30 dic 1501 anni - The Italian Renaissance

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Michelangelo worked for patrons such as Pope Julius II for the Sistine Chapel. other works of his, employing the detailing of the human figure often seen in the sculptures of ancient Greek and Roman artists of the gods. This is particularly clear in David, in which the human form is celebrated, rather than simply emphasizing modesty and solely the greatness of God alone. Michelangelo embraced the beauty of the human figure, and, combining it with his beliefs in Christianity, made a statue clearly detailing every curve of the biblical character depicted, in celebration of man, featured heavily in ancient Greece and Rome.
Bruneschelli perhaps most embodied the revival of ancient style in architecture. He rejected the Medieval style of ornate decorative features on buildings and sharp arches, in place of attention to geometric shapes and symmetry, most notably in the Santa Maria del Fiore cathedral, in which he utilises rectangles on the side as well as circular windows and domes to make the building geometrical and visually appealing. Brunelleschi worked under patrons much of the time, paying for his art and furthering his career, as in his work in the Pazzi Chapel.
Da Vinci contributed to naturalist art by making his art subjects appear as they would in reality, emphasizing raw human emotion and the natural details of the body and clothing. As seen in the Last Supper, Jesus is telling his disciples that one of them will betray him. On the disciples’ faces, da Vinci depicts the looks of horror, confusion, and dismay as one would see if they looks upon their expressions in person. This contrasts sharply with the Middle ages, in which figures in paintings were more or less bereft of natural visible emotion, and highlights the developments of the Renaissance. This painting was made for da Vinci’s patron, Ludovico Sforza, the Duke of Milan. This support of the arts by high political officials and rulers encouraged the spread and proliferation of art, characteristic of the period.
Raphael emphasized the art characteristic of naturalism in many of his painting. The School of Athens, for example, depicts himself and philosophers all strolling, talking to each other, as well as other people strewn about, thinking or discussing ideas. By the folds in their clothing and the look of their faces and strides, it appeared as if they were really walking and chatting. This is also seen in his portrait of Pope Julius II, in which, rather than being a blank, expressionless face, the Pope is sitting (uncharacteristic of papal painting of the time) and is lost in thought. Raphael’s artistry got him patronized by the pope for two other paintings as well.
Petrarch was a Renaissance writer widely regarded as the father of humanism. He wrote many poems about a woman named Laura, glorifying his love for her. This can be seen as individualistic in nature, as individualism highlighted the value of the person, as opposed to solely glorifying God. In his praise for Laura, Petrarch turned the focus toward the individual, and how beautiful and wonderful human beings can be, which also bleeds into the realm of being humanistic. Renaissance humanists found inspiration in the ancient greats, such as Cicero, whom Petrarch was particularly fond of. They emphasized the greatness of human achievement and how much could be done by a person alone, fond of both the remarkable works of ancient Latin and Greek writers and thinkers and artists, but also their own. Petrarch owned a large library of these thoughts he wanted to integrate into Europe’s Christian way of thinking, retaining much focus on the divine, but introducing aspects of secularism, detracting some of writers’ full focus from God, and emphasizing attention to the mundane world as well, in weaving pagan philosopher’s thoughts into Christian ones and holding on a pedestal art from a time before Christianity, emulating it while adding Christian elements to the style.
Mirandola famously wrote the Oration on the Dignity of Man, in which he argued that human beings are amazing things given talent, granted by God, and should therefore live to their fullest potential. He also compiled the works of many writers of antiquity, claiming that these should be the guideline for how to think and live. This, condemned by the church, displayed the secular ideas he attempted to weave into Christian thought. The works that he put into the 900 Theses, as they’re known, were of pre-Christian thinkers and philosophers, introducing and integrating ideas other than those solely Christian into the Renaissance’s Italian society. His emphasis on studying the works of these ancient thinkers proved Mirandola to be exceedingly humanist, attempting to revive the ideas of such thinkers as Plato and Aristotle. Further, his heavy stress on the importance of the potential for humans to achieve great things made his Oration on the Dignity of Man the epitome of an individualistic work. Mirandola stressed the gift of humans to create and to think deeply, calling Europe to appreciate the capacity for the individual to make world-changing ideas, art, and inventions. Truly, Mirandola fervently backed the love for human achievement that constituted so strongly the backbone of individualism. Valla proved the donation of Constantine was a forgery, knocking the Catholic Church down a peg.
Bruni is most renowned for his History of the Florentine People, which focused on the antiquity, the middle ages, and modern (at the time) history. His focus on the thinkers of these times, particularly on those of the antiquity, brought out the humanist ideals of the Renaissance, turning some of Europe’s focus away from strictly religious history and thought to that of pre-Christian times and thinkers. His emphasis on the study of the history of the thinkers of Italian antiquity suggested the humanist idea of study of the text of Latin writers and philosophers.
The poster child for Renaissance men, as it were, Alberti was “educated liberally,” to quote his autobiography, rather knowledgeable of what we now call the liberal arts, and at the time consisted of the classics of Italy. Alberti grew rather fond of these studies and henceforth spread these ideas in his adult life, exalting the works and ideas of antiquity. His prominent place in society, as a renowned multitalented writer, architect, and philosopher gave Alberti influence as he spread his ideas and love for individualistic thinking as well as humanism, effectively undermining the power of authorities of thought such as the Catholic Church and universities, further popularizing a secular, humanist education.
The author of The Courtier, Castiglione was a promoter of civic humanism, a doctrine which applied humanist ideals and ancient ways of life to the politics of the time, and, to a lesser degree, secularising these politics. Castiglione thought it important to make standards for political etiquette in finding ways to support the prince by being a good courtier, thinking critically about politics rather than simply supporting the idea of doing whatever one feels God ordained.
Lorenza de’Medici brought humanism into politics. He was a major patron of the arts, valuing the ideas of the ancients and the work inspired by them. Lorenzo was the patron for such artists as Botticelli and Michelangelo, considering support of the arts an important component of politics, and humanism a good basis for political thought and action.

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