The Renaissance was a period of European history in which intellectual thought and artistic culture began to expand to never before seen heights. Spanning from the 15th-17th century, the minds that spurred the Renaissance forward gave humanity pivotal innovative technology such as paper, printing, the mariner’s compass, and gunpowder. Though, beyond inventions, it also opened the world up to an array of vastly different, expressive, and beautiful artwork that went against the established norms that were laid out in the prior eras. Ranging from sculptures to architecture, to paintings, every form of expression was enhanced in this new age of enlightenment. Four artists who typified this period were Filippo Brunelleschi, Leonardo da Vinci, Gian Lorenzo Bernini, and Michelangelo.
Filippo Brunelleschi’s architectural genius in the early 15th century exemplifies what the Renaissance was. That is because he was able to do something that the people of the time thought to be impossible. He solved the problem of the dome of the Florence Cathedral. The cathedral construction began in 1296, yet no one of the time knew how to erect a dome that would be 150ft wide and nearly 180ft off of the ground. (Stokstad, 610) Instead of the typical, yet costly, use of scaffolding and centering, Brunelleschi used temporary wooden supports to build up the dome. Piece by piece, each part of the structure reinforced the next, and when finished it needed no external support to keep it standing. (Stokstad, 611) This piece of architecture is so important because it raised humanity’s conscious awareness of what was scientifically possible. Not only that, but his architectural marvel influenced the designs of future buildings. Following the massive fame, Brunelleschi garnered from his work on the Florence Cathedral, many more commissions for his work quickly followed. From about 1418 until his death in 1446, he worked on a series of influential projects. Including the elegant Capponi Chapel in the church of Santa Felicità, he also designed a foundling hospital for the city. (Stokstad, 612)
Florence Cathedral Dome (Brunelleschi)
Quite possibly one of the most famous and influential figures in recorded history, Leonardo da Vinci was a man of many talents. Abilities ranging architecture, mathematics, sculpting, and engineering, it was a painting of his that stands as perhaps his most iconic piece of genius. The Mona Lisa, painted between 1503-1506, depicts a mysterious woman sporting an enigmatic smile. (Stokstad, 645) At first glance, nothing, in particular, stands out in this portrait. Yet, it draws us in. In this piece, Leonardo did something that was rarely seen at the time. Abandoning the long-entrenched Italian tradition of painting affluently dress women, usually wives’ of wealthy aristocrats, in profile view, Mona Lisa, who is modestly dressed, has her body turned slightly away from the viewer. Instead of facing straight at us, she turns to us, her calming demeanor engaging us to look even further. (Stokstad, 645) This feeling it gave the audience was so immersive, that quickly after many other artists began to copy this new style. While there are many out there today that don’t understand the fame of the Mona Lisa, one thing is clear. “This portrait embodies many of the hallmarks of the High Renaissance style that will solidify in Rome during the first two decades of the sixteenth century—the blend of naturalistic description and classicizing idealism, and the clarity and balanced structure of the pyramidal composition that gives utter stability to the monumentally sculptural human form.” (Stokstad, 645)
The Mona Lisa (Leonardo da Vinci)
While all of the fame may go to Michelangelo’s rendition of David from the tale of David vs. Goliath, Gian Lorenzo Bernini’s version of the seemingly overmatched warrior is just as important to its time. Mad in 1623, this piece introduced a new type of three-dimensional composition that forcefully intrudes into the space of the audience. (Stokstad, 730) This new style, known as baroque, was meant to invoke emotional responses from the viewer. As the economic strength of European rulers slipped away, artists found patrons in the church and the prosperous middle-class. Baroque David, which was commissioned by a nephew of Pope Paul V was meant to do just that. David is seen straining and contorting his body as he prepares to launch a rock at Goliath for a decisive victory. “By creating a twisting figure caught in movement, Bernini incorporates the surrounding space within his composition, implying the presence of an unseen adversary somewhere behind the viewer. Thus, the viewer becomes part of the action, rather than its displaced and dispassionate observer.” (Stokstad, 730) The sculpture is dynamic, realistic, and idealized. The contrasts of the body invoke angles and shadows, bring the piece to life and make us feel as though we are there with him. These qualities typify 17th-century baroque art, and many artists following the groundwork that Bernini laid out.
Baroque David (Bernini)
Lastly, we take a look at Hans Holbein, and his piece “The French Ambassadors.” Painted in 1533, this work is a double portrait depicting two French Diplomats. The man on the left Jean de Dinteville, French ambassador to England, and his friend Georges de Selve, bishop of Lavaur and ambassador to the Holy See. (Stokstad, 720) While this piece can be interpreted as simply a portrait depicting two close, powerful friends, there are quite a few subtleties within it that shed some light on the intellectual advancement and political turmoil. On the top shelf that the two men are standing in front of, there are what we would call “Heavenly” items. They are used to gaze at the stars and observe the natural heavenly phenomenon that the people of the Renaissance era became so engrossed in. On the lower shelf held the “Earthlier” items. Items like books, things that we already are consciously aware of and that we use to enrich our minds. It exemplifies the desire to keep ourselves grounded in reality, but also show our desire to ascend to the heavens and learn new things we never even thought were scientifically possible. Finally, the snapped cord on the instrument is a subtle sign that shows the discord that was present in England. It’s placement, and the confident gazes of the men imply that they are the ones who will apply their diplomatic skills to find a resolution. (Stokstad, 720)
The French Ambassadors (Holbein)
Links:
https://www.florenceinferno.com/the-brunelleschi-dome/
Works Cited:
Stokstad, Marilyn, and
Michael Watt Cothren. Art History. Sixth ed., II, Pearson, 2018.
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