The Renaissance in Italy Prepare to Read
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CHAPTER 11 the Italian Renaissance and Beyond: The
CHAPTER 11 The Italian Renaissance and Beyond: The Politics of Culture, 1350 - 1550 CHAPTER OUTLINE I. The Cradle of the Renaissance: The Italian City-States Renaissance Italy was distinguished by the large number and political autonomy of its thriving city-states, the development of which can be divided into two distinct phases: the republicanism phase of the eleventh century and the principality phase of the fourteenth century. A. The Renaissance Republics: Florence and Venice In contrast to the majority of the Italian city-states, Florence and Venice held steadfastly to the traditions of republicanism under the patriciate system of political and artistic influence by a few great families. 1. Florence Under the Medici The amazingly wealthy banker Cosimo de' Medici emerged as the greatest of the Renaissance patrons. Seizing Florentine political power in 1434, Cosimo enforced a long period of unprecedented peace in which the arts could flourish. Always at the center of Florence's political affairs, Cosimo nevertheless rarely held formal office and shrewdly preferred to leverage influence behind the scenes. 2. Venice, the Cosmopolitan Republic Venice, the first European power to control colonies abroad, conquered a number of ports along the Geek coast. The resulting influx of exotic goods transformed Venice into a giant in the economics of the region and cosmopolitan in its social scope. Defined primarily by its social stability, the Venetian city- state became (and still is) the longest surviving republic in history at roughly five hundred years of independent affluence. B. Princes and Courtiers The ideals of the Renaissance, though created within the republican city-states, soon spread to the principalities ruled by one man (the prince). -
The Italian High Renaissance (Florence and Rome, 1495-1520)
The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c. -
Baldassare Castiglione's Love and Ideal Conduct
Chapter 1 Baldassare Castiglione’s B OOK OF THE COURTIER: Love and Ideal Conduct Baldassare Castiglione’s Book of the Courtier was quite possibly the single most popular secular book in sixteenth century Europe, pub- lished in dozens of editions in all major European languages. The Courtier is a complex text that has many reasons for its vast popular- ity. Over the years it has been read as a guide to courtly conduct, a meditation on the nature of service, a celebration of an elite com- munity, a reflection on power and subjection, a manual on self- fashioning, and much else besides. But The Courtier must also be seen as a book about love. The debates about love in The Courtier are not tangential to the main concerns of the text; they are funda- mental to it. To understand the impact of The Courtier on discourses of love, one must place the text’s debates about love in the context of the Platonic ideas promulgated by Ficino, Bembo, and others, as well as the practical realities of sexual and identity politics in early modern European society. Castiglione’s dialogue attempts to define the perfect Courtier, but this ideal figure of masculine self-control is threatened by the instability of romantic love. Castiglione has Pietro Bembo end the book’s debates with a praise of Platonic love that attempts to redefine love as empowering rather than debasing, a practice of self-fulfillment rather than subjection. Castiglione’s Bembo defines love as a solitary pursuit, and rejects the social in favor of the individual. -
Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action. -
Olga Zorzi Pugliese Castiglione's the Book of the Courtier (Il Libro Del
138 Book Reviews Olga Zorzi Pugliese Castiglione’s The Book of the Courtier (Il Libro del Cortegiano): A Classic in the Making Viaggio d’Europa 10. Naples: Edizioni Scientifiche Italiane, 2008. Pp 382. The five extant manuscripts of Baldassare Castiglione’s Libro del Cortegiano, docu- menting what Olga Zorzi Pugliese terms his “propensity for endless revision,” offer an unique opportunity to trace the stylistic and ideological development of one of the most influential books of the entire early modern period. For the fifteen years prior to its publication in 1528, as Castiglione’s own career path intersected with the trajectory of the crises of the Italian peninsula that culminated in the Sack of Rome, the courtier and diplomat continuously rewrote his ambitious treatise. An invaluable addition to Amadeo Quondam’s recent work on the textual history of the Cortegiano, Pugliese’s stimulating monograph is the fruit of a research project that exploited modern database technology to collate and search all five manuscripts. The extent of the divergences between consecutive drafts, a corollary of the manner in which Castiglione excised, shifted, revised, and reinstated individual passages over a series of manuscripts, has made it difficult for past scholars to track the complexity of his writing process. Vittorio Cian established the basic chronological order of the manu- scripts in the first half of the twentieth century, but the identification and analysis of specific variants remain an ongoing concern. Given the limited access provided by Castiglione’s descendants in Mantua to the autograph material in the family archive, comprising fragments of the first draft, the starting point of most contemporary criti- cism has been Ghino Ghinassi’s 1968 edition of the so-called seconda redazione that records the intermediate stage in the evolution of the treatise. -
The Architecture of the Italian Renaissance
•••••••• ••• •• • .. • ••••---• • • - • • ••••••• •• ••••••••• • •• ••• ••• •• • •••• .... ••• .. .. • .. •• • • .. ••••••••••••••• .. eo__,_.. _ ••,., .... • • •••••• ..... •••••• .. ••••• •-.• . PETER MlJRRAY . 0 • •-•• • • • •• • • • • • •• 0 ., • • • ...... ... • • , .,.._, • • , - _,._•- •• • •OH • • • u • o H ·o ,o ,.,,,. • . , ........,__ I- .,- --, - Bo&ton Public ~ BoeMft; MA 02111 The Architecture of the Italian Renaissance ... ... .. \ .- "' ~ - .· .., , #!ft . l . ,."- , .• ~ I' .; ... ..__ \ ... : ,. , ' l '~,, , . \ f I • ' L , , I ,, ~ ', • • L • '. • , I - I 11 •. -... \' I • ' j I • , • t l ' ·n I ' ' . • • \• \\i• _I >-. ' • - - . -, - •• ·- .J .. '- - ... ¥4 "- '"' I Pcrc1·'· , . The co11I 1~, bv, Glacou10 t l t.:• lla l'on.1 ,111d 1 ll01nc\ S t 1, XX \)O l)on1c111c. o Ponrnna. • The Architecture of the Italian Renaissance New Revised Edition Peter Murray 202 illustrations Schocken Books · New York • For M.D. H~ Teacher and Prie11d For the seamd edillo11 .I ltrwe f(!U,riucu cerurir, passtJgts-,wwbly thOS<' on St Ptter's awl 011 Pnlladfo~ clmrdses---mul I lr,rvl' takeu rhe t>pportrmil)' to itJcorporate m'1U)1 corrt·ctfons suggeSLed to nu.• byfriet1ds mu! re11iewers. T'he publishers lwvc allowed mr to ddd several nt•w illusrra,fons, and I slumld like 10 rltank .1\ Ir A,firlwd I Vlu,.e/trJOr h,'s /Jelp wft/J rhe~e. 711f 1,pporrrm,ty /t,,s 11/so bee,r ft1ke,; Jo rrv,se rhe Biblfogmpl,y. Fc>r t/Jis third edUfor, many r,l(lre s1m1II cluu~J!eS lwvi: been m"de a,,_d the Biblio,~raphy has (IJICt more hN!tl extet1si11ely revised dtul brought up to date berause there has l,een mt e,wrmc>uJ incretlJl' ;,, i111eres1 in lt.1lim, ,1rrhi1ea1JrP sittr<• 1963,. wlte-,r 11,is book was firs, publi$hed. It sh<>uld be 110/NI that I haw consistc11tl)' used t/1cj<>rm, 1./251JO and 1./25-30 to 111e,w,.firs1, 'at some poiHI betwt.·en 1-125 nnd 1430', .md, .stamd, 'begi,miug ilJ 1425 and rnding in 14.10'. -
The Immigration Conundrum in Italy and Spain
AMERICA Immigration, Law& The Immigration Conundrum in American Identity Italy and Spain Laws and policies in Italy and Spain reveal ambivalence about immigration. by Kitty Calavita Both Spain and Italy have significant undocumented immigration populations. In this article, Kitty Calavita explains the origins of increased migration to Italy and Spain, beginning in the 1980s, the role of immigrants in the economy, the anti-immigrant backlash, and immigration law and policy today. pain and Italy have long been countries of emigration, sending millions “Spain and Italy of working men, women, and children to every corner of the globe since the late 1800s. In the decades after World War II, Spaniards and Italians found labor opportunities closer to home, shuttling back and forth to passed their first Snorth and central Europe where they supplied the backbone of the industrial labor force for the post-war economic boom. This migrant stream began to immigration laws in reverse itself in the early 1980s, as many former emigrants returned home, and these southern European countries attracted large numbers of immigrants from 1985 and 1986, beyond their borders. Italy experienced its own “economic miracle” in the post-WWII decades, respectively.” drawing large numbers of rural people from its less developed southern regions to its northern industrial centers. By the mid-1970s the gap between Italy and its northern European neighbors had narrowed. The increased employment opportunities and higher wage levels associated with this transformation attracted immigrants from Africa, Asia, and Latin America, much as in earlier years Italians had migrated north to better jobs. By 2006, approximately 4 million foreigners resided in Italy, with an estimated 300,000 being undocumented. -
III. RAPHAEL (1483-1520) Biographical and Background Information 1. Raffaello Santi Born in Urbino, Then a Small but Important C
III. RAPHAEL (1483-1520) Biographical and background information 1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi. 2. Influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X. 3. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, foreshortening, chiaroscuro, contrapposto. 4. Painting media a. Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas. b. Fresco (painting on wet plaster); cartoon, pouncing, giornata. Selected works 5. Religious subjects a. Marriage of the Virgin (“Spozalizio”), 1504 (oil on roundheaded panel, 5’7” x 3’10”, Pinacoteca de Brera, Milan) b. Madonna of the Meadow, c. 1505 (oil on panel, 44.5” x 34.6”, Kunsthistorisches Museum, Vienna) c. Madonna del Cardellino (“Madonna of the Goldfinch”), 1506 (oil on panel, 3’5” x 2’5”, Uffizi Gallery, Florence) d. Virgin and Child with St. Sixtus and St. Barbara (“Sistine Madonna”), 1512-13 (oil on canvas, 8’8” x 6’5”, Gemäldegalerie, Dresden) 6. Portraits a. Agnolo Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) b. Maddalena Doni, c.1506 (oil on panel, 2’ ¾” x 1’5 ¾”, Pitti Palace, Florence) c. Cardinal Tommaso Inghirami, c. 1510-14 (oil on panel, 2’11 ¼” x 2’, Pitti Palace, Florence) d. Baldassare Castiglione, c. 1514-15 (oil on canvas, 2’8” x 2’2”, Louvre Museum, Paris) e. -
11 the Ciompi Revolt of 1378
The Ciompi Revolt of 1378: Socio-Political Constraints and Economic Demands of Workers in Renaissance Florence Alex Kitchel I. Introduction In June of 1378, political tensions between the Parte Guelpha (supporters of the Papacy) and the Ghibellines (supporters of the Holy Roman Emperor) were on the rise in Italy. These tensions stemmed from the Parte Guelpha’s use of proscriptions (either a death sentence or banishment/exile) and admonitions (denying one’s eligibility for magisterial office) to rid Ghibellines (and whomever else they wanted for whatever reasons) from participation in the government. However, the Guelphs had been unable to prevent their Ghibelline adversary, Salvestro de’ Medici, from obtaining the position of Gonfaloniere (“Standard-Bearer of Justice”), the most powerful position in the commune. By proposing an ultimately unsuccessful renewal of the anti-magnate Law of Ordinances, he was able to win the support of the popolo minuto (“little people”), who, at his bidding, ran around the city, burning and looting the houses of the Guelphs. By targeting specific families and also by allying themselves with the minor guilds, these “working poor” hoped to force negotiations for socio-economic and political reform upon the major-guildsmen. Instead, however, this forced the creation of a balìa (an oligarchic ruling committee of patricians), charged with suppressing the rioting throughout the city. With the city still high-strung, yet more rioting broke out in the following month. The few days before July 21, 1378 were shrouded in conspiracy and plotting. Fearing that the popolo minuto were holding secret meetings all throughout the city, the government arrested some of their leaders, and, under torture, these “little people” confessed to plans of creating three new guilds and eliminating forced loan policies. -
Italian Immigrants and Italy: an Introduction to the Multi-Media Package on Italy
DOCUMENT RESUME ED 067 332 SO 004 339 AUTHOR Witzel, Anne TITLE Italian Immigrants and Italy: An Introduction to the Multi-Media Package on Italy. INSTITUTION Toronto Board of Education (Ontario). Research Dept. PUB DATE May 69 NOTE 16p. EDRS PRICE MF-$0.65 HC -$ 3.29 DESCRIPTORS Annotated Bibliographies; *Cultural Background; Elementary Education; *European History; Geography; History; *Immigrants; *Italian Literature; Resource Guides; Secondary Education IDENTIFIERS *Italy ABSTRACT The largest group of non-English speaking immigrants who come to Canada are Italians, the vast majority of whom are from Southern Italy. This paper furnishes information on their cultural background and lists multi-media resources to introduce teachers to Italian society so that educators may better understand their students. Immigrant children are faced with choosing between two conflicting life styles -- the values of Canadian society and family values and customs. When teachers are aware of the problem they can cushion the culture shock for students and guide them througha transitional period. The paper deals with history, geography, and climate, explaining and suggesting some ideas on why Southern Italy differs from Northern and Central Italy. Cultural differencescan be traced not only to the above factors, but also to ethnic roots and the "culture of poverty" -- attitudes of the poor which create a mentality that perpetuates living at a subsistence level. The low status of women as it affects society is discussed, since the family is seen as a society in microcosm. The last portion of the paper presents primary sources, annotated bibliographies, and audio-visual materials. A related document is SO 004 351. -
The Ancient People of Italy Before the Rise of Rome, Italy Was a Patchwork
The Ancient People of Italy Before the rise of Rome, Italy was a patchwork of different cultures. Eventually they were all subsumed into Roman culture, but the cultural uniformity of Roman Italy erased what had once been a vast array of different peoples, cultures, languages, and civilizations. All these cultures existed before the Roman conquest of the Italian Peninsula, and unfortunately we know little about any of them before they caught the attention of Greek and Roman historians. Aside from a few inscriptions, most of what we know about the native people of Italy comes from Greek and Roman sources. Still, this information, combined with archaeological and linguistic information, gives us some idea about the peoples that once populated the Italian Peninsula. Italy was not isolated from the outside world, and neighboring people had much impact on its population. There were several foreign invasions of Italy during the period leading up to the Roman conquest that had important effects on the people of Italy. First there was the invasion of Alexander I of Epirus in 334 BC, which was followed by that of Pyrrhus of Epirus in 280 BC. Hannibal of Carthage invaded Italy during the Second Punic War (218–203 BC) with the express purpose of convincing Rome’s allies to abandon her. After the war, Rome rearranged its relations with many of the native people of Italy, much influenced by which peoples had remained loyal and which had supported their Carthaginian enemies. The sides different peoples took in these wars had major impacts on their destinies. In 91 BC, many of the peoples of Italy rebelled against Rome in the Social War. -
The Ideal of the Well-Rounded Man by Castiglione
World History – Kelemen The Ideal of the Well-Rounded Man by Castiglione The Greeks believed that a man ought to be “well-rounded” meaning that he should develop every aspect of his personality. Count Baldassare Castiglione, a sixteenth-century Italian diplomat, combined this ideal with new Renaissance ideals in a book called The Courtier. As the title implies, Castiglione was writing for the people in the courts of the nobility, but his ideas did influence the middle class merchants and craftsmen. For this evening's game, let us select someone to portray a perfect courtier. Characteristics of a He should explain all of the conditions and special qualities that a courtier Renaissance Man must have; if he mentions something that is not correct, anyone may correct him… Since doing the same thing over and over again is tiresome, we must vary out life with different occupations. For this reason, I would have our courtier sometimes take part in quiet and peaceful exercises. If he is to escape envy and appear agreeable to everyone, the courtier should join others in what they are doing. Yet he should always be careful to do those things that are praiseworthy. He must use good judgment to see that he never appears foolish. But let him laugh, joke, banter, frolic, and dance, yet in such a way that he shall always appear genial and discreet. And in whatever he does or says, let him do it with grace. I would have the courtier know literature, in particular those studies known as the humanities. He should be able to speak not only Latin but Greek, as well.