Category: Renaissance

Throughout the 14^th century, Italy established a new period of creativity. This achievement “laid the foundation for new concepts such as humanism and renaissance” (Nauert 26). The Renaissance Period became the greatest period of human creativity since Athens in the 5^th century. Nauert believes that many “Florentine artists emulated the Athenians in an attempt to achieve their social goals” (9).

The Florentines began to examine powerful classical materials from Athens. Some philosophers such as Plato and Aristotle were treated as supreme authorities. The people of Italy obtained new ideas, models, and styles from these ancient philosophers. They regarded this world of antiquity as a period of human greatness. Many Florentines believed that “the Medieval Era was mainly defined as a period of decline” (Nauert 17).

The Florentines therefore “wanted to flow in the footsteps of these Greek thinkers” (Nauert 34). They believed strongly that such a path would eventually make them successful. As a result, many poets, writers, painters, scholars, and thinkers emerged during the Renaissance Period. Florence was a free society full of citizens who wanted to absorb the best classical concepts. They had found “the best model for their own communities in the civic life of ancient Athens” (Nauert 52).

Some painters also promoted the concepts of humanism. One of these artists was Giotto di Bondone. Humanism played a significant role during this period. The ideas borrowed from Athens were aimed at reshaping the moral values of many citizens in Florence. Many humanists emerged during the Renaissance Period. Such scholars trained people to establish the best positions in their respective societies. Humanism also became “a powerful concept for effective social expression” (Nauert 29).

Rhetoric also became a powerful tool for promoting the best moral values. Different orators encouraged more people to embrace the best social actions. New virtues also emerged in this society. Every person was ready to support the needs of his or her neighbors. This new culture “promoted the best social virtues and actions” (Nauert 78). Humanism therefore became the foundation of ethical law. This discussion explains why “many Florentines emulated the Athenians over their medieval ancestors” (Nauert 102).

The Renaissance Period made it easier for many Italians to embrace the best ideas from ancient Rome and Greece (Nauert 72). New artists and literalists emerged during the period. Such artists empowered more people using these classical concepts. Some of these artists included Giotto di Bondone, Duccio de Buoninsegna, Pietro Lorenzetti, and Simone Martini. Giotto “restored Italian art to its original prestige and greatness” (Nauert 112).

He managed to revive most of the concepts embraced by many classical artists. The contributions of these Renaissance artists made many Italian artworks recognizable throughout Europe. His efforts revived Florentine art. He borrowed most of the artistic approaches embraced by many Athenians. Giotto also “ushered a powerful perspective of art by highlighting human emotion and dimension” (Nauert 89).

His naturalistic approach also restored most of the concepts promoted by many ancients. These achievements “explain why Giotto became the father of western art” (Nauert 98). His achievements and concepts influenced the works of future generations. The values, aspects, and strengths of the Renaissance Era remained relevant for many centuries. The success of different artists such as Leonardo da Vinci can be attributed to the works of humanists such as Giotto di Bondone.

Works Cited

Nauert, Charles. Humanism and the Culture of Renaissance Europe. Cambridge: Cambridge University Press, 2006. Print.

Introduction

The Renaissance and The Age of Baroque are great epochs. It was then when people learnt to open up new horizons. People began living in accord with their restless minds. They also learnt a lot from nature. These epochs can be called the most passionate periods in the history of humanity. People living in the contemporary society have lost that spirit of the great epochs. However, modern people can still feel the greatness of their ancestors’ minds looking at the most remarkable works of the Renaissance and the Age of Baroque. Admittedly, if people ever find mysterious time capsule, they will find the best examples of the both epochs.

The Renaissance

When speaking about the art of the Renaissance, one often thinks of Leonardo da Vinci. This great master is considered to be one of the pillars of the epoch (Fiero, 2011). Of course, the time capsule would contain the famous Mona Lisa (circa 1510s). This picture is a manifestation of the major achievements of the epoch: shadow, perspective, precision and a bit of mystery. One more work to be found in the time capsule is one of the best works by another master of Renaissance, Raphael. Of course, this is his painting Madonna del Prato (1506). This picture is a manifestation of the ideas of the Renaissance: humanism, living in accord with nature, specific technique (perspective, shadow).

As far as music is concerned, it is possible to state that Guillaume Dufay is one of the most remarkable figures of the epoch (Fiero, 2011). This composer created numerous works which were quite revolutionary at his time. He used harmony which was a great step towards the modern music. Ecclesie Militantis is a great illustration of the aforesaid. Missa de Beata Virgine is one more work which would definitely be in the time capsule. This piece was created by one of the most influential composers of the Renaissance Josquin (Fiero, 2011).

The time capsule would also contain some drawings or descriptions of the best examples of architecture. Of course, Filippo Brunelleschi’s Santo Spirito (Florence) will be depicted. The Gothic architecture seemed too out-of-date and Brunelleschi “had to invent his own system” (Woods, 2007, p. 159). He combined the experience of antiquity, best elements of Romanesque style and added something of his own. Of course, his works are based on one of the major principles of his epoch: reliance on antiquity. Admittedly, Raphael’s work on the Papal Basilica of Saint Peter should be also highlighted in the depiction of the greatest creation of the epoch as the great artists followed the same principles of Renaissance while working on the great edifice.

It goes without saying that the greatest philosopher of the Renaissance is Niccolo Machiavelli. Therefore, his work The Discorses on Livy (1517) should be also in the time capsule. The book is a manifestation of principles of humanism which was the most important trait of the Renaissance. Another book which can be regarded as the humanism manifesto is Pico della Mirandola’s work The Oration on the Dignity of Man (1486).

Finally, the greatest examples of the Renaissance literature should also be in the time capsule. In the first place, it is Dante’s Divina Commedia (1308-1321) which is one of the first and best examples of the literature of the epoch. This work is the thinker’s reflection on his life and the society he lived in. The work has many references to ancient thinkers’ works. The principles of humanism are promulgated in the work. The collection of Shakespearean sonnets would also be in the time capsule. This great poet and playwright created short poems which embodied the major principles of the Renaissance: humanism and love to antiquity.

The Age of Baroque

One of the greatest representatives of the Age of Baroque is the great artist Vermeer. Of course, his famous work Girl With a Pearl Earring (1665) should be in the time capsule. Even though it is a portrait, the painting reveals one of the main concepts of Baroque, i.e. motion and detail (Maiorino, 2008). It seems that the girl simply glanced at the viewer just to continue her work. Rembrandt, one more pillar of Baroque, should be represented in the time capsule. His work Aristotle Contemplating a Bust of Homer (1660) also captures motion in the figure of the contemplating philosopher.

As far as music of that period is concerned, it is necessary to mention the great composer Vivaldi and his divine work The Four Seasons (1723). This work is a manifestation of one more principle of the Age of Baroque, i.e. rich ornamentation. His intricate music made people admire the great power of this art form. Of course, one more work to be found in the time capsule is Bach’s The Well-Tempered Clavier (1722) which is also characterized by ornamentation and force.

It goes without saying that architecture of that period manifested the major principles of the epoch: motion, force, drama and ornamentation. Of course, one of the most beautiful works is Baldacchino (1624-1633) where “sculpture and architecture blended together” (Maiorino, 2008, p. 108). The description of this Bernini’s work would be definitely in the time capsule. The description of Salvi’s Trevi Fountain would also be there as this amazing construction is one of the best examples of the Age of Baroque. There is everything in it: motion and force (water), ornamentation and precision (stone).

Philosophy of that period was characterized by the chase for truth. People wanted to answer many questions which people of Renaissance asked. Philosophers of the Age of Baroque tried to categorize everything. Rene Descartes is one of the greatest representatives of the epoch and his work The World (1629-33) could be found in the time capsule. This work reveals Descartes’s eagerness to categorize everything and give some answers. He revealed his philosophy in this book. Another work to be found in the time capsule is Ethics (1677) by Spinoza who depicted the world, the reality as he saw it. Of course, the book is full of explanations and categories.

Finally, one of the literary works to be found in the time capsule is Simplicius Simplisissimus (1668) by Grimmelshausen. This work as any literary work of that period is rich in numerous expressive devices. Again, the book can be regarded as a manifestation of the principle of ornamentation. One more work which could be found in the time capsule is Marino’s work Adonis (1623) which is often referred to as the example of a Baroque work where form is more important than the content.

Conclusion

Therefore, the time capsule would contain the best examples of the two epochs. It is possible to state that the examples of the Renaissance would share the following characteristics: humanism, precision, new forms and new horizons. As far as the examples of the Age of Baroque are concerned, they would be characterized by the following: motion, ornamentation, force and precision (categorization).

Reference List

Fiero, G.K. (2011). The Humanistic Tradition (6^th ed.). New York, NY: McGraw Hill.

Maiorino, G. (2008). The Cornucopian Mind and the Baroque Unity of the Arts. Giancarlo University Park, PA: Penn State Press.

Woods, K.W. (2007). Making Renaissance Art. London: Yale University Press.

The Early Renaissance

Madonna and Child is an art by the Italian artist Duccio di Buoninsegna, completed in around 1308. It shows Virgin Mary with the infant Jesus on her lap. Moreover, it has been in possession of the National Gallery, London, since 1878. The medium used to create this work of art is tempera (Cole, 2018). This is a type of paint that is made from an emulsion of pigments and water-soluble media. These arts are known for their bright colors and flatness of appearance.

The painting depicts the Virgin Mary holding the Christ child in her lap, with both figures surrounded by an intricate halo. One interesting fact about this painting is that it was originally commissioned as part of a much larger altarpiece for the Siena Cathedral (Cole, 2018). However, due to Duccio’s death before its completion, only this central portion was ultimately finished. The painting is characterized by its use of sfumato, or soft shading, which gives the faces of both Mary and Jesus an otherworldly appearance.

The artist depicted the human figure in Madonna and Child with great depth and emotion. The mother is shown staring down at her child with a look of tenderness and love, while the child looks up at her with a mixture of trust and wonder. The artist has managed to capture the intimacy of the moment beautifully, portraying both figures in a very real and lifelike manner. The use of light and shadow similarly helps to create a sense of realism and depth, making the viewer feel as if they are right there in the room with them.

The Northern European Renaissance

The Arnolfini Portrait is a painting by the Early Netherlandish painter Jan van Eyck from 1434. It is believed to be a portrait of Giovanni di Arrigo Arnolfini and his wife, Giovanna Cenami. It is one of the most famous in the world and is now in the National Gallery in London. The Arnolfini Portrait by Jan van Eyck is done in oil on wood. It depicts a man and woman in a Flemish domestic setting (Ashrafian, 2018). The art is located in the National Gallery in London. The art portrays a wealthy Italian merchant and his wife in a private room of their home, probably in Bruges, Belgium. Some historians believe that it is a record of the marriage vows between Giovanni Arnolfini, and his young bride. While others believe that it may be a portrait commemorating the couple’s betrothal.

The human figure is depicted in a very realistic way, with the use of light and shadow to create a sense of depth and volume. One of the most striking features of van Eyck’s portraits is his attention to detail, which allows us to see his subjects in a very naturalistic way (Ashrafian, 2018). The artist chose to portray the husband and wife as if they were two separate entities, rather than one merged figure. This can be seen in their different postures and facial expressions. The husband appears calm and detached, while the wife looks directly out at the viewer with an expression of intense emotion. The use of light is also very striking in this painting. It is used to create a sense of depth and realism, as well as to highlight certain elements of the composition.

The Italian Renaissance

The Baptism of Christ by Leonardo da Vinci is a painting that was created sometime between 1472 and 1475. The work depicts the baptism of Jesus Christ by John the Baptist, with Christ’s mother, Mary, looking on. This is one of da Vinci’s earlier works, and it shows his mastery of the techniques he would later become famous for; it can be found today at the Uffizi Gallery in Florence, Italy. The panel was then smoothed with gesso and rabbit-skin glue mixture to create a smooth surface for the paint (Maayan-Fanar et al., 2018). This painting is a tempera on panel; it was likely painted with egg yolk and water. It is significant because it is one of the earliest surviving examples of Leonard da Vinci’s use of sfumato. The Baptism of Christ is similarly a historically significant because it depicts two important events from the life of Jesus Christ. First, it shows John the Baptist baptizing Jesus Christ in the Jordan River.

Leonardo da Vinci’s painting, The Baptism of Christ, is an excellent example of how the artist depicted the human figure. He captures the beauty and serenity of the moment with great precision and skill. The figures are gracefully posed and appear to be almost floating in the water. The use of light and shadow create a sense of depth and realism, while the muted colors give the painting a soft, dream-like quality. This is especially evident in Christ’s face, which seems to glow with a heavenly light (Maayan-Fanar et al., 2018). The composition is masterfully done, and the painting is a true testament to Leonardo da Vinci’s talents as an artist.

In conclusion, the three artworks: Madonna and Child, The Arnolfini Portrait, and The Baptism of Christ depict the human figure in very different ways. The Madonna and Child painting is very renaissance in its use of perspective and symmetry. Both the mother and child are depicted as idealized figures, with perfect proportions and soft features. In contrast, the Arnolfini Portrait is a much more realist painting, with the husband and wife shown as average-looking people in their everyday clothes. The Baptism of Christ is even more realist, with Christ shown as a naked baby being dunked in a river.

References

Ashrafian, H. (2018). Hypothyroidism in the “Arnolfini Portrait” (1434) by Jan Van Eyck (1390–1441). Journal of Endocrinological Investigation, 41(1), 145-147. Web.

Cole, B. (2018). Titian and Venetian painting, 1450–1590. Routledge. Web.

Maayan-Fanar, E., Linn, R., Tepper, Y., & Bar-Oz, G. (2018). Christ’s face revealed at Shivta: An Early Byzantine wall painting in the desert of the Holy Land.Antiquity, 92(364). Web.

National Gallery. (n.d.) Jan van Eyck, The Arnolfini Portrait. Web.

The History of Art. (n.d.) The Baptism of Christ. Web.

What modern archaeologists gather

Modern archaeologists gather several things from studying ancient artifacts and remains. Firstly the archaeologists get the chronology of the ancient artifacts and remains (Bordes19). The chronological data collected provides lots of insights into the long sequential interrelationships that existed among the various past human cultures. Another thing that they gather is reconstruction. Here, based on the chronological information gathered, the archaeologists can piece together and reconstruct how things may have looked in some locations at a given time. Finally, archaeologists can draw explanations from their study of ancient artifacts and remains. History events are explained through meticulously designed tests, foundations of the theory, and surveillance data.

The study of ancient artifacts and remains plays a significant role in the study of humanities

The study of archaeology has covered vast information that covers the human past. Coupled with its focus on the ancient past, one finds great interlinkages between it and the study of humanities. It may thus affect humanities in certain ways based on what it has recorded and even discoveries. For instance, some reconstructed explanations may bring in new insights that may bolster other humanities or even contradict what had already been perceived to be factual. All the same, archaeology is vast. Prehistoric archaeology is a study area practiced by a kind of archeologists known as pre-historians who deal with cultures of the past generations. We see the interaction with history coming in just like anthropology (Hurtado 32).

Connections between mythology, sculpture, and painting up until the Renaissance

First, there are stark connections between mythology, sculpture, and painting until the Renaissance. Looking at several sculptures and paintings, one can readily note the several uses of classical mythology in them. These mythological themes and characters usually have their representation and proceed chronologically to the Renaissance Period (Stewart 220).

Secondly the influence of the gods on the cities and their people, they have continued to be a rich allegorical source of many sculptures and paintings. There are several examples. The first example comes from the cemetery beneath St. Peter’s Basilica at the Vatican. There is a third-century wall mosaic in the Basilica showing Christ complete with all the features of Apollo, the god of the sun (Morford 268). This is evident in his ascension where a chariot of the sun is seen together with rays and the cross coming from his head (Morford 269). In the backdrop, there is the vine of Dionysus which acts as a highly symbolic and decorative mark (Sandars 49). Masaccio, another Renaissance painter, depicted Saint Peter. In another scene in the Tribute, Money Christ and his apostles are clearly shown in the painting. In the Trinity Fresco, he suggested a chapel using a linear perspective (Bull 343).

Thirdly, sculptors also played important roles in the new Renaissance forms. Filippo Brunelleschi made a large octagonal dome showing Florence cathedral, which is also known as the Duomo. Also, Lorenzo Ghiberti completed some sets of bronze doors covered with gold specifically for the Florence Baptistery. He also made a second pair of doors that well illustrated the Old Testament themes (Ellis 20). Also, Donatello, another Renaissance artist, finished the “Bronze David”, showing David, a hero in the bible, with Goliath’s head down at his feet (Sandars 99). From these examples, it is clear that Connections between mythology, sculpture, and painting up until the Renaissance do exist.

Works Cited

Bordes, Philippe. Jacques-Louis David: Empire to Exile. Connecticut: Yale University Press, 2005. Print.

Bull, Malcolm. The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, New York: Oxford University Press, 2005. Print.

Ellis, Davidson. Gods and Myths of Northern Europe. London: Penguin Books, 1964. Print.

Hurtado, Larry. Artifact and Artifice: Classical Archaeology and the Ancient Historian. Chicago: University of Chicago Press. 2006. Print.

Morford, Mark, Robert J. Lenardon, and Michael Sham. Classical Mythology. New York: Oxford University Press, 2011. Print

Sandars, Nancy. Prehistoric Art in Europe. London: Penguin Press, 1968. Print.

Stewart, Andrew. Classical Greece and the birth of Western art. New York: Cambridge University Press. 2008. Print.

Introduction

Artworks differ significantly across different fields and periods. Some artworks have originated from the minds of individuals or social and ethnic influences while others have been influenced by the designs and features of earlier art periods.

Renaissance is a historical art period during which art was revitalized in the western world. The shift from the classical period to the Renaissance period took place during the 4th century BC. The social condition, which contributed to the advent of the renaissance style, is the increase in territorial tussle taking place across Europe. With the exclusion of the Catholic Church, the people had to dedicate themselves to the comfort of art. They, therefore, outrightly discarded classical art with an emphasis on religious convictions and this led to the rise of renaissance art (Boyle, 2001). This paper will compare and contrast two Renaissance works of art, one appearing on a website and the other appearing in a textbook.

Discussion

The Sistine chapel

The Sistine Chapel is an example of a Renaissance artwork in the book “Preble’ Artforms: An Introduction to the Visual Arts” by Preble & Frank, 2005. The chapel is located in the Vatican and is one of the most illustrious artworks in the western world. It is named after Pope Sixtus IV, who commissioned its construction in 1475. The chapel is rectangular shaped is three dimensional and is made out of marble and bronze. Its dimensions are similar to those of the Temple of Solomon as shown in the Old Testament. The piece of artwork is surrounded by wall frescoes with the left wall symbolizing events in the Old Testament and the right wall portraying those in the New Testament. Portraits of God’s followers such as Peter are evident in the chapel and these symbolize God’s given authority. The chapel’s ceiling is divided into nine parts which symbolize the nine stories in the book of Genesis, from creation to Noah’s Drunkenness (Preble & Frank, 2005).

On the altar wall of the chapel, there is a portrait of Jesus known as “The Last Judgment”. The portrait is a good indicator of the fact that Christ is the Judge and has the power to compel sinners to hell, and his followers to heaven. The sun and other planets surround the portrait (Preble & Frank, 2005).

The entrance to the chapel is marked by two frescoes which symbolize the last episodes of the works of Moses and Christ, that is, the revivification of Jesus Christ and the conversation on the body of Moses. The Sistine chapel is thus a symbolic statement of Christianity especially the catholic denomination (Preble & Frank, 2005). The modern Sistine chapel has undergone a lot of cleansing and restoration and the modesty drapes that were used to cover the naked figures have been removed.

The Pieta

The Pieta is a good example of a Renaissance artwork by Michelangelo Buonarroti. The piece of architecture is located in the Vatican and is carved from marble. It is considered to be one of the most attractive works by Michelangelo and was commissioned in honor of Jean de Billheres, who was the French cardinal by then. It symbolizes the body of Christ on the lap of Mary, his mother. The artist’s interpretation of the sculpture is unique compared to other artists.

The sculpture is three dimensional and has a pyramidal shape. It broadens progressively towards the hangings of Mary’s dress and her figures are arranged in a manner that they seem to be out of proportion. Michelangelo by carving the sculpture did not want the Pieta to symbolize death but to reveal the “religious vision of abandonment and a serene face of the Son” (Buonarroti, 1995).

Mary’s youthful looks and the still facial appearance, together with the position of the upper limbs symbolize the fact that she is seeing her son. The fact that the sculpture depicts Mary to be very young also symbolizes her moral uprightness. The small size of Jesus Christ as manifested in the statue illustrates Jesus’ feebleness though in a state of death.

Conclusion

The above two works of art fit into the context of the Renaissance period. This is because the greatest theme of artworks during this historical art period was the supremacy of the church and the emergence of Christianity. The devil by representing the powers of darkness and wickedness was a strong force in renaissance thinking and the church controlled such fears by changing the pagan world of the early renaissance period. Other changes that were seen in the two artworks, which make them, fit in the context of the Renaissance period is the presence of a new system of docks and cellars. This has changed the usual rounded places of worship to pointed ones hence allowing for enlargement of the edges of sacred structures. This has also led to the development of a rectangular region for the most active members of the church and especially the clergy. These characteristics are evident in the above two artworks since the two reveal these paradigmatic changes and exhibit ideas of humanism and naturalism. It is, therefore, clear that the two sculptures were done during the renaissance period.

References

Boyle, D. (2001). Renaissance Art: A Crash Course. Dubuque: Brown Company Publishers.

Buonarroti, M. (1995). The Pieta in the Pallazzo. Madison: Wisc Editions Publishers

Preble, D., & Frank, P. (2005). Preble’ Art forms: An Introduction to the Visual Arts. Upper Saddle River: Pearson Publishers.

Introduction

During the 15th century, various schools of art have evolved independently from one another, due to distances, religious separation, political reasons, and historical circumstances. While numerous subjects and themes in the art of different European regions and countries were found, the purpose behind them was often different. This tendency is highlighted when comparing Italian and Netherlands’ paintings, as the regions have had very little influence and contact with one another during the early and High Renaissance period. If we compare the art and techniques of Masaccio – an early Renaissance artist famous for his fresco, The Holy Trinity, with the work of Jan van Eyck and his most famous work – a triptych titled The Dresden Triptych, it is possible to note that Italian Renaissance-period art is aimed to revive antiquity, whereas Netherlands’ art is a direct evolution from medieval paintings.

Analysis

Masaccio was an Early Renaissance artist famous for pioneering the one-point linear perspective, which is a technique that uses vertical and diagonal lines in order to converge on the viewer and give an impression of depth and dimension to a flat painting (Raynaud 2016). This technique was later implemented in many other Italian masterpieces, the most famous one being The Last Supper by Leonardo da Vinci (Raynaud 2016). Masaccio’s frescos were drawn on stone and had an emphasis on realism in accordance with the traditions of Renaissance, which sought the rebirth of art as it were in antiquity, particularly during the times of the Roman Empire. The purpose of using the one-point linear perspective was to create an illusion that the fresco was actually an installation at the Chapel, in order to increase the viewer’s immersion. The effect is very realistic, especially when the viewer is standing at the point of convergence of all the lines, which is at the base of the Cross, on which Jesus is crucified (Raynaud 2016).

Jan van Eyck’s art, on the other hand, has much in common with medieval paintings (Harbison 2012). It is shown in the positioning of the characters on the triptych, usually turned sideways or in full front, which obscures the pose and makes it look different when compared to the works of Italian artists. Nevertheless, the bodies in his works are drawn with a great amount of detail in order to make them look realistic. The purpose behind realism in Jan van Eyck’s triptych, the Dresden Triptych, is different, compared to that of Masaccio – the artist viewed the world as a work of God, which made it his solemn duty as an artist to try and replicate God’s masterpieces with as much detail as possible (Harbison 2012). Following the tenets of medieval artists, his works were aimed not only on realism but also on religious symbolism. The use of the one-point linear technique is present, though not to the same degree as in Masaccio’s work, with diagonal lines of the carpet and the arcs that line the ceiling all converge on the woman and the child in the center. It must be noted that while Italian Churches preferred stone-painted frescos, Jan van Eyck pioneered the use of oil paint on wood in his art, which later spread to Germany, Denmark, and other neighboring countries (Harbison 2012).

Conclusion

Therefore, while the works of Masaccio and Jan van Eyck share some similarities in regards to realism and the use of depth perception and one-point linear perspective, they are representatives of their own respective ways of art evolution in the Renaissance period, differing one from another in paint, materials, motives, and general philosophy.

Bibliography

Harbison, Craig. 2012. Jan van Eyck: The Play of Realism. London: Reaktion Books.

Raynaud, Dominique. 2016. Studies on Binocular Vision: Optics, Vision, and Perspective from the Thirteenth to the Seventeenth Centuries. New York: Springer.

The source that I found on this scavenger hunt is an article titled “Agricola as a Greek Scholar” by Ijsewijn. As a scholar, Agricola affected the development of logic with his work. Aside from the entirely distinct use of Latin, the most significant difference between Renaissance Humanism and Medieval Scholasticism is likely to be the new understanding of and a new approach to classical Greek literature. This paper will discuss the scholarly source on Agricola, patronage, and mechanical arts during the Renaissance period and the connection of the new source to information literacy.

Agricola’s most distinct contribution is his manual on rhetoric titled “De inventione dialectica,” which is a combination of genealogy and pedagogy. Between the early sixteenth century and the middle of the eighteenth century, Agricola’s “De Inventione Dialectica” was the higher education argumentation text that was specified, purchased, and used the most in schools and universities throughout Protestant Europe. When the curriculum’s stance on logic and dialectic changed and became irrelevant, the book was published. The renowned theologian Martin Dorp’s name appeared on the title page of the first printed version, which was produced in Louvain in 1515. This book remains relevant and helps understand how the Renaissance thinkers viewed the world and, particularly, how they approached knowledge acquisition.

The keywords selected for this research related to patronage art because they showcase the most prominent elements of arts and sciences of the Renaissance period. Agricola was a famous scholar whose book contributed to the development of knowledge. Patronage art and mechanic art were the two commonly used practices to learn and study arts, as best can be understood by studying Da Vinci’s bibliography in depth.

Evidently, the Renaissance period shows a link between arts and sciences, which is the most obvious in Da Vinci’s works. During that time, patronage art has been a routine practice, which is when a patron pays an artist to create a work of art. Many of his best works were created for patrons and combined an intricate scientific knowledge of the author with his excellent artistic skills. For example, he depicted the construction of the Renaissance era’s longest bridge in one of his sketches. A scaled-down version of Da Vinci’s drawing was reproduced by a modern civil engineer to test if it would have been feasible, and it was. This demonstrates that Da Vinci’s artwork wasn’t merely a collection of thoughtless sketches.

Da Vinci was an illegitimate son because his mother was a peasant, and his father was a respectable notary. He missed out on many opportunities since he was an illegitimate son, which might have been possible if his parents were married or if his mother had a different status. Andrea del Verrochio was one of their teachers to, Da Vinci. This was a typical procedure connected to the mechanical arts at the time.

Mechanical art is a medieval word that was adopted during the Renaissance. The mechanical arts can be seen as a form of handicraft that is taught through apprenticeship, much like the liberal arts. It is regarded as an outdated custom that is inappropriate for a man who has the leisure to engage in less strenuous activities. These interns would start to learn from a superior by observation and hands-on experience, as opposed to academic students, who would learn from a superior through a traditional method of learning.

This new source relates to “information literacy” because it helped me enhance my research skills and practice finding sources. For one, I learned about deriving important keywords from a text and using them to look for scholarly sources. Moreover, I was able to evaluate the sources of information and their authors. Finally, preparation for this paper has helped me to build on the knowledge from the lecture and its additional materials.

Bibliography

Decoding da Vinci. Produced by WGBH Boston. Boston: Public Broadcasting Service, 2019.

Ijsewijn, Joseph. “Agricola as a Greek scholar.” In Rodolphus Agricola Phrisius, 21-37. Brill: New York, 1988.

Long, Pamela O. “Openness, Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance. Baltimore.” In Openness and Authorship I Mining, Metallurgy, and the Military Arts, 175-209, Johns Hopkins University Press: Baltimore, 2004.

The Italian Renaissance period flourished from the beginning of the 15th century to the end of the 16th century. One of the founders of the early Italian Renaissance was Sandro Botticelli, who became famous for his images of mythological subjects. The departure from religious painting in favor of mythological plots, as well as the use of the style of antiquity masters, allowed the artist to revive the principles of Greco-Roman art in medieval Europe. One of his most famous works, as well as the earliest manifestation of Renaissance ideas in art, is The Birth of Venus. This painting not only depicts a mythological plot that refers to classical art, but also uses a style and technique that emulates masters of antiquity.

Sandro Botticelli was an Italian painter of the second half of the 15th century, which places him in the early Renaissance period. The work of Botticelli represents a humanistic approach to art that flourished during the period of patronage of the Medici, who were supportive of the development of society at the expense of science and art. At the beginning of his career, Botticelli followed the traditional canons of that period depicting mythological and religious subjects. Working in Florence in his early years, Botticelli studied with Fra Filippo Lippi where he learned to depict unique human figures within religious plots. During this period, the artist was engaged in the creation of altarpieces and frescoes that would depict the life of saints or stories from sacred texts. These subjects were the most common for that period and continued the tradition of religious painting. The apogee of this period in the life of Botticelli was the work on the frescoes of the Sistine Chapel.

In the 1480s, Botticelli turned to classical mythological subjects, which marked the beginning of his work within the Italian Renaissance. The image of mythology is the return of artists to the classical subjects of Rome and Greece. As part of his subjects, Botticelli sought to revive the classical style in the depiction of human figures within the framework of mythological subjects. In particular, the experience of working on religious paintings helped him in this, where he learned to capture human figures in detail and with a particular melancholic style. The most significant works of Botticelli relating to the Renaissance try to emulate the techniques of the antiquity masters, use classical subjects, and also have the influence of neo-Platonism. The revival of European interest in the ideas of antiquity and in particular Plato is especially characteristic of Florence of that period under the auspices of the Medici.

The most famous work of the early Renaissance by Botticelli is the Birth of Venus. The plot of the picture depicts the goddess Venus, who appears on the shore from the depths of the sea after her full maturity. This work, along with Primavera, became the first depiction of a mythological plot on such a large scale in history in 15th century Italy. Botticelli was the first in Europe after the period of antiquity to return to illustrating mythological subjects, which marked the heyday of the Italian Renaissance. In the center of the composition of the painting is Venus standing in a clam shell. On either side of her is the god Zephyr and the minor goddess of the seasons. They welcome the appearance of the goddess in Cyprus or Cythera, which were revered by the Greeks as the islands of Venus.

The main elements that distinguish Botticelli’s Venus from the works of other artists of that period is not only the plot, but also the style. First of all, the artist depicted Venus in a classical pose, which refers to classic Greek female statues. This also includes the body proportions of the goddess, which are a resemblance of antiquity artists’ ideas of female beauty. Additionally, the goddess pose has a gothic influence with long lines and curved body shapes. It is also noteworthy that Botticelli depicted an imaginary wall, and not a real one, which emphasizes the mythological plot of his work. The proportions and pose of Venus are unrealistic, and the figures in the painting cast no shadows. This factor further separates Botticelli’s work from the dominant style of the period, which was often preoccupied with the realistic depiction of human figures.

Despite the desire to refer to the antique techniques of painting, Botticelli used the techniques of his personal style in this work. The artist did not add volume to his figures, but rather was concerned with composition and the transmission of emotions. Additionally, Botticelli did not strive for a detailed image of the background, which is noticeable in the image of the water surface and the trees in the picture. Unlike his contemporaries, Botticelli strove to depict the plot through the prism of human perception rather than a reflection of reality. This factor also makes him one of the most significant representatives of the early Renaissance. High Renaissance artists such as Leonardo, Raphael, Michelangelo and others would later use Botticelli’s ideas and refine them to create a unique style of neoclassical art.

Reference

Botticelli, S. (1485). Birth of Venus[Painting]. The Uffizi, Florence, Italy.

Introduction

Background of the study

Baroque and Renaissance are two different periods that took place in Europe and began at different times. Renaissance refers to the period when many political, social, scientific, and art old ideas in Europe were reformed and many new ones formed (Bukofzer, 2008, p. 9). This was between the 14th and 16th centuries. This period brought a lot of changes in Europe due to new explorations. Some of these changes include intellectual development and boosting of the economy which led to new developments in art and literature. On the other hand, the Baroque period was between 1600 and 1750. This is an interesting period as it began with the birth of the opera deaths of Bach and Handel marked its end. This period began immediately after the end of the Renaissance period (Bukofzer, 2008, p.11).

For many years (about twenty-four years now), Cultural Anthropologists like me and others have been searching for time capsules that were hidden from the two periods discussed above. Our search in the last two years was not in vain as we have discovered some capsules. Each of the capsules contains information that helps one to understand the past cultures together with their origins. In addition, the capsules contain information that was needed in the development of the Baroque era Bukofzer, 2008, p.5). During the search, I have really thought about what is hidden in these capsules. There are some rumors that artifacts from the two eras lie within these capsules. Some of these artifacts include music, art, philosophy architecture and literature. In this paper, I am going to discuss some of these capsules and unlock the items locked in each of these capsules. Moreover, I will show how each of my examples reflects world events and cultural patterns of the time.

Time capsules and examples of items locked in these capsules

In my search, one of the time capsules that I came across is what is now referred to as Cap A. In this time capsule, I have discovered two pieces of art locked inside this capsule. The first one is Mona Lisa that was created by Leonard Da Vinci in the year 1503. In creating this art; he used sfumato and perspective styles. The second one is a portrait referred to as “The Last Supper.” Where Leonard gave a visual interpretation of what happened before Christ’s betrayal. In addition, another artifact locked in this capsule is architecture from various regions of Europe. This was clearly indicated by the presence of many photos (Mouzon, Henderson & Duany, 2004, p.6).

As I continued with my search, I realized that some other items were found in the early Renaissance time capsule. These items included music, art; architecture and philosophy. Moreover, Literature and architecture were found in the Baroque time capsule (Bukofzer, 2008, p.16).

Art refers to the process by which one arranges elements so as to affect people’s emotions. It also refers to the product of arranging these elements. Art as one of my examples of items locked in the time capsule reflects the world and cultural patterns in different ways. For instance, a sculpture made by Michelangelo for instance the David sculpture represented the beliefs about beauty during the Renaissance period (Deleuze & Guattari, 1994, p.117). In addition, the history of the church is indicated in art by the use of paintings and sculptures. Art indicates world patterns by using different signs. For example, in places where there are people, carvings, decorated artifacts, and standing stones are used. In addition, art indicated the themes of religious groups. The art that was used by Catholics for their campaigns was both appealing to the sight and the feeling of the people and had to be doctrinally correct.

Music is also a form of art where the artisans communicate through sound. During the Baroque period, the composers and performers developed new instrumentation techniques. Music as artifacts is able to reflect the world and cultural patterns through the use of songs and musical instruments. For example, the type of musical instruments used reflects the economic position of the country. In terms of culture, music involves the use of ornaments and this indicates the aesthetic value of the people. In addition, music used polyphony and counterpoint. The songs that were composed during these periods depended on the world patterns of the country and the language used was according to the acceptable norms of the people (Bukofzer, 2008, p.16).

Architectural design and patterns show the culture of the people in different ways. It is important however that the architectural pattern should be understood by everyone in the particular nation (Mouzon et al., 2004, p.6). The architecture reflects the culture in several ways. For example, a good building like a funny tree is able to tell us our relationships with our ancestors and our predecessors. A good architectural design also communicates to us what the building is used for and how we can use it. For instance, we are able to know that a certain building is a hospital, a post office, a school, or even a police station and when we check the buildings we are able to know what takes place in certain buildings. During the early Renaissance, architectural designs used were to celebrate Roman Catholic Church (Bukofzer, 2008, p.12). The world pattern was reflected by the type of buildings that were built. For instance, there was a need for ventilation and due to the presence of floods the houses were built raised on high grounds.

Philosophy is a wide discipline that has so many definitions. It means a love of wisdom, or beliefs that are accepted by certain groups of people and also means the search for the solutions to the different problems that people are faced with (Deleuze & Guattari, 1994, p.15). The level of technology and the methods used by people in solving the problems showed their culture. Literature used during Renaissance and Baroque periods reflected culture in that it showed the values held strongly by the community. In addition, the language used in different literature materials also showed the accepted norms of society. The world patterns were clearly indicated in the literature work by composing different poems about the world.

Conclusion

In this paper, I have discussed the time-hidden capsules during the two periods that occurred in Europe. That is Renaissance and Baroque periods. I have also identified the items that were found in each of these capsules. These items include Music, Art, Philosophy, Literature, and Architecture. I have also discussed how each of these items reflected the World and Cultural patterns.

Reference List

1. Bukofzer, M. F. (2008). Music in the Baroque era- from Monteverdi to Bach. Berkeley, California: IMG. Web.
2. Deleuze, G. & Guattari, F. (1994). What is philosophy? London: Columbia University Press. Web.
3. Mouzon, S.A., Henderson, S. M. & Duany, M. A. (2004). Traditional construction patterns: design & detail rules of the thumb. USA: The McGraw-Hill Companies. Web.

Renaissance Art, Education, and Politics

Renaissance is considered to be a transitional period between medieval and modern times. Renaissance artists and thinkers believed that their art was superior because it took the best qualities of the classic art and enhanced them. According to Wiesner-Hanks, many of the contemporary creators considered their creations to be improved versions of classical masterpieces (127). Therefore, the art of Renaissance was deemed more beautiful than before.

In my opinion, such a self-assessment was also caused by the works of contemporary historians and artists themselves. The role of education and literacy was significant as well because many people were able to spread the opinions of these individuals and make everyone believe that the art of Renaissance was the best.

Learning and literacy became more available than before as boys and girls were taught to read and write. However, while boys were able to learn these skills to a level that allowed them to continue their education and pursue different careers and aspirations, girls were restricted in their studies.

Schools were separated by sex in the major cities, which created a significant discrepancy in learned skills for boys and girls. Moreover, young men were given an opportunity to learn more about academic matters, while girls were exposed to such subjects as sewing and embroidery. Therefore, men were able to participate in further learning. Women were not allowed to do anything more than teaching younger girls the same set of skills.

Political theorists of the Renaissance period argued about the best political approach to ruling the country. They mostly considered their rulers as people with the power invested in them by God. Therefore, multiple arguments discussed the leaders’ sanctity and untouchability. Moreover, many theorists were perplexed by the roles of women in power. The negative connotations connected to one’s gender were brought up against people’s respect for education and upbringing. Religious concerns also significantly impacted people’s opinions as women were mostly disregarded as capable leaders. Contemporary politics were portrayed in a way that ensured people of the divine power of authority.

Renaissance Humanism, Music, and Support of the Arts

Humanists allowed people to gain knowledge from Greek texts, which explored various philosophical topics. The translation of Plato’s works, for example, gave individuals an opportunity to compare his ideas of love with the central concepts of Christianity. The teachings of humanists influenced the elite, as many scholars and artists of that era became widely recognized. Moreover, humanism spread outside of Italy with men traveling to other parts of Europe in order to bring their knowledge to others.

Thus, the impact of humanism started to become more and more significant. Later, humanism became interconnected with people’s thoughts about reforming the church. Humanists began changing people’s perception of religion and created a divide between two religious groups. Thus, the movement of Christian humanism significantly affected the Protestant Reformation (Wiesner-Hanks 143).

Music started developing along with other types of art. Although music was not regarded as highly as sculpting and painting, many people included playing instruments and singing into their routine. Religious tensions that split the church also affected the development of music, as different religious groups perceived the effects of music either to be helpful and inspirational or damaging and ungodly. Thus, music was heavily influenced by religious choirs and hymns. However, various songs and compositions started appearing during plays as well. Playing a musical instrument or singing also became one of the skills expected of educated women.

Italy was not the only country to develop the art of Renaissance. Famous literary works also came from Spain, France, and England. Many poets and writers created their works in native languages, refusing to write in Latin. However, many of the works were written in Latin as well. The architecture was also popular in many countries. French and Spanish architects developed their building styles, moving away from Italy’s influence. Moreover, the Netherlands and Germany embraced painters and sculptors and promoted their works.

The Concepts of Utopia

More, one of the theorists of the Renaissance period, wrote a dialogue that quickly became a subject of discussion for many contemporary scholars. In his work, he described an island, called Utopia, which was devoid of troubles that burdened More’s fellow citizens. The structure of Utopia is different from most European countries. According to More, the island offers a vast territory with soils fit for agriculture. Moreover, the people that live on the island are devoted to various types of agriculture, which allows them to excel in this field. Many harbors of the island give its residents an opportunity to travel and trade with other territories.

The government of Utopia, which significantly differs from the ideas supported in Europe, is chosen by its inhabitants. This approach is portrayed as a benefit to the island’s society because the opinion of the public is seen as critical to the government’s operations. Magistrates can be considered the main way of communication between citizens and the Prince. They meet to discuss various public matters and guide the society in the right direction.

The industrious nature of the residents is explained by people’s ability and desire to work. Most people are employed in physical labor, which keeps them busy and frees them from outcomes of idleness. According to the author, people are happy to work and use their energy. As a result, the role of labor is outlined by the author as the basis of stability.

Works Cited

More, Thomas. “Utopia.” Fordham University, 2017. Web.

Wiesner-Hanks, Merry E. Early Modern Europe, 1450-1789. 2nd ed., Cambridge University Press, 2013.