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Renaissance architecture and its influence
Renaissance architecture and its influence
Architecture middle ages vs. renaissance
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INTRODUCTION
The word Renaissance it’s used to indicate the cultural renewal’s stage, inspired by the ancient, which has its origins around the second decade of 16th century in Florence and three Florentines are the initiator and leading exponents: Brunelleschi regarding architecture, Donatello and Masaccio for sculpture and painting.
This cultural awakening has been prepared since the previous century by the literary and philosophical humanism conquests and by a recent interest in the culture of classical antiquity ( Argan,2008 ).
The transition from the Gothic to Renaissance should be contextualize as a part of a cultural transformation, much broader artistic needs. It coincided with the end of the Middle Ages which contemplated religious
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In fact today the Renaissance architecture appears more heterogeneous than Romanesque or Gothic although most were based on static rules that aesthetic.
The search of proportionality is not applied only to the raise of building (elevations and sections) but also to the plants. The type that most interested him was the central plan. This became more regular: could be inscribed in a circle, which was regarded as pure geometric shape and aesthetically valid.
The churches, therefore, were designed with Greek cross plan and no longer Latin, but also the buildings or their courtyards, tended more and more to the square. Precocious example was the San Lorenzo’s old sacristy by Filippo Brunelleschi, but most of all from the 1500s the ‘Tempietto of S. Peter in Montorio’ by Donato Bramante, the ‘Church of San Biagio’ in Montepulciano, ‘Santa Maria della Consolazione’ in Todi (Bartolini,Bozzoni,Carbonara,Cerulli,Scalesse,White
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If in fact the medieval churches were based on the principles of position immensely small of man against the infinite magnificence of divine and to this end favoured in building the vertical pattern and magnitude size, the Renaissance buildings were turned instead to represent a space on a human scale, practicable and rational in which the triumph harmony. In fact buildings designed and built by Filippo Brunelleschi it’s always possible trace the architectural application of geometric principle such as symmetry and balance of the composition, obtained by the rhythmic repetition of building modules or decorative.
Among the architectural elements derived from Roman Buildings, were introduced to the central plan (in the temple of S.Pietro in Montorio by Bramante), the arch barrel (in the Cappella Pazzi by Alberti), the coffered dome as in the Pantheon (in interior of S.Andrea in Mantova by Alberti), the columns in different styles (in San Lorenzo by Brunelleschi and the Venetian churches made by Colucci).
...ral (138 ½ feet), Michelangelo’s St. Peter’s (137 ½) and Wren’s St. Paul’s (109 feet). Until steel and concrete technology advanced in the 19th century, no single spaces were larger than these. Bibliography Dirimtekin, Feridun. [1964]. Saint Sophia Museum. Istanbul: Touring and Automobile Club of Turkey. Fossati, Gaspare. 1852. Aya Sofia, Constantinople : as recently restored by order of H. M. the sultan Abdul-Medjid. London: R. & C. Colnagni & Co. James Stevens Curl. Classical Architecture: an introduction to its vocabulary and essentials, with a select glossary of terms. New York: Van Nostrand Reinhold, 1992. ISBN 0-442-30896-5. NA260.C87. interior photo of circular space (photo of the prostyle octstyle portico of the Pantheon) William L. MacDonald. The Architecture of the Roman Empire I. New Haven, CT: Yale University Press, 1982. ISBN 0-300-02818-0. LC 81-16513
The Renaissance has not ceased to be an age of discussion and debate among historians throughout the recent centuries. The vibrant nature of the era marks it as a most fascinating period of history. The Renaissance can be described as an age carrying the essence of “self-discovery and fulfillment, of recognition of human worth, and a dynamic outpouring of artistic activity.” This new world flourishing with art and creative optimism was also steeped in a spirit of “revolt of the Medievalists.” In an effort of “rebirth,” the previous culture of the Middle Ages was rejected, and even scorned. Foundational principles in all fields were overstepped, and old cultural norms were practically obsolete. It was an era whose humanistic philosophy greatly impacted the lens through which man viewed himself and the world.
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.
Artistic innovations in the Italian Renaissance era paved a way differentiating from Middle Age art by combining newly-found influences in an increased awareness of nature, a revival of classical learning, and a more prominent individualistic view of man. The Italian Renaissance period was an era of experimentation and technical mastery. As noted by Julie L. Carnagie in The Renaissance and Reformation Reference Library, “During the Middle Ages, art had a religious theme and the artist was an anonymous vehicle for glorifying God. In the Renaissance, however, human beings became the central focus of artistic expression in painting, sculpture, and architecture.” Within European society, the Middle Ages was classified as a time period of darkness consumed with little education or innovation. The medieval period was commonly viewed as an inte...
The facades are one side of the space and the whole is surrounded by a ring of trees. Through a collaborative effort Charles Moore with the UIG, Perez & Associates, and others, Moore headed the creative development of Piazza d'Italia (3). Contemporary architectural commentary has iconized the fountain as an example of Postmodern architecture, primarily for its adaptation of historical architectural ornament (4). Analysis: What is the difference between Charles Moore's use of all five Classical Orders in the fountain makes a very conscious reference to the past. The details, however, speak an entirely different dialect from that of Vitruvius, or Roman public architecture in general.
The Papal Basilica of St Peter in the Vatican, or simply St Peter’s Basilica is one of the largest church’s in the world with a total area of 44,000 square meters, with 219 square meters of the basilica itself. (Dupre’, J., 2001, p.65) Located in Vatican City, the papal enclave within Rome, St Peter’s Basilica is the most renowned work of Renaissance architecture. There were 4 main architects who contributed to the project: Donato Bramante, Michelangelo, Carlo Maderno, and Gian Lorenzo Bernini. Construction began on the new basilica on 18 April 1506 under Julius II, who also laid the first stone and was completed in 1615 under Paul V. The Façade, designed by the architect Carlo Maderno, “Is 114.69 metres wide and 48 metres high, and has an order of Corinthian columns and pilasters, over which lies an imposing cornice with a central tympanum, crowned by a balustrade with thirteen statues (nearly 6 metres high).”
St Peter’s basilica which is built based on rational form of architecture is a Late Renaissance church located within Vatican City, designed by Donato Bramante. Its significant history is that according to the Catholic tradition this was the place that Saint Peter was buried. Not so far away...
During the late sixteenth century a new style of art, known as Mannerist, emerged through out Italy as a result of the Protestant Reformation. Mannerist distorted art was justified because it served mid way between the ideal, natural, symmetrical and the real, artificial, and unbalanced. The religious and political upheaval lead to the distinct Mannerist style know for being stylish, cultured, and elegant. Mannerist art is thought provoking, asking the viewer to ponder and respond to the spatial challenges and meaning found in the painting, sculpture, and architectural work. Mannerist painting and sculpture are characterized by complicated compositions, distorted figure styles, and complex allegorical interpretations. Meanwhile Mannerist architecture often employs classical elements in a new and unusual way that defies traditional formulas.
The term ‘Renaissance’ means rebirth. It was originally meant to describe the rebirth of art and literature in Europe but since there were so many important changes throughout the time period The Renaissance includes all new developments during that time period. The Renaissance began in the 14th century; it flourished in the 15th century,
Alberti was known to be a great advisory to me and he was influenced from a lot of people including Sigismondo Malatesta. During that time of when he was in Rimini, Italy, he was working with an outstanding person in which this person would realize his most delicate and original ideas in marble, shaping brilliant, carefully chosen stones with dazzling precision until they embodied Alberti’s vision of fortune as a filled sail. Malatesta has ransacked his way from the churches in the surrounding area. It was worse in which Sigismondo ran out of money long before Alberti’s full design was complete, so that neither does the second story that Alberti had planned for his façade nor the magnificent lead-roofed dome that he has planned to raise at the east end of the church that has ever builded.
In no other time was Roman influence in architecture more profound than in 15th century Florence. Filippo Brunelleschi's Pazzi Chapel revived interests for Roman architecture. Like Masaccio's The Holy Trinity, the Pazzi Chapel implemented numerous classical architectural elements. Like Masaccio's frescoe, the chapel is a highlight of the Renaissance. The chapel, however, was a Roman avatar. It is for this reason that Brunelleschi's is considered as an important example of the influence of Roman architecture in the Renaissance; Roman influence is most visible in the chapel's hemispherical dome, Corinthian columns, pilasters, and pedimented entrance.
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
The aim of classical design has always been, according to Vitruvius’ De Architectura libri decem (De Architectura) known today as The Ten Books on Architecture, to proportion a harmonic structure. According to Marcus Vitruvius Pollio the theory of proportion is particularly important when it comes to designing a building, a passage in which his study relates human and architectural proportions he states:
In the Florence Cathedral, Florence, Italy, there is a cathedral church whose octagonal dome, built without the aid of scaffolding, was considered the greatest engineering feat of the early Renaissance. Dedicated to Santa Maria del Fiore, Our Lady of the Flower, it is also known as the Duomo, after the Italian word for cathedral. Created by many great Early Modern artists, this piece of architecture is a perfect example the Renaissance style. We can come to a better understanding of why this is so by exploring what the characteristics of the Renaissance “style”. To understand the properties of the Florence Cathedral that fit the Early Modern style, I will begin with a description and its history. The cathedral's architectural style, although greatly influenced by French Gothic elements remained distinctively Florentine, especially the geometric patterns of red, green, and white marble on the building's exterior. Construction of the cathedral began in 1294 on the site of a Christian church founded in the 6th or 7th century and continued until 1436. Several celebrated Italian architects were involved in the project, including Giotto, Arnolfo di Cambio, Andrea Orcagna, and, most notably, Filippo Brunelleschi, who was responsible for designing and building the dome. The cathedral's exterior is ornamented with sculpture and mosaics by Italian artists Donatello, Nanni di Banco, and Domenico Ghirlandaio, among others. The building's stained-glass windows are the work of the Italian architect and artist Lorenzo Ghiberti, and the interior is decorated with sculpture and fresco paintings by several Renaissance masters. Construction of the campanile (bell tower), situated to the right of the entrance to the Duomo, was begun by Giotto and completed according to his plans in 1359, after his death. Nearly 278 ft high, the campanile is embellished with red, green, and white marble panels of relief sculpture by Italian artists Andrea Pisano and Luca della Robbia, and niches with sculpted figures by Donatello and other masters. Facing the cathedral and campanile is a smaller, octagonal structure, the Baptistery of San Giovanni, noted for its gilt-bronze doors, elaborately worked in high relief by Andrea Pisano and Lorenzo Ghiberti. With that background information about the cathedral, one question comes to mind: what is it that makes the Renaissance style distinct? Renaissa...
To begin with, the history of Christian church architecture is, obviously, a highly complex one, but it is important that one understands the evolution of the floor plans of Catholic churches to see how the changing shapes of churches reflects an extended analysis of Catholic belief and practice. According to Cunningham, the architecture of a church building was designed in a certain way and it had a certain