The Renaissance: A Return to Classical Art and Philosophy
The Renaissance: A Return to Classical Ideals
The Renaissance was a period of cultural rebirth in Europe, marking a return to the study and imitation of literature, art, and philosophy from Greek and Roman antiquity. In painting, this classical revival was achieved through:
- The study of nature
- The implementation of the laws of perspective
This artistic movement was influenced by Greco-Roman architecture and sculpture.
Humanism: The Central Role of Man
One of the foundations of the Renaissance was Humanism, which emphasized the central role of man and his actions. The human anatomy became a subject of careful study by scientists, who meticulously documented their findings. Often, painters also took on this scientific role.
A desirable painter possessed deep knowledge of theology, history, and mythology. This allowed them to accurately depict historical events and characters. The focus on the human did not signify a neglect of the divine. On the contrary, the divine was perceived from a human perspective to confer greater significance. God was seen as comprehensible through human reason, rather than limited to the confines of faith.
To effectively represent history and character, a painter needed expertise in three branches of knowledge:
- Anatomy and physiology
- Mythology, classical languages, and theology
The conquest of the third dimension in painting was strengthened by placing figures in landscapes or interiors. The sheer size of the figure also provided depth, as did the depiction of movement in the surrounding space.
Religious and Secular Painting
Most artistic production remained devoted to religious topics, with three main purposes:
- To enhance the security of preaching
- To achieve and maintain the thrill of dogma through images
However, secular painting also gained momentum. Portraiture emerged, representing patrons of painters or effigies symbolizing knowledge, both modern and ancient. Additionally, the influence of Florentine Platonism led to the adaptation of pagan representations within Christianity.
The Reintroduction of Classical Wisdom
Reason was recovered by relying on the reintroduction of classical wisdom through the translation of ancient texts. Portraiture gained prominence, and mythologies, often with religious or mysterious undertones, were introduced. During this stage, artists began signing their works, biographical information was collected by art connoisseurs, and artistic theories were infused with high intellectual development.
The Two Hemispheres of the Renaissance
The Renaissance is divided into two periods:
- The Quattrocento (15th century)
- The Cinquecento (16th century)
Individuals of the Renaissance referred to themselves as Renaissance men, inaugurating a new age—the modern age—as opposed to the Middle Ages, which they saw as a transitional link between the grandeur of classical antiquity and their own time.
The Quattrocento: The First Renaissance
The Quattrocento refers to the 15th century in Italian art, which falls within the Renaissance period. It is also referred to as the First Renaissance or Early Renaissance.
This century was a period of artistic discovery, with the Republic of Florence serving as a central hub. The patronage of powerful families like the Medici and extraordinary economic development played a significant role.
Architecture in the Quattrocento
The return to classical forms in Renaissance art was evident in the architecture of the time. Motifs from antiquity, such as garlands, grotesques, and Corinthian capitals, were incorporated. However, the main innovation was not in structural design. The significant change from the Middle Ages to the Modern Age was the replacement of religious thought with a critical and empirical spirit. This shift had consequences on the perception of space and time, which in turn affected architecture.
In contrast to the verticality of the Gothic cathedral (symbolizing the attempt to unite with God), Renaissance architecture emphasized horizontality. Perspective, with its vanishing point, and proportionality between parts became central. The influence of classical heritage and the suitability of horizontal plans to human perception contributed to this change.
Interior spaces were designed to be grasped at a glance, breaking with the fragmented and sequential tradition of the Middle Ages. These spaces were unitary, light, and airy, reflecting the pursuit of structural coherence and the use of mathematics in building design.