From the late Middle Ages in the 14th century onwards, a cultural movement now referred to as the Renaissance; or “rebirth” in French, produced a multitude of artists who were considered geniuses of their time. There are many reasons as to why individual geniuses emerged, such as the effects of patronage, and influences by intellectual movements, and innovations during the Renaissance. Also, to be explored is the concept of patronage, the origins of patronage and its importance in society, the role of the artist in that time, and examples of prominent cases of patronage including the investment of the Medici family. These ideas and concepts together were the reasons as to why, from the 14th to the 17th century, the Renaissance was a time of intellectual rebirth for Italian society, producing a multitude of artistic geniuses.
Popularised due to the increase of wealth in Italy during the Renaissance, Patronage played an important role in the development of individual geniuses in art. Many wealthy families of the aristocratic Italy contributed greatly to the success of many artists in this time. They did this by drawing attention to the arts and supporting the industry by commissioning visual propaganda, works of art for displays of prestige and memorials. Patronage involved the patron commissioning and specifying most of the aspects of an artwork to an artist. These aspects include size, medium, subject matter, and precious materials used within the artwork. Though the specificity of commissions seems to limit an artist greatly, artists were in high demand, and still, individual geniuses emerged over the masses. But to be considered a genius, an artist would have to have developed expertise in many areas and in a wide range of subj...
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...hroughs within Italian society. This provided greater means of education to individuals and in turn assisted to raised the view of a simple artist to a genius.
Playing a crucial role in the success of the Renaissance, patronage provided artists with financial support, and encouragement to produce invaluable works of art. Though the role of patronage was indeed crucial, the relationship between patron and client was not the only factor in the emergence of ‘individual geniuses’. It was that altogether, the societal interest in Humanism and Secularism, motivated many bright minds to develop new concepts, techniques, and inventions. These ideas merged with the power and wealth of patrons, to generate a time where creativity and revolution was at a high. A new realm of art never seen before was created, and from there stemmed the idea of revolutionary artistic geniuses
Far into the cultural and intellectual rebirth of Florence, Giralamo Savonarola used religion to reclaim the minds of the citizens and bring the city back into the Middle Ages. Under the Medici rule, especially the leadership of Lorenzo de’Medici, art thrived and new revolutionary ideas emerged, furthering the Renaissance in Florence while challenging the stronghold of the church. Florence became an edifice for art and the greatest painters of the time flocked to the city including Fra Filippo Lippi, Verrocchio, Botticelli, Leonardo da Vinci, and Michelangelo (Greenblatt 13).... ... middle of paper ...
A rediscover of their history and recognition of early Greek philosophers changed the way that the influential families and Princes, in Italy, considered themselves. Their way of thinking of the Devine and need to promote one’s own aspirations through sponsorship of the arts, as well as, civic duty became not only fashionable but important to progress in the city states. Although Donatello’s David and Botticelli’s Primavera are master pieces in their own right, their influence on future generations of artists cannot be ignored. The spark that ignited the fire which we call the Renaissance was a transformation of societies thinking and values to a Humanistic approach to one duties to society and the church. These two works are a reflection of the changing attitudes which would eventually change all of
Lorenzo De Medici can be considered as one of the most influential men of the 13th century. His work in political affairs and administration were renowned in all Italy and his family could count on him in every aspect. Lorenzo was also a promoter of a new period called Renaissance. He was one of the first “mecenate” to explore this new way of art. In this project, I will concentrate how he developed art in Florence, giving a clear example through an Artist of that period that was working for him: Sandro Botticelli. His work “The Spring” is a well-defined example of what we can call “art in the Renaissance”, in particular for the Italian Renaissance.
Despite the nature, origins and even existence of the Renaissance being subject to intensive investigation by many historians, the traditional understanding of the European renaissance as being defined as the bridge between the Middle Ages and modern era has resonated in society throughout time. Exemplified through the influx of creative arts, literature and philosophy of that time, Swiss cultural historian Jacob Burckhardt defined this bridge as being the result of an immense intellectual transformation in humanity. In fact, the term ‘renaissance’, coined by the French historian Jules Michelet, can be translated to mean ‘new birth’ or ‘rebirth’. Spanning roughly through the 14th to 17th centuries, the renaissance is often recognised as the time of a revolution of cultural revitalization and exploration. These traditionalist ideas of the Renaissance as developed by Michelet and later expanded by Burckhardt were however ultimately disposed by revisionist historians like Charles Homer Haskins who began a revolt against Renaissance idea, motivated by the goal to deny the era any legitimate historical existence and annex the period to the middle ages. However, the perspectives of these historians in this debate are ultimately a reflection of their own context and purposes. Both Michelet and Burckhardt’s approach reflect their own 19th-century world, whilst Haskins was heavily influenced by his liberal, optimistic 20th-century ideals. A more contemporary approach to the debate is exemplified through historiographer Wallace K. Ferguson. Ferguson had chosen to focus and draw conclusions from the mirrored reflections and controversies surrounding the Renaissance idea that persisted amongst past historians. However, despite argua...
In this paper I'm focusing mainly on Renaissance art work, since that was the assignment, but I feel it's important to also mention the other important parts of the Renaissance, architecture, science, politics and religion.
So, as has been seen, the system of patronage was extremely important in Renaissance Italy. It brought with it mixed blessings for artists. On the one hand, it gave them the income to support themselves and continue to produce works. On the other hand, though, it could be very constrictive on what the artist could produce, and could even sometimes decide the quality of a work.
Interestingly, he also refers to Donatello as a ‘craftsman’. The correlation between the artist or sculptor and craftsman is an important aspect in Italian Renaissance art. The craftsman was something more than just an artist. This person was talented and considered by others in Italian Renaissance society as exceptional or as Vasari’s title suggests, ‘the most excellent’. They were also tradespeople rather than just artists. This is because they created works for other people, which often meant they expressed other people’s ideas. Through an analysis of Vasari’s biography on Donatello, this essay will explore the importance of culture in Renaissance Italian society, an examination of Vasari’s biography of Donatello as a historical document and the ways in which Vasari portrays Donatello, which ultimately was significant for future Renaissance craftsmen. This paper will analyze the life of Donatello through Vasari’s The Lives of the Most Excellent Painters, Sculptors and Architects to show the importance of Donatello not only as an artist but also as a
The Renaissance was the rebirth of Europe and it all started in the city of Florence. Florence and everything that made a standard Renaissance city: painters, sculptors, writers, architects, and a vivid culture. Soon all of Europe would follow in Florence’s footsteps and “the setting is so rich, varied, rambunctious, and inventive as Italy in the Renaissance” (Cohen 1). The painters and sculptors defined Renaissance culture and could actually make a living because they were being sponsored.
In the article “Conditions of Trade,” 1 Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” as money, he states, plays an important role in the history of art. In contrast to our current perceptions of the relationship between the artist and art, “in which painters paint what they think best, and then look around for a buyer” the author examines how the content and form of these paintings were, determined by the customers. He states that the artists and clients were interconnected as specified in the legal agreements of subject matter, payment scheme and the quality and quantity of colours, through the conditions of the artist’s painting style. He not only looks at the explanation of the style of painting that reflected a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. Baxandall observes Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fifteenth century art through the concepts used by contemporary critics of th...
The Medici’s were a prominent family in the Renaissance, who ruled Florence from 1434 to 1737. They are regarded as being one of the most powerful and richest families in the whole of Europe. The Medics used this great status and wealth to develop an improved Florence, one that was significantly influenced by the Renaissance. The Medici family can most certainly be regarded as the significant heroes of the Renaissance. This is due to their significant promotion and patronage in the arts, in turn bringing focus back to the antiquities, a major importance during the Renaissance period. Furthermore, the Medicis can be considered the great heroes of the Renaissance, due to their significant influence of Renaissance Humanist thinking. On top of this, although the Medici family were allegedly corrupt and supposedly paid many bribes in order to become so powerful, they still focused on benefiting the heart of the Renaissance- the city-state of Florence- and should thus not be considered the great villains of the Renaissance, but instead the heroes.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
Artists in the Renaissance aided the continuation of Renaissance ideals. Renaissance art, including paintings, sculptures, and architecture,...
The Italian Renaissance included some of the greatest artists we have ever seen from Leonard Da Vinci, to Michelangelo, and Raphael. The Renaissance took place from the late thirteenth to sixteenth centuries and is know as the ‘rebirth’. The idea that the rebirth of the arts after being asleep for a thousand years is an amazing thing to grasp. This time brought back light to liberal arts, which were on the brink of being extinct. (Murray 2) What is also interesting about art during this time was that most of the art had Christian in its roots, for example, Botticelli’s The Allegory of Spring (Faure 1) is said to have had a Christian interpretation. (Murray) “Every Italian artist, willingly took the title of architect, sculptor, and painter” (Faure 2). At the beginning of the fifteenth century, the Italian painters had asked the Flemish painters for their secret techniques because the Italians felt like the language of painting was one that was always meant for them. (Faure 4) The sculptors claimed their inspiration from ancient works. Lastly the Renaissance introduced idea of individualism, which helped the Italians get away from everything that was going on during that time. Art during the Renaissance included painting, sculpting and architecture, all of which were an important part in expressing the idea of individualism and making art what is is today.