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Renaissance

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Renaissance is the era of cultural flourishing in Western Europe in the 15th and 16th centuries. In its classical form, Renaissance culture developed in the cities of Northern and Central Italy. The Renaissance is characterized by a revival of interest in the literature, art, and philosophy of Ancient Greece and Rome. The real world and man were proclaimed the highest value: Man is the measure of all things. The aesthetic ideal of the Renaissance was formed on the basis of a new worldview - humanism (recognition of the value of the human person). The role of the creative personality has especially increased.

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Renaissance
Italian Renaissance 1. Proto-Renaissance (12th-13th centuries) 2. Early Renaissance (15th century) 3. High Renaissance (15th-early 16th centuries) 4. Late Renaissance(Tuesday, 16th century) Northern Renaissance

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Proto-Renaissance
Proto-Renaissance is a period in the history of Italian art, spanning the 13th and 14th centuries, characterized by the growth of secular realistic trends and an appeal to ancient traditions. Giotto. Fresco "Kiss of Judas"

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The era of joyful discovery of the world. Center - Florence. Architect Filippo Brunelleschi. The idea of ​​an open space “ideal city”.

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Early Renaissance (15th century - Quattrocento)
Donatello "David"
Masaccio "Expulsion from Paradise"

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High Renaissance Leonardo da Vinci
Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. Founder artistic culture High Renaissance.. The artist, developing the traditions of the art of the Early Renaissance, emphasized the smooth volume of forms with soft chiaroscuro, sometimes enlivening faces with a subtle smile, using it to achieve the transmission of subtle emotional states. Leonardo da Vinci strived for sharpness in conveying facial expressions, and brought the physical features and movement of the human body into perfect harmony with the spiritual atmosphere of the composition.

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"Lady with an Ermine"
"Madonna of the Rocks" "Madonna Litta"

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Leonardo da Vinci " last supper»

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High Renaissance Raphael
Raphael (1483-1520), Italian painter and architect. His work most clearly embodied the humanistic ideas of the High Renaissance about a beautiful and perfect person living in harmony with the world, and the ideals of life-affirming beauty characteristic of the era.

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Madonna Conestabile
Sistine Madonna

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High Renaissance Michelangelo Buonarroti
On the vault of the Sistine Chapel in the Vatican, the artist created a grandiose, solemn composition, easily visible in general and in detail, perceived as a hymn to physical and spiritual beauty, as an affirmation of the limitless creative possibilities of God and man created in his image

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"David" "Pieta"

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Late Renaissance (Venice. 16th century)
Giorgione "Sleeping Venus" Titian "Venus of Urbino"

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Northern Renaissance
A. Durer. Self-portrait at age 13
Engraving “The Four Horsemen” from the “Apocalypse” series

“Renaissance Art in Italy” - Leonardo da Vinci. Madonna and Child. The cradle of the art of the Renaissance or Renaissance (from the French. Compose reference summary. Humanity has its own biography: infancy, adolescence, maturity. Gothic style. Sandro Botticelli. Powerful spiritual origin. XV century Florence. Antique style. Renaissance art in Italy.

“Art in the Renaissance” - Painting. Approximate chronological framework of the era of the XIV-XVI centuries. The Renaissance originated in Italy. Botticelli. Pieter Bruegel the Elder. Dome of the Cathedral of St. Portrait of the Arnolfini couple. Architecture Cathedral of Santa Maria del Fiore, Florence. Sculpture. Saint Mark. High Renaissance. Raphael. The most mature work is the statue of David.

“The Art of the High Renaissance” - Mona Lisa (La Gioconda). Madonna Litta. Northern Renaissance. Rembrandt. Michelangelo Buonarroti. Dürer became famous. High Renaissance in art Grade 7 New History. Self-portrait as a young man. Engravings. Erasmus of Rotterdam. Rafael Santi. The artist gained great fame as the author of frescoes in Sistine Chapel.

“The Art of the Northern Renaissance” - Pierre de Ronsard (1524-1585). Represents French Renaissance literature. Today we live, but who can predict tomorrow? Writers Francois Rabelais (1494-1553). Music Flemish composer of the 15th century. G. Dufay. Northern Renaissance. Well educated: he knew chemistry, geography, geometry. Van Eyck asserted the intrinsic value of the human person, inner dignity.

"Renaissance Painting" - Northern Renaissance. Pieter Bruegel the Elder, The Blind, 1568, National Museum and Gallery of Capodimonte. Early Renaissance. Raphael. From Italian cinquecento (five hundred). Proto-Renaissance. Quattrocento - 1400s. Early Renaissance, High Renaissance. Cinquecento - 1500s. The beginning of the Proto-Renaissance. Trecento - 1300s.

“Renaissance lesson” - Lady with an ermine. Michelangelo. Christmas. “The whole world is a theater, and the people in it are actors.” Page of an old book. Michelangelo Buonarroti 1475-1564. William Shakespeare. Bridges, valleys, groves, rivers And blue air. There is a reserve of strict tenderness in it. Monument to Cervantes. Why did the Renaissance begin? The look, full of curiosity, shines.

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Italy late 13th century. – 16th century

Slide 2: Periods of development of Renaissance art

Pre-Renaissance of the 13th – 14th centuries. Early Renaissance 15th century. High Renaissance, 15th – 16th centuries. Late Renaissance to the 16th century.

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to. 13th -14th centuries. Pre-Renaissance Proto-Renaissance Trecento

Slide 4: Pre-Renaissance Art, 13th – 14th centuries

Giotto "Kiss of Judas" "Lamentation" Bell tower of the Cathedral of Santa Maria del Fiore

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Early Renaissance Art 15th century Botticelli “Spring” “Birth of Venus” “Venus and Mars” “Annunciation” “Abandoned”

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Early Renaissance Art 15th century Donatello "David" "Condottierre Gattamelata"

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High Renaissance Art 16th century Leonardo da Vinci “Madonna Benois” “Madonna Litta” “La Gioconda” “Lady with an Ermine” “Self-Portrait” (etching) “The Last Supper” (fresco)

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High Renaissance Art 16th century Raphael “Madonna Conestabile” “The Beautiful Gardener” “Sistine Madonna” “Betrothal of Mary” “School of Athens” (fresco)

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High Renaissance art 16th century Michelangelo “David” “Pieta” Ceiling painting of the Sistine Chapel (frescoes) Dome of St. Peter's in Rome

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Leonardo da Vinci (1452-1519), Italian painter, sculptor, architect, scientist and engineer. The founder of the artistic culture of the High Renaissance, Leonardo da Vinci developed as a master, studying in 1467-1472 in Florence with A. del Verrocchio. The methods of work in Verrocchio's workshop, where artistic practice was combined with technical experimentation, as well as his rapprochement with the astronomer P. Toscanelli contributed to the emergence of the scientific interests of the young Leonardo da Vinci. In early works (the head of an angel in Verrocchio’s “Baptism”, after 1470, “Annunciation”, around 1474, both in the Uffizi; the so-called “Benois Madonna”, around 1478, State Hermitage, St. Petersburg) the artist, developing the traditions of Early art Renaissance, emphasized the smooth three-dimensionality of forms with soft chiaroscuro, sometimes enlivening faces with a subtle smile, using it to achieve the transmission of subtle emotional states. Recording the results of countless observations in sketches, sketches and full-scale studies, performed in various techniques (Italian and silver pencils, sanguine, pen, etc.), Leonardo da Vinci achieved, sometimes resorting to almost caricatured grotesque, acuity in conveying facial expressions, and physical The features and movement of the human body were brought into perfect harmony with the spiritual atmosphere of the composition.

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In 1481 or 1482 Leonardo da Vinci entered the service of the ruler of Milan, Lodovico Moro, and served as a military engineer, hydraulic engineer, and organizer of court holidays. For over 10 years he worked on the equestrian monument of Francesco Sforza, the father of Lodovico Moro (the life-size clay model of the monument was destroyed when the French captured Milan in 1500). During the Milanese period, Leonardo da Vinci created “Madonna of the Rocks” (1483-1494, Louvre, Paris; 2nd version - around 1497-1511, National Gallery, London), where the characters are presented surrounded by a bizarre rocky landscape, and the finest chiaroscuro ( sfumato) plays the role of a spiritually connecting principle, emphasizing the warmth of human relationships. In the refectory of the monastery of Santa Maria delle Grazie, he completed the wall painting “The Last Supper” (1495-1497; due to the peculiarities of the technique used by Leonardo da Vinci - oil with tempera - it was preserved in a badly damaged form; it was restored in the 20th century), marking one from the peaks of European painting; its high ethical and spiritual content is expressed in the mathematical regularity of the composition, which logically continues the real architectural space, in a clear, strictly developed system of gestures and facial expressions of the characters, in the harmonious balance of forms. While studying architecture, Leonardo da Vinci developed various options“ideal” city and the projects of the central-domed temple, which had an impact big influence on the contemporary architecture of Italy.

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After the fall of Milan, Leonardo da Vinci's life was spent in constant travel (1500-1502, 1503-1506, 1507 - Florence; 1500 - Mantua and Venice; 1506, 1507-1513 - Milan; 1513-1516 - Rome; 1517-1519 - France) . In Florence, he worked on the painting of the Great Council Hall in the Palazzo Vecchio “The Battle of Anghiari” (1503-1506, unfinished, known from copies from cardboard), which stood at the origins of the European battle genre of modern times. In the portrait of Monna Lisa or Gioconda (circa 1503, Louvre, Paris) he embodied the sublime ideal of eternal femininity and human charm; An important element of the composition was the cosmically vast landscape, melting into a cold blue haze. The late works of Leonardo da Vinci include projects for the monument to Marshal Trivulzio (1508-1512), the altar image “St. Anne with Mary and the Child Christ” (circa 1500-1507, Louvre, Paris), completing the master’s search in the field of light aerial perspective and the harmonious pyramidal structure of the composition, and “John the Baptist” (circa 1513-1517, Louvre, Paris), where the somewhat sweet ambiguity of the image indicates an increase in crisis moments in the artist’s work. In a series of drawings depicting a universal catastrophe (the so-called “Flood” cycle, Italian pencil and pen, circa 1514-1516, Royal Library, Windsor), thoughts about the insignificance of man before the power of the elements are combined with rationalistic ideas about the cyclical nature of natural processes. The most important source for studying the views of Leonardo da Vinci is his notebooks and manuscripts (about 7 thousand sheets), excerpts from which were included in the “Treatise on Painting,” compiled after the master’s death by his student F. Melzi and which had a huge influence on European theoretical thought and artistic practice.

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In the “dispute of the arts,” Leonardo da Vinci gave the first place to painting, understanding it as a universal language (similar to mathematics in the field of science), capable of embodying all the diverse manifestations of intelligence in nature. As a scientist and engineer, he enriched almost all areas of science of his time. Bright representative new, based on the natural history experiment of Leonardo da Vinci Special attention paid attention to mechanics, seeing in it the main key to the secrets of the universe; his brilliant constructive guesses were far ahead of his contemporary era (projects of rolling mills, earth-moving machines, submarines, aircraft). The observations he collected on the influence of transparent and translucent media on the color of objects led to the establishment of scientifically based principles of aerial perspective in the art of the High Renaissance. While studying the structure of the eye, Leonardo da Vinci made correct guesses about the nature of binocular vision. In anatomical drawings, he laid the foundations of modern scientific illustration; he also studied botany and biology. Tireless experimental scientist and genius artist, Leonardo da Vinci became a universally recognized symbol of the Renaissance.

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Raphael (actually Raffaello Santi or Sanzio, Raffaello Santi, Sanzio) (1483-1520), Italian painter and architect. His work most clearly embodied the humanistic ideas of the High Renaissance about a beautiful and perfect person living in harmony with the world, and the ideals of life-affirming beauty characteristic of the era. Raphael, son of the painter Giovanni Santi, early years spent in Urbino, in 1500-1504 he studied with Perugino in Perugia. Works of this period are marked by subtle poetry and soft lyricism of landscape backgrounds (“The Dream of a Knight”, National Gallery, London; “The Three Graces”, Condé Museum, Chantilly; “Madonna Conestabile”, State Hermitage Museum, St. Petersburg; all - around 1500-1502 ). Close in composition and spatial solution to Perugino’s fresco “Transfer of the Keys to St. Peter” in the Sistine Chapel of the Vatican is Raphael’s altar image “The Betrothal of Mary” (1504, Brera Gallery, Milan). From 1504, Raphael worked in Florence, where he became acquainted with the works of Leonardo da Vinci and Fra Bartolommeo, and studied anatomy and scientific perspective. The numerous images of Madonnas he created in Florence (“Madonna Granduca”, 1505, Pitti Gallery, Florence; “Madonna with the Child Christ and John the Baptist” or “The Beautiful Gardener”, 1507, Louvre, Paris; “Madonna with the Goldfinch”, Uffizi) were brought All-Italian glory to the artist.

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In 1508, Raphael received an invitation from Pope Julius II to Rome, where he was able to become more familiar with ancient monuments and took part in archaeological excavations. Fulfilling the pope's order, Raphael created paintings in the halls (stanzas) of the Vatican, glorifying the ideals of freedom and earthly happiness of man, the limitlessness of his physical and spiritual capabilities. In the calm grandeur, harmoniously harmonious composition of the paintings, a large role is played by architectural backgrounds, which innovatively developed the trends of Italian architecture contemporary to Raphael. In Stanza della Segnatura (1509-1511), the artist presented the main areas of spiritual activity in his era: theology (“Disputa”), philosophy (“School of Athens”), poetry (“Parnassus”), jurisprudence (“Wisdom, Measure, Power” ), as well as allegorical, biblical and mythological scenes on the ceiling corresponding to the main compositions. In the Stanza d'Eliodoro with frescoes on legendary historical subjects (“Exile of Eliodorus”, “Meeting of Pope Leo I with Atilla”, “Mass in Bolsena”, “Release of the Apostle”

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Peter from Prison”), Raphael’s talent as a master of chiaroscuro and harmonious, soft and light coloring was demonstrated with particular force. The increasing drama in these frescoes takes on a tinge of theatrical pathos in the paintings of the Stanza del Incendio (1514-1517), which Raphael performed with numerous assistants and students. Close to the Vatican frescoes are Raphael's cardboards for a series of tapestries for decorating the walls of the Sistine Chapel (1515-1516, Italian pencil, brush painting, Victoria and Albert Museum, London, and other collections). The fresco “The Triumph of Galatea” at the Villa Farnesina in Rome (1514) is imbued with the spirit of ancient classics with its cult of sensual beauty. In Rome, Raphael’s brilliant talent as a portrait painter reached maturity (“Portrait of a Cardinal,” circa 1512, Prado, Madrid; “Woman in White” or “Donna Velata,” circa 1513, Galleria Palatina, Florence; portrait of B. Castiglione, 1515-1516, Louvre, Paris, etc.). In Raphael’s “Madonnas” of the Roman period, the idyllic mood of his early works is replaced by a recreation of deeper human, maternal feelings (“Madonna Alba”, circa 1510-1511, National Gallery, Washington; “Madonna di Foligno”, circa 1511-1512, Vatican Pinacoteca) ; as the intercessor of humanity, full of dignity and spiritual purity, Mary appears in the very famous work Raphael - “The Sistine Madonna” (1515-1519, Picture Gallery, Dresden).

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In the last years of his life, Raphael was so overloaded with orders that he entrusted the execution of many of them to his students and assistants (Giulio Romano, J.F. Penney, etc.), usually limiting himself to general supervision of the work. In these works (frescoes of the “Loggia of the Psyche of the Villa Farnesina”, 1514-1518; frescoes and stucco in the Loggias of the Vatican, 1519; unfinished altarpiece “Transfiguration”, 1519-1520, Vatican Pinakothek) the features of the crisis of the Renaissance and a tendency toward mannerism were clearly evident. Raphael's activity as an architect was of exceptional importance for the development of Italian architecture, representing, as it were, a connecting link between the work of Bramante and Palladio. After Bramante's death, Raphael took the position of chief architect of St. Peter's Cathedral in Rome (he drew up a new plan for the cathedral, basing it on the architectural type of basilica), and also completed the construction of the Vatican courtyard with loggias, which Bramante had begun. Among Raphael's other buildings: the round church of Sant'Eligio degli Orefici (built from 1509) and the Chigi Chapel of the church of Santa Maria del Popolo (1512-1520) in Rome, the elegant palazzo Vidoni-Caffarelli (from 1515) in Rome and Pandolfini ( c 152O) in Florence. Raphael's original plan was partially realized in the Roman Villa Madama (from 1517; construction was continued by the architect A. de Sangallo the Younger), organically connected with the surrounding gardens and terraced park. The art of Raphael, which had a huge influence on European painting The 16th-19th and, partly, 20th centuries, for centuries, retained the meaning of indisputable artistic authority and example for artists and viewers.

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Michelangelo Buonarroti; otherwise Michelangelo di Lodovico di Lionardo di Buonarroto Simoni (1475-1564), Italian sculptor, painter, architect and poet. In the art of Michelangelo, both the deeply human ideals of the High Renaissance, full of heroic pathos, and the tragic sense of crisis of the humanistic worldview, characteristic of the late Renaissance, were embodied with enormous expressive power. Michelangelo studied in Florence in the workshop of D. Ghirlandaio (1488-1489) and with the sculptor Bertoldo di Giovanni (1489-1490), but the decisive significance for creative development Michelangelo had his acquaintance with the works of Giotto, Donatello, Masaccio, Jacopo della Quercia, and the study of monuments of ancient sculpture. Already in his youthful works (reliefs “Madonna at the Staircase”, “Battle of the Centaurs”, around 1490-1492, Casa Buonarroti, Florence, both are marble, like all the mentioned sculptural works of Michelangelo) the main features of the sculptor’s work were determined - monumentality and plastic power, internal tension and drama of images, reverence for human beauty. Working in the late 1490s in Rome, Michelangelo paid tribute to his passion for ancient sculpture in the statue of “Bacchus” (1496-1497, National Museum, Florence); He introduced new humanistic content and vivid convincingness of images into the traditional Gothic scheme of the “Lamentation of Christ” group (circa 1497-1498, St. Peter’s Cathedral, Rome).

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In 1501, Michelangelo returned to Florence, where he created the colossal statue “David” (1501-1504, Galleria dell’Accademia, Florence), which embodied heroic impulse and the civic valor of the Florentines, who threw off the yoke of Medici tyranny. In the cardboard for the Palazzo Vecchio painting “The Battle of Cascina” (1504-1504, copies have survived), he sought to express the readiness of citizens to defend the republic. In 1505, Pope Julius II invited Michelangelo to Rome and commissioned him to create his own tomb. For the tomb of Julius II, completed only in 1545 (the church of San Pietro in Vincoli in Rome), Michelangelo created a number of statues, including the “Moses” (1515-1516), endowed with a powerful will, titanic strength and temperament, filled with the tragedy of the “Dying Slave” ” and “The Rebellious Slave” (1513-1516, Louvre, Paris), as well as 4 unfinished figures of slaves (1532-1534), in which the process of the sculptor’s work is clearly visible, boldly delving into the stone block in some places and leaving other places almost unfinished . In the pictorial cycle executed by Michelangelo on the vault of the Sistine Chapel in the Vatican (1508-1512; includes scenes from the book of Genesis in the central part of the ceiling, monumental figures of prophets and sibyls on the side parts of the vault, images of the ancestors of Christ and biblical episodes in the formwork, sails and lunettes) , the artist created a grandiose, solemn, easily visible composition in general and in detail, perceived as a hymn to physical and spiritual beauty, as an affirmation of the limitless creative possibilities of God and man created in his image. The frescoes of the ceiling of the Sistine Chapel, like other paintings by Michelangelo, are characterized by clarity of plastic modeling, intense expressiveness of design and composition, and a predominance of muted, refined colors in the colorful range.

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In 1516-1534, Michelangelo again lived in Florence, worked on the design of the facade of the Church of San Lorenzo and the architectural and sculptural ensemble of the tomb of the Medici family in the New Sacristy of the same church (1520-1534), as well as on sculptures for the tomb of Pope Julius II. Michelangelo's worldview in the 1520s acquired a tragic character. The deep pessimism that gripped him in the face of the death of political and civil liberties in Italy, the crisis of Renaissance humanism, was reflected in the figurative structure of the sculptures of the Medici tomb - in the heavy thought and aimless movement of the statues of the Dukes Lorenzo and Giuliano, devoid of portrait features, in the dramatic symbolism of the four figures depicting “ Evening”, “Night”, “Morning” and “Day” and personifying the irreversibility of the flow of time. In 1534 Michelangelo moved again to Rome, where he spent the last 30 years of his life. The master’s late paintings amaze with the tragic power of their images (fresco “ Last Judgment” on the altar wall of the Sistine Chapel in the Vatican, 1536-1541), are permeated with bitter reflections on the futility of human life, on the painful hopelessness of the search for truth (partly anticipating the Baroque painting of the Paolina Chapel in the Vatican, 1542-1550). The last sculptural works of Michelangelo include the “Pieta”, marked by the tragic expression of artistic language, for the Florentine Cathedral of Santa Maria del Fiore (before 1550-1555, destroyed by Michelangelo and restored by his student M. Calcagni; now in the Galleria dell’Accademia, Florence) and the sculptural group “Pieta” Rondanini” (1555-1564, Museum of Ancient Art, Milan), intended by him for his own tombstone and unfinished.

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For late creativity Michelangelo is characterized by a gradual departure from painting and sculpture and an appeal to architecture and poetry. Michelangelo's buildings are distinguished by increased plasticity, internal dynamism and mass tension; A big role in them is played by the relief design of the wall, the active light and shadow organization of its surface with the help of high pilasters, emphatically voluminous cornices, platbands and door portals. Even in his last Florentine period, he designed and supervised the construction of the Laurentian Library building (1523-1534), creating an expressive ensemble that included a dynamic space of the vestibule with a staircase and a calm, austere interior of the reading room. From 1546, Michelangelo supervised the construction of St. Peter's Cathedral and the construction of the ensemble of the Capitoline Square in Rome (both works were completed after his death). The trapezoidal Capitol Square with the ancient equestrian monument of Emperor Marcus Aurelius in the center, the first Renaissance urban ensemble designed by a single artist, is closed by the Palace of the Conservatives, flanked by two symmetrically placed palaces on its sides and opens into the city with a wide staircase. In the plan of St. Peter's Cathedral, Michelangelo, developing the ideas of Bramante and preserving the idea of ​​centricity, strengthened the significance of the middle cross in internal space. During Michelangelo's lifetime, the eastern part of the cathedral was built with the base of a grandiose dome, erected in 1586-1593 by the architect M. Giacomo della Porta, who somewhat lengthened its proportions. Michelangelo's lyrics are marked by depth of thought and high tragedy. In his madrigals and sonnets, love is interpreted as man’s eternal desire for beauty and harmony; lamentations about the artist’s loneliness in a hostile world coexist with the bitter disappointments of a humanist in the face of triumphant violence. The work of Michelangelo, which became brilliant the final stage Italian Renaissance, played a huge role in the development of European art, largely prepared the formation of Mannerism, and had a great influence on the formation of the principles of Baroque.

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Botticelli Sandro [actually Alessandro di Mariano Filipepi, Alessandro di Mariano Filipepi] (1445–1510), Italian painter of the Early Renaissance. Belonged to the Florentine school, around 1465–1466 he studied with Filippo Lippi; in 1481–1482 he worked in Rome. Botticelli's early works are characterized by a clear construction of space, clear cut-and-shadow modeling, and interest in everyday details (“Adoration of the Magi,” circa 1476–1471, Uffizi). From the end of the 1470s, after Botticelli’s rapprochement with the court of the Medici rulers of Florence and the circle of Florentine humanists, the features of aristocracy and sophistication intensified in his work, paintings on ancient and allegorical themes appeared, in which sensual pagan images are imbued with the sublime and at the same time poetic, lyrical spirituality (“Spring”, circa 1477–1478, “Birth of Venus”, circa 1483–1484, both in the Uffizi).

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The animation of the landscape, the fragile beauty of the figures, the musicality of light, trembling lines, the transparency of exquisite colors, as if woven from reflexes, create in them an atmosphere of dreaminess and slight sadness. In the frescoes executed by Botticelli in 1481–1482 in the Sistine Chapel in the Vatican (“Scenes from the life of Moses”, “The Punishment of Korah, Dathan and Abiron”, etc.), the majestic harmony of landscape and ancient architecture is combined with internal plot tension, the sharpness of portrait characteristics characteristic of , along with the search for subtle nuances of the inner state of the human soul, and easel portraits of the master (portrait of Giuliano Medici, 1470s, Accademia Carrara, Bergamo). In the 1490s, during the era of social unrest and mystical-ascetic sermons of the monk Savonarola that shook Florence, notes of drama and religious exaltation appeared in Botticelli’s art (“Slander”, after 1495, Uffizi), but his drawings for Dante’s “Divine Comedy” ( 1492–1497, Engraving Cabinet, Berlin, and the Vatican Library) with acute emotional expressiveness, they retain lightness of line and Renaissance clarity of images.

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Donatello (actually Donato di Niccolo di Betto Bardi, Donato di Niccolo di Betto Bardi) (circa 1386–1466), Italian sculptor of the Early Renaissance. In 1404-1407 he studied in the workshop of L. Ghiberti. He worked mainly in Florence, as well as in Siena (1423–1434 m 1457–1461), Rome (1430–1433), Padua (1444–1453), and in 1451 he visited Mantua, Venice, Ferrara. Donatello was one of the first in Italy to creatively comprehend the experience of ancient sculpture and came to the creation of classical forms and types of Renaissance sculpture - a free-standing statue, a wall tombstone, an equestrian monument, and a “picturesque” relief. Donatello's work embodied the search for new ideas characteristic of Renaissance art. expressive means, deep interest in reality in all the diversity of its specific manifestations, the desire for sublime generalization and heroic idealization. Early works masters (statues of prophets for the side portal of the Florence Cathedral, 1406–1408) are still marked by the Gothic constraint of forms, the crushed fragmentation of linear rhythm. However, already the statue of St. Mark for the facade of the Church of Orsanmichele in Florence (marble, 1411–1413) is distinguished by its clear tectonics of plastic masses, strength and calm grandeur.

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The Renaissance ideal of the warrior-hero is embodied in the image of St. George for the same church (marble, circa 1416, National Museum, Florence). A unique gallery of highly individual portrait images are statues of prophets for the campanile of the Florence Cathedral (marble, 1416–1435, Cathedral Museum, Florence). In “picturesque” reliefs (“Herod’s Feast” on the bronze font of the Siena Baptistery, 1423–1427; reliefs of the Old Sacristy of the Church of San Lorenzo in Florence, 1434–1443) he created the impression of great depth of space with the help of linear perspective, precise delimitation of plans and gradual lowering the image height. The Renaissance implementation of ancient forms is marked by such works of Donatello as the tombstone of Baldassare Coscia (antipope John XXIII; together with the architect Michelozzo di Bartolommeo, marble, bronze, 1425–1427, baptistery in Florence), which uses an antique sarcophagus, allegorical figures and order frame, altar “Annunciation” (the so-called Cavalcanti altar; limestone, terracotta, circa 1428–1433, Church of Santa Croce, Florence) with magnificent antique decoration, singing platform of the Florence Cathedral (marble with mosaics and gilding, 1433–1439, Cathedral Museum , Florence) with a cheerful round dance of merry putti,

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Last presentation slide: Renaissance Art

statue of David (bronze, 1430s, National Museum, Florence) - the first image of the naked human body in statuary plastic of the Renaissance. While working in Padua, Donatello created the first secular monument of the Renaissance - the equestrian monument to the condottiere Gattamelata (bronze, marble, limestone, 1447–1453) and a large sculptural altar for the church of Sant'Antonio (1446–1450), decorated with relief scenes, masterfully deployed in an illusory space. Donatello’s later works, performed in Florence, are highly expressive, marked by features of spiritual breakdown (group “Judith and Holofernes”, bronze, circa 1456–1457, Piazza della Signoria; reliefs of the pulpits of the Church of San Lorenzo, bronze, 1460s). Donatello's influence on development renaissance art Italy was enormous, its achievements were embraced by many painters and sculptors - P. Uccello, A. del Castagno, Mantegna, and later Michelangelo and Raphael.

10th grade student S. Monko

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Features of the art of the Renaissance The presentation was made by a student of the 10th grade of Municipal Educational Institution Secondary School No. 2 Stanislav Monko

Renaissance (Renaissance) Renaissance - from French “Renaissance” Revival of antiquity An era of intellectual and artistic flowering that began in Italy in the 14th century, reaching its peak in the 16th century

Ideas of the Renaissance: Humanism (the humanistic ideal of a free, developed individual, capable of self-improvement) The idea of ​​national art Utopia (the image of an ideal world)

The great ancient experience of philosophy and art has been revived, and above all, the idea that “man is the measure of all things.” Renaissance literature painting architecture

Literature of the Renaissance The main representatives of the Renaissance in literature: Dante Alighieri Francesco Petrarch William Shakespeare Miguel de Cervantes

Development of genres during the Renaissance Early: Middle: Late: sonnet novel essay short story drama

Dante Alighieri (1265 – 1321) Italian poet, creator of Italian literary language. The pinnacle of Dante's work is the poem "The Divine Comedy" (published in 1472) in three parts ("Hell", "Purgatory", "Paradise")

Francesco Petrarch (1304 – 1374) Italian poet, humanist, researcher of antiquity. Petrarch is the founder of the humanistic culture of the Renaissance, along with Dante, the creator of the Italian literary language. Francesco Petrarch is the creator of sonnets.

Aphorisms and quotes by Francesco Petrarch To be able to express how much you love means to love little. He who has many vices has many rulers. Seeking power for peace and security means climbing a volcano in order to shelter from a storm.

William Shakespeare (1564 - 1616) English playwright, poet of the Renaissance.

Genres of Shakespeare's works: Chronicles (“Richard II”) Comedies (“The Taming of the Shrew”) Tragedies (“Romeo and Juliet”) Tragicomedies (“Pericles, Prince of Tire”)

Miguel de Cervantes(1547- 1616) Greatest Writer Spain. Author of one of the first novels in the modern sense, “The Cunning Hidalgo Don Quixote of La Mancha”

Renaissance painting The main representatives of Renaissance painting: Leonardo da Vinci Vecellio Titian Albrecht Durer

Leonardo da Vinci (1452 - 1519) Italian painter, sculptor, scientist, engineer and architect of the Renaissance.

Famous works of Leonardo da Vinci “La Gioconda” “Lady with an ermine”

Vecellio Titian (1485 – 1576) “The King of Painters and the Painter of Kings” was called Titian Vecellio, one of the greatest masters of world painting. His art is the most striking phenomenon Venetian school Italian Renaissance.

The famous works of Titian Vecellio “Penitent Mary “Flora” Magdalene”

Albrecht Durer (1471 – 1528) German painter and schedule. The founder of the art of the German Renaissance.

Famous works of Albrecht Durer “Young Venetian “Madonna and Child” woman”

Renaissance architecture

Features of architecture Revival architecture grew in the fight against the old gothic architecture. The main principles: symmetry of plans and compositions of buildings and uniform distribution, placement at equal intervals from each other of all facade elements. Internet resources: 1.Wikipedia; 2. http://smallbay.ru/renessitaly.html

The Renaissance (Renaissance) is a period of cultural and ideological
development European countries. All European countries went through this
period, but each country has its own historical framework due to uneven socio-economic development
Renaissance.
The Renaissance arose in Italy, where its first signs were visible
back in the 13th and 14th centuries (in the activities of the Pisano, Giotto,
Orcagni, etc.), but it was firmly established only in the 20s of the 15th century
century. In France, Germany and other countries this movement began
much later. By the end of the 15th century it reached its highest
heyday

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

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GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

GENERAL CHARACTERISTICS OF THE RENAISSANCE

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RENAISSANCE FURNITURE

RENAISSANCE FURNITURE