At that place were many great artists in each art phase, as well equally a notable few who pioneered their medium and techniques, leaving their names to remain etched in Renaissance history. Below, we look at each Renaissance stage, including the prominent artists and paintings related to each.

Proto-Renaissance

The Proto-Renaissance menstruum is also known as the Pre-Renaissance menstruum, and information technology started effectually 1300 to 1425. This catamenia was still markedly Byzantine in manner with iconographic and idealistic portrayals of religious subject matter, which was also more two-dimensional and flatter in appearance. However, there were some artists that explored different modes of portrayal across what was expected from Medieval art of the time.

There were ii important artists during the Proto-Renaissance period, namely Cimabué and Giotto. Both artists are known for having produced artworks where the compositions appeared more naturalistic, reminiscent of the Classical era's realism.

Looking at the work of these two artists will create a contextual framework for the early Renaissance period.

Cimabué (c. 1240 – 1302)

Cimabué, otherwise named Bencivieni Cenni di Pepo, was a Florentine creative person considered to be one of the pioneering painters to veer abroad from the Byzantine style. While there are minimal paintings left backside confirmed to exist washed past Cimabué, there are many reportings that this artist is the creator of many other painings.

The mosaic in the Pisa Cathedral, Christ Enthroned with the Virgin and St. John (1301 to 1320) is known as the last piece of work created by Cimabué, with records of payments stating so. Other frescoes are reported to be by the creative person as well, for example, Santa Croce Crucifixion (1287 to 1288) and the Maestà (c. 1280).

Santa Croce Crucifixion(1287-1288) by Cimabué;Cimabué, Public domain, via Wikimedia Eatables

The Santa Croce Crucifixion is ane of Cimabué's artworks that depicts a naturalistic Christ figure on the cantankerous. Nosotros see his torso in a feature contrapposto"South" curve. His skin is likewise painted in a realistic mode, as described past some sources as "softer" in appearance compared to the paintings from the Byzantine era.

At that place is a new emotive expression inherent in this painting, which made it a forerunner to the Renaissance.

Giotto (c. 1267 – 1337)

Giotto di Bondone, oftentimes referred to as Giotto, was reported every bit one of Cimabué's apprentices, although this fact has been contested past some scholars. Nevertheless, Giotto was one of the greats during this period. He was amongst the pioneers who really started showing new advancements in compositional perspective besides as naturalistic portrayals of figures. Some works by Giotto include Ognissanti Madonna (c. 1300 to 1306) and The Betrayal of Christ (Buss of Judas) (1305), which is a fresco that forms a role of the Scrovegni Chapel.

A famous painting that illustrates Giotto's pioneering skills is Lamentation (The Mourning of Christ) (1304 to 1306). This is part of a series of frescos in the Scrovegni Chapel (Arena Chapel) in Padua, Italian republic. It depicts Christ lying on the ground after being taken off the cantankerous. Surrounding him are various figures clearly in mourning, and we besides find a procession of figures receding into the background to the left of the painting. Above the figures we see angels in the sky, actualization saddened and mournful.

Scene No. 36 from the Life of Christ: Lamentation (The Mourning of Christ)(1304-1306) by Giotto di Bondone;Giotto di Bondone, Public domain, via Wikimedia Eatables

Giotto depicted detail in the facial features of the figures, including their arms and hands in emotive gestures. The rock on the right is sloping downwards towards the figures, specifically towards the heads of Christ and Mary, who is holding his expressionless body in her embrace.

This creates a sense of depth and 3-dimensionality. Additionally, it appears as if Giotto connects the heavens with the earth by placing the rock every bit the medial object.

Giorgio Vasari, the art historian and writer of the famous publication documenting the biographies of numerous artists, titledThe Lives of the Most Fantabulous Painters, Sculptors, and Architects (1550), described Giotto as making a "decisive break with the crude traditional Byzantine fashion" and that the creative person "brought to life the groovy fine art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than than two hundred years".

Early Renaissance

The Early on Renaissance menstruum started during the 1400s, effectually 1400 to 1495. Artists from this period started depicting more naturalistic features and utilized perspective in their paintings. Artists too steered away from the stricter religious subject matter and included more secular mythological scenes and figures.

The Early Renaissance started in Florence, which was considered a cultural hub of Italy, specifically for the visual arts. Because Florence was a republic, there was more than freedom of expression. The way people saw themselves and the world was starting to change – the Humanism philosophy took shape and people started believing in their own capabilities.

Although at that place were many artists during the Early Renaissance, there were three masters of their time that pioneered new techniques and influenced other artists to come. In painting it was Masaccio, in sculpture it was Donatello, and in architecture it was Brunelleschi.

Brunelleschi (1377 – 1446)

Filippo Brunelleschi, a Florentine-born creative person, was one of the leading architects, engineers, and designers of the Early Renaissance. He also studied Roman architectural ruins and the works of 1^st Century BCE Roman architect Vitruvius. He is said to have pioneered the linear perspective technique.

Cigoli'southward drawing of Brunelleschi's Santa Maria del Fiore (Florence Cathedral), 1613;Lodovico Cardi, Public domain, via Wikimedia Commons

One of his famous architectural structures is the Cathedral di Santa Maria del Fiore (1296 to 1436). Brunelleschi was the man backside the structure of the dome for this cathedral. To prevent the dome from falling in on itself, Brunelleschi engineered various reinforcements inside and outside the dome, which kept it steady on top of the octagonal-shaped church.

The dome is fabricated from ruddy brick and stands is estimated to be 372 anxiety. It is ane of the largest churches in Italy, and a testament to Brunelleschi's innovative thinking and understanding.

Donatello (1386 – 1466)

Donatello, also Donato di Niccolò di Betto Bardi, was likewise a Florentine-born artist who studied classical sculpture. He was close friends with Brunelleschi and started using linear perspective in his bronze relief sculptures while studying Roman sculptures during his time in Rome.

Some of his more famous sculptures include the bronze statue, David (1430 to 1440) and Penitent Magdalene (c. 1453 to 1455). Other sculptures include his bronze relief, Feast of Herod (1423 to 1427), which shows two groups of people on both sides of the composition, and an empty space between them. The artist uses the characteristic linear perspective in a "5" shape.

Donatello's sculpture,Statuary David (1430 to 1440); Donatello, CC Past-SA 2.0, via Wikimedia Commons

In Donatello's David, we see a bronze statue of the biblical figure David, with Goliath's caput betwixt his legs. This sculpture was quite different for its time because Donatello depicted a nude David, likewise the first costless-continuing nude sculpture. The figure of David is standing quite relaxed, with his sword in his correct hand and left mitt resting on his hip, undoubtedly and then considering of the classic contrapposto technique utilized by the artist.

This stance as well gives the David figure a dynamism, as if he is about to motion or has only moved, contributing to the overall realism inherent in the piece of work.

We see this heightened sense of realism in Donatello'due south Penitent Magdalene, which is a wooden sculpture of Mary Magdalene. She is portrayed radically different than other sculptures of Mary Magdalene, every bit here we see her facial and bodily features quite closely. She appears stricken and thin, as if starving (some sources indicate that the artist used the version of Mary when she was in Arab republic of egypt). We also notice the detailed formation of her arm muscles, which indicates a potent and seemingly active trunk, peculiarly for a woman depicted in that time.

Penitent Magdalene, a wooden (white poplar) sculpture of Mary Magdalene by the Italian Renaissance sculptor Donatello, created effectually 1453–1455. The sculpture was probably commissioned for the Baptistery of Florence. The piece was received with astonishment for its unprecedented realism. It is now in the Museo dell'Opera del Duomo in Florence;George M. Groutas, CC BY 2.0, via Wikimedia Commons

Masaccio (1401 – 1428)

The Florentine forefather of painting is Tommaso di Ser Giovanni di Simone, otherwise just known as Masaccio, which is a nickname for the proper name Tommaso, meaning "Clumsy Tom" or "Big Tom". Masaccio is known for having created some of the nigh revolutionary paintings during the Early Renaissance, which influenced the way of painting to come.

Some of his artworks include San Giovenale Triptych (1422), Madonna and Child with St. Anne (1424 to 1425), Madonna and Kid with Iv Angels (1426), Adoration of the Magi (1426), The Tribute Coin(1425 to 1427), Expulsion from Eden (1425 to 1427), Predella Panel, The Pisa Altarpiece, The Holy Trinity (1427 to 1428), and The Baptism of the Neophytes (1425 to 1428).

The Tribute Money is a famous fresco depicting the life of St. Peter. It was done for the Brancacci Chapel of Santa Maria del Carmine, located in Florence.At that place are 3 scenes in this single composition. The central scene shows us how Christ and his disciples talk with the tax collector in Capernaum. To the left, nosotros run into the kneeling figure of Peter getting gold from a fish and to the right, we see the same effigy of Peter giving the tax collector the coin owed to him.

The Tribute Money (1426-1427) by Masaccio;Masaccio, Public domain, via Wikimedia Commons

Masaccio utilizes perspective hither in the building and mountains, which recede into the background, giving a sense of spatial awareness and three-dimensionality. The figures besides announced Classical in their clothing and stances.

All of these elements converge to requite the painting a sense of realism, completely moving away from flat two-dimensional space. We are almost a part of the scenes as Masaccio brings to life the harmony inherent in all the elements of space, color, and perspective working together, possibly leaving the bodily storyline as a secondary focus.

More Early Renaissance Artists

Other artists from the Early on Renaissance include Piero della Francesca. One of his famous artworks is The Flagellation of Christ (c. 1455), wherein he skilfully utilizes lines of perspective in the painted architectural structures that divide the interior with the exterior spaces. There is as well Allesandro Botticelli, whose La Primavera (1477 to 1482) and Nascency of Venus (c. 1486) are some of the most famous paintings to this day, depicting the mythological goddess Venus.

Nosotros also see the turn abroad from naturalism in the figures and a focus more than on the portrayal of dazzler and artful value.

We also have artists like Fra Filippo Lippi, Fra Angelico, and Paolo Uccello, the latter of whom was well-known for his detailed focus on perspective. In his famous painting series, The Battle of San Romano (c. 1450) we run into the raging battle of the Florentines against the Sienese armies. Here, we encounter more than than just a battle, but likewise the elegant organisation of colour and lines. In the foreground, at that place are bolder colors like dejection and reds, even whites, that jump out at united states of america. The lances bordering the composition also act as lines guiding our eyes towards the background, where we are farther guided past the foliage and trees creating borders on the lands.

The Battle of San Romano (c. 1438) by Paolo Uccello, depicting Niccolò da Tolentino leading the Florentine troops;Paolo Uccello, Public domain, via Wikimedia Commons

High Renaissance

While the Early Renaissance was centered in Florence, the High Renaissance was mainly in Rome, under the rule of the Catholic Church building and the Pope. Information technology started effectually 1495 to 1520 and was the cultural culmination of creative virtue. During this fourth dimension, artists (painters, sculptors, and architects) refined techniques during the earlier periods, created new techniques, and too used new media like oils, which gave painting a completely dissimilar issue.

But similar the Early on Renaissance, in that location were three big names in the High Renaissance. Although at that place were also other great artists, most of u.s.a. are familiar with what Leonardo da Vinci, Michelangelo, and Raphael brought not merely to the art globe, but the whole world.

Leonardo da Vinci'southward Vitruvian Man (1492), depicting the proportions of the human trunk co-ordinate to Vitruvius; Leonardo da Vinci, Public domain, via Wikimedia Commons

While there was a focus on realism in painting, there was as well a desire to return to the values of beauty and harmony from the Classical era. The ideas of Humanism took one footstep further and introduced the "Universal Man" or "Renaissance Human being" (Da Vinci was regarded as a "Renaissance Man").

Dazzler was depicted in the human being form, which made it nigh divine in its appearance. Also, conversely, the emotional realism depicted in divine and saintly figures gave them a human-like quality.

There was perfection in how artists rendered their subject area matter with detailed anatomical correctness. Artists introduced new techniques like sfumato and developed techniques like quadratura, which refers to the illusionistic paintings on ceilings.

Leonardo da Vinci (1452 – 1519)

Leonardo da Vinci was a polymath, a man of many skills and talents. He was a painter, sculptor, designer, engineer, sketcher, scientist, and inventor. He utilized techniques similar sfumato and chiaroscuro at a higher level, giving his paintings elaborate depth and a mysterious quality.

Some of his famous paintings include the Mona Lisa (La Gioconda) (c. 1503), Virgin of the Rocks (1483 to 1486), Lady with an Ermine (1489), The Vitruvian Human (c. 1485), The Terminal Supper (1498), Salvatore Mundi (1500), and drawings such asPortrait of a Human being in Red Chalk (1512), Embryo in the Womb (c. 1510 to 1512), The Virgin and Child with St. Anne and St. John the Baptist (c. 1491 to 1508).

One example of Da Vinci'southward genius-level skill is in his painting The Final Supper. This painting depicts Christ as the fundamental figure, sitting at a long horizontal table with his disciples next to him. Behind him are 3 vertical windows, with the central window straight backside Christ, near acting like a halo framing the superlative of his head. Along the walls, we also run into vertical rectangular openings that atomic number 82 our gaze to the vanishing bespeak.

The Final Supper (1495-1498) by Leonardo da Vinci; Leonardo da Vinci, Public domain, via Wikimedia Commons

Da Vinci constructed this painting in perfect alignment with the linear perspective organisation, with all the lines converging to emphasize the primal effigy of Christ. The windows betoken an almost idyllic-looking mountainous light-green landscape outside.

It is in Virgin of the Rocks where we notice how da Vinci uses chiaroscuro and sfumato to emphasize the contrasts of lite and nighttime. We encounter this shifting of shadows and light especially in the skin of the key figures of Mother Mary with 2 infants, namely, Jesus Christ and John the Baptist. To the right is the accompanying figure of archangel Gabriel.

The setting is mysterious. We encounter the figures surrounded by rocks – they could maybe also be sitting in a cavern. The left side of the composition opens out to a mural of winding water and more than mountainous, rock-like formations. In the foreground, in forepart of the figures, there are some flowers and leaf. The figures are also arranged in a characteristic pyramidal shape.

Virgin of the Rocks (c. 1491 to 1508) past Leonardo da Vinci, depicting the Virgin Mary with the baby Saint John the Baptist doting the Christ Child, accompanied past an Angel. In this second version, Mary and Jesus are depicted with a halo and John the Baptist with the cantankerous;Leonardo da Vinci and workshop, Public domain, via Wikimedia Eatables

When we expect at the facial expressions in each figure, there is a sense of humanness in them. Nosotros tin can see emotional states as well as a sense of calm. Their gestures also give the painting a sense of movement and a deeper significant to the narrative.

Nosotros notice this emotive expression on da Vinci'due south Mona Lisa too, although her facial features offer a faint grinning, giving the whole composition a mysterious quality. Her eyes are soft in their gaze, creating a sense of calmness. Backside her is another watery and rocky landscape, which is often said to exist imaginary, similar the mural in Virgin of the Rocks.

Again, da Vinci creates realism with the sfumato and chiaroscuro techniques, which we can see in Mona Lisa's pare tones, as well as the gradation of colors and light in the background. In the foreground, there are darker tones that also gradually light upwardly her resting hands.

Portrait of Mona Lisa del Giocondo, frequently shortened to Mona Lisa (1503-1506), past Leonardo da Vinci;Leonardo da Vinci, Public domain, via Wikimedia Eatables

Michelangelo (1475 – 1564)

Michelangelo di Lodovico Buonarroti Simoni, as well known every bit Michelangelo, was born in the Caprese village of Tuscany, Italy. He was responsible for the famous paintings on the Sistine Chapel'due south ceiling, namely, The Cosmos of Adam(1508 to 1512) and The Last Judgment (1536 to 1541). Pope Julius 2 commissioned Michelangelo'due south first painting as office of his projection to repaint the chapel's ceiling. Pope Clement Vii and Pope Paul III commissioned Michelangelo'southward second painting, The Concluding Judgement .

Michelangelo was famous for his realistic portrayals of the human anatomy; we meet this in his figures from the two abovementioned paintings.

The Creation of Adam depicts Adam to the left reaching out to the outstretched arm of God to the right. Both figures are portrayed equally strong and muscular in appearance, with specific accent on the outlines of most of the major musculus groups.

Michelangelo'due south The Creation of Adam (c. 1511);Michelangelo, Public domain, via Wikimedia Commons

In Michelangelo's famous sculptures,Pietà (1498 to 1499) andDavid (1501 to 1504), we come across his mastery of marble. He was also known for etching a sculpture out of ane cake of marble. In Pietà, we see the aforementioned characteristic pyramidal format that we saw in da Vinci'due south Virgin of the Rocks, although here, it is the Mother Mary holding the trunk of Christ on her lap.

The 2 figures are portrayed with a serene emotional quality, evident in their facial expressions, which is unlike the more stricken facial expressions of similar subject matter created by other artists. We as well see the creative person's skill in the way he depicts the clothing – it appears nearly existent and diaphanous in the mode it flows and drapes around the base of Mother Mary.

Michelangelo's Pietà (1498-1499), St. Peter'due south Basilica;Michelangelo, CC BY-SA two.0, via Wikimedia Commons

In David, Michelangelo creates the biblical figure of David almost to perfection. There is an avant-garde eye for detail in the musculature. Furthermore, David stands in the contrapposto stance, which further gives him a sense of move and realism, reminiscent of the statues from the Classical era. The statue stands at 17 feet tall.

Other sculptures by Michelangelo includeBacchus (1496 to 1497), Madonna and Child (Madonna of Bruges) (1501 to 1504), Moses (1513 to 1515), which is part of the tomb for Pope Julius 2, Crouching Boy (1530 to 1534), and The Degradation (1547 to 1555), among many other sculptures, both finished and unfinished.

Raphael (1483 – 1520)

The paintings by Raffaello Sanzio da Urbino, or just Raphael, had more than harmonious qualities to them. In other words, while he utilized the characteristic techniques we see in many Renaissance paintings, Raphael is known for depicting his compositions with an elegance and "clarity" that ready him autonomously.

Born in Urbino, a city in Italy, Raphael was another multi-talented creative person of the time. He was a painter, architect, draftsman, and printmaker. He produced numerous paintings in his life, some of which are frescoes held in the Raphael Rooms in the Apostolic Palace in The holy see. The paintings were as well deputed past Pope Julius II.

Raphael'south almost famous fresco, School of Athens (1509 to 1511), depicts the Classical philosophers Plato and Aristotle as the cardinal figures, surrounded by many other philosophers either in deep give-and-take with one some other or in deep contemplation with themselves.

Raphael's Scuola di Atene (' School of Athens', 1511), fresco at the Raphael Rooms, Apostolic Palace, Vatican Urban center;Raphael, Public domain, via Wikimedia Commons

Raphael depicted the scene to appear as though we tin walk into it at whatever moment. In the foreground, at that place is an architectural arch framing the painting, and our viewpoint gradually moves towards the 2 cardinal figures. Backside them are more architectural arches that lead to the exterior, which is a articulate bluish sky with dollops of white clouds. The colors are also subdued and not as well bright, which makes the composition more inviting and easier to take it all in.

We see Raphael's skillful utilization of perspective and color to create a harmonious limerick reminiscent of the Classical era's manner.

Other paintings by Raphael include the Wedding of the Virgin (1504), Disputation of the Holy Sacrament (1510), The Parnassus (1511), Sistine Madonna (1512), Triumph of Galatea (1514), La Fornarina (1520), and The Transfiguration(1520).

Raphael'southward Disputation of the Holy Sacrament(1509–1510), Stanza della Segnatura, Raphael Rooms, Apostolic Palace, Vatican City;Raphael, Public domain, via Wikimedia Commons

More High Renaissance Artists

Other High Renaissance painters include Antonio Correggio, who created the Assumption of the Virgin (1526 to 1530) in the Parma Cathedral. This highly skilled illusionistic fresco on the dome ceiling of the cathedral appears as if heaven is opening on the ceiling.

Donato Bramante was another great architect during this catamenia, who was known for finding the architectural style of the High Renaissance and was regarded in high esteem. He was part of the grouping of architects (Michelangelo and Raphael) who returned Rome's compages to what information technology was from the Roman times.

He was commissioned by Pope Julius II to recreate St. Peter'southward Basilica, which had been a Constantinian building previously. He was also involved in creating various new structures that would drag the urban center of Rome and the Vatican.

Northern Renaissance Art

Northern Renaissance art started around the 1430s to 1580s in countries like Belgium, the Netherlands, and Germany. This period was markedly unlike from the Italian Renaissance discussed above – it did not emulate the Classical era'southward virtues but was by and large influenced by the Gothic mode of art.

When we compare the Italian to the Northern Renaissance, characteristic words describe each menstruation . For instance, the Italian side was "dreamy" and "idealized" whereas the Northern side was "down-to-earth" and "practical".

The Garden of Earthly Delights(1490-1500) by by Dutch painterHieronymus Bosch;Hieronymus Bosch, Public domain, via Wikimedia Commons

Oil pigment was utilized to convey a deep realism in the field of study matter, where all the details were painted clearly and objectively. This was done on panel paintings and altarpieces in religious buildings. Due to the historical shifts of the fourth dimension, mainly from the Protestant Reformation, artists did not approach their subject thing in the aforementioned way as that of Italian artists.

The subject field matter of the Northern Renaissance included more everyday objects and lifestyles, oft with moral messages. This was in opposition to the idealized forms for the Catholic Church building, which were seen every bit iconographic in nature. Some of the genres of painting included landscapes, withal lifes, and portraits. Paintings were also smaller and not done on as large a scale as in Italy, where they were mainly displayed for public purposes in churches.

Furthermore, at that place was extensive utilization of woodblock printing and illuminated manuscripts. The cosmos of the printing press was a revolutionary evolution, enabling a widespread broadcasting of books, pamphlets, prints, and engravings.

Jan van Eyck (1390 – 1441)

One of the popular artists during this fourth dimension includes Jan van Eyck, who produced the famous Ghent Altarpiece (1431), which is considered to be the pioneering artwork that paved the way for Northern Renaissance art. It was famous for its in-depth realism and how the artists utilized oils as the medium of painting to an skillful level, which further contributed to the realism.

Ghent Altarpiece(1432) by January van Eyck;January van Eyck, Public domain, via Wikimedia Commons

The Ghent Altarpiece is a polyptych (a painting or altarpiece consisting of more than three panels) depicting a rich religious narrative, often considered mysterious because of all the religious figures and who they are in the composition.

Other works by van Eyck include Arnolfini Portrait (1434), which is another of his famous pieces depicting the businessman Giovanni di Nicolao Arnolfini and his married woman. Again, we notice the detailed realism obtained through the artist'due south awarding of several layers of glaze, thus enhancing the colors even more.

Albrecht Dürer (1471 – 1528)

Albrecht Dürer was some other important artist during this period because of the manner he amalgamated the naturalistic realism style from the North with the theories of proportion, balance, and Humanism from the Italian Renaissance. He likewise explored the theories of perspective from a scientific point of view and wrote several publications exploring this, namely the Four Books on Measurement (1525), Treatise on Fortification (1527), and the 4 Books of Human Proportion (1528).

Cocky-Portrait (1500) by Albrecht Dürer;Albrecht Dürer, Public domain, via Wikimedia Commons

Some of Dürer'south artworks include his famous Self-Portrait (1500), which depicts the artist looking directly at us, the viewers. We run across his right mitt lifted with two fingers, appearing as the classical gesture of approving nosotros then often see in religious paintings.

In fact, this painting is thought to draw the artist portraying himself as Christ, with his long, curly hair too contributing to that likeness. Along with the darkened background, this painting hints at a Medieval essence.

Hare (1502) is some other instance of Dürer's skill as an artist. It depicts a hare, painted in detail and in watercolor, showcasing the artist'southward close study of nature. The white background likewise indicates a more scientific observation rather than the focus on painting a religious object. The hare appears relaxed and withal, but there is also a sense of movement, with the hare'south hind legs perched in readiness to jump abroad if someone were to approach it.

Hare (1502) past Albrecht Dürer; Albrecht Dürer, Public domain, via Wikimedia Eatables

More Northern Renaissance Artists

Other Northern Renaissance artists include Robert Campin, Hieronymus Bosch, Pieter Bruegel the Elderberry, and many more than who painted everyday lives and people. This period came to an end considering of diverse political hardships, such as the Lxxx Years State of war (1568). The Dutch Golden Historic period also revisited aspects and techniques from the Northern Renaissance, standing its legacy.

Modern fine art movements similar Impressionism, Post-Impressionism, Cubism, and Surrealism too drew inspiration from this period and the genres that developed from information technology. Some scholars also say that this period and its artists similar van Eyck, Dürer, Bosch, and Bruegel, were more influential than the Italian Renaissance.

After the Rebirth: A Matter of Mannerism

Equally the Renaissance ended as the chief cultural and artistic movement in Europe, the fine art motility called Mannerism began to develop around the 1520s. Artists felt the High Renaissance in Italy had achieved all information technology could, and they did not focus on building upon it. Instead, artists created a new style that was more than expressive, asymmetrical, and unperturbed past the perfection and proportions then meticulously ascribed to by the Renaissance painters.

Take a look at our Renaissance fine art characteristics webstory here!

Often Asked Questions

What Is the Renaissance Timeline?

The Renaissance was a cultural, societal, and political shift in European history after the Medieval ages. It was a "rebirth" and considered an age of discovery and exploration in many disciplines like art, scientific discipline, mathematics, technology, astronomy, music, literature, philosophy, architecture, and more than. It started effectually the xiv^thursday Century and ended effectually the 17^th Century. The Italian Renaissance timeline is divided into the Proto-Renaissance, Early on, and High Renaissance, forth with its analogue in the Northern European countries.

What Characterized Renaissance Fine art?

Renaissance art in Italian republic started depicting more than realism in its subject affair and moved toward more naturalism. Artists also drew inspiration from the Classical era of Greek and Roman art and its values of harmony and proportion. Although artists focused on religious field of study thing, man was also considered an of import office of the world, and this was reflected in the Humanism philosophy. New techniques and media were besides utilized to create more three-dimensionality, for example, oil paints, linear perspective, sfumato, and chiaroscuro, among others.

Who Were the Master Renaissance Artists?

During the Proto-Renaissance, the pioneering artists were Cimabué and Giotto. During the Early Renaissance artists like Brunelleschi, Masaccio, and Donatello developed new techniques in painting, sculpture, and compages. During the High Renaissance, Leonardo da Vinci, Michelangelo, and Raphael were considered the three greats who refined many techniques from the previous periods. Artists similar Albrecht Dürer, Jan van Eyck, Pieter Bruegel the Elderberry, and Hieronymus Bosch were well-known during the Northern Renaissance.

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Source: https://artincontext.org/renaissance-art/