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Vísindavefur

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Orðið endurreisn er haft um það tímabil í mannkynssögunni sem tekur við af miðöldum. Á ýmsum erlendum tungumálum er notast við orðið 'renaissance' en það merkir bókstaflega „endurfæðing" og vísar til þess að endurreisnarmenn vildu margir endurvekja klassíska menningu Forngrikkja og Rómverja sem hafði fallið í gleymsku á miðöldum. Sú venja að nota hugtakið endurreisn um sérstakt tímabil komst fyrst á um miðja 19. öld með verki franska sagnfræðingsins Jules Michelet (1798-1874) um sögu Frakklands. Áður höfðu menn talað um endurreisn einstakra sviða, til að mynda endurreisn í fræðum eða listum. Á 16. öldinni skrifaði ítalski málarinn Giorgio Vasari (1511-1574) um endurfæðingu listarinnar og notaði þá ítalska orðið rinascita. Nú á dögum er oft miðað við að endurreisnin eigi rætur að rekja til Ítalíu en hafi síðan skotið rótum annars staðar í Evrópu. Vanalega er miðað við að þetta tímabil mannkynssögunnar hafi staðið frá 14. öld fram til síðari hluta þeirrar 16. Ítalska skáldið Dante (1265-1321), sem er kunnastur fyrir að hafa ortGleðileikinn guðdómlega, er oft talinn standa á mörkum miðalda og endurreisnar og skáldbróðir hans, Petrarka (1304-1374), hefur verið kallaður fyrsti endurreisnarmaðurinn. Petrarka var þekktur fyrir andúð sína á miðöldum og hugtakið hinar myrku miðaldir er að nokkru leyti frá honum komið. Hefðbundin aðgreining á list miðalda og endurreisnarinnar er á þann veg að með endurreisn hafi málarar og listamenn sagt skilið við innri sýn miðalda sem miðaði að einingu við guðdóminn, og þess í stað farið að líta út á við. Veraldleg ytri sýn tók þannig við af trúarlegri innri leit. Þessi menningarsögulegu skil miðalda og endurreisnar eru þó ekki eins glögg og oft er látið í veðri vaka. Trúarleg verk miðalda víkja til að mynda alls ekki alfarið fyrir veraldlegri sýn endurreisnarinnar. Könnun á ítölskum málverkum sem máluð voru á árunum 1420-1520 sýnir að veraldleg viðfangsefni jukust eingöngu úr 5% í 20%. Það gæti þó skekkt niðurstöðu athugunarinnar að verk af trúarlegum toga eru líklegri til að varðveitast í kirkjum og klaustrum, heldur en veraldleg verk í eigu einstaklinga. Í raun er þó margt sem bendir til þess að myndlistarmenn á Ítalíu hafi sýnt hinum ytri veruleika aukinn áhuga. Sumir endurreisnarmálarar tóku til dæmis upp á því að kryfja lík til að geta dregið upp nákvæmari mynd af mannslíkamanum. Antonio Pollaiuolo (um 1432-1498) er talinn vera fyrsti myndlistarmaðurinn sem gerði slíkt. Leonardo da Vinci (1452-1519), sem málaði Mónu Lísu, og Michelangelo Buonarroti (1475-1564), sem skreytti hvolfþak Sixtínsku kapellunnar í Vatíkaninu, fengust einnig við krufningar.

Koparstunga eftir Pollaiuolo frá því um 1475 sem sýnir nakta menn berjast.
Í myndlist á endurreisnartímanum einkenndist ýmislegt af nýjungum sem oft áttu sér þó fornar rætur. Endurreisnin er tímiolíumálverka en áður hafði litduftið verið bundið með eggjum. Endurreisnin var einnig tími tréristumynda sem voru prentaðar á pappír og koparstunga var enn ein nýjung í myndlist endurreisnartímans. Endurreisnarmálarar fóru einnig að mála óhefðbundin myndefni, nýjar tegundir af myndverkum koma fram. Á Ítalíu taka menn að mála mannamyndir, landslagsmyndir og kyrralífsmyndir. Hægt er að lesa meira um þetta í bókinniÞættir úr menningarsögu, Nýja bókafélagið, Reykjavík 2004. Kaflinn "Endurreisn og miðaldir" eftir höfund þessa svars fjallar um sömu hluti. Texti svarsins fer nærri því sem þar stendur á bls. 97 og 106-7.Mynd: Northwestern University

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Hvað var endurreisnartímabilið og hvað var svona merkilegt við það í myndlist?

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Orðið endurreisn er haft um það tímabil í mannkynssögunni sem tekur við af miðöldum. Á ýmsum erlendum tungumálum er notast við orðið \'renaissance\' en það merkir bókstaflega „endurfæðing" og vísar til þess að endurreisnarmenn vildu margir endurvekja klassíska menningu Forngrikkja og Rómverja se...

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Óendanlegur fróðleikur í menningar- og listasögu

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Óendanlegur fróðleikur í menningar- og listasögu

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Web Gallery of Art

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Web Gallery of Art, searchable fine arts image database

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Web Gallery of Art, image collection, virtual museum and searchable database of European fine arts (painting, sculpture, illumination) of the Romanesque, Gothic, Renaissance, Baroque, Neoclassicism, Romanticism, Realism, Impressionism periods (1000-1900), containing over 31.100 reproductions. Biographies, commentaries, guided tours, free postcard service, mobile version are provided.

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á Wikipedia

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Florence, birthplace of the Italian Renaissance. The architectural perspective and new systems of banking and accounting were introduced during the time.

The Renaissance ( rin-AY-sənss, REN-ə-sahnss) is a period in history and a cultural movement marking the transition from the Middle Ages to modernity, covering the 15th and 16th centuries and characterized by an effort to revive and surpass the ideas and achievements of classical antiquity; it occurred after the crisis of the Late Middle Ages and was associated with great social change in most fields and disciplines, including art, architecture, politics, literature, exploration and science. In addition to the standard periodization, proponents of a "long Renaissance" may put its beginning in the 14th century and its end in the 17th century.

The traditional view focuses more on the Renaissance's early modern aspects and argues that it was a break from the past, but many historians today focus more on its medieval aspects and argue that it was an extension of the Middle Ages. The beginnings of the period-the early Renaissance of the 15th century and the Italian Proto-Renaissance from around 1250 or 1300-overlap considerably with the Late Middle Ages, conventionally dated to c.  1350-1500, and the Middle Ages themselves were a long period filled with gradual changes, like the modern age; as a transitional period between both, the Renaissance has close similarities to both, especially the late and early sub-periods of either.

The Renaissance's intellectual basis was its version of humanism, derived from the concept of Roman humanitas and the rediscovery of classical Greek philosophy, such as that of Protagoras, who said that "man is the measure of all things". Early examples were the development of perspective in oil painting and the revived knowledge of how to make concrete. Although the invention of metal movable type sped the dissemination of ideas from the later 15th century, the changes of the Renaissance were not uniform across Europe: the first traces appear in Italy as early as the late 13th century, in particular with the writings of Dante and the paintings of Giotto.

As a cultural movement, the Renaissance encompassed innovative flowering of Latin and vernacular literatures, beginning with the 14th-century resurgence of learning based on classical sources, which contemporaries credited to Petrarch; the development of linear perspective and other techniques of rendering a more natural reality in painting; and gradual but widespread educational reform. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, and in science to an increased reliance on observation and inductive reasoning. Although the Renaissance saw revolutions in many intellectual and social scientific pursuits, as well as the introduction of modern banking and the field of accounting, it is perhaps best known for its artistic developments and the contributions of such polymaths as Leonardo da Vinci and Michelangelo, who inspired the term "Renaissance man".

The Renaissance began in Florence, one of the many states of Italy. Various theories have been proposed to account for its origins and characteristics, focusing on a variety of factors, including Florence's social and civic peculiarities at the time: its political structure, the patronage of its dominant family, the Medici, and the migration of Greek scholars and their texts to Italy following the fall of Constantinople to the Ottoman Turks. Other major centers were Venice, Genoa, Milan, Rome during the Renaissance Papacy, and Naples. From Italy, the Renaissance spread throughout Europe and also to American, African and Asian territories ruled by the European colonial powers of the time or where Christian missionaries were active.

The Renaissance has a long and complex historiography, and in line with general skepticism of discrete periodizations, there has been much debate among historians reacting to the 19th-century glorification of the "Renaissance" and individual cultural heroes as "Renaissance men", questioning the usefulness of Renaissance as a term and as a historical delineation. Some observers have questioned whether the Renaissance was a cultural "advance" from the Middle Ages, instead seeing it as a period of pessimism and nostalgia for classical antiquity, while social and economic historians, especially of the longue durée, have instead focused on the continuity between the two eras, which are linked, as Panofsky observed, "by a thousand ties".

The term rinascita ("rebirth") first appeared in Giorgio Vasari's Lives of the Artists (c. 1550), anglicized as the Renaissance in the 1830s. The word has also been extended to other historical and cultural movements, such as the Carolingian Renaissance (8th and 9th centuries), Ottonian Renaissance (10th and 11th century), and the Renaissance of the 12th century.

The Renaissance was a cultural movement that profoundly affected European intellectual life in the early modern period. Beginning in Italy, and spreading to the rest of Europe by the 16th century, its influence was felt in art, architecture, philosophy, literature, music, science, technology, politics, religion, and other aspects of intellectual inquiry. Renaissance scholars employed the humanist method in study, and searched for realism and human emotion in art.

Renaissance humanists such as Poggio Bracciolini sought out in Europe's monastic libraries the Latin literary, historical, and oratorical texts of antiquity, while the fall of Constantinople (1453) generated a wave of émigré Greek scholars bringing precious manuscripts in ancient Greek, many of which had fallen into obscurity in the West. It was in their new focus on literary and historical texts that Renaissance scholars differed so markedly from the medieval scholars of the Renaissance of the 12th century, who had focused on studying Greek and Arabic works of natural sciences, philosophy, and mathematics, rather than on such cultural texts.

Portrait of a Young Woman (c. 1480-85) (Simonetta Vespucci) by Sandro Botticelli

In the revival of neoplatonism, Renaissance humanists did not reject Christianity; on the contrary, many of the Renaissance's greatest works were devoted to it, and the Church patronized many works of Renaissance art. But a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were brought back from Byzantium to Western Europe and engaged Western scholars for the first time since late antiquity. This new engagement with Greek Christian works, and particularly the return to the original Greek of the New Testament promoted by humanists Lorenzo Valla and Erasmus, helped pave the way for the Reformation.

Well after the first artistic return to classicism had been exemplified in the sculpture of Nicola Pisano, Florentine painters led by Masaccio strove to portray the human form realistically, developing techniques to render perspective and light more naturally. Political philosophers, most famously Niccolò Machiavelli, sought to describe political life as it really was, that is to understand it rationally. A critical contribution to Italian Renaissance humanism, Giovanni Pico della Mirandola wrote De hominis dignitate ( Oration on the Dignity of Man, 1486), a series of theses on philosophy, natural thought, faith, and magic defended against any opponent on the grounds of reason. In addition to studying classical Latin and Greek, Renaissance authors also began increasingly to use vernacular languages; combined with the introduction of the printing press, this allowed many more people access to books, especially the Bible.

In all, the Renaissance can be viewed as an attempt by intellectuals to study and improve the secular and worldly, both through the revival of ideas from antiquity and through novel approaches to thought. Hans Kohn describes it as an age where "Men looked for new foundations"; some like Erasmus and Thomas More envisioned new reformed spiritual foundations, others. in the words of Machiavelli, una lunga sperienza delle cose moderne ed una continua lezione delle antiche (a long experience with modern life and a continuous learning from antiquity).

Some scholars, such as Rodney Stark, play down the Renaissance in favor of the earlier innovations of the Italian city-states in the High Middle Ages, which married responsive government, Christianity and the birth of capitalism. This analysis argues that, whereas the great European states (France and Spain) were absolute monarchies, and others were under direct Church control, the independent city-republics of Italy took over the principles of capitalism invented on monastic estates and set off a vast unprecedented Commercial Revolution that preceded and financed the Renaissance.

Leon Poliakov offers a critical view in his seminal study of European racist thought: The Aryan Myth. According to Poliakov, the use of ethnic origin myths are first used by Renaissance humanists "in the service of a new born chauvinism".

Many argue that the ideas characterizing the Renaissance had their origin in Florence at the turn of the 13th and 14th centuries, in particular with the writings of Dante Alighieri (1265-1321) and Petrarch (1304-1374), as well as the paintings of Giotto di Bondone (1267-1337). Some writers date the Renaissance quite precisely; one proposed starting point is 1401, when the rival geniuses Lorenzo Ghiberti and Filippo Brunelleschi competed for the contract to build the bronze doors for the Baptistery of the Florence Cathedral (Ghiberti then won). Others see more general competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance.

Yet it remains much debated why the Renaissance began in Italy, and why it began when it did. Accordingly, several theories have been put forward to explain its origins. Peter Rietbergen posits that various influential Proto-Renaissance movements started from roughly 1300 onwards across many regions of Europe.

Latin and Greek phases of Renaissance humanism

In stark contrast to the High Middle Ages, when Latin scholars focused almost entirely on studying Greek and Arabic works of natural science, philosophy and mathematics, Renaissance scholars were most interested in recovering and studying Latin and Greek literary, historical, and oratorical texts. Broadly speaking, this began in the 14th century with a Latin phase, when Renaissance scholars such as Petrarch, Coluccio Salutati (1331-1406), Niccolò de' Niccoli (1364-1437), and Poggio Bracciolini (1380-1459) scoured the libraries of Europe in search of works by such Latin authors as Cicero, Lucretius, Livy, and Seneca. By the early 15th century, the bulk of the surviving such Latin literature had been recovered; the Greek phase of Renaissance humanism was under way, as Western European scholars turned to recovering ancient Greek literary, historical, oratorical and theological texts.

Unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. Ancient Greek works on science, mathematics, and philosophy had been studied since the High Middle Ages in Western Europe and in the Islamic Golden Age (normally in translation), but Greek literary, oratorical and historical works (such as Homer, the Greek dramatists, Demosthenes and Thucydides) were not studied in either the Latin or medieval Islamic worlds; in the Middle Ages these sorts of texts were only studied by Byzantine scholars. Some argue that the Timurid Renaissance in Samarkand and Herat, whose magnificence toned with Florence as the center of a cultural rebirth, were linked to the Ottoman Empire, whose conquests led to the migration of Greek scholars to Italian cities. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity.

Muslim logicians, most notably Avicenna and Averroes, had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Iberia and Sicily, which became important centers for this transmission of ideas. Between the 11th and 13th centuries, many schools dedicated to the translation of philosophical and scientific works from Classical Arabic to Medieval Latin were established in Iberia, most notably the Toledo School of Translators. This work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history.

The movement to reintegrate the regular study of Greek literary, historical, oratorical, and theological texts back into the Western European curriculum is usually dated to the 1396 invitation from Coluccio Salutati to the Byzantine diplomat and scholar Manuel Chrysoloras (c. 1355-1415) to teach Greek in Florence. This legacy was continued by a number of expatriate Greek scholars, from Basilios Bessarion to Leo Allatius.

Social and political structures in Italy

The unique political structures of Italy during the Late Middle Ages have led some to theorize that its unusual social climate allowed the emergence of a rare cultural efflorescence. Italy did not exist as a political entity in the early modern period. Instead, it was divided into smaller city-states and territories: the Neapolitans controlled the south, the Florentines and the Romans at the center, the Milanese and the Genoese to the north and west respectively, and the Venetians to the east. 15th-century Italy was one of the most urbanized areas in Europe. Many of its cities stood among the ruins of ancient Roman buildings; it seems likely that the classical nature of the Renaissance was linked to its origin in the Roman Empire's heartland.

Historian and political philosopher Quentin Skinner points out that Otto of Freising (c. 1114-1158), a German bishop visiting north Italy during the 12th century, noticed a widespread new form of political and social organization, observing that Italy appeared to have exited from feudalism so that its society was based on merchants and commerce. Linked to this was anti-monarchical thinking, represented in the famous early Renaissance fresco cycle The Allegory of Good and Bad Government by Ambrogio Lorenzetti (painted 1338-1340), whose strong message is about the virtues of fairness, justice, republicanism and good administration. Holding both Church and Empire at bay, these city republics were devoted to notions of liberty. Skinner reports that there were many defences of liberty such as the Matteo Palmieri (1406-1475) celebration of Florentine genius not only in art, sculpture and architecture, but "the remarkable efflorescence of moral, social and political philosophy that occurred in Florence at the same time".

Even cities and states beyond central Italy, such as the Republic of Florence at this time, were also notable for their merchant republics, especially the Republic of Venice. Although in practice these were oligarchical, and bore little resemblance to a modern democracy, they did have democratic features and were responsive states, with forms of participation in governance and belief in liberty. The relative political freedom they afforded was conducive to academic and artistic advancement. Likewise, the position of Italian cities such as Venice as great trading centres made them intellectual crossroads. Merchants brought with them ideas from far corners of the globe, particularly the Levant. Venice was Europe's gateway to trade with the East, and a producer of fine glass, while Florence was a capital of textiles. The wealth such business brought to Italy meant large public and private artistic projects could be commissioned and individuals had more leisure time for study.

Black Death

Pieter Bruegel's The Triumph of Death (c. 1562) reflects the social upheaval and terror that followed the plague that devastated medieval Europe.

One theory that has been advanced is that the devastation in Florence caused by the Black Death, which hit Europe between 1348 and 1350, resulted in a shift in the world view of people in 14th century Italy. Italy was particularly badly hit by the plague, and it has been speculated that the resulting familiarity with death caused thinkers to dwell more on their lives on Earth, rather than on spirituality and the afterlife. It has also been argued that the Black Death prompted a new wave of piety, manifested in the sponsorship of religious works of art. However, this does not fully explain why the Renaissance occurred specifically in Italy in the 14th century. The Black Death was a pandemic that affected all of Europe in the ways described, not only Italy. The Renaissance's emergence in Italy was most likely the result of the complex interaction of the above factors.

The plague was carried by fleas on sailing vessels returning from the ports of Asia, spreading quickly due to lack of proper sanitation: the population of England, then about 4.2 million, lost 1.4 million people to the bubonic plague. Florence's population was nearly halved in the year 1347. As a result of the decimation in the populace the value of the working class increased, and commoners came to enjoy more freedom. To answer the increased need for labor, workers traveled in search of the most favorable position economically.

The demographic decline due to the plague had economic consequences: the prices of food dropped and land values declined by 30-40% in most parts of Europe between 1350 and 1400. Landholders faced a great loss, but for ordinary men and women it was a windfall. The survivors of the plague found not only that the prices of food were cheaper but also that lands were more abundant, and many of them inherited property from their dead relatives.

The spread of disease was significantly more rampant in areas of poverty. Epidemics ravaged cities, particularly children. Plagues were easily spread by lice, unsanitary drinking water, armies, or by poor sanitation. Children were hit the hardest because many diseases, such as typhus and congenital syphilis, target the immune system, leaving young children without a fighting chance. Children in city dwellings were more affected by the spread of disease than the children of the wealthy.

The Black Death caused greater upheaval to Florence's social and political structure than later epidemics. Despite a significant number of deaths among members of the ruling classes, the government of Florence continued to function during this period. Formal meetings of elected representatives were suspended during the height of the epidemic due to the chaotic conditions in the city, but a small group of officials was appointed to conduct the affairs of the city, which ensured continuity of government.

Cultural conditions in Florence

Lorenzo de' Medici, ruler of Florence and patron of arts (Portrait by Vasari)

It has long been a matter of debate why the Renaissance began in Florence, and not elsewhere in Italy. Scholars have noted several features unique to Florentine cultural life that may have caused such a cultural movement. Many have emphasized the role played by the Medici, a banking family and later ducal ruling house, in patronizing and stimulating the arts. Lorenzo de' Medici (1449-1492) was the catalyst for an enormous amount of arts patronage, encouraging his countrymen to commission works from the leading artists of Florence, including Leonardo da Vinci, Sandro Botticelli, and Michelangelo Buonarroti. Works by Neri di Bicci, Botticelli, da Vinci, and Filippino Lippi had been commissioned additionally by the Convent of San Donato in Scopeto in Florence.

The Renaissance was certainly underway before Lorenzo de' Medici came to power - indeed, before the Medici family itself achieved hegemony in Florentine society. Some historians have postulated that Florence was the birthplace of the Renaissance as a result of luck, i.e., because " Great Men" were born there by chance: Leonardo da Vinci, Botticelli and Michelangelo were all born in Tuscany. Arguing that such chance seems improbable, other historians have contended that these "Great Men" were only able to rise to prominence because of the prevailing cultural conditions at the time.

Characteristics

In some ways, Renaissance humanism was not a philosophy but a method of learning. In contrast to the medieval scholastic mode, which focused on resolving contradictions between authors, Renaissance humanists would study ancient texts in the original and appraise them through a combination of reasoning and empirical evidence. Humanist education was based on the programme of Studia Humanitatis, the study of five humanities: poetry, grammar, history, moral philosophy, and rhetoric. Although historians have sometimes struggled to define humanism precisely, most have settled on "a middle of the road definition... the movement to recover, interpret, and assimilate the language, literature, learning and values of ancient Greece and Rome". Above all, humanists asserted "the genius of man ... the unique and extraordinary ability of the human mind".

Giovanni Pico della Mirandola, writer of the famous Oration on the Dignity of Man, which has been called the "Manifesto of the Renaissance"[55]

Humanist scholars shaped the intellectual landscape throughout the early modern period. Political philosophers such as Niccolò Machiavelli and Thomas More revived the ideas of Greek and Roman thinkers and applied them in critiques of contemporary government, following the Islamic steps of Ibn Khaldun. Pico della Mirandola wrote the "manifesto" of the Renaissance, the Oration on the Dignity of Man, a vibrant defence of thinking. Matteo Palmieri (1406-1475), another humanist, is most known for his work Della vita civile ("On Civic Life"; printed 1528), which advocated civic humanism, and for his influence in refining the Tuscan vernacular to the same level as Latin. Palmieri drew on Roman philosophers and theorists, especially Cicero, who, like Palmieri, lived an active public life as a citizen and official, as well as a theorist and philosopher and also Quintilian. Perhaps the most succinct expression of his perspective on humanism is in a 1465 poetic work La città di vita, but an earlier work, Della vita civile, is more wide-ranging. Composed as a series of dialogues set in a country house in the Mugello countryside outside Florence during the plague of 1430, Palmieri expounds on the qualities of the ideal citizen. The dialogues include ideas about how children develop mentally and physically, how citizens can conduct themselves morally, how citizens and states can ensure probity in public life, and an important debate on the difference between that which is pragmatically useful and that which is honest.

The humanists believed that it is important to transcend to the afterlife with a perfect mind and body, which could be attained with education. The purpose of humanism was to create a universal man whose person combined intellectual and physical excellence and who was capable of functioning honorably in virtually any situation. This ideology was referred to as the uomo universale, an ancient Greco-Roman ideal. Education during the Renaissance was mainly composed of ancient literature and history as it was thought that the classics provided moral instruction and an intensive understanding of human behavior.

Humanism and libraries

A unique characteristic of some Renaissance libraries is that they were open to the public. These libraries were places where ideas were exchanged and where scholarship and reading were considered both pleasurable and beneficial to the mind and soul. As freethinking was a hallmark of the age, many libraries contained a wide range of writers. Classical texts could be found alongside humanist writings. These informal associations of intellectuals profoundly influenced Renaissance culture. Some of the richest "bibliophiles" built libraries as temples to books and knowledge. A number of libraries appeared as manifestations of immense wealth joined with a love of books. In some cases, cultivated library builders were also committed to offering others the opportunity to use their collections. Prominent aristocrats and princes of the Church created great libraries for the use of their courts, called "court libraries", and were housed in lavishly designed monumental buildings decorated with ornate woodwork, and the walls adorned with frescoes (Murray, Stuart A.P.).

Renaissance art marks a cultural rebirth at the close of the Middle Ages and rise of the Modern world. One of the distinguishing features of Renaissance art was its development of highly realistic linear perspective. Giotto di Bondone (1267-1337) is credited with first treating a painting as a window into space, but it was not until the demonstrations of architect Filippo Brunelleschi (1377-1446) and the subsequent writings of Leon Battista Alberti (1404-1472) that perspective was formalized as an artistic technique.

Leonardo da Vinci's Vitruvian Man (c. 1490) demonstrates the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in Vitruvius' De architectura (1st century BC), Leonardo tried to draw the perfectly proportioned man. (Museum Gallerie dell'Accademia, Venice)

The development of perspective was part of a wider trend toward realism in the arts. Painters developed other techniques, studying light, shadow, and, famously in the case of Leonardo da Vinci, human anatomy. Underlying these changes in artistic method was a renewed desire to depict the beauty of nature and to unravel the axioms of aesthetics, with the works of Leonardo, Michelangelo and Raphael representing artistic pinnacles that were much imitated by other artists. Other notable artists include Sandro Botticelli, working for the Medici in Florence, Donatello, another Florentine, and Titian in Venice, among others.

In the Netherlands, a particularly vibrant artistic culture developed. The work of Hugo van der Goes and Jan van Eyck was particularly influential on the development of painting in Italy, both technically with the introduction of oil paint and canvas, and stylistically in terms of naturalism in representation. Later, the work of Pieter Brueghel the Elder would inspire artists to depict themes of everyday life.

In architecture, Filippo Brunelleschi was foremost in studying the remains of ancient classical buildings. With rediscovered knowledge from the 1st-century writer Vitruvius and the flourishing discipline of mathematics, Brunelleschi formulated the Renaissance style that emulated and improved on classical forms. His major feat of engineering was building the dome of the Florence Cathedral. Another building demonstrating this style is the church of St. Andrew in Mantua, built by Alberti. The outstanding architectural work of the High Renaissance was the rebuilding of St. Peter's Basilica, combining the skills of Bramante, Michelangelo, Raphael, Sangallo and Maderno.

During the Renaissance, architects aimed to use columns, pilasters, and entablatures as an integrated system. The Roman orders types of columns are used: Tuscan and Composite. These can either be structural, supporting an arcade or architrave, or purely decorative, set against a wall in the form of pilasters. One of the first buildings to use pilasters as an integrated system was in the Old Sacristy (1421-1440) by Brunelleschi. Arches, semi-circular or (in the Mannerist style) segmental, are often used in arcades, supported on piers or columns with capitals. There may be a section of entablature between the capital and the springing of the arch. Alberti was one of the first to use the arch on a monumental. Renaissance vaults do not have ribs; they are semi-circular or segmental and on a square plan, unlike the Gothic vault, which is frequently rectangular.

Renaissance artists were not pagans, although they admired antiquity and kept some ideas and symbols of the medieval past. Nicola Pisano (c. 1220 - c. 1278) imitated classical forms by portraying scenes from the Bible. His Annunciation, from the Baptistry at Pisa, demonstrates that classical models influenced Italian art before the Renaissance took root as a literary movement.

Portrait of Luca Pacioli, father of accounting, painted by Jacopo de' Barbari,[c] 1495 (Museo di Capodimonte)

Applied innovation extended to commerce. At the end of the 15th century, Luca Pacioli published the first work on bookkeeping, making him the founder of accounting.

The rediscovery of ancient texts and the invention of the printing press in about 1440 democratized learning and allowed a faster propagation of more widely distributed ideas. In the first period of the Italian Renaissance, humanists favored the study of humanities over natural philosophy or applied mathematics, and their reverence for classical sources further enshrined the Aristotelian and Ptolemaic views of the universe. Writing around 1450, Nicholas Cusanus anticipated the heliocentric worldview of Copernicus, but in a philosophical fashion.

Science and art were intermingled in the early Renaissance, with polymath artists such as Leonardo da Vinci making observational drawings of anatomy and nature. Leonardo set up controlled experiments in water flow, medical dissection, and systematic study of movement and aerodynamics, and he devised principles of research method that led Fritjof Capra to classify him as the "father of modern science". Other examples of Da Vinci's contribution during this period include machines designed to saw marbles and lift monoliths, and new discoveries in acoustics, botany, geology, anatomy, and mechanics.

A suitable environment had developed to question classical scientific doctrine. The discovery in 1492 of the New World by Christopher Columbus challenged the classical worldview. The works of Ptolemy (in geography) and Galen (in medicine) were found to not always match everyday observations. As the Reformation and Counter-Reformation clashed, the Northern Renaissance showed a decisive shift in focus from Aristotelean natural philosophy to chemistry and the biological sciences (botany, anatomy, and medicine). The willingness to question previously held truths and search for new answers resulted in a period of major scientific advancements.

Some view this as a " scientific revolution", heralding the beginning of the modern age, others as an acceleration of a continuous process stretching from the ancient world to the present day. Significant scientific advances were made during this time by Galileo Galilei, Tycho Brahe, and Johannes Kepler. Copernicus, in De revolutionibus orbium coelestium ( On the Revolutions of the Heavenly Spheres), posited that the Earth moved around the Sun. De humani corporis fabrica ( On the Workings of the Human Body) by Andreas Vesalius, gave a new confidence to the role of dissection, observation, and the mechanistic view of anatomy.

Another important development was in the process for discovery, the scientific method, focusing on empirical evidence and the importance of mathematics, while discarding much of Aristotelian science. Early and influential proponents of these ideas included Copernicus, Galileo, and Francis Bacon. The new scientific method led to great contributions in the fields of astronomy, physics, biology, and anatomy.

Navigation and geography

During the Renaissance, extending from 1450 to 1650, every continent was visited and mostly mapped by Europeans, except the south polar continent now known as Antarctica. This development is depicted in the large world map Nova Totius Terrarum Orbis Tabula made by the Dutch cartographer Joan Blaeu in 1648 to commemorate the Peace of Westphalia.

In 1492, Christopher Columbus sailed across the Atlantic Ocean from Spain seeking a direct route to India of the Delhi Sultanate. He accidentally stumbled upon the Americas, but believed he had reached the East Indies.

In 1606, the Dutch navigator Willem Janszoon sailed from the East Indies in the VOC ship Duyfken and landed in Australia. He charted about 300 km of the west coast of Cape York Peninsula in Queensland. More than thirty Dutch expeditions followed, mapping sections of the north, west, and south coasts. In 1642-1643, Abel Tasman circumnavigated the continent, proving that it was not joined to the imagined south polar continent.

By 1650, Dutch cartographers had mapped most of the coastline of the continent, which they named New Holland, except the east coast which was charted in 1770 by James Cook.

The long-imagined south polar continent was eventually sighted in 1820. Throughout the Renaissance it had been known as Terra Australis, or 'Australia' for short. However, after that name was transferred to New Holland in the nineteenth century, the new name of 'Antarctica' was bestowed on the south polar continent.

From this changing society emerged a common, unifying musical language, in particular the polyphonic style of the Franco-Flemish school. The development of printing made distribution of music possible on a wide scale. Demand for music as entertainment and as an activity for educated amateurs increased with the emergence of a bourgeois class. Dissemination of chansons, motets, and masses throughout Europe coincided with the unification of polyphonic practice into the fluid style that culminated in the second half of the sixteenth century in the work of composers such as Palestrina, Lassus, Victoria, and William Byrd.

Alexander VI, a Borgia Pope infamous for his corruption

The new ideals of humanism, although more secular in some aspects, developed against a Christian backdrop, especially in the Northern Renaissance. Much, if not most, of the new art was commissioned by or in dedication to the Church. However, the Renaissance had a profound effect on contemporary theology, particularly in the way people perceived the relationship between man and God. Many of the period's foremost theologians were followers of the humanist method, including Erasmus, Huldrych Zwingli, Thomas More, Martin Luther, and John Calvin.

Adoration of the Magi and Solomon adored by the Queen of Sheba from the Farnese Hours (1546) by Giulio Clovio marks the end of the Italian Renaissance of illuminated manuscript together with the Index Librorum Prohibitorum.

The Renaissance began in times of religious turmoil. The Late Middle Ages was a period of political intrigue surrounding the Papacy, culminating in the Western Schism, in which three men simultaneously claimed to be true Bishop of Rome. While the schism was resolved by the Council of Constance (1414), a resulting reform movement known as Conciliarism sought to limit the power of the pope. Although the papacy eventually emerged supreme in ecclesiastical matters by the Fifth Council of the Lateran (1511), it was dogged by continued accusations of corruption, most famously in the person of Pope Alexander VI, who was accused variously of simony, nepotism, and fathering children (most of whom were married off, presumably for the consolidation of power) while a cardinal.

Churchmen such as Erasmus and Luther proposed reform to the Church, often based on humanist textual criticism of the New Testament. In October 1517, Luther published the Ninety-five Theses, challenging papal authority and criticizing its perceived corruption, particularly with regard to instances of sold indulgences. The 95 Theses led to the Reformation, a break with the Roman Catholic Church that previously claimed hegemony in Western Europe. Humanism and the Renaissance therefore played a direct role in sparking the Reformation, as well as in many other contemporaneous religious debates and conflicts.

Pope Paul III came to the papal throne (1534-1549) after the sack of Rome in 1527, with uncertainties prevalent in the Catholic Church following the Reformation. Nicolaus Copernicus dedicated De revolutionibus orbium coelestium (On the Revolutions of the Celestial Spheres) to Paul III, who became the grandfather of Alessandro Farnese, who had paintings by Titian, Michelangelo, and Raphael, as well as an important collection of drawings, and who commissioned the masterpiece of Giulio Clovio, arguably the last major illuminated manuscript, the Farnese Hours.

Self-awareness

By the 15th century, writers, artists, and architects in Italy were well aware of the transformations that were taking place and were using phrases such as modi antichi (in the antique manner) or alle romana et alla antica (in the manner of the Romans and the ancients) to describe their work. In the 1330s Petrarch referred to pre-Christian times as antiqua (ancient) and to the Christian period as nova (new). From Petrarch's Italian perspective, this new period (which included his own time) was an age of national eclipse. Leonardo Bruni was the first to use tripartite periodization in his History of the Florentine People (1442). Bruni's first two periods were based on those of Petrarch, but he added a third period because he believed that Italy was no longer in a state of decline. Flavio Biondo used a similar framework in Decades of History from the Deterioration of the Roman Empire (1439-1453).

Humanist historians argued that contemporary scholarship restored direct links to the classical period, thus bypassing the Medieval period, which they then named for the first time the "Middle Ages". The term first appears in Latin in 1469 as media tempestas (middle times). The term rinascita (rebirth) first appeared, however, in its broad sense in Giorgio Vasari's Lives of the Artists, 1550, revised 1568. Vasari divides the age into three phases: the first phase contains Cimabue, Giotto, and Arnolfo di Cambio; the second phase contains Masaccio, Brunelleschi, and Donatello; the third centers on Leonardo da Vinci and culminates with Michelangelo. It was not just the growing awareness of classical antiquity that drove this development, according to Vasari, but also the growing desire to study and imitate nature.

In the 15th century, the Renaissance spread rapidly from its birthplace in Florence to the rest of Italy and soon to the rest of Europe. The invention of the printing press by German printer Johannes Gutenberg allowed the rapid transmission of these new ideas. As it spread, its ideas diversified and changed, being adapted to local culture. In the 20th century, scholars began to break the Renaissance into regional and national movements.

"What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!" - from William Shakespeare's Hamlet.

Renaissance style and ideas were slow to penetrate England, and the Elizabethan era in the second half of the 16th century is usually regarded as the height of the English Renaissance. Many scholars see its beginnings in the early 16th century during the reign of Henry VIII.

The English Renaissance is different from the Italian Renaissance in several ways. The dominant art forms of the English Renaissance were literature and music. Visual arts in the English Renaissance were much less significant than in the Italian Renaissance. The English Renaissance period in art began far later than the Italian, which had moved into Mannerism by the 1530s.

In literature the later part of the 16th century saw the flowering of Elizabethan literature, with poetry heavily influenced by Italian Renaissance literature but Elizabethan theatre a distinctive native style. Writers include William Shakespeare (1564-1616), Christopher Marlowe (1564-593), Edmund Spenser (1552/1553-599), Sir Thomas More (1478-1535), Francis Bacon (1561-1626), and Sir Philip Sidney (1554-1586). English Renaissance music competed with that in Europe with composers such as Thomas Tallis (1505-1585), John Taverner (c. 1490-1545), and William Byrd (c. 1539/40 or 1543-1623). Elizabethan architecture produced the large prodigy houses of courtiers, and in the next century Inigo Jones (1573-1652), who introduced Italianate architecture to England.

Château de Chambord (1519-1547), one of the most famous examples of Renaissance architecture

The word "Renaissance" is borrowed from the French language, where it means "re-birth". It was first used in the eighteenth century and was later popularized by French historian Jules Michelet (1798-1874) in his 1855 work, Histoire de France (History of France).

In 1495 the Italian Renaissance arrived in France, imported by King Charles VIII after his invasion of Italy. A factor that promoted the spread of secularism was the inability of the Church to offer assistance against the Black Death. Francis I imported Italian art and artists, including Leonardo da Vinci, and built ornate palaces at great expense. Writers such as François Rabelais, Pierre de Ronsard, Joachim du Bellay, and Michel de Montaigne, painters such as Jean Clouet, and musicians such as Jean Mouton also borrowed from the spirit of the Renaissance.

In 1533, a fourteen-year-old Caterina de' Medici (1519-1589), born in Florence to Lorenzo de' Medici, Duke of Urbino and Madeleine de la Tour d'Auvergne, married Henry II of France, second son of King Francis I and Queen Claude. Though she became famous and infamous for her role in France's religious wars, she made a direct contribution in bringing arts, sciences, and music (including the origins of ballet) to the French court from her native Florence.

Portrait of Emperor Maximilian I, by Albrecht Dürer, 1519

In the second half of the 15th century, the Renaissance spirit spread to Germany and the Low Countries, where the development of the printing press (ca. 1450) and Renaissance artists such as Albrecht Dürer (1471-1528) predated the influence from Italy. In the early Protestant areas of the country humanism became closely linked to the turmoil of the Reformation, and the art and writing of the German Renaissance frequently reflected this dispute. However, the Gothic style and medieval scholastic philosophy remained exclusively until the turn of the 16th century. Emperor Maximilian I of Habsburg (ruling 1493-1519) was the first truly Renaissance monarch of the Holy Roman Empire.

Hungarian trecento and quattrocento

After Italy, Hungary was the first European country where the Renaissance appeared. The Renaissance style came directly from Italy during the Quattrocento to Hungary first in the Central European region, thanks to the development of early Hungarian-Italian relationships - not only in dynastic connections, but also in cultural, humanistic and commercial relations - growing in strength from the 14th century. The relationship between Hungarian and Italian Gothic styles was a second reason - exaggerated breakthrough of walls is avoided, preferring clean and light structures. Large-scale building schemes provided ample and long term work for the artists, for example, the building of the Friss (New) Castle in Buda, the castles of Visegrád, Tata, and Várpalota. In Sigismund's court there were patrons such as Pipo Spano, a descendant of the Scolari family of Florence, who invited Manetto Ammanatini and Masolino da Pannicale to Hungary.

The new Italian trend combined with existing national traditions to create a particular local Renaissance art. Acceptance of Renaissance art was furthered by the continuous arrival of humanist thought in the country. Many young Hungarians studying at Italian universities came closer to the Florentine humanist center, so a direct connection with Florence evolved. The growing number of Italian traders moving to Hungary, specially to Buda, helped this process. New thoughts were carried by the humanist prelates, among them Vitéz János, archbishop of Esztergom, one of the founders of Hungarian humanism. During the long reign of emperor Sigismund of Luxemburg the Royal Castle of Buda became probably the largest Gothic palace of the late Middle Ages. King Matthias Corvinus (r. 1458-1490) rebuilt the palace in early Renaissance style and further expanded it.

After the marriage in 1476 of King Matthias to Beatrice of Naples, Buda became one of the most important artistic centers of the Renaissance north of the Alps. The most important humanists living in Matthias' court were Antonio Bonfini and the famous Hungarian poet Janus Pannonius. András Hess set up a printing press in Buda in 1472. Matthias Corvinus's library, the Bibliotheca Corviniana, was Europe's greatest collections of secular books: historical chronicles, philosophic and scientific works in the 15th century. His library was second only in size to the Vatican Library. (However, the Vatican Library mainly contained Bibles and religious materials.) In 1489, Bartolomeo della Fonte of Florence wrote that Lorenzo de' Medici founded his own Greek-Latin library encouraged by the example of the Hungarian king. Corvinus's library is part of UNESCO World Heritage.

Matthias started at least two major building projects. The works in Buda and Visegrád began in about 1479. Two new wings and a hanging garden were built at the royal castle of Buda, and the palace at Visegrád was rebuilt in Renaissance style. Matthias appointed the Italian Chimenti Camicia and the Dalmatian Giovanni Dalmata to direct these projects. Matthias commissioned the leading Italian artists of his age to embellish his palaces: for instance, the sculptor Benedetto da Majano and the painters Filippino Lippi and Andrea Mantegna worked for him. A copy of Mantegna's portrait of Matthias survived. Matthias also hired the Italian military engineer Aristotele Fioravanti to direct the rebuilding of the forts along the southern frontier. He had new monasteries built in Late Gothic style for the Franciscans in Kolozsvár, Szeged and Hunyad, and for the Paulines in Fejéregyháza. In the spring of 1485, Leonardo da Vinci travelled to Hungary on behalf of Sforza to meet king Matthias Corvinus, and was commissioned by him to paint a Madonna.

Matthias enjoyed the company of Humanists and had lively discussions on various topics with them. The fame of his magnanimity encouraged many scholars-mostly Italian-to settle in Buda. Antonio Bonfini, Pietro Ranzano, Bartolomeo Fonzio, and Francesco Bandini spent many years in Matthias's court. This circle of educated men introduced the ideas of Neoplatonism to Hungary. Like all intellectuals of his age, Matthias was convinced that the movements and combinations of the stars and planets exercised influence on individuals' life and on the history of nations. Galeotto Marzio described him as "king and astrologer", and Antonio Bonfini said Matthias "never did anything without consulting the stars". Upon his request, the famous astronomers of the age, Johannes Regiomontanus and Marcin Bylica, set up an observatory in Buda and installed it with astrolabes and celestial globes. Regiomontanus dedicated his book on navigation that was used by Christopher Columbus to Matthias.

Other important figures of Hungarian Renaissance include Bálint Balassi (poet), Sebestyén Tinódi Lantos (poet), Bálint Bakfark (composer and lutenist), and Master MS (fresco painter).

Renaissance in the Low Countries

Erasmus of Rotterdam in 1523, as depicted by Hans Holbein the Younger

Culture in the Netherlands at the end of the 15th century was influenced by the Italian Renaissance through trade via Bruges, which made Flanders wealthy. Its nobles commissioned artists who became known across Europe. In science, the anatomist Andreas Vesalius led the way; in cartography, Gerardus Mercator's map assisted explorers and navigators. In art, Dutch and Flemish Renaissance painting ranged from the strange work of Hieronymus Bosch to the everyday life depictions of Pieter Brueghel the Elder.

Erasmus was arguably the Netherlands' best known humanist and Catholic intellectual during the Renaissance.

Northern Europe

The Renaissance in Northern Europe has been termed the "Northern Renaissance". While Renaissance ideas were moving north from Italy, there was a simultaneous southward spread of some areas of innovation, particularly in music. The music of the 15th-century Burgundian School defined the beginning of the Renaissance in music, and the polyphony of the Netherlanders, as it moved with the musicians themselves into Italy, formed the core of the first true international style in music since the standardization of Gregorian Chant in the 9th century. The culmination of the Netherlandish school was in the music of the Italian composer Palestrina. At the end of the 16th century Italy again became a center of musical innovation, with the development of the polychoral style of the Venetian School, which spread northward into Germany around 1600. In Denmark, the Renaissance sparked the translation of the works of Saxo Grammaticus into Danish as well as Frederick II and Christian IV ordering the redecoration or construction of several important works of architecture, i.e. Kronborg, Rosenborg and Børsen. Danish astronomer Tycho Brahe greatly contributed to turn astronomy into the first modern science and also helped launch the Scientific Revolution.

The paintings of the Italian Renaissance differed from those of the Northern Renaissance. Italian Renaissance artists were among the first to paint secular scenes, breaking away from the purely religious art of medieval painters. Northern Renaissance artists initially remained focused on religious subjects, such as the contemporary religious upheaval portrayed by Albrecht Dürer. Later, the works of Pieter Bruegel influenced artists to paint scenes of daily life rather than religious or classical themes. It was also during the Northern Renaissance that Flemish brothers Hubert and Jan van Eyck perfected the oil painting technique, which enabled artists to produce strong colors on a hard surface that could survive for centuries. A feature of the Northern Renaissance was its use of the vernacular in place of Latin or Greek, which allowed greater freedom of expression. This movement had started in Italy with the decisive influence of Dante Alighieri on the development of vernacular languages; in fact the focus on writing in Italian has neglected a major source of Florentine ideas expressed in Latin. The spread of the printing press technology boosted the Renaissance in Northern Europe as elsewhere, with Venice becoming a world center of printing.

An early Italian humanist who came to Poland in the mid-15th century was Filippo Buonaccorsi. Many Italian artists came to Poland with Bona Sforza of Milan, when she married King Sigismund I in 1518. This was supported by temporarily strengthened monarchies in both areas, as well as by newly established universities. The Polish Renaissance lasted from the late 15th to the late 16th century and was the Golden Age of Polish culture. Ruled by the Jagiellonian dynasty, the Kingdom of Poland (from 1569 known as the Polish-Lithuanian Commonwealth) actively participated in the broad European Renaissance. The multi-national Polish state experienced a substantial period of cultural growth thanks in part to a century without major wars - aside from conflicts in the sparsely populated eastern and southern borderlands. The Reformation spread peacefully throughout the country (giving rise to the Polish Brethren), while living conditions improved, cities grew, and exports of agricultural products enriched the population, especially the nobility () who gained dominance in the new political system of Golden Liberty. The Polish Renaissance architecture has three periods of development.

The greatest monument of this style in the territory of the former Duchy of Pomerania is the Ducal Castle in Szczecin.

Although Italian Renaissance had a modest impact in Portuguese arts, Portugal was influential in broadening the European worldview, stimulating humanist inquiry. Renaissance arrived through the influence of wealthy Italian and Flemish merchants who invested in the profitable commerce overseas. As the pioneer headquarters of European exploration, Lisbon flourished in the late 15th century, attracting experts who made several breakthroughs in mathematics, astronomy and naval technology, including Pedro Nunes, João de Castro, Abraham Zacuto, and Martin Behaim. Cartographers Pedro Reinel, Lopo Homem, Estêvão Gomes, and Diogo Ribeiro made crucial advances in mapping the world. Apothecary Tomé Pires and physicians Garcia de Orta and Cristóvão da Costa collected and published works on plants and medicines, soon translated by Flemish pioneer botanist Carolus Clusius.

São Pedro Papa, 1530-1535, by Grão Vasco Fernandes. A pinnacle piece from when the Portuguese Renaissance had considerable external influence.

In architecture, the huge profits of the spice trade financed a sumptuous composite style in the first decades of the 16th century, the Manueline, incorporating maritime elements. The primary painters were Nuno Gonçalves, Gregório Lopes, and Vasco Fernandes. In music, Pedro de Escobar and Duarte Lobo produced four songbooks, including the Cancioneiro de Elvas. In literature, Sá de Miranda introduced Italian forms of verse. Bernardim Ribeiro developed pastoral romance, plays by Gil Vicente fused it with popular culture, reporting the changing times, and Luís de Camões inscribed the Portuguese feats overseas in the epic poem Os Lusíadas. Travel literature especially flourished: João de Barros, Castanheda, António Galvão, Gaspar Correia, Duarte Barbosa, and Fernão Mendes Pinto, among others, described new lands and were translated and spread with the new printing press. After joining the Portuguese exploration of Brazil in 1500, Amerigo Vespucci coined the term New World, in his letters to Lorenzo di Pierfrancesco de' Medici.

The intense international exchange produced several cosmopolitan humanist scholars, including Francisco de Holanda, André de Resende, and Damião de Góis, a friend of Erasmus who wrote with rare independence on the reign of King Manuel I. Diogo and André de Gouveia made relevant teaching reforms via France. Foreign news and products in the Portuguese factory in Antwerp attracted the interest of Thomas More and Albrecht Dürer to the wider world. There, profits and know-how helped nurture the Dutch Renaissance and Golden Age, especially after the arrival of the wealthy cultured Jewish community expelled from Portugal.

The Royal Monastery of San Lorenzo del Escorial, by Juan de Herrera and Juan Bautista de Toledo

The Renaissance arrived in the Iberian peninsula through the Mediterranean possessions of the Aragonese Crown and the city of Valencia. Many early Spanish Renaissance writers come from the Kingdom of Aragon, including Ausiàs March and Joanot Martorell. In the Kingdom of Castile, the early Renaissance was heavily influenced by the Italian humanism, starting with writers and poets such as the Marquis of Santillana, who introduced the new Italian poetry to Spain in the early 15th century. Other writers, such as Jorge Manrique, Fernando de Rojas, Juan del Encina, Juan Boscán Almogáver, and Garcilaso de la Vega, kept a close resemblance to the Italian canon. Miguel de Cervantes's masterpiece Don Quixote is credited as the first Western novel. Renaissance humanism flourished in the early 16th century, with influential writers such as philosopher Juan Luis Vives, grammarian Antonio de Nebrija and natural historian Pedro de Mexía.

Later Spanish Renaissance tended toward religious themes and mysticism, with poets such as Luis de León, Teresa of Ávila, and John of the Cross, and treated issues related to the exploration of the New World, with chroniclers and writers such as Inca Garcilaso de la Vega and Bartolomé de las Casas, giving rise to a body of work, now known as Spanish Renaissance literature. The late Renaissance in Spain produced artists such as El Greco and composers such as Tomás Luis de Victoria and Antonio de Cabezón.

Further countries

Historiography

Conception

A cover of the Lives of the Artists by Giorgio Vasari

The Italian artist and critic Giorgio Vasari (1511-1574) first used the term rinascita in his book The Lives of the Artists (published 1550). In the book Vasari attempted to define what he described as a break with the barbarities of Gothic art: the arts (he held) had fallen into decay with the collapse of the Roman Empire and only the Tuscan artists, beginning with Cimabue (1240-1301) and Giotto (1267-1337) began to reverse this decline in the arts. Vasari saw ancient art as central to the rebirth of Italian art.

However, only in the 19th century did the French word renaissance achieve popularity in describing the self-conscious cultural movement based on revival of Roman models that began in the late 13th century. French historian Jules Michelet (1798-1874) defined "The Renaissance" in his 1855 work Histoire de France as an entire historical period, whereas previously it had been used in a more limited sense. For Michelet, the Renaissance was more a development in science than in art and culture. He asserted that it spanned the period from Columbus to Copernicus to Galileo; that is, from the end of the 15th century to the middle of the 17th century. Moreover, Michelet distinguished between what he called, "the bizarre and monstrous" quality of the Middle Ages and the democratic values that he, as a vocal Republican, chose to see in its character. A French nationalist, Michelet also sought to claim the Renaissance as a French movement.

The Swiss historian Jacob Burckhardt (1818-1897) in his The Civilization of the Renaissance in Italy (1860), by contrast, defined the Renaissance as the period between Giotto and Michelangelo in Italy, that is, the 14th to mid-16th centuries. He saw in the Renaissance the emergence of the modern spirit of individuality, which the Middle Ages had stifled. His book was widely read and became influential in the development of the modern interpretation of the Italian Renaissance. However, Buckhardt has been accused of setting forth a linear Whiggish view of history in seeing the Renaissance as the origin of the modern world.

More recently, some historians have been much less keen to define the Renaissance as a historical age, or even as a coherent cultural movement. The historian Randolph Starn, of the University of California Berkeley, stated in 1998:

Rather than a period with definitive beginnings and endings and consistent content in between, the Renaissance can be (and occasionally has been) seen as a movement of practices and ideas to which specific groups and identifiable persons variously responded in different times and places. It would be in this sense a network of diverse, sometimes converging, sometimes conflicting cultures, not a single, time-bound culture.

Debates about progress

There is debate about the extent to which the Renaissance improved on the culture of the Middle Ages. Both Michelet and Burckhardt were keen to describe the progress made in the Renaissance toward the modern age. Burckhardt likened the change to a veil being removed from man's eyes, allowing him to see clearly.

In the Middle Ages both sides of human consciousness - that which was turned within as that which was turned without - lay dreaming or half awake beneath a common veil. The veil was woven of faith, illusion, and childish prepossession, through which the world and history were seen clad in strange hues.

-  Jacob Burckhardt, The Civilization of the Renaissance in Italy

Painting of the St. Bartholomew's Day Massacre, an event in the French Wars of Religion, by François Dubois

On the other hand, many historians now point out that most of the negative social factors popularly associated with the medieval period - poverty, warfare, religious and political persecution, for example - seem to have worsened in this era, which saw the rise of Machiavellian politics, the Wars of Religion, the corrupt Borgia Popes, and the intensified witch-hunts of the 16th century. Many people who lived during the Renaissance did not view it as the " golden age" imagined by certain 19th-century authors, but were concerned by these social maladies. Significantly, though, the artists, writers, and patrons involved in the cultural movements in question believed they were living in a new era that was a clean break from the Middle Ages. Some Marxist historians prefer to describe the Renaissance in material terms, holding the view that the changes in art, literature, and philosophy were part of a general economic trend from feudalism toward capitalism, resulting in a bourgeois class with leisure time to devote to the arts.

Johan Huizinga (1872-1945) acknowledged the existence of the Renaissance but questioned whether it was a positive change. In his book The Autumn of the Middle Ages, he argued that the Renaissance was a period of decline from the High Middle Ages, destroying much that was important. The Medieval Latin language, for instance, had evolved greatly from the classical period and was still a living language used in the church and elsewhere. The Renaissance obsession with classical purity halted its further evolution and saw Latin revert to its classical form. This view is however somewhat contested by recent studies. Robert S. Lopez has contended that it was a period of deep economic recession. Meanwhile, George Sarton and Lynn Thorndike have both argued that scientific progress was perhaps less original than has traditionally been supposed. Finally, Joan Kelly argued that the Renaissance led to greater gender dichotomy, lessening the agency women had had during the Middle Ages.

Some historians have begun to consider the word Renaissance to be unnecessarily loaded, implying an unambiguously positive rebirth from the supposedly more primitive " Dark Ages", the Middle Ages. Most political and economic historians now prefer to use the term " early modern" for this period (and a considerable period afterwards), a designation intended to highlight the period as a transitional one between the Middle Ages and the modern era. Others such as Roger Osborne have come to consider the Italian Renaissance as a repository of the myths and ideals of western history in general, and instead of rebirth of ancient ideas as a period of great innovation.

The art historian Erwin Panofsky observed of this resistance to the concept of "Renaissance":

It is perhaps no accident that the factuality of the Italian Renaissance has been most vigorously questioned by those who are not obliged to take a professional interest in the aesthetic aspects of civilization - historians of economic and social developments, political and religious situations, and, most particularly, natural science - but only exceptionally by students of literature and hardly ever by historians of Art.

Other Renaissances

The term Renaissance has also been used to define periods outside of the 15th and 16th centuries. Charles H. Haskins (1870-1937), for example, made a case for a Renaissance of the 12th century. Other historians have argued for a Carolingian Renaissance in the 8th and 9th centuries, Ottonian Renaissance in the 10th century and for the Timurid Renaissance of the 14th century. The Islamic Golden Age has been also sometimes termed with the Islamic Renaissance. The Macedonian Renaissance is a term used for a period in the Roman Empire in the 9th-11th centuries CE.

Other periods of cultural rebirth have also been termed "renaissances", such as the Bengal Renaissance, Tamil Renaissance, Nepal Bhasa renaissance, al-Nahda or the Harlem Renaissance. The term can also be used in cinema. In animation, the Disney Renaissance is a period that spanned the years from 1989 to 1999 which saw the studio return to the level of quality not witnessed since their Golden Age of Animation. The San Francisco Renaissance was a vibrant period of exploratory poetry and fiction writing in that city in the mid-20th century.

References

Explanatory notes

1. For information on this earlier, very different approach to a different set of ancient texts (scientific texts rather than cultural texts) see ^ Latin translations of the 12th century, and Islamic contributions to Medieval Europe.

2. ^ Joseph Ben-David wrote:

Rapid accumulation of knowledge, which has characterized the development of science since the 17th century, had never occurred before that time. The new kind of scientific activity emerged only in a few countries of Western Europe, and it was restricted to that small area for about two hundred years. (Since the 19th century, scientific knowledge has been assimilated by the rest of the world).

3. ^ It is sometimes thought that the Church, as an institution, formally sold indulgences at the time. This, however, was not the practice. Donations were often received, but only mandated by individuals that were condemned.

General sources

Burckhardt, Jacob, The Civilization of the Renaissance in Italy (1860), a famous classic; excerpt and text search 2007 edition; also complete text online.

Cartledge, Bryan (2011). The Will to Survive: A History of Hungary. C. Hurst & Co. ISBN 978-1849041126.

Hendrix, Scott E. (2013). "Astrological forecasting and the Turkish menace in the Renaissance Balkans" (PDF). Anthropology. Universitatis Miskolciensis. 13 (2): 57-72. ISSN 1452-7243.

Klaniczay, Tibor (1992). "The age of Matthias Corvinus". In Porter, Roy; Teich, Mikuláš (eds.). The Renaissance in National Context. Cambridge University Press. pp. 164-179. ISBN 0521369703.

Reynolds, L. D.; Wilson, Nigel (1974). Scribes and Scholars: A Guide to the Transmission of Greek and Latin Literature. Oxford: Clarendon Press. ISBN 978-0199686339. OL 26919731M.

Further reading

Cronin, Vincent (1969), The Flowering of the Renaissance, ISBN 0712698841

Cronin, Vincent (1992), The Renaissance, ISBN 0002154110

Campbell, Gordon. The Oxford Dictionary of the Renaissance. (2003). 862 pp. online at OUP

Fletcher, Stella. The Longman Companion to Renaissance Europe, 1390-1530. (2000). 347 pp.

Grendler, Paul F., ed. The Renaissance: An Encyclopedia for Students. (2003). 970 pp.

Hale, John. The Civilization of Europe in the Renaissance. (1994). 648 pp.; a magistral survey, heavily illustrated; excerpt and text search

Hall, Bert S. Weapons and Warfare in Renaissance Europe: Gunpowder, Technology, and Tactics (2001); excerpt and text search

Hattaway, Michael, ed. A Companion to English Renaissance Literature and Culture. (2000). 747 pp.

King, Margaret L. Women of the Renaissance (1991) excerpt and text search

Kristeller, Paul Oskar, and Michael Mooney. Renaissance Thought and its Sources (1979); excerpt and text search

Nauert, Charles G. Historical Dictionary of the Renaissance. (2004). 541 pp.

Patrick, James A., ed. Renaissance and Reformation (5 vol 2007), 1584 pages; comprehensive encyclopedia

Plumb, J.H. The Italian Renaissance (2001); excerpt and text search

Paoletti, John T. and Gary M. Radke. Art in Renaissance Italy (4th ed. 2011)

Potter, G.R. ed. The New Cambridge Modern History: Volume 1: The Renaissance, 1493-1520 (1957) online; major essays by multiple scholars. Summarizes the viewpoint of 1950s.

Robin, Diana; Larsen, Anne R.; and Levin, Carole, eds. Encyclopedia of Women in the Renaissance: Italy, France, and England (2007) 459 pp.

Rowse, A.L. The Elizabethan Renaissance: The Life of the Society (2000); excerpt and text search

Ruggiero, Guido. The Renaissance in Italy: A Social and Cultural History of the Rinascimento (Cambridge University Press, 2015). 648 pp. online review

Rundle, David, ed. The Hutchinson Encyclopedia of the Renaissance. (1999). 434 pp.; numerous brief articles online edition

Turner, Richard N. Renaissance Florence (2005); excerpt and text search

Ward, A. The Cambridge Modern History. Vol 1: The Renaissance (1902); older essays by scholars; emphasis on politics

Historiography

Bouwsma, William J. "The Renaissance and the drama of Western history." American Historical Review (1979): 1-15. in JSTOR

Caferro, William. Contesting the Renaissance (2010); excerpt and text search

Ferguson, Wallace K. "The Interpretation of the Renaissance: Suggestions for a Synthesis." Journal of the History of Ideas (1951): 483-495. online in JSTOR

Ferguson, Wallace K. "Recent trends in the economic historiography of the Renaissance." Studies in the Renaissance (1960): 7-26.

Ferguson, Wallace Klippert. The Renaissance in historical thought (AMS Press, 1981)

Grendler, Paul F. "The Future of Sixteenth Century Studies: Renaissance and Reformation Scholarship in the Next Forty Years", Sixteenth Century Journal Spring 2009, Vol. 40 Issue 1, pp. 182+

Murray, Stuart A.P. The Library: An Illustrated History. American Library Association, Chicago, 2012.

Ruggiero, Guido, ed. A Companion to the Worlds of the Renaissance. (2002). 561 pp.

Starn, Randolph. "A Postmodern Renaissance?" Renaissance Quarterly 2007 60(1): 1-24 in Project MUSE

Summit, Jennifer. "Renaissance Humanism and the Future of the Humanities". Literature Compass (2012) 9#10 pp: 665-678.

Trivellato, Francesca. "Renaissance Italy and the Muslim Mediterranean in Recent Historical Work", Journal of Modern History (March 2010), 82#1 pp: 127-155.

Woolfson, Jonathan, ed. Palgrave advances in Renaissance historiography (Palgrave Macmillan, 2005)

Primary sources

Bartlett, Kenneth, ed. The Civilization of the Italian Renaissance: A Sourcebook (2nd ed., 2011)

Ross, James Bruce, and Mary M. McLaughlin, eds. The Portable Renaissance Reader (1977); excerpt and text search

External links

Interactive resources

Lectures and galleries

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The Renaissance ( rin-AY-sənss , REN-ə-sahnss ) is a period in history and a cultural movement marking the transition from the Middle Ages to modernity, covering the 15th and 16th centuries and characterized by an effort to revive and surpass the ideas and achievements of classical antiquity; it occurred after the crisis of the Late Middle Ages and was associated with great social change in most fields and disciplines, including art, architecture, politics, literature, exploration and science.

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Listasaga

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The Met's Heilbrunn Timeline of Art History

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Chronology | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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The Met's Timeline of Art History pairs essays and works of art with chronologies and tells the story of art and global culture through the collection.

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Fróðleikur um ævi og verk: Leonardo Da Vinci

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Web Gallery of Art, searchable fine arts image database

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Web Gallery of Art, image collection, virtual museum and searchable database of European fine arts (painting, sculpture, illumination) of the Romanesque, Gothic, Renaissance, Baroque, Neoclassicism, Romanticism, Realism, Impressionism periods (1000-1900), containing over 31.100 reproductions. Biographies, commentaries, guided tours, free postcard service, mobile version are provided.

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Renaissance/Endurreisn: Upplýsingar á ensku

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What does "Renaissance" mean?

When did the Renaissance happen?

What is Renaissance art?

What does "Renaissance man" mean?

Renaissance, (French: "Rebirth") period in European civilization immediately following the Middle Ages and conventionally held to have been characterized by a surge of interest in Classical scholarship and values. The Renaissance also witnessed the discovery and exploration of new continents, the substitution of the Copernican for the Ptolemaic system of astronomy, the decline of the feudal system and the growth of commerce, and the invention or application of such potentially powerful innovations as paper, printing, the mariner's compass, and gunpowder. To the scholars and thinkers of the day, however, it was primarily a time of the revival of Classical learning and wisdom after a long period of cultural decline and stagnation.

A brief treatment of the Renaissance follows. For full treatment, see history of Europe: The Renaissance.

Origins and rise of humanism

The term Middle Ages was coined by scholars in the 15th century to designate the interval between the downfall of the Classical world of Greece and Rome and its rediscovery at the beginning of their own century, a revival in which they felt they were participating. Indeed, the notion of a long period of cultural darkness had been expressed by Petrarch even earlier. Events at the end of the Middle Ages, particularly beginning in the 12th century, set in motion a series of social, political, and intellectual transformations that culminated in the Renaissance. These included the increasing failure of the Roman Catholic Church and the Holy Roman Empire to provide a stable and unifying framework for the organization of spiritual and material life, the rise in importance of city-states and national monarchies, the development of national languages, and the breakup of the old feudal structures.

While the spirit of the Renaissance ultimately took many forms, it was expressed earliest by the intellectual movement called humanism. Humanism was initiated by secular men of letters rather than by the scholar-clerics who had dominated medieval intellectual life and had developed the Scholastic philosophy. Humanism began and achieved fruition first in Italy. Its predecessors were men like Dante and Petrarch, and its chief protagonists included Giannozzo Manetti, Leonardo Bruni, Marsilio Ficino, Giovanni Pico della Mirandola, Lorenzo Valla, and Coluccio Salutati. The fall of Constantinople in 1453 provided humanism with a major boost, for many eastern scholars fled to Italy, bringing with them important books and manuscripts and a tradition of Greek scholarship.

Humanism had several significant features. First, it took human nature in all of its various manifestations and achievements as its subject. Second, it stressed the unity and compatibility of the truth found in all philosophical and theological schools and systems, a doctrine known as syncretism. Third, it emphasized the dignity of man. In place of the medieval ideal of a life of penance as the highest and noblest form of human activity, the humanists looked to the struggle of creation and the attempt to exert mastery over nature. Finally, humanism looked forward to a rebirth of a lost human spirit and wisdom. In the course of striving to recover it, however, the humanists assisted in the consolidation of a new spiritual and intellectual outlook and in the development of a new body of knowledge. The effect of humanism was to help men break free from the mental strictures imposed by religious orthodoxy, to inspire free inquiry and criticism, and to inspire a new confidence in the possibilities of human thought and creations.

From Italy the new humanist spirit and the Renaissance it engendered spread north to all parts of Europe, aided by the invention of printing, which allowed literacy and the availability of Classical texts to grow explosively. Foremost among northern humanists was Desiderius Erasmus, whose Praise of Folly (1509) epitomized the moral essence of humanism in its insistence on heartfelt goodness as opposed to formalistic piety. The intellectual stimulation provided by humanists helped spark the Reformation, from which, however, many humanists, including Erasmus, recoiled. By the end of the 16th century the battle of Reformation and Counter-Reformation had commanded much of Europe's energy and attention, while the intellectual life was poised on the brink of the Enlightenment.

Artistic developments and the emergence of Florence

It was in art that the spirit of the Renaissance achieved its sharpest formulation. Art came to be seen as a branch of knowledge, valuable in its own right and capable of providing man with images of God and his creations as well as with insights into man's position in the universe. In the hands of men such as Leonardo da Vinci it was even a science, a means for exploring nature and a record of discoveries. Art was to be based on the observation of the visible world and practiced according to mathematical principles of balance, harmony, and perspective, which were developed at this time. In the works of painters such as Masaccio, the brothers Pietro and Ambrogio Lorenzetti, Fra Angelico, Sandro Botticelli, Perugino, Piero della Francesca, Raphael, and Titian; sculptors such as Giovanni Pisano, Donatello, Andrea del Verrocchio, Lorenzo Ghiberti, and Michelangelo; and architects such as Leon Battista Alberti, Filippo Brunelleschi, Andrea Palladio, Michelozzo, and Filarete, the dignity of man found expression in the arts.

In Italy the Renaissance proper was preceded by an important "proto-renaissance" in the late 13th and early 14th centuries, which drew inspiration from Franciscan radicalism. St. Francis of Assisi had rejected the formal Scholasticism of the prevailing Christian theology and gone out among the poor praising the beauties and spiritual value of nature. His example inspired Italian artists and poets to take pleasure in the world around them. The work of the most famous artist of the proto-renaissance period, Giotto (1266/67 or 1276-1337), reveals a new pictorial style that depends on clear, simple structure and great psychological penetration rather than on the flat, linear decorativeness and hierarchical compositions of his predecessors and contemporaries, such as the Florentine painter Cimabue and the Siennese painters Duccio and Simone Martini. The great poet Dante lived at about the same time as Giotto, and his poetry shows a similar concern with inward experience and the subtle shades and variations of human nature. Although his Divine Comedy belongs to the Middle Ages in its plan and ideas, its subjective spirit and power of expression look forward to the Renaissance. Petrarch and Giovanni Boccaccio also belong to this proto-renaissance period, both through their extensive studies of Latin literature and through their writings in the vernacular. Unfortunately, the terrible plague of 1348 and subsequent civil wars submerged both the revival of humanistic studies and the growing interest in individualism and naturalism revealed in the works of Giotto and Dante. The spirit of the Renaissance did not surface again until the 15th century.

In 1401 a competition was held at Florence to award the commission for bronze doors to be placed on the baptistery of San Giovanni. Defeated by the goldsmith and painter Lorenzo Ghiberti, Filippo Brunelleschi and Donatello left for Rome, where they immersed themselves in the study of ancient architecture and sculpture. When they returned to Florence and began to put their knowledge into practice, the rationalized art of the ancient world was reborn. The founder of Renaissance painting was Masaccio (1401-28). The intellectuality of his conceptions, the monumentality of his compositions, and the high degree of naturalism in his works mark Masaccio as a pivotal figure in Renaissance painting. The succeeding generation of artists- Piero della Francesca, the Pollaiuolo brothers, and Andrea del Verrocchio-pressed forward with researches into linear and aerial perspective and anatomy, developing a style of scientific naturalism.

The situation in Florence was uniquely favourable to the arts. The civic pride of Florentines found expression in statues of the patron saints commissioned from Ghiberti and Donatello for niches in the grain-market guildhall known as Or San Michele, and in the largest dome built since antiquity, placed by Brunelleschi on the Florence cathedral. The cost of construction and decoration of palaces, churches, and monasteries was underwritten by wealthy merchant families, chief among whom were the Medici family.

The Medici traded in all of the major cities in Europe, and one of the most famous masterpieces of Northern Renaissance art, The Portinari Altarpiece, by Hugo van der Goes ( c. 1476; Uffizi, Florence), was commissioned by their agent, Tommaso Portinari. Instead of being painted with the customary tempera of the period, the work is painted with translucent oil glazes that produce brilliant jewel-like colour and a glossy surface. Early Northern Renaissance painters were more concerned with the detailed reproduction of objects and their symbolic meaning than with the study of scientific perspective and anatomy even after these achievements became widely known. On the other hand, central Italian painters began to adopt the oil medium soon after The Portinari Altarpiece was brought to Florence in 1476.

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Renaissance | Definition, Meaning, History, Artists, Art, & Facts

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The Renaissance was a period in European civilization that immediately followed the Middle Ages and reached its height in the 15th century. It is conventionally held to have been characterized by a surge of interest in Classical scholarship and values. The Renaissance also witnessed the discovery and exploration of new continents and numerous important inventions.

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Endurreisn og Barokk.

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Hér eru nöfn á stefnum í listasögunni þau eru hér á ensku ítölsku, frönsku og íslensku. Einnig er hér þau nöfn sem eru notuð í listasögu Fjölva, þau eru tilraun höfundar þeirrar útgáfu til að íslenska stílheitin. Textinn hér um stefnurnar er stuttur og reynt er að stikla á því helst.