Renascimento: all about Renaissance art

O Renewal of the historical period of Europe that succeeds Middle Ida, commencing the fourteenth century at the end of the sixteenth century. Therefore, there is no specific setting, event or date for the beginning of that period, since it happens naturally and gradually.

How do you come?

Foi or poet Petrarch (1304, Arezzo, Itália-1374, Arquà Petrarca, Itália) that awoke a revolutionary view of the Renascimento, appealing to veneração da Antiguidade Clássica (time that preceded Idade Media).

This appeal was repeated before, several times, during the Middle Idaho period, but only then were its echoes heard from its felt repercussion.

A new way of thinking and of facing the world, and art, is emerging. As Humanism or Homem happens to be not the center of the universe, and theocentrism gives way to anthropocentrism. There is a return to the ideas and glory of the Classical era (Greco-Roman), a rebirth of two classical ideas and canons.

The Roman era began to be raised as a time of light and prosperity, while the Christian era (Idade Media) began to be viewed as a time of trevas. And so, or Renascimento vai was provided to restore that lost light.

In short, ocorre um rinascità (revival) of Classical Antiques, where, second to the enthusiasts of the Antiques, it will be reached or expoente of artistic creation.

To Art not Renascimento

In artistic terms or Renascimento will happen to Gothic, and as a main characteristic, it is its approach to Antiquity. More or more objective of the Renaissance artist was not to copy the grandeur and excellence of Classical art, but rather to match these creations.

During this period the artists (das Belas-Artes) deixam from being considered mere crafts and passam to being seen as homens intellectuais. This change of attitude in relation to the artist led to the collection of works of art, so that more than one master was considered to be of great value.

There are also offices, which will later lead to the creation of academies, and the artists gain more freedom, functioning as entrepreneurs.

Architecture

A Renaissance architecture deve o seu start a Filippo Brunelleschi (1377-1446, Florença, Itália) that despite having started a career as a sculptor, he will stand out as an architect.

By volta of 1417-19, Brunelleschi will compete for the construction of a cupola with Lorenzo Ghiberti (1381-1455, Italian sculptor) against quem would lose a few years before or contest for the portas do Baptistério.

The aforementioned dome would have to surround the Cathedral of Santa Maria del Fiore, a monumental building that It will begin to be built in medieval times, and that it would continue in the work of completion até ao seculum XIX.

Due to the greatness of the building, I have added all the solutions for the construction of the falled dome. But Brunelleschi managed to present a viable solution and the wrong way to build that which is considered the first great work of the Italian Renaissance.

Brunelleschi's solution to the massive leadership was not only revolutionary, as an admirable vitória da engenharia. This consists of the construction of two large separate helmets linked and inserted within each other, so that one reinforcement or another and at the same time the weight of the physical structure is distributed.

Furthermore, Brunelleschi also refused to use the usual techniques of transporting two materials, creating the engenious solutions for such, such as machines that are referred to as materials.

The contributions of Brunelleschi are very much the great dome, because it became the first great architect of the time. Modern, introduziu ao Renascimento a linear perspective and fez to return the arches of volta-perfeita and as columns in time two pillars.

In spite of him, he was born and started his career in Florence and in Rome that his future will be traced. Together with Donatello, Brunelleschi will travel to Rome to study the works of the Ancient Classics and Later, adapt construction methods from Ancient Rome to our buildings, more with different proportions.

Brunelleschi will use geometric and mathematical processes of projeção do espaço as a mathematical perspective, e to him are other scientific disagreements that he used in favor of art, also helping to elevate Belas-Artes.

Those descobertas by Brunelleschi foram collected in writing by Leone Battista Alberti (1404, Genoa, Italy-1472, Rome, Italy), which wrote the first treatises on painting (dedicated to Brunelleschi and I have a reference to Donatello, a common friend of two dois) and sculpture do Renascimento, and I começou um on a architecture.

Alberti was a very cultured, humanist and societal home, and after Brunelleschi's death he began to exercise his activity, becoming also one of two great Renascimento architects.

Accrediting that the circle was a more perfect shape, logo, closer to the divine, Alberti will give preference to plants Centered for the churches, inspiring-se overtudo not Panteão de Roma, in spite of these plants will be little suitable to or cult Catholic. Therefore, since its treatise becomes famous, the centered plant ends up being oil and it is very much used, not Full Renascimento.

From a general form to architecture of Renascimento and characterized by a classical revivalism, being that architectural orders (Doric, Ionic, Corinthian, Tuscan and Composite) return, also like or arch of volta-perfeita.

The design and construction of two buildings follows a mathematical rigor, and there is also a definitive separation between architecture and sculpture and painting, Because of the imposing grandeur of the new architecture, it did not allow sculpture or painting to stand out, shining its own sozinha sem mais ajuda.

Sculpture

Like Gothic, the architectural sculpture that disappeared and the sculptural production was more focused on images of devotion and tombs, for example. More like Renascimento a sculpture will regain its independence in relation to architecture.

O first passo nesse sense is given to the great sculptor of Proto-Renascimento, Donatello (1386-1466, Florença, Itália), with the work of San Marcos, a sculpture in marble. This, despite being conceived to integrate a niche of a Gothic cathedral, does not need an architectural setting to stand out.

It is with Donatello that the sculptural figures begin to lose the rigidity of the Gothic, being these já endowed with flexibility and patterns of beauty and proportions next days of classical antiquity.

Donatello aperfeiçoou also a technical do schiacciato (flattened), a baixo-relief little salient endowed with pictorial depth.

A Renaissance sculpture will also revive the sensuality of the body characteristic of the classical era, being that the first great example is Donatello's Davi. This is the first independent sculpture, of natural size and totally new since Antigua.

Another great sculptor of the Proto-Renascimento foi Andrea Del Verrocchio (1435, Florença, Itália-1488, Veneza, Itália), which à semelhança by Donatello is going to execute sculptures of great value, like the equestrian statue of Bartolomeo Colleoni. Verrocchio was also a painter and master of Leonardo Da Vinci, and because of this his pictorial work was never again free of comparisons with the works of his pupil.

In a general way, to Renaissance sculpture, recovering its independence, its grandiosity, volume and realism. There is a resurgence of the bust-portrait that is common to the Ancient World, also driven by collectionism that will become popular not Renascimento. Also, the artists sell a business possibility to produce busts, low-relays and small bronzes that facilitate small mobility.

Painting

I know that the first steps turn to Renascimento foram given primarily for sculpture and architecture, I will continue to paint the same path near a decade of depois, spelling out its compositions and feitos destas.

The first steps of painting no Renascimento foram given hair young Masaccio (1401, San Giovanni Valdarno, Italy-1428, Rome, Italy) who tragically died prematurely, barely eating 27 years.

Logo of the first works of Masaccio shows his approach to Donatello and a distance in relation to Giotto, Gothic master and fellow young man. Also the figures of Masaccio as roupagens are independent of the body, being represented as true, as well as architectural diners surrounding the figures are represented respecting the scientific perspective developed by Brunelleschi.

Assimilated massaccio as main sementes of Renaissance painting that, in contrast to Gothic that favored imagined representation of things, will prefer to exact representation of the real one.

In depth, two interiors represented in Renaissance painting can only be measured, and the same transmits the idea that these figures might be able to move around.

Depois of Masaccio, Andrea Mantegna (1431, República de Veneza-1506, Mântua, Itália) was the most important painter of Proto-Renascimento, this being also an early generation that years later he had been entrusted to him.

More é com Sandro Botticelli (1445-1510, Florença, Itália) that painting began to win more movement and grace, despite this not sharing the vision anatomical more powerful and muscular than to characterize or Renascimento, pois seus corpos são mais etéreos, porém, quite voluptuous and sensuais.

Botticelli was the favorite painter of Lourenço de Medici (great patron of Renaissance art and governor of the city of Florença), and it is for Botticelli to paint his most famous work, O Nascimento de Vênus (see first image of artigo).

In a general way, painting predominates over the oil technique for opposition to fresco, or that causes the pictorial works to become more mobile. Proliferam also portraits.

The principles applied to architecture, such as mathematical rigor of proportions and perspective are used in painting, and in pictorial compositions as figures are Nowadays, they are framed in false architecture or scaled landscape, respecting the proportions of each element, thus conferring depth and more realism to painting.

Or Full Renascimento

The final phase of the Italian Renascimento is known as the Full Renascimento and the exhibitor that is currently being cultivated. In this phase it unfolds or cultured a genre, something that ends up using some artists to try to achieve or impossible, as if in search of absolute perfection.

In this phase or focus, two artists are more effective in the works, in the way that these mexeriam with the emotions of two spectators, what as rational rigor or as classical precedents, and also that some works are two great masters of Renascimento Pleno foram raised, foram logo considered classic, unique, incomparable and you inimitáve.

Dessa forma or Full Renascimento, herdeiro do Proto-Renascimento, and unique and very exclusive, and despite influencing later art, it was a casulo sem metamorphose.

Leonardo da Vinci

Leonardo da Vinci (1452, Anchiano ou Vinci (?), Italy-1519, Château Du Clos Lucé, Amboise, France) is considered the first great master of Full Renascimento. He was an apprentice in Verrocchio's office and his curious mind or went to cover different areas such as sculpture, architecture or military engineering, therefore it was a painting that immortalized or seu nome of him raising-o to the category of genre and myth.

The works of Leonardo brought to light a great importance, and during his artistic life he was going to develop and improve the use of light-dark (chiaroscuro). Outra characteristic of his painting of him is or sfumato that confer to his composições aum esbater of forms, a dilution of two contours In the landscape through the use of light, by opposition to years of Proto-Renascimento that favor or exceed two contours.

He also has an aerial perspective, and the figures represented in his works are predominantly androgynous and enigmatic. There is also a great importance attributed to the gesture and how often we find Leonardo's paintings, figures that express themselves through forceful gestures.

In terms of technique he has a predilection for oil hair, or he doesn't care Last Ceia Terrible for the preservation of painting was revealed, despite being a fresh, Leonardo did not use tempera to ovo as it was common, more in oil, or that caused that little time after being finished at the same time it began to deteriorate.

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Twine

Donato Bramante (1444, Fermignano, Italy-1514, Rome, Italy) is two leading architects of Renascimento and those who place practical or new style in perfection. Ele vai apply the principle of "sculpted wall" of Brunelleschi with excelência, or that confer a greater imposition and distinction to your buildings.

O seu great moment of him chegou when or Pope Julius II entrusted the construction of a new basilica of São Pedro, something that Bramante took as Opportunity to conceive a grandiose plan that would supplant the two largest buildings of the Ancient History, or the Pantheon and the Basilica of Constantine.

For this great project, and for logistics and money reasons, Bramante was able to search for a high level of technical Roman tempo, a construção em betão, something that later Viria will affirm and revolutionize or the world gives architecture. In addition, the project has made several alterations attached to or began the works, and the original idea of ​​Bramante only remains one of the gravities of the plant.

Construction works are slow and when Bramante Morreu has only recently been built. Either the project was led by architects who have been trained by Bramante, but only in 1546, with Michelangelo, or the building will enter its final phase of conception and construction.

Michelangelo

Michelangelo di Lodovico Buonarroti Simoni (1475, Caprese Michelangelo, Italy-1564, Rome, Italy) was a painter, sculptor, poet and architect, and above all that was found by melhor encapsulou a ideia de gênio sob inspiração divine. Also, from his work and his life, one cannot dissociate or drama from tragedy, fazendo of Michelangelo or prototype of solitary and tortured artist.

Michelangelo considered sculpture the highest of arts, and he considered himself a sculptor in the first place. With his work of him, you will achieve divine and absolute perfection, but not the final conclusion that will fall on both fronts, In spite of the History I have to reserve a prominent place in artistic creation as a two maiores, senão or a maior artist of all tempos.

The human body was for Michelangelo an expressão do divino and represents it sem roupagens was the only way to absorb all his divinity. Daí his work of him be rejected by corpos nus e possantes, pois ao contrarário Leonardo, whose figures seem imbued with a latent femininity, in Michelangelo or pendor é para o masculine.

Michelangelo is the artist who most closely approximates two classics of Ancient History, much of the focus that he places on a human image throughout the years of his work. E or seu DaviAs the first monumental sculpture of this phase, he is an example of all the qualities and characteristics of Michelangelo's art.

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Raphael

Rafael Sanzio (1483, Urbino, Italy-1520, Rome, Italy) was an artist in the great home of society. Contemporary of Michelangelo, the fame of both was equated to the time in which they lived, but to History it was relegated Raphael for the background as his importance or fame is seen to be less than that of Michelangelo at the time of Renascimento.

Raphael's story lacks drama or tragic element, unlike Michelangelo, and his work does not show so many innovations. Porém, or his genus and inegável, as well as his contribution to a style that represents him better than any other.

To his vast pictorial work of him is an example of fusion of which melhor is practiced not Full Renascimento, supporting as his compositions to candura and or lyricism of Leonardo, and or drama and to force of Michelangelo. Rafael was also a prolific and distinguished portraitist.

Find out the main works of Raphael

Conheça also

• Renascimento: a guide on the artistic movement
• Main Renaissance works to understand the period
• A Criação de Adão de Michelangelo
• Afrescos do Teto da Capela Sistina
• A School of Athens, by Rafael Sanzio
• Homem Vitruviano, by Leonardo da Vinci
• Quadro Mona Lisa by Leonardo da Vinci
• Sculpture Vênus de Milo
• Main artists of rebirth and their outstanding works