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The Renaissance 1400-1600

The Renaissance

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The Renaissance. 1400-1600. 1.1 The Renaissance. Began in Florence Italy. Means “re-birth” after the Middle Ages-Black Plaque Rebirth of classical Greek and Roman Produced: artists, architects, scholars, and scientists in short span of time. Time of creativity and change in many areas - PowerPoint PPT Presentation

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Page 1: The Renaissance

The Renaissance1400-1600

Page 2: The Renaissance

Began in Florence Italy. Means “re-birth” after the Middle Ages-Black Plaque

Rebirth of classical Greek and Roman• Produced: artists, architects, scholars, and scientists in

short span of time.• Time of creativity and change in many areas

• political, social, economic, and cultural.• Humanism-focus on individual accomplishments• Paintings were realistic and focused less on religious

topics. • Rich families became patrons and commissioned great

art. (de Medici’s)

1.1 The Renaissance

Page 3: The Renaissance

court dances- fancy occasions for the upper class to show off in front of nobility. heavy gowns, large headdresses, long lacy sleeves, Movements were restrained and refined. Slides, glides,

small, slow steps, poses, and curtsies. first court dances were done low to the ground. (basse)

 peasant dances- were lively and consisted of large, wide steps performed mostly on grassy town squares.

Dance – Renaissance: Court Dances

Page 4: The Renaissance

Types of dances

Pavane:

meaning “peacock.” a basse dance performed

at ceremonies for Kings and Queens

movements were slow walking steps, which traveled forward and backward.

Galliard:

a lively dance, which included a number of hops and kicking steps

Page 5: The Renaissance

Types of dances

The Allemande:

Consisted of four dances together

Hands were held at all times during this dance

Movements were made up in such a way as to keep partners joined together throughout the dance.

Now used for a step in square dancing.

The Courante:

This dance displayed gestures of courtship and flirtation

The steps included walks, tiny runs, and glides.

Other forms of entertainment at the court Jousting

Page 6: The Renaissance

Commedia dell’Arte- (Italy) means comedy of the professional guilds of artists

stock characters(10-12) some wore masks, special skills of the actors, acrobats,

dancers, musicians, and improvisers Slapstick humor  short, physical comedy routines only venue for women actors until the

English stage in the late 17th century.

1.2 Drama/Theatre - Renaissance

Page 7: The Renaissance

William Shakespeare (1564-1616)

Elizabethan Theater English-speaking playwright 38 plays

tragedy, comedy, and English history

During the reign of Elizabeth I

His plays occur over long periods of time, in many locations, and involve multiple subplots in addition to the main plot.

violence on stage, ghosts and spirits.

platform on stage in which multiple locations could be imagined.

outdoor theatres Costuming was

everyday clothing Only men

Page 8: The Renaissance

Tragedy: Romeo & Juliet, Macbeth, Hamlet, Julius

Caesar, Othello Comedy:

A Midsummer Night’s Dream, Twelfth Night, Much Ado About Nothing, Taming of the Shrew

History: Henry V

Examples of Shakespeare’s plays include:

Page 9: The Renaissance

In London built in 1599 Thrust stage Paid according to where you sat

The yard or pit- paid a penny. The gallery two pennies for the first level, three pennies

for the second and so on. Color of flag flying

Black- tragedy , white-comedy and red-history.  Destroyed by fire in 1613 Second Globe Theatre was built on the same site June

1614 and closed in 1642 Virtual tour

The Globe Theatre

Page 10: The Renaissance
Page 11: The Renaissance

The Summary of Taming of the Shrew

The beautiful and gentle Bianca has no shortage of admirers (Lucentio, Gremio and Hortensio) but her father insists that she will not marry until her shrewish sister, Katharina, is betrothed.

Bianca's suitors persuade fortune-seeker Petruchio to court her. The suitors pay for any costs involved and there is also the goal of Katharina's dowry.

Petruchio marries Katharina and he carries Katharina off to his country house with his servant Grumio.

Petruchio intends to browbeat Katharina into submission and he denies her food, sleep and her new clothes, whilst continuously singing her praises.

Katharina is tamed. They return to Padua where Lucentio has won Bianca. At a

banquet they wager on who has the most obedient wife. Each wife is issued with commands but only Katharina obeys and

promptly lectures everyone on the importance of wifely submission

Page 12: The Renaissance

Character Map

Page 13: The Renaissance

"the shrew" refers to Katherine "tamer of the shrew" refers to Petruccio, sister in both the play and film have the same name,

Bianca. Baptista (the very wealthy father of Katherine and Bianca)

desires to find husbands for both his daughters, offering a fine dowry; Bianca, the younger and fairer, gets more offers for marriage, but Baptista, for some reason, desires his eldest, Katherine, the "shrew," to marry first, restricting Bianca. From there, the character who desires Bianca, Lucentio, finds Petruccio, who only wants to marry, to "tame" Katherine, so Lucentio accordingly can marry Bianca.

Taming of the Shrew

Page 14: The Renaissance

“Shrew” Katarina (Kat) "tamer" Patrick (or 'Pat'). Katarina's sister in both the play and film have the same name, Walter (the father of Kat and Bianca), of course, desires the best for his

daugters, as fathers ought. To Bianca's demise, their father restricts her dating without Kat dating as

well; Bianca, the more popular, extraverted, and absent-minded of the two, for her reasons, gets frustrated at her sister, Kat, who seems incapable of any positive human interaction.

For an upcoming dance, Bianca has a choice between two dates, Joey and Cameron, but her two rivaling dates find Pat, a rebellious teenager who plays the "shrew," and, who they think, may attract Kat, since, of course, Bianca cannot date without Kat.

Through Pat's often ridiculous and hilarious attempts, he wins Kat's heart, "taming" her anti-social ways.

10 Things I hate about you

Page 15: The Renaissance

1.3 Renaissance Music

Music helped to reconcile faith and reason

Movement from monophonic (one sound) to polyphonic

Polyphonic: many sounds Multiple musical lines together 2 or more separate voices or parts Rise of instrumental and secular music (non-

religious)

Page 16: The Renaissance

Council of Trent (1545-1562)

Reformation in the Catholic church Changes in music &

mass Away from

polyphonic Distracted from

text Wanted

monophonic

Page 17: The Renaissance

Giovanni Pierluigi da Palestrina 1525-1594 Italian Renaissance Composer polyphony perfect balance of voices, seamless phrasing the sound seems to never stop Every voice part is equally important

Pope Marcellus Mass Well-known work

Page 18: The Renaissance

Other Composers

John Dowland (1563-1626) English known for

melancholy songs- "Flow my tears”

Orlando di Lasso (1532-1594) Franco-Flemish who

studied polyphonic style

William Byrd (1543/1623) English wrote

church/liturgical music Claudio Monteverdi (1567-

1643) Italian composer, marked

the transition from the Renaissance style of music to that of the Baroque period.

Opera-L'Orfeo,

Page 19: The Renaissance

Types of Music

Motet

Sacred music used in the Mass

Sung in Latin Polyphonic, use of Imitation Performed a cappella with

pure sound Performed by a small chorus

Madrigal

Secular music Use several languages (English,

Italian) Performed by a small chorus Polyphonic, use of Imitation Texts are sometimes about erotic

love Use of word painting Performed at a faster tempo Used at courtly social gatherings

Page 20: The Renaissance

1.4a Visual Art - Renaissance

Renaissance art united Christian faith and human reason.

Wealthy individuals and families supported learning and the arts through a system of patronage.

Wealthy patrons commissioned personal portraits, landscapes, and nudes.

Lorenzo de Medici was a member of the wealthiest family in Florence

Artists studied Classical Greek and Roman sculptures, as well as the science of anatomy

Linear perspective and atmospheric was discovered and allowed a completely realistic viewpoint.

Oil paint was invented in Northern Europe, and allowed artists to better capture realistic details.

Page 21: The Renaissance

Characteristics of

Renaissance Art

1. Realism & Expression

� Expulsion fromthe Garden

� Masaccio� 1427� First nudes

sinceclassical times.

Page 22: The Renaissance

2. Perspective

Perspective!Perspective!Perspective!

Perspective!Perspective!

First use of linear

perspective!

Perspective!Perspective!

� The Trinity� Masaccio� 1427

What you are, I once was; what I am, you will

become.

Page 23: The Renaissance

3. Classicism

� Greco-Roman influence.

� Secularism.� Humanism.� Individualism

free standing figures.

� Symmetry/BalanceThe “Classical Pose”

Medici “Venus” (1c)

Page 24: The Renaissance

4. Emphasis on Individualism� Batista Sforza & Federico de Montefeltre:

The Duke & Dutchess of Urbino� Piero della Francesca, 1465-1466.

Page 25: The Renaissance

5. Geometrical Arrangement of

Figures� The Dreyfus

Madonna with the Pomegranate

� Leonardo da Vinci

� 1469� The figure as

architecture!

Page 26: The Renaissance

6. Light & Shadowing/Softening

Edges

Chiaroscuro

Sfumato

Page 27: The Renaissance

The Renaissance “Man”� Broad knowledge about many things in

different fields.� Deep knowledge/skill in one area.� Able to link information from different

areas/disciplines and create new knowledge.

� The Greek ideal of the “well-rounded man” was at the heart of Renaissance education.

� Renaissance Man Song

Page 29: The Renaissance

Leonardo, the Artist

� The Virgin of the Rocks

� Leonardo daVinci

� 1483-1486

Page 30: The Renaissance

Leonardo, the Artist:From hisNotebooks of over 5000

pages (1508-1519)

Page 31: The Renaissance

Mona Lisa – da Vinci, 1503-4

Page 32: The Renaissance

A Macaroni Mona

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A Picasso Mona

Page 34: The Renaissance

An Andy Warhol Mona

Page 36: The Renaissance

Mona Lisa OR da Vinci??

Page 37: The Renaissance

The Last Supper - da Vinci, 1498& Geometry

Page 38: The Renaissance

Convent of Santa

Maria delle

Grazie

Milan

Page 39: The Renaissance

horizontal

vert

ical

Perspective!

The Last Supper - da Vinci, 1498

Page 40: The Renaissance

� Detail of Jesus

� The Last Supper

� Leonardo da Vinci

� 1498

Deterioration

Page 41: The Renaissance

Leonardo, the Sculptor

� An Equestrian Statue

� 1516-1518

Page 42: The Renaissance

Leonardo, the Architect:Pages from his Notebook

� Study of a central church.

� 1488

Page 43: The Renaissance

Leonardo, the Architect:Pages from his Notebook

� Plan of the city of Imola, 1502.

Page 44: The Renaissance

Leonardo, the Scientist (Biology):Pages from his Notebook

� An example of the humanist desire to unlock the secrets of nature.

Page 45: The Renaissance

Leonardo, the Scientist (Anatomy):

Pages from his Notebook

Page 46: The Renaissance

Leonardo, the Inventor:

Pages from his Notebook

Family Guy

Page 47: The Renaissance

A study of siege defenses.

Studies of water-lifting devices.

Leonardo, the Engineer: Pages from his

Notebook

Page 48: The Renaissance

Sculptor, engineer, painter, architect Pieta, which captures the sorrow of Mary as

she cradles the dead Christ on her knees. Statue of David Sistine Chapel in Rome painted ceiling

Michelangelo Buonorrati (1475)

Page 49: The Renaissance

Michelangelo

� He represented the body in three dimensions of sculpture.

Page 50: The Renaissance

� David� 1504� Marble

Page 51: The Renaissance

15c

16c

What

a

difference

a

century

makes!

Page 52: The Renaissance

� The Pieta

� 1499

� marble

Page 53: The Renaissance

The Sistine Chapel

1508 - 1512

Page 54: The Renaissance

The Sistine Chapel’s Ceiling

Michelangelo Buonarroti1508 - 1512

Page 55: The Renaissance

The Sistine Chapel Details

The Creation

of the Heavens

Page 56: The Renaissance

The Sistine Chapel Details

Creation of Man

Page 57: The Renaissance

A Modern “Adaptation”

Joe Gallo in the New York Daily News, 2004

Page 58: The Renaissance

The Sistine Chapel Details

The Fall from Grace

Page 59: The Renaissance

The Sistine Chapel Details

The Last Judgment

Page 60: The Renaissance

Raphael (1483)

Painter Raphael studied

Michelangelo and da Vinci

Blended Christian and Classical styles.

Best known for his tender portrayals of the Madonna, the mother of Jesus.

The School of Athens (1509)

Page 61: The Renaissance

Raffaello Sanzio (1483-1520)

Self-Portrait, 1506 Portrait of the Artist with a Friend, 1518

Page 62: The Renaissance

Baldassare Castiglione by Raphael,

1514-1515� Castiglione

represented the humanist “gentleman” as a man of refinement and self-control.

Page 63: The Renaissance

Perspective!

Betrothal

of the Virgin

Raphael1504

Page 64: The Renaissance

Raphael’s Canagiani Madonna, 1507

Page 65: The Renaissance

Raphael’s Madonnas (1)

Sistine Madonna Cowpepper Madonna

Page 66: The Renaissance

Madonna della Sedia Alba Madonna

Raphael’s Madonnas (2)

Page 67: The Renaissance

The School of Athens – Raphael, 1510 -11� One point perspective.

� All of the important Greek philosophers and thinkers are included A great variety of poses.

� No Christian themes here.

Page 68: The Renaissance

The School of Athens – Raphael, 1510 -11

Raphael

Da Vinci

Michelangelo

Page 69: The Renaissance

Aristotle:looks to thisearth [thehere and

now].

Plato:looks to theheavens [or

the IDEALrealm].

The School of Athens – Raphael, details

Page 70: The Renaissance

1445-1510 Was a member of the Medici family His real name was Alessandro Filipepi Liked to paint religious paintings for

churches Most famous work is The Birth of Venus

Botticelli

Page 71: The Renaissance

Birth of Venus – Botticelli, 1485

An attempt to depict perfect beauty.

Page 72: The Renaissance
Page 73: The Renaissance

The continuation of late medieval attention to details.

Tendency toward realism & naturalism [less emphasis on the “classical ideal”].

Interest in landscapes. More emphasis on middle-class and

peasant life. Details of domestic interiors. Great skill in portraiture.

1.4b Northern Renaissance Art

Page 74: The Renaissance

Jan van Eyck (1395 – 1441) Developed oil

painting More courtly and

aristocratic work. Court painter to the

Duke of Burgundy, Philip the Good.

The Virgin and Chancellor Rolin, 1435.

Page 75: The Renaissance

Van Eyck -Adoration of the Lamb, Ghent Altarpiece, 1432

Page 76: The Renaissance

Van Eyck: The Crucifixion

&

The Last Judgment

1420-1425

Page 78: The Renaissance

Jan van Eyck - Giovanni Arnolfini & His Wife

(details)

Page 79: The Renaissance

Albrecht Dürer (1471-1528) The greatest of German

artists. A scholar as well as an

artist. Scientist

Wrote books on geometry, fortifications, and human proportions.

Self-conscious individualism of the Renaissance is seen in his portraits.

Self-Portrait at 26, 1498.

Page 80: The Renaissance

Dürer – Self-Portrait in Fur-Collared Robe, 1500

Page 81: The Renaissance

One of the greatest artistic geniuses of his age. In touch with humanists thoughts. Was deeply concerned with human vice and follies. A master of landscapes.

People in his works often have round, blank, heavy faces.

They are expressionless, mindless, and sometimes malicious.

They are types, rather than individuals. Their purpose is to convey a message.

Pieter Bruegel the Elder (1525-1569)

Page 82: The Renaissance

Bruegel’s, Mad Meg, 1562

Page 83: The Renaissance

Bruegel’s, The Beggars, 1568

Page 84: The Renaissance

Bruegel’s, Parable of the Blind Leading the Blind, 1568

Page 85: The Renaissance

Bruegel’s, Niederlandisch Proverbs, 1559

Page 87: The Renaissance

Time of rebirth after dark Middle Ages Artwork flourished “renaissance man”-someone who could do it

all Dances were performed at the King’s court

or in grassy towns by peasants. People wore heavy garments Shakespeare wrote plays that were

performed at the Globe theatre in London.

Renaissance Review