Renaissance: Humanism
Humanism gained ground in the Renaissance in part as a revival of classical learning, and such a revival included new study of classical humanism from the Greek and Roman world. Classical humanism placed an emphasis on philosophy and codes of ethics, notably embodied in the writings of Plato and Aristotle and many of their contemporaries. Artists in the Renaissance period followed the emphasis of the humanists on the human being as the center of existence, a shift from the Medieval emphasis on God as central, with humans far less important in the scheme of things. The way the ideas of the Renaissance were applied can be seen in certain building, in works by Michelangelo, and in paintings from the time. The Fifteenth Century was a period of import in art, philosophy, political thought, and literature as the Renaissance developed power and altered the way man was viewed against the backdrop of the universe. The century was a time of contrasts between the richest and the poorest. Humanism and the Renaissance involved similar revivals of classical learning, an elevation of the individual, and a belief in the worth of human thought over authority, whether the latter be the authority of a political body or a church. There was a
Durer's convictions were essentially those of the Christian humanist (Janson 535). This can be as simple a proposition as considering the way human beings will react to a structure, as opposed to earlier views in the medieval period which related the building more to God and practicality than to man in many cases. The statue itself was a celebration not only of the human form but of the Florentine republic defying its enemies (Vyvrberg 121-122). The artists of the time became interested in many of the same classical sources and so accepted a more human-centered view of the world and then expressed this in their work. One reason for this is that the statue was intended to stand forty feet above street level, though in truth it never did. " The painting is large, standing at about 81 by 63 inches. Its conspicuous grandeur and conscious display of power, wealth, and intellect were in marked contrast to the small and irregular courtyard of the Palazzo Davanzati--primarily a utilitarian area used as a shaft for light and air and to house the well and staircase. Models of the time were more literal in nature, and some see this as a classical influence. During the Renaissance, sculpture in fifteenth century seemed to be experiencing less inner pressure toward innovation than were some of the other arts. The sixteenth‑century artist and critic Vasari, who was himself a mannerist, believed that excellence in painting demanded refinement, richness of invention, and virtuoso technique, criteria that emphasized the artist's intellect. Mars and Venus are two of the gods of the Roman pantheon, corresponding to the Greek gods Ares and Aphrodite. His sword is being used by one of the cupids, who uses it to keep the horse to the right from moving forward. For Michelangelo, the structure, posture, and movement of the human body mirrored the complex life and aspirations of the soul. This rationality is also featured in the writings of Alberti, who holds that the artist must adhere to a consistent theory, which he says is the mark of true art. In this case, the horse held back by armed Cupid would be the emblem of Passion Restrained.
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Acceptance Essays
