10.

The Renaissance, a new

artisctic movement

Laura Alapont Mira

History 3º ESO
2017/18
 What is the Renaissance?
• It is the artistic and cultural movement that
emerged in Italy in the 15th century.
• Its main characteristics are:
– It revives the values of Classical Antiquity:
reaffirmation of man and nature.
– Recovery the Greco-Latin art: rationality,
proportion and beauty.
– New role of the artist and emergence of patrons.
 Cultural and historical context
The Italian Republics or city-states Florence, was the Rome, was the
have their own political and main focus of art in main focus of art
economic organization the XV century in the XVI century

There is a very powerful middle

class of merchants, bankers and
artisans

The good economic situation

encourages optimism towards life and
keeps them away from the pessimism
and fear of death that characterizes the
Middle Ages

This will be reflected in the

art and, in addition, the
greater wealth allows them
to finance more artistic
works.
The cities were plenty of
commerce and
merchandise, and its
streets were crowded
with skilled artisans.
 STAGES OF THE RENAISSANCE IN ITALY

Trecento (14th ) Quattrocento (15th) Cinquecento (16th) Mannerism (16th)

• First elements • Florence • Rome • Italy
of the renaissance • Innovation: • New style in • Give up harmony
• Authors: Giotto harmony and Venice, expansion and proportion.
proportion in Europe. • Authors:
• Authors: • Authors: Da Vinci, Bronzino,
Brunelleschi, Miguel Ángel, Pontormo,
Alberti, Donatello, Rafael, Giorgione Tintoretto,
Masaccio and and Titian. Veronese.
Botticelli.
 4. The appearance of patrons

• The liberal arts were no longer controlled by the guilds, but they were unde
the protection of the many princes and the bourgeoisie.
• In return, the patron obtained prestige and fame.
• The Medici, Sforza or the Popes were the new Patrons.

The MEDICI in Florencia

The MONTEFELTRO in Urbino

The SFORZA in Milan

Muzio Attendolo Sforza

Federico da Montefeltro. (1369-1424) known as
Pinted by Piero della Francesca. “Sforza”.
 The Medici
 They were a wealthy family of
merchants and bankers who ruled
in the prosperous Italian city-state
of Florence.
 Florence was a great commercial
center for artists and
philosophers.
Juan de Medici (1360-1429)
Creó talleres textiles y una banca

Cosme el Viejo (389-1464)

Gobernó Florencia durante 30 años

Pedro de Medici (1464.1469)

Gobernó Florencia durante 5 años

Lorenzo el Magnífico (1469-1492)

Gobernó Florencia durante 23 años.
 LORENZO DE MEDICI
 For his generosity as a patron he
received the nickname of Magnificent.
 His father founded the Laurencinana
Library, where numerous works of art
were collected.
 He founded an academy to train artists,
and his students included
Michelangelo, Botticelli, and Leonardo.
 He also studied Greek philosophy
alongside humanists such as Marsilio
Ficino and Pico della Mirandola.

Badly managed businesses:

He was a bad manager, he let the Medici bank company get lost. Lorenzo used the funds of
the family in his cultural or political expenses, causing the bankruptcy of his family's bank
 Juan de Medici ordenó la
reconstrucción de la
basílica de San Lorenzo.

Cosme de Medici mandó

construir la cúpula de la
catedral Santa María di Fiori
al arquitecto Brunelleschi.
 Galería de los Uffuzi.
Diseñada por Giorgio Vasari
y apadrinada por Cosme I.

Palacio Pitti.
Comprado por Leonor
Álvarez, esposa de
Cosme I.
3. The artist’s new role
Renaissance artists handled different arts (sculpture,
painting and architecture) and theorized about them:
 Miguel Angel was an architect, painter and sculptor.
 Leonardo da Vinci worked in different fields as
anatomy, botany, painting, sculpture and
architecture, among others.
For the first time, the artists signed their works in
search of recognition.
A market was created around the art in which patrons
commission paintings to their favorite artists.
 Da Vinci’s inventions
THE BICYCLE “GUN” LA AMETRALLADORA

THE HELICOPTER
 Characteristics of the Renaissance
1. Classical models
a. Study of archaeological remains of
Roman and Greek culture.
b. Recovery of Antiquity:
– Use of Latin (literature).
– Inspiration in Greco-Roman
mythology (architecture and
painting).
– Serenity and balance (sculpture).
– The beauty and exaltation of the
classic canons of the human body.
c. Invention of oil painting and
Characteristics of the Renaissance

2. The human figure in the art

• Religious themes still predominate,
but the sacred characters are now
depicted as normal people in
everyday environments.
• The search of the ideal man in the
art works.
• Individualism: portraits, nakes
(anatomical studies of the human
body).
 ARCHITECTURE IN THE QUATTROCENTO (XV CENTURY)

Characteristics Authors
● Florence is the great artistic
center.
★ Filippo Brunelleschi
● Civil (palaces, hospitals, ★ León Battista Alberti
squares, etc.) and religious
buildings were built.
● Search for symmetry and
proportion.
● Recovery of classical elements
(semicircular arches, pediments,
barrel vaults, domes and
columns of Doric, Ionic and
Corinthian orders).
 4. RENAISSANCE IN ITALY
Palaces, town halls,
4.2. The architecture squares, hospitals,
CIVIL ARCHITECTURE theaters, libraries and
rural villages

Medici Palace Capitolio Square Hospital of the Rotonda Village

(Riccardi) (Miguel Ángel) Innocents (Paladio)
(Bruneschelli)

SIMPLICITY No decorative elements

OPEN AND
OBJETIVE: HARMONY DIAPHANOU
Public squares

SPACES Simetry and uniformity.

PROPORTION
 4. RENAISSANCE IN ITALY
4.2. Architecture

Domes Columns, classical Semi-circular arches

St.Peter’s Basilica in the capital and
Vatican entablatures
(Miguel Ángel)

Triangular pediments (frontón), friezes and geometric Longitudinal and central plants (circular,
decoration and scrolls (volutas) square and Greek plant)
Santa María Novella (Alberti)
 Gothic cathedrals
Pointed arch

Long windows and

stained glass windows
Very tall
cathedrals

Thin columns
 LINEAR PRESPECTIVE: BRUNELLESCHI

Brunelleschi is considered the discoverer of the linear

perspective by means of a mathematical method.
His goal was to imitate three-dimensional space on a flat
surface, as it would be observed by the human eye.
LINEAR PERSPECTIVE: BRUNELLESCHI

Lines converge at a
single point
(vanishing point)
 BRUNELLESCHI

Santa María di Fiori

Palacio Pitti
 Leon Battista Alberti

Basilic of Santa María Novella, Florencia, 1470

Two-color facade
Pediment decorated in
white and green
Carrara marble

Scrollwork

Round arch
 ARCHITECTURE OF CINQUECENTO (XVI Century)

Characteristics Authors
● Rome became the great ★ Donato Bramante
artistic center. ★ Miguel Ángel
● It stands out for its
monumentality. ★ Andrea Palladio
● Search for balance,
austerity and robustness.
● Predominance of
architecture over
decorative elements.
● Search for light contrasts
 Donato Bramante

Temple of San Pietro in Montorio Balance and

1502 monumentality

The Catholic Monarchs of

Spain commissioned Bramante
to build a church in Rome in
honor of Saint Peter in
gratitude for the capture of
Granada.
It was built at the point where
the apostle is believed to have
died.
It is a roundabout (rotunda)
with 6 Doric columns that
become a symbol of a return
to the Roman spirit.
 Miguel Ángel and Bramante
Basilic of San Pedro del Vaticano
Rome. 1506-1623
The Pope Julius II, obsessed
by the idea of his death,
decides to demolish the
early Christian basilica of
Saint Peter to build a more
grandiose one.
At first it was ordered to be
built by Michelangelo,
although later it was built
by Bramante.
It has a central plant in the
shape of a Greek cross.
 Dome of San Pedro,
Rome.
Miguel Ángel.

Square of Capitolio, Rome. San Giorgio Maggiore, Venecia.

Miguel Ángel Andrea Palladio
 Andrea Palladio

Villa Rotonda (Vicenza), 1551

● Carry out civil
works: palaces.
● It is a country house
for high society.
● It follows the
models of classical
antiquity, adapting
them to modern
needs.
● It consists of a
central hall and four
porticoes.
 PAINTING OF QUATTROCENTO (XV Century)

Characteristics Authors
★ Masaccio
● Themes: religious, myths,
★ Piero de la Francesca
portraits and landscapes.
● Techniques: fresco on walls and ★ Mantegna
tempera on panel, and oil ★ Botticelli
painting.
● Invention and introduction of
linear perspective.
● Light and shadow work
(chiaroscuro).
● Use of escorzos (representing
the figures perpendicular to the
viewer).
 MASACCIO La Trinidad Santa María la Novella, Florencia

 Linear perspective
 Religious theme
 Warm and cold
colors
 Fresh technique
La flagelación PIERO DE LA FRANCESCA Los duques de Urbino

• Linear perspective
• Reference to the classical age:
classical building, column with
statue
• Religious theme
• Technique: Tempera in panel

• Perspective: he decrease the

size of the elements as they go
further
• Portrait of the Dukes of Urbino,
patron of Piero de la Francesca
• The dukes are represented in
opposite profile: symbol of
power (as in coins)
• Typical Tuscan hilly landscape
 Lamentación sobre Cristo muerto MANTEGNA

Pinacoteca de
Brera, Milán.

 Escorzo
 Realism of
Christ
 Religious theme
 Technique: oil
painting in panel
La dormición de la Virgen MANTEGNA

• Linear perspective
• References to the
classical age:
architecture
• Religious theme: 11
apostles and the
dead Virgin
• Technique: oil
painting in panel
• Great details: in the
folds of clothing,
etc.
• Chromatic variety
• Landscape at the
bottom of the
scene: feeling of
depth
 BOTTICELLI

Nacimiento de la Primavera
Mithologic theme
 BOTTICELLI

Nacimiento de Venus
 PAINTING OF CINQUECENTO
En pintura (XVI Century)XVI) se
el Cinquecento

Characteristics Authors

● Balanced compositions ★ Leonardo Da Vinci

● Search for idealized beauty ★ Miguel Ángel
● Perspective Mastery: Linear ★ Rafael Sanzio
and Atmospheric ★ Tiziano
● Richness of color
● They use real models

Rafael Sanzio
 LEONARDO DA VINCI
TECHNIQUE OF THE
“SFUMATO”

The lines of the drawing

disappear and the limits
of the figures and
volumes are blurred.
Leonardo paints the air,
an air that blurs the
volumes and creates the
illusion of closeness or
distance, of perspective.
La Virgen de las Roca DA VINCI La última cena
 Vault of the Sistine Chapel MIGUEL ÁNGEL El Juicio Final

• Technique: fresco mural painting

• Represent scenes from the
Evangelio and the Old Testament
• The chapel is rectangular, just
over 40 meters long by almost
14 meters wide and 20 meters
high.
• To paint them, Michelangelo
divided the vault into
compartments

• Technique: fresco mural painting

• Location: Sistine Chapel
• Religious theme: represents the Last
Judgment
• Great study of the human body: many
bodies in different positions
• Abundant escorzos and twisted figures
create movement and agitation
• Vivid and contrasting colors: pink and blue
 MIGUEL ÁNGEL La creación de Adán

 Commissioned by the Pope Julius II to decorate the vault of the Sistine Chapel
in the Vatican, 1512.
 Here Adam lies, as if he lacked energy, forcing God to give his last effort to
touch Adam's fingers and give him a spark of life.
 Technique: Fresco paintings.
 Theme: religious
 RAFAEL SANZIO Escuela de Atenas

• It represents the search for the truth

through reason and for this it uses
classical antiquity as a model.
• Set the scene in a Roman-inspired
temple
• Linear perspective
• Contrast of warm and cold colors
• Technique: fresco painting
 TIZIANO La Venus de Urbino, 1538

Galleria degli Uffizi, Florencia

Chiaroscuro
technique
Strong erotic
charge in the
pose and the
look.
Tiziano
belonged to
the Venetian
school.
 SCULPTURE OF THE QUATTROCENTO (XV Century)

Characteristics Authors
● Representation of the naked ★ Lorenzo Ghiberti
human body, seeking the ★ Donatello
ideal beauty through
proportions and anatomical
study. Verrocchio. Condottiero
● Serenity and balance. Colleoni. He look for the
representation of the
● The reliefs, portraits and personality of Colleoni
equestrian sculptures stand
out.
● Materials: marble or bronze.
● Technique of Schiacciato
DONATELLO: Technique of the "schiacciato”

The relief flattens as we

enter the scene, until it
becomes almost
absolutely flat in the
background.
In the so-called
schiacciato relief
Donatello gradually
decrease the relief of the
figures, from a high relief
in the figures located in
the foreground, to an
extremely subtle relief in
the figures located in the
background.
 DONATELLO

Sculpture of David.

Sensuality

Contraposto
 LORENZO GHIBERTI

The Gates of Paradise (baptistery doors of the

Florence Cathedral)
● Material: Bronze.
● In ten panels are narrated
different scenes from the
Old Testament.
 SCULPTURE OF CINQUECENTO (XVI Century)

Characteristics Authors
• Monumental and  Miguel Ángel:
expressive sculptures Piedad, David or
Moisés.
 MIGUEL ÁNGEL

David, 1501 La Piedad, 1498

Gallery if the Academy of Basilic of San Peter, Rome
Fiorence Marble

It
represents
the biblical
David
before
killing
Goliath
 MIGUEL ÁNGEL

Terribilitat: tension
and rigidity of the
Moisés, 1505 muscles
San Pietro, Rome Great
Marble expressiveness and
strength of the gaze
Great naturalism
Interest in the
Moisés is depicted human figure and
in anger as he has anatomy
been forbidden
from entering the
Promised Land
 5. RENAISSANCE IN EUROPE
5.1_Flemish painting (XV and XVI century) Grabado Adán y
Eva
 TECHNIQUEs: Oil paints and perspective (Durero)

 MAIN THEMES: Landscapes, religious themes and portraits

 CHARACTERISTICS: detail and realism
 AUTHORS: Brueghel, El Bosco, Van Eyck an d Van der Weyden
5.2_German painting
 TECHNIQUE: Oil paintings and engravings (grabados)
 MAIN THEMES: Religious and portraits
 AUTHORS: Durero, Holbein el Joven y Lucas
Cranach.

5.3_French architecture Castillo de

 Francis I was a humanist and patron of art in France. Chenonceau
(De l’Orme)
 The architecture was the most important art (Loire Valley).
 Castles and palaces were used like luxurious residences. Examples:
Chambord, Chenonceaux and Fontainebleau.
 DURERO- GERMAN PAINTING

Lamentación sobre Cristo Muerto Los cuatro jinetes del Apocalipsis

HOLBEIN EL JOVEN- GERMAN LUCAS CRANACH - GERMAN

Retrato de Erasmo de Rotterdam Adán y Eva

 FRENCH ARCHITECTURE

Catillo de Chambord Castillo de Chenonceaux

 VAN EYCK-FLEMISH VAN DER WEYDEN-FLEMISH

Virgen del canciller Rolin San Lucas dibujando a la Virgen

VAN EYCK – Flemish painting

perspective

landscape

He focuses his attention on the

figures, creating very elegant
and stylized characters

details

Contrast between
intense and
expressive colors
and dark colors
Virgen del canciller Rolin
 BRUEGHEL EL VIEJO -
FLEMISH
“Los cosechadores”

BRUEGHEL EL VIEJO -
FLEMISH
“Cazadores en la nieve”
 ACTIVITIES
1. What topics do German artists deal with?
2. What French king was a great patron of the
arts?
3. Look at the Arnolfini marriage picture.
Describes the scene, the details and the
resources that are used to give realism and
depth to the work.
 6. Renaissance in Spain
6.2. ARCHITECTURE
Chronology: 16th century.
Styles:
Plateresque or Isabelino: abundant decoration (reliefs, shells,
blocks -sillares almohadillados -, shields (escudos) and
pinnacles.
Classicist: follow classical architectural models such as
columns, lintels and pediments (frontones).
Herreriano: sobriety, lack of decoration, straight lines, cubic
volumes and slate roof (tejado de pizarra).
STYLES ARCHITECTS
PLATERESQUE The Salamanca University
CLASSICIST The palace of Carlos V
HERRERIANO Monastery of San Lorenzo de El Escorial
Capilla del Salvador, Úbeda, Jaén.
Diego de Siloé. Estilo Plateresco.

Abundant decoration (reliefs, shells,

blocks -sillares almohadillados -,
shields (escudos) and pinnacles.

Catedral Nueva de Salamanca.

Juan de Álava. Estilo Plateresco
Palacio de Carlos V
Pedro de Machuca
Estilo clasicista

Classical
architectural models
• Columns
• Lintels
• Pediments
 Decorative absence
 Straight lines
 Cubic volumes
 Slate roof

Monasterio del Escorial,

Madrid.
Juan de Herrera.
Estilo herreriano.
 6. Renaissance in Spain
PAINTING
 Chronology: XVI century
 Theme: religious
 Characteristics: concern for light, color and perspective.
 Authors: Pedro Berruguete in Castilla; Juan de Juanes in Valencia;
El Greco in Toledo.
EL GRECO
 Life: was born in Greece, studied in Italy with other Renaissance
teachers and finally settled in Toledo.
 Characteristics: very vivid chromatism (red and blue tones), light
contrasts (chiaroscuro), complex compositions using elongated
(alargadas) figures.
 His main works are: El entierro del señor Orgaz, El Expolio y El
caballero de la mano en el pecho.
PEDRO BERRUGUETE
JUAN DE JUANES

La Santa Cena

La Virgen de la Leche
 EL GRECO

El caballero de la
El entierro del señor Orgaz El Expolio
mano en el pecho
 6. Renaissance in Spain
6.1. SCULPTURE
Chronology: XVI century
Theme: religious
Features: seeks to express the religious feeling. They worked the
altarpieces (retablos), the funeral monuments and the religious imagery
in polychrome wood.
Authors: Bartolomé Ordoñez, Alonso Berruguete and Juan de Juni.

Sepulcro de Felipe I y Juana Adoración a los Reyes Magos El entierro de Cristo

de Castilla
 ACTIVITIES
1. When does El Greco begin to have its own
original style? Why is it characterized?
2. See the courtyard of the palace of Charles V
and the Courtyard of the Kings of El Escorial.
What elements characterize each style?