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Artisans during the Renaissance
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Benvenuto Cellini and Bunaccorso Pitti both had the opportunity to live during perhaps the greatest most innovative era in history. Both of these men emanated from the most prosperous and well-known city of the renaissance period. Despite being from the same area, both of these men come exceptionally distinct backgrounds, but still somehow mange to display some of the same characteristics of what men of the renaissance era possessed. By exploring a few of these features: such as, their ability to use force and violence, while working to enhance their own persona, all while under the protection of influential elite that ruled during this time. These aspects of Cellini’s and Pitti’s lives are some of the qualities that make them stand out as …show more content…
Cellini was an artist and goldsmith by trait, which he himself thought there was no equal to him. He thought that he could do anything better in his trade than anyone else. This is shown in his work that he did smaller than his teacher. Cellini was a very narcissistic in his approach to his work. The only person that he thought was equal or greater than himself was the great Michelangelo. Cellini also threatened other artist so that he could obtain contracts that he felt that he deserved other them. Pitti, was a merchant by trade was a merchant and was quite successful at his skill. Though he was perhaps more skillful at gambling than being a vendor. He was never fearful of not having a way for financing things. He either acquired the money from his higher up friends or from his betting ordeals. Bunaccorso did however serve his republic in greater position than that of Cellini. Pitti did however do as he pleased throughout much of adventures but he still acted in service of Florence, holding many capacities within the government. Cellini was too rebellious to act in the same capacity as Bunaccorso. Shifting back to Cellini, he was always out to get the best commissions as used various means of acquiring those contracts. He was more out for himself than Pitti was, this is demonstrated at various times throughout his autobiography. These two men’s aim for self significance could not be anymore different. Cellini was for the most part out for his own self service, while Pitti was having fun, still served the
In the book, Giovanni and Lusanna, by Gene Bucker, he discusses the scandalous actions of a Florentine woman taking a wealthy high status man to court over the legality of their marriage. Published in 1988, the book explains the legal action taken for and against Lusanna and Giovanni, the social affects placed on both persons throughout their trial, and the roles of both men and women during the time. From the long and complicated trial, it can be inferred that women’s places within Florentine society were limited compared to their male counterparts and that women’s affairs should remain in the home. In this paper, I will examine the legal and societal place of women in Florentine society during the Renaissance. Here, I will argue that women were the “merchandise” of humanity and their main objective was to produce sons.
In the traditional political history of Italy the people outside of the ruling class of the society were rarely studied. Only with the use of social history did the issues of class and gender begin to be debated by scholars. Numerous recent articles have done a great job of analysing particularly men of high status. In this paper I will look at the lower classes of Renaissance Florence. More specifically, I will center my focus on the lives of women during this era, how they were treated and viewed by people of other classes and how women were viewed and treated by men.
Antonio Manetti, a Florentine Humanist and holder of several high offices in Florence, was the author of the delightful novella known as the Fat Woodworker. This novella, first published in its final refined form in the 1470’s, tells the story of a rather complex and slightly malicious trick created by a genius architect known as Filippo Brunelleschi. While the trick is mean at times, the reader tends to not notice because of the comedic way that the fat woodworker reacts. The prank that unfolds can in some ways closely parallel the many tricks that occur in Boccaccio’s Decameron, though there are some large differences.
Black takes a thoroughly intellectual and social approach to the study, by examining the changing interpretations of ideas and social interactions in Milan. Black writes on the ways in which the families secured their absolute power and legitimized it through legal arguments. Black argued that the Sforza and Visconti were able to legitimize their absolutist rules through the use of their lawyers, and that when the legal rhetoric turned against them, their power waned. This is significant to the study of Italian Imperial Renaissance power first and foremost because it shows how Milanese rulers functioned, and secondly, because it’s argued excellently. Black is in conversation with sources like Kenneth Pennington frequently in her work, she builds off of his and other similar sources on imperial governance and applies legal imperial theory to Milan specifically. Black successfully knocks home her point and simultaneously studies the significance of the Sforza and Visconti ruling families in wider Italy. My only knock on Black is that I would like more on other rulers or cities, perhaps more comparison between the Sforza and Visconti, it is there but it would not hurt the work at all to expand on it, but Milan is undoubtedly the best example of native non-Papal imperial power in
The work of Ambrogio Lorenzetti’s Allegory of Good Government consists of three frescoes, each on its own wall. These frescoes are called Good Government, Good City, and Bad Government and Bad City. The scenes indicates Siennas environment in the 14th century and how they lived their life. In life under a good government, the fresco illustrates the establishment of justice and the equality of the citizens. There is a school for the children of the city as well as shops for the traders and merchants who are busy at work. In the background, men are working very hard on the roofs of detailed buildings. Everybody is immersed in themselves and their work to keep the city running smoothly.
The term “renaissance man” describes an individual who excels in numerous areas and can do many things extremely well. Today, this description lends itself to both men and women who are both scholars and athletes, creative and industrious, and generally highly successful in all they do. While many modern “renaissance individuals” go quietly about their lives being exceptional yet unnoticed, the first renaissance man, Leonardo Da Vinci, made quite a stir and caught the attention and imagination of the fifteenth century world. In his own time, Da Vinci was a renowned artist, scientist and inventor who was celebrated by thinkers, artists and kings alike. And although he lived and worked more than six-hundred years ago, Da Vinci’s artistic and scientific genius continue to inspire and amaze.
Giovanni Bellini was born in Venice, Italy around 1430. He was the son of Jacopo Bellini, an esteemed painter at the time, and probably began his career along side his brother as an assistant in his father’s workshop. Though his artwork was influenced by many of his friends and relatives, Giovanni possessed certain qualities in his compositions which set him apart from the others. He blended the styles of both his father and brother-in-law, Andrea Mantegna, with his own subtle appreciation of color and light, the high regard he held for the detail of natural landscape, along with the very direct human empathy he placed in his painting. These components of Bellini’s personal style became foundational to the character of all Venetian Renaissance Art. Bellini later developed a sensuous coloristic manner in his work which became yet another characteristic he contributed to the Venetian Renaissance Art.
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.
Renaissance Italy was full of famous powerful families: The Medici who ruled Florence, the Sforza ruled Milan and Forli. But out of all of them, the Borgia Family were the most famous and infamous that have ever graced the pages of history. The Borgia’s are a fascination to study because history is so divided over them. They used the power of the Catholic Church for their own personal fortune and political power. They were rumored to have committed every sin and vice under the sun. Many in their time period believed that they were mass poisoners. Yet at the same time, their sins paralleled those of most the nobility and royalty of that age, including previous popes. The Borgia’s presided over some of the most important events of the times; the Bonfire of the Vanities, the Spanish inquisition, the expulsion of the Jews from Spain, the Italian Wars, and, Treaty of Tordesillas. They can also be traced to the beginnings of the Protestant Reformation. This paper tells of the Borgia’s rise and fall in the Papacy and their deeds and impact on the world at the time.
Vespucci was “introduced to lively Florentine cultural societies of the renaissance” (Masini, 1998, p. 5)
Partridge, Loren. The Art of Renaissance Rome 1400-1600. New York, NY: Harry N. Abrams, Inc., 1996.
The night Michelangelo Buonarroti was born, “Mercury and Venus were in the house of Jove,” says Vasari. This means that, according to a lucky star, Michelangelo could be expected to produce extraordinary works of both art and intellect. How true this turned out to be! Whether it was fate or coincidence, few haven’t heard of this world renowned and avant-garde talent. From painting to architecture and sculpture, it seems like there is nothing Michelangelo couldn’t master. Michelangelo is said to have considered himself a sculptor, but why was it then that he produced his sculpture with such a unique and striking depiction of the human body? Why did Michelangelo create such masculine forms, and was it self expression that provoked this intense artistry? There are many factors that can influence an artists creative process, but with Michelangelo the most prominent were most likely his religion, society, travels, and self perception.
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.
Some male characters in this book have values that do not draw parallels with their stature in life. For example, Schedoni is a monk, supposedly a loving and caring individual who spreads the word of God. In reality, he conspires with the Marchesa (in a church) to commit a mortal sin, by telling her, "...this girl is put out of the way of committing more mischief..." (173). This action shows his true color, usually green, and through his large ego, this jealous nature reveals itself. If he is secure as a person, these petty grievances against Vivaldi would be just that, petty. Bonarmo's personality does not correspond to his stature either. He is a servant whose loyalty to his master deserts him. He is too independent and too intelligent to be in servitude to a master whom he does not believe superior to himself. These characters possess too much pride and ego to live in a world where they are not always in co...
... it dispels all doubts about its greatness and converts former disbelievers to the truth” (27a). There are obviously many reasons why Florence is a wonderful city, but according to Pitti and Dati there is nothing about the city as amazing as Bruni makes it out to be. Bruni never truly speaks of the “combination of misfortunes--wars, internal upheavals, pestilence, famine--which seriously damaged the economy” (Brucker 13). Pitti and Dati were not writing for the sole reason of praising Florence, but they also do not go out of their way to mention its many qualities. Unfortunately, Bruni never writes directly about money or business, whereas most of what Pitti and Dati write about are only those subjects. Overall, Bruni offers a much different perspective of Florence in his Panegyric to the City of Florence, than the views Pitti and Dati offer in their diaries.