The Renaissance

Italy

Not one of the new monarchies, Italy was fragmented into a number of city states. In contrast to cities in central and northern Europe which were ruled by monarchs, the Italian cities had a high degree of autonomy and expanded their political influence over the areas surrounding them. 

Italy, through most of the late middle ages, had been fought over by the Pope and the Holy Roman Emperor; each of these was so intent on the other that both permitted the growth of powerful autonomous regions to further their own aims. By the beginning of the Renaissance, there were five major players in city-state politics: the Papal States (or Romagna) ruled by the Pope, the republics of Firenze (Florence) and Venezia (Venice), the kingdom of Napoli (Naples), and the duchy of Milano (Milan)

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 The area around Firenze (Florence), called Tuscany, was the center of Italian culture throughout the high middle ages. The most significant writers of the high middle ages and the Renaissance were Tuscans, including Dante, Boccaccio, and Machiavelli. So important is this area for Italian culture that after the unification of Italy in the nineteenth, the Tuscan language eventually became the official and widespread language of Italy.

While all of the city-states made significant contribution to Renaissance culture, the center of  the Renaissance was Firenze or Florence in English. It was primarily in Florence that the rulers sought to glorify their wealth and power by subsidizing literature, philosophy, science, architecture, and the arts. 

The phenomenal growth of wealth in these small city-states was directly responsible for the flowering of literature, scholarship and the other arts during the Italian Renaissance as the aristocracy and the powerful sought to praise and legitimate their power by patronizing the arts and scholarship.

The city-states of Italy in the fourteenth, fifteenth and sixteenth centuries, were places of constant uncertainty, both economically and politically. The extreme volatility of the situation provided the material for new intellectual, cultural, and social experiments that shaped a new European identity, one focused on humanistic studies, science, and the arts. This historical background is surprisingly volatile; you would expect that political stability and economic security are prerequisites for intellectual and cultural experimentation, but some of the most radical and far-reaching cultural work in the Renaissance was done in the periods of greatest insecurity.

 

How to cover the Renaissance? Rather than try a potted history of the Renaissance, let me draw your attention to European painting around the year 1450. 


 

Cimabue. Maestą (Madonna Enthroned). c.1270. 

 


For centuries, painters had been portraying the Virgin, the Christ child, and angels. Then painters suddenly began drawing portraits of real people, so realistic that you could identify the sitters with no trouble if they walked into the room. Jan van Eyck was among the first to do this, but Giovanni Bellini wasn't far behind. 

 
Jan van Eyck.
Man in a Red Turban. 1433. Oil on panel. The National Gallery, London, UK.

Van Eyck may also have been the creator of the first realistic self-portrait, if "Man in a Turban" is indeed him.

 

 

Durer certainly did self-portraits by about 1500, although they appear idealized, almost as Christ figures.

Albrecht Durer. Self-Portrait at 26. 1498. Oil on panel. Museo del Prado, Madrid, Spain.

 

Giovanni Bellini did the portrait of Sultan Mehmet II who had conquered Constantinople.

 

Portraits of women lagged, though one of the earliest is far more famous than any of these male representations. It was painted about 1505 by Leonardo da Vinci and shows the wife of a banker from Florence. (We know it as the Mona Lisa, of course.) 

Leonardo da Vinci. Mona Lisa (La Gioconda). 1503-1506. Oil on wood. Louvre, Paris, France.

 

Realistic representation came to sculpture, too. A good example might be the National Gallery's bust of Lorenzo de Medici, by Andrea del Verrochio.

 

 

 

What's going on here is more than new technical skills, such as painting in oil; it's a shift in outlook. Gone is the medieval preoccupation with piety, salvation, and shame toward one's body. Now we're back to the ancient view of the Greek philosopher Protagoras, who had famously called man the measure of all things. 

One can see this discovery of the individual emerging in the Gothic style, with its love of light and its belief that the material world possessed a beauty that could lead the mind to deep truths. 

 
 

Giotto

Painting, which had been a two-dimensional affair, becomes with Giotto  (c. 1266-1337) conscious of three-dimensional space. What to fill it with? 

Giotto. Madonna and Child Enthroned with Saints (Ognissanti Madonna). c.1305-1310.
Tempera on panel. Galleria degli Uffizi, Florence, Italy.

 

 

Giorgione (1478-1510) dared to paint nude and sensual women. 

Giorgione. Sleeping Venus. c.1508. Oil on canvas. Dresden Gallery, Dresden, Germany.

 

 

David Michelangelo (1475-1564) paints a defiant David, about as unashamed of his nakedness as one could possibly be. 

Michelangelo. David. 1501-1504. Marble. Galleria dell'Accademia, Florence, Italy.

 

 

 

Or consider Holbein's "The Ambassadors," painted about 1500. It shows two men confidently surrounded by the equipment of exploration, including a globe of the newly understood world. They are lavishly dressed, proof that knowledge produces wealth. The chief hint of the medieval past is the strangely distorted skull at the men's feet, a symbolic check on arrogance.

 

 

What is going on here? How had the world view changed from a focus on purely spiritual matters, unrealistic representation, to vivid, defiant realistic art?

next: The Italian Renaissance Humanists