Term Paper Announcement
Title: The Human Form in Art
Thesis Statement:
The Renaissance Era was a period of revival, of beliefs and thought,
one of its primary objectives being the redefining of human form in art,
representing it as a more realistic, natural, three-dimensional form that
does not necessarily have to symbolize a religious idea or belief, but
a representation that accentuates the emotions, beauty, strength, and grandeur
of the human being.
Description of Writing Strategy:
The purpose of this term paper is to prove and show that the Renaissance
was about seeing the human figure in a new light. I will do this
by comparing works of art from the Renaissance Era to those of Medieval
and Greek times. I will first introduce my topic by explaining the
what the Renaissance was, stating that it was the movement that consisted
of a change in thinking and a revival of the Greek and Roman cultures in
the areas of art, architecture, literature, behavior, and learning.
I will emphasize that the Renaissance was about a new way of thinking.
I will then introduce the idea of humanism and state that it was the most
important intellectual movement during the Renaissance. I will then
describe the ways of thinking during the Middle Ages. I will say
that Medieval society concentrated its thinking on God, death, and the
afterlife, and accordingly created art works based on those beliefs.
I will illustrate examples of how most medieval paintings appeared rigid,
inflexible, and unrealistic, like Cimabue’s The Madonna Enthroned with
Angels (Fig 1.1), completed between 1285 and 1290. Cimabue was considered
to be among the last of the Medieval painters, and among those whose paintings
represented the shift from Medieval to fourteenth-century Renaissance painting
(“Cimabue, Giovanni”). I will compare Cimabue’s painting with an
artwork from the Renaissance like Masaccio’s The Expulsion from Paradise
(Fig. 1.2). I will describe Masaccio’s painting as more realistic
and natural—the human forms showing more emotion and feeling than those
portrayed in Cimabue’s painting. After comparing Medieval works with
those of the Renaissance, I will continue by illustrating how works from
the Renaissance were a recreation of those from Greek times. I will
show that Renaissance artists took ideas from the Greeks but improved on
their works, with the ideas of humanism involved. The Greeks portrayed
their mythological characters in their art works. I will use Polykleitos’
The Spearbearer (Fig. 1.3), for example, to show that although the Greeks
did portray the human figure naturally and realistically, the purpose of
the sculpture was to portray the human form as a system of balance (between
gravity and weight) and harmony of a mythological figure, whereas a Renaissance
art work would portray the human form to show more emotions, flexibility,
and mobility, its subjects being ordinary citizens or made-up figures,
not necessarily a god or goddess like the Greeks would portray. I
will continue to use many examples and finally conclude my paper by reiterating
that the Renaissance was about change and reform and state that the Renaissance
was about expressing the human form in a new light.
Sources:
Boardman, John. Greek Art. New York: Oxford University Press,
1973.
"Cimabue, Giovanni." The Columbia Electronic Encyclopedia. Pearson
Education, Inc. 30 Nov. 2004. <http://www.infoplease.com/ce6/people/A0812251.html>.
Gilbert, Creighton. History of Renaissance Art: Painting-Sculpture-Architecture throughout Europe. New York: Harry N. Abrams, Inc., 1973.
“Humanism.” Dictionary.com. Lexico Publishing Group, LLC. 20 Nov. 2004. <http://dictionary.reference.com/search?q=Humanism>.
Huyghe, René, Ed. Larousse Encyclopedia of Renaissance and Baroque Art. New York: Excalibur Books, 1981.
Pioch, Nicolas. La Renaissance: Italy. 14 Oct. 2002. The BMW Foundation. 20 Nov. 2004. < http://www.ibiblio.org/wm/paint/glo/renaissance/it.html>.
“Renaissance.” Dictionary.com. Lexico Publishing Group, LLC. 20 Nov. 2004. <http://dictionary.reference.com/search?q=Renaissance>.
Witt, Mary Ann Frese, et al. The Humanities. Vol. 1, 6th
Ed. Boston: Houghton Mifflin Company, 2001.
Term Paper Prospectus
Title:
The Human Form in Western Art: A Comparison of Medieval, Greek, and
Renaissance Art Works
Thesis Statement:
The Renaissance Era was a period of revival, of beliefs and thought,
one of its primary objectives being the redefining of human form in art,
representing it as a more realistic, natural, three-dimensional form that
does not necessarily have to symbolize a religious idea or belief, but
rather a representation that accentuates the emotions, beauty, strength,
and grandeur of the human being.
Abstract (Summary of Proposed Essay):
The purpose of this term paper is to prove
that the Renaissance era was about seeing and portraying the human form
in a new light based on humanistic views that were focused on humans, and
on thinking in a manner that aided in improving the lives of humans, instead
of pondering death and the afterlife, which were pointless because death
was inevitable. Humanists felt that it was better just to concentrate
on enhancing the present world. It was this new way of thinking that
was represented in the art, architecture, literature, behavior, and learning
during the Renaissance. Humanism was a direct influence on illustrating
the human form in a more realistic, natural, three-dimensional way, as
opposed to the stiff, unnatural, unrealistic way that was typical of most
Greek and Medieval art productions. By comparing different Medieval,
Greek, and Renaissance art works, and analyzing the human form in each
of these works, one may get a better understanding of the intended meaning
of the human form in each art work. When examining each Renaissance
art work, one can clearly see that the ideas and principles of humanism
had a direct influence on the artists and, consequently, a humanistic representation
in the art works.
Description of Writing Strategy:
The purpose of this term paper is to prove
and show that the Renaissance was about seeing the human figure in a new
light. I will do this by comparing works of art from the Renaissance
Era to those of Medieval and Greek times. I will first introduce
my topic by explaining what the Renaissance was, stating that it was the
movement that consisted of a change in thinking and a revival of the Greek
and Roman cultures in the areas of art, architecture, literature, behavior,
and learning. I will emphasize that the Renaissance was about a new
way of thinking. I will then introduce the idea of humanism and state
that it was the most important intellectual movement during the Renaissance.
I will then describe the ways of thinking during the Middle Ages.
I will say that Medieval society concentrated its thinking on God, death,
and the afterlife, and accordingly created art works based on those beliefs.
I will illustrate examples of how most medieval paintings appeared rigid,
inflexible, and unrealistic, like Cimabue’s The Madonna Enthroned with
Angels (Fig 1.1), completed between 1285 and 1290. Cimabue was considered
to be among the last of the Medieval painters, and among those whose paintings
represented the shift from Medieval to fourteenth-century Renaissance painting
(“Cimabue, Giovanni”). I will compare Cimabue’s painting with an
artwork from the Renaissance like Masaccio’s The Expulsion from Paradise
(Fig. 1.2). I will describe Masaccio’s painting as more realistic
and natural—the human forms showing more emotion and feeling than those
portrayed in Cimabue’s painting. After comparing Medieval works with
those of the Renaissance, I will continue by illustrating how works from
the Renaissance were a recreation of those from Greek times. I will
show that Renaissance artists took ideas from the Greeks but improved on
their works, with the ideas of humanism involved. The Greeks portrayed
their mythological characters in their art works. I will use Polykleitos’
The Spearbearer (Fig. 1.3), for example, to show that although the Greeks
did portray the human figure naturally and realistically, the purpose of
the sculpture was to portray the human form as a system of balance (between
gravity and weight) and harmony of a mythological figure, whereas a Renaissance
art work would portray the human form to show more emotions, flexibility,
and mobility, its subjects being ordinary citizens or made-up figures,
not necessarily a god or goddess like the Greeks would portray. I
will continue to use many examples and finally conclude my paper by reiterating
that the Renaissance was about change and reform and state that the Renaissance
was about expressing the human form in a new light.
Précis (Sample Essay in Miniature):
The Renaissance was a fourteenth century movement
that brought about reform and represents the change from medieval to modern
times (“Renaissance”). The intent of the Renaissance was to revive
the ideas and beliefs of the ancient Greek and Roman cultures in the areas
concerning God, humanity, and nature, and to depict these ideas in art,
architecture, literature, and behavior, in contrast to the ways of thinking
of the Middle Ages, which incorporated portraying the human form in reference
to a religious figure or theme (Pioch). Artists during the Renaissance
sought to redefine human form in art, portraying it as a more realistic,
natural, three-dimensional form, a form that accentuates the emotions,
beauty, strength, and grandeur of the actual human form. By comparing
different works from Greek and medieval times with those of the Renaissance
era, one can clearly recognize that the Renaissance artist views the human
form in a new light and consequently depicts it in a more realistic, natural
manner. The Greek works discussed in this paper include Polykleitos’
The Spearbearer, an example of a kouros figure, and, finally, Kritios Boy.
Medieval works discussed here are Cimabue’s Madonna Enthroned with Angels
and the 11th century fresco, The Archangel Raphael. The Renaissance
art works illustrated in this paper include Masaccio’s Expulsion from Paradise
and Michelangelo’s David.
Humanism was the most noteworthy intellectual
movement of the Renaissance which accentuated the worldly affairs of human
beings (“Humanism”). Humanism focused on humans—learning about ways
to improve the lives of humans in this world. Humanists felt that
it was pointless to ponder God and the afterlife because death and destruction
were inevitable; worrying about what will happen after death would not
help in building a successful and happy life in the present world.
Although humanism was initially opposed to the medieval way of portraying
and viewing the world from a spiritual point of view, humanists later changed
their views to include improving human life in this world, not only materially,
but also improving human life spiritually; gaining a better understanding
of human life in both aspects that still did not negate any of the previous,
general humanistic views (Witt 8-9). From this reformed way of thinking
emerged a pool of artistic productions that exemplified great expression
and representation of the human form.
Medieval society focused on God, death, and
the afterlife. People during the Middle Ages spent most of their
lives contemplating the Last Judgment and ways to save their souls.
Subsequently, medieval artists portrayed the human form in a manner that
served their religious beliefs and aspirations (Witt 8). Because
society was so devoted to the thought of God and the like and the rulers
of the cities, the art during this period was centered around the court,
the monastery, and the cathedral (Witt 292). Art was focused around
the monastery and the church because of the medieval ideas that involved
religion and focusing on spiritual things like God, death, and the subsequent
afterlife. The focus around the court emerged when the Roman Empire
took control of Italy which started during the ninth century, reached its
peak during the twelfth century, and finally ended during the early nineteenth
century (Harrington).
Because the Roman Empire was still in control
during the start of the Renaissance around the fourteenth century, people
were still devoted to the court. The Roman Empire rule soon faded
in Italy during the mid-1300’s because the emperors were located in Germany.
The German location of the Empire resulted in a weak control over Italian
regions. The majority of Italy was left without a ruler. During
the mid-fourteenth century up until the early fifteenth century, many of
the Italian cities soon came together under the rule of a single family.
When the last male member of a ruling family died, a new family soon took
over control of the cities. The signoria, a form of government set
up by a governing family, was centered around the court. Devotion
to the court continued during the Renaissance under the rule of the governing
family. The ruling families were very enthusiastic and supportive
of the Renaissance, and therefore, often times, invited many of the top
artists and thinkers to their courts and many of these artists and thinkers
were put to service in the courts. These artists came to be the known
as the Renaissance artists and their works are comparable to those of ancient
Greek and Medieval times with respect to the different portrayals of the
human form in each (Molho 233).
Many of the human figures in medieval art
works appear rigid and unnatural. The depicted figures are unreal,
inflexible, and unyielding, unlike a real human figure. For example,
in Cimabue’s Madonna Enthroned with Angels, completed between 1285 and
1290, the forms portrayed are stiff, unreal, and look almost two-dimensional,
and they make reference to a Biblical figure, not a modern human whom we
can relate to today (Fig. 1.1). Biblical figures and religious themes
in general were typical of most medieval art works. Although Cimabue
was among those recognized for representing the shift from medieval to
Renaissance painting, his Madonna Enthroned with Angels still resembles
a medieval painting more than it resembles works of the later Renaissance,
not yet exemplifying the expression, beauty, and nature of the human form
(“Cimabue, Giovanni”).
Similarly, Greek art works, like those of
the Renaissance, seemed to portray a real and natural human form, such
as in Polykleitos’ The Spearbearer, completed between 450-430 B.C (Fig.
1.2). Although the human form portrayed in the Spearbearer is portrayed
as real, it differs from a Renaissance sculpture because the purpose of
the Greek sculpture is to portray a mythological figure and an event, revealing
the body in such a fashion that it gives a sense of balance and harmony
but with little emotion and feeling, as do most Greek art works (Boardman
142). Renaissance works, on the other hand, like Masaccio’s Expulsion
from Paradise (Fig. 1.3), completed in 1425, show human forms that are
in motion and give a sense that they are in pain and suffering, feelings
that the modern day human can relate to (Gilbert 74-75).
In conclusion, the Renaissance was about a
revival of ideas and beliefs. Many of the art productions of this
period represented more humanistic ideas, more emphasis on nature, human-life,
and the actual human form, as opposed to ancient Greek portrayals of myths
and Gods and the medieval portrayals of religious ideas and beliefs.
The purpose of many of the works was not to portray the human figure as
representing a mythological or divine figure, or to represent an important
event; rather, the purpose of these productions was to express the human,
realistically and naturally, in a way that served to aid people in better
living their lives happily and most successfully, not pondering death and
the afterlife, which only served to discourage living with peace of mind.
Sources:
Boardman, John. Greek Art. New York: Oxford University Press, 1973.
"Cimabue, Giovanni." The Columbia Electronic Encyclopedia. Pearson Education, Inc. 30 Nov. 2004. <http://www.infoplease.com/ce6/people/A0812251.html>.
Gilbert, Creighton. History of Renaissance Art: Painting-Sculpture-Architecture throughout Europe. New York: Harry N. Abrams, Inc., 1973.
Harrington, Joel F. "Holy Roman Empire." Microsoft Encarta Online Encyclopedia 2004. Microsoft Corporation. 8 Dec. 2004. <http://encarta.msn.com/encnet/refpages/RefArticle.aspx?refid=761558731>
“Humanism.” Dictionary.com. Lexico Publishing Group, LLC. 20 Nov. 2004. <http://dictionary.reference.com/search?q=Humanism>.
Huyghe, René, Ed. Larousse Encyclopedia of Renaissance and Baroque Art. New York: Excalibur Books, 1981.
“Kouros.” Dictionary.com. Lexico Publishing Group, LLC. 4 Dec. 2004. <http://dictionary.reference.com/search?q=Kouros>.
Molho, Anthony. “Renaissance.” World Book Encyclopedia. Vol. 16. 2001 ed. Chicago: World Book, Inc., 2001.
Pioch, Nicolas. La Renaissance: Italy. 14 Oct. 2002. The BMW Foundation. 20 Nov. 2004. < http://www.ibiblio.org/wm/paint/glo/renaissance/it.html>.
“Renaissance.” Dictionary.com. Lexico Publishing Group, LLC. 20 Nov. 2004. <http://dictionary.reference.com/search?q=Renaissance>.
Volpe, Carlo. Early Christian to Medieval Painting. Golden Press: New York, 1963.
Witt, Mary Ann Frese, et al. The Humanities. Vol. 1, 6th
Ed. Boston: Houghton Mifflin Company, 2001.
Fig 1.1 Cimabue’s Madonna Enthroned with Angels
Fig. 1-2. Polykleitos’ The Spearbearer
Fig. 1.3 Masaccio’s Expulsion from Paradise
Term Paper (final draft)
The Human Form in Western Art: A Comparison of Medieval, Greek, and Renaissance Art Works
The Renaissance was a fourteenth century movement
that brought about reform and represents the change from medieval to modern
times (“Renaissance”). The intent of the Renaissance was to revive
the ideas and beliefs of the ancient Greek and Roman cultures in the areas
concerning God, humanity, and nature, and to depict these ideas in art,
architecture, literature, and behavior, in contrast to the ways of thinking
of the Middle Ages, which incorporated portraying the human form in reference
to a religious figure or theme (Pioch). Artists during the Renaissance
sought to redefine human form in art, portraying it as a more realistic,
natural, three-dimensional form, a form that accentuates the emotions,
beauty, strength, and grandeur of the actual human form. By comparing
different works from Greek and medieval times with those of the Renaissance
era, one can clearly recognize that the Renaissance artist views the human
form in a new light and consequently depicts it in a more realistic, natural
manner. The Greek works discussed in this paper include Polykleitos’
The Spearbearer, an example of a kouros figure, and, finally, Kritios Boy.
Medieval works discussed here are Cimabue’s Madonna Enthroned with Angels
and the 11th century fresco, The Archangel Raphael. The Renaissance
art works illustrated in this paper include Masaccio’s Expulsion from Paradise
and Michelangelo’s David.
Humanism was the most noteworthy intellectual
movement of the Renaissance which accentuated the worldly affairs of human
beings (“Humanism”). Humanism focused on humans—learning about ways
to improve the lives of humans in this world. Humanists felt that
it was pointless to ponder God and the afterlife because death and destruction
were inevitable; worrying about what will happen after death would not
help in building a successful and happy life in the present world.
Although humanism was initially opposed to the medieval way of portraying
and viewing the world from a spiritual point of view, humanists later changed
their views to include improving human life in this world, not only materially,
but also improving human life spiritually; gaining a better understanding
of human life in both aspects that still did not negate any of the previous,
general humanistic views (Witt 8-9). From this reformed way of thinking
emerged a pool of artistic productions that exemplified great expression
and representation of the human form.
Medieval society focused on God, death, and
the afterlife. People during the Middle Ages spent most of their
lives contemplating the Last Judgment and ways to save their souls.
Subsequently, medieval artists portrayed the human form in a manner that
served their religious beliefs and aspirations (Witt 8). Because
society was so devoted to the thought of God and the like and the rulers
of the cities, the art during this period was centered around the court,
the monastery, and the cathedral (Witt 292). Art was focused around
the monastery and the church because of the medieval ideas that involved
religion and focusing on spiritual things like God, death, and the subsequent
afterlife. The focus around the court emerged when the Roman Empire
took control of Italy which started during the ninth century, reached its
peak during the twelfth century, and finally ended during the early nineteenth
century (Harrington).
Because the Roman Empire was still in control
during the start of the Renaissance around the fourteenth century, people
were still devoted to the court. The Roman Empire rule soon faded
in Italy during the mid-1300’s because the emperors were located in Germany.
The German location of the Empire resulted in a weak control over Italian
regions. The majority of Italy was left without a ruler. During
the mid-fourteenth century up until the early fifteenth century, many of
the Italian cities soon came together under the rule of a single family.
When the last male member of a ruling family died, a new family soon took
over control of the cities. The signoria, a form of government set
up by a governing family, was centered around the court. Devotion
to the court continued during the Renaissance under the rule of the governing
family. The ruling families were very enthusiastic and supportive
of the Renaissance, and therefore, often times, invited many of the top
artists and thinkers to their courts and many of these artists and thinkers
were put to service in the courts. These artists came to be the known
as the Renaissance artists and their works are comparable to those of ancient
Greek and Medieval times with respect to the different portrayals of the
human form in each (Molho 233).
Many of the human figures in medieval art
works appear rigid and unnatural. The depicted figures are unreal,
inflexible, and unyielding, unlike a real human figure. For example,
in Cimabue’s Madonna Enthroned with Angels, completed between 1285 and
1290, the forms portrayed are stiff, unreal, and look almost two-dimensional,
and they make reference to a Biblical figure, not a modern human whom we
can relate to today (Fig. 1.1). Biblical figures and religious themes
in general were typical of most medieval art works. Although Cimabue
was among those recognized for representing the shift from medieval to
Renaissance painting, his Madonna Enthroned with Angels still resembles
a medieval painting more than it resembles works of the later Renaissance,
not yet exemplifying the expression, beauty, and nature of the human form
(“Cimabue, Giovanni”).
Similarly, Greek art works, like those of
the Renaissance, seemed to portray a real and natural human form, such
as in Polykleitos’ The Spearbearer, completed between 450-430 B.C (Fig.
1.2). Although the human form portrayed in the Spearbearer is portrayed
as real, it differs from a Renaissance sculpture because the purpose of
the Greek sculpture is to portray a mythological figure and an event, revealing
the body in such a fashion that it gives a sense of balance and harmony
but with little emotion and feeling, as do most Greek art works (Boardman
142). Renaissance works, on the other hand, like Masaccio’s Expulsion
from Paradise (Fig. 1.3), completed in 1425, show human forms that are
in motion and give a sense that they are in pain and suffering, feelings
that the modern day human can relate to (Gilbert 74-75).
Other Greek works, such as sculptures, for
example, aimed to portray both naturally and idealistically. Early
Greek sculptures, such as the many kouros figures, reveal the human body
naturally in the manner of their nudity, and also idealistically, in the
way that they give a sense of the perfect human forms (Witt 97).
Kouros is the Greek word for “youth.” Kouros figures are sculptures
representing a standing nude young man (“Kouros”).
The early kouros figures show symmetry in
the body (Fig. 1.4). The hands were usually clenched in a fist, hanging
down at the sides, one foot was advanced but now shift in body weight can
be seen. Each body part seems to be positioned perfectly, giving
one a complete sense of balance, harmony, and perfection (Boardman 65).
It is because of this perfection that reminds a person of unreal and dreamlike
the figure is.
Later kouros figures were made to look more
natural and realistic than the previous figures. One gets a sense
of the artist’s better understanding of the human form in the new kouros
figures. The Kritios Boy, for example, constructed around 480 B.C,
illustrates this very different kouros (Fig. 1.5). Kritios Boy is
more relaxed, the figure’s weight now shifted to one leg and hip raised.
Kritios Boy gives a sense of mobility. Instead of the figure being
a stiff, stone-carving like the previous kouros figures, Kritios’ body
is curved and flexible. Kritios Boy looks like a clear, rounded figure
made from stone, instead of a stone that somewhat resembles a face and
body. Moreover, Kritios’ body is very muscular even though neither
of its arms appear past the biceps, nor does its right leg and left foot.
In any manner, this body is shown in perfect, harmonious balance not even
the slightest physical deformity can be seen. The figure’s face gives
a feeling of happiness, confidence, and contentment (Witt 97). However,
like the previous kouros figures, Kritios Boy’s perfection is what makes
it so unreal, similar to Polykleitos’ Spearbearer. Human beings were
not created with such perfection. Kritios Boy’s and the Spearbearer’s
bodies are the “ideal” way a human figure should look.
The perfection of Kritios Boy is just another
example of how the Greeks differed from the later Renaissance artists in
their portrayal and meaning of the human form. Even though the Greeks
did succeed in representing the human form naturally, one of the key components
of Renaissance art works, they nonetheless failed in portraying it realistically
(Boardman 107).
Another example of how medieval art works
were portrayed can be seen in the fresco The Archangel Raphael, completed
during the last third of the 11th century (Fig. 1.6). The archangel
Raphael, shown holding a staff, is portrayed as unreal. The purpose
of the fresco was of course related to a religious theme but also to show
the attitude of the figure and its distinct clothing. The portrayal
of the archangel does not give a feeling of his intentions or state of
mind. Again, medieval works intended to demonstrate biblical and
religious themes, as opposed to the humanistic intentions of Renaissance
works (Volpe 10-12).
Another example of the Renaissance portrayal
of the human form can be seen in Michelangelo’s David (Fig. 1.7).
Michelangelo based this sculpture on the courageous, young David from the
story of David and Goliath. Michelangelo has sculpted David’s body
to give the viewer a sense of David’s strength, valiancy, and vitality
as he sets out to overcome Goliath. This David is very muscular and
lifelike; every body detail seems to accentuate the next. One of
Michelangelo’s purposes in constructing the David was to give the viewer
a sense of uncertainty. David’s right hand seems to contain an object,
possibly the stone with which to hit Goliath or it could just contain another
object. The sling over his left shoulder could be the sling that
he will use to bring down Goliath or it could be that he has already used
the sling and stone and is returning home from his victory. When
looking at the David, one cannot clearly tell what the figure’s intentions
are (Witt 39, 40).
While looking at Michelangelo’s David one
gains a sense of the strength, beauty, and magnificence of the human body.
Unlike the medieval and ancient works previously mentioned, this David
is very real, natural, and three-dimensional, which was the prime objective
of the art works of the Renaissance. One can see on David’s body,
certain details that are typical of a natural human figure. Some
of these details include the way in which David’s veins are projected on
the boundaries of the skin which give a sense of strength. In the
ancient Greek sculpture, Kritios Boy, the figure shown is very round and
curved. The figure’s skin looks very smooth, each body part is impressively
balanced and harmonious with the next; ultimate perfection, an attribute
that is not accurate in the actual human figure. David’s muscles seem very
tense which is understandable since he may be in the process of going to
defeat Goliath or has just achieved victory. In any manner, David’s
body accurately portrays the way in which an actual human form would look
when returning from a battle or preparing for a battle. Kritios Boy
and the other kouros figures appear very stiff and look like they are nowhere
near a state of mobility or even near a sense of life, unlike the human
form portrayed in the David, which looks very much real and so full of
life (Witt 39, 40).
In conclusion, the Renaissance was about a
revival of ideas and beliefs. Many of the art productions of this
period represented more humanistic ideas, more emphasis on nature, human-life,
and the actual human form, as opposed to ancient Greek portrayals of myths
and Gods and the medieval portrayals of religious ideas and beliefs.
The purpose of many of the works was not to portray the human figure as
representing a mythological or divine figure, or to represent an important
event; rather, the purpose of these productions was to express the human,
realistically and naturally, in a way that served to aid people in better
living their lives happily and most successfully, not pondering death and
the afterlife, which only served to discourage living with peace of mind.
Sources:
Boardman, John. Greek Art. New York: Oxford University
Press, 1973.
"Cimabue, Giovanni." The Columbia Electronic Encyclopedia. Pearson Education, Inc. 30 Nov. 2004. <http://www.infoplease.com/ce6/people/A0812251.html>.
Gilbert, Creighton. History of Renaissance Art: Painting-Sculpture-Architecture throughout Europe. New York: Harry N. Abrams, Inc., 1973.
Harrington, Joel F. "Holy Roman Empire." Microsoft Encarta Online Encyclopedia 2004. Microsoft Corporation. 8 Dec. 2004. <http://encarta.msn.com/encnet/refpages/RefArticle.aspx?refid=761558731>
“Humanism.” Dictionary.com. Lexico Publishing Group, LLC. 20 Nov. 2004. <http://dictionary.reference.com/search?q=Humanism>.
Huyghe, René, Ed. Larousse Encyclopedia of Renaissance and Baroque Art. New York: Excalibur Books, 1981.
“Kouros.” Dictionary.com. Lexico Publishing Group, LLC. 4 Dec.
2004.
<http://dictionary.reference.com/search?q=Kouros>.
Molho, Anthony. “Renaissance.” World Book Encyclopedia.
Vol. 16. 2001 ed. Chicago: World Book, Inc., 2001.
Pioch, Nicolas. La Renaissance: Italy. 14 Oct. 2002.
The BMW Foundation. 20 Nov. 2004. < http://www.ibiblio.org/wm/paint/glo/renaissance/it.html>.
“Renaissance.” Dictionary.com. Lexico Publishing Group, LLC. 20 Nov. 2004. <http://dictionary.reference.com/search?q=Renaissance>.
Volpe, Carlo. Early Christian to Medieval Painting. Golden Press: New York, 1963.
Witt, Mary Ann Frese, et al. The Humanities. Vol. 1, 6th Ed. Boston: Houghton Mifflin Company, 2001.
Fig 1.1 Cimabue’s Madonna Enthroned with Angels
Fig. 1.2 Polykleitos’ The Spearbearer
Fig. 1-3. Masaccio’s Expulsion from Paradise
Fig. 1.4 Kouros figure
Fig. 1.5 Kritios Boy
Fig. 1.6 The Archangel Raphael
Fig. 1.7 Michelangelo’s David