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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 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'. -
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. -
Boston University Capitignano IP 400 ART HISTORY Italian Medieval & Renaissance Art Summer 2008 Mark J
Boston University Capitignano IP 400 ART HISTORY Italian Medieval & Renaissance Art Summer 2008 Mark J. Aeschliman COURSE DESCRIPTION This course examines the history of painting, sculpture and architecture in Tuscany from roughly 1250 to 1564. It focuses on the master works of Italian painting, sculpture, and architecture of this period. Naturally, the focus is on works seen and experienced on the visits we make to Italian cities in the region, chiefly Florence. These works are covered in lecture format, emphasizing close visual analysis and iconographic investigation. TEXTBOOK History of Italian Renaissance Art: Painting, Sculpture, Architecture, Frederick Hartt and David Wilkins. NY: Abrams, 2003. ISBN: 0131832514 ASSIGNMENTS Students are expected to attend every class and to complete three assignments over the course of the six-week program. There is one essay assignment, one ten- minute oral presentation on an artwork of their choice, if possible, on site, and the final exam. The oral presentation may be made at any point during the course, but must be made by the end of the fifth week. Late work will be marked down one grade (A becomes A-) for every day past the deadline. Make-up exams will be administered in the case of illness. Students must notify the instructor before the exam and present a medical note or certificate when they return to class. GRADE: Attendance 10% Essay assignment 30% On-site presentation 30% Final Exam 30% WEEKLY SCHEDULE Week 1 Italy and Italian Art • In class: Introduction; Florence and its geographical, political, religious, commercial, and social background Required reading: Hartt chapters 1, 2, and 3 pp 27-103; Recommended reading: The Classical Tradition in the Middle Ages, Panofsky, in Spencer, pp 415-442; Week 2 The DUECENTO From the Byzantine Heritage to Giotto. -
Early Renaissance Italian Art
Dr. Max Grossman ARTH 3315 Fox Fine Arts A460 Spring 2019 Office hours: T 9:00-10:15am, Th 12:00-1:15pm CRN# 22554 Office tel: 915-747-7966 T/Th 3:00-4:20pm [email protected] Fox Fine Arts A458 Early Renaissance Italian Art The two centuries between the birth of Dante Alighieri in 1265 and the death of Cosimo de’ Medici in 1464 witnessed one of the greatest artistic revolutions in the history of Western civilization. The unprecedented economic expansion in major Italian cities and concomitant spread of humanistic culture and philosophy gave rise to what has come to be called the Renaissance, a complex and multifaceted movement embracing a wide range of intellectual developments. This course will treat the artistic production of the Italian city-republics in the late Duecento, Trecento and early Quattrocento, with particular emphasis on panel and fresco painting in Siena, Florence, Rome and Venice. The Early Italian Renaissance will be considered within its historical, political and social context, beginning with the careers of Duccio di Buoninsegna and Giotto di Bondone, progressing through the generation of Gentile da Fabriano, Filippo Brunelleschi and Masaccio, and concluding with the era of Leon Battista Alberti and Piero della Francesca. INSTRUCTOR BIOGRAPHY Dr. Grossman earned his B.A. in Art History and English at the University of California- Berkeley, and his M.A., M.Phil. and Ph.D. in Art History at Columbia University. After seven years of residence in Tuscany, he completed his dissertation on the civic architecture, urbanism and iconography of the Sienese Republic in the Middle Ages and Early Renaissance. -
The Italianate Englishman:‖ the Italian Influence in Elizabethan Literature
International Research and Review: Journal of Phi Beta Delta Volume 1, Issue 1 Fall 2011 Honor Society of International Scholars ISSN: pending URL: http://www.phibetadelta.org/index.php/publications/online- journalsirr/316-current-issue.html ―The Italianate Englishman:‖ The Italian Influence in Elizabethan Literature Maureen Fox, B.A. California State University, Fullerton Whether it was thought of positively or negatively, Italy is a popular topic of discussion in Elizabethan literature. Some Elizabethan writers mimic Italian writers and incorporate Italian ideas into their own works, while other writers alter Italian literary conventions and openly attack Italian morals. This range of positive and negative sentiments towards Italy ultimately reveals the existence of a love-hate relationship between England and the Italian Renaissance that became a foundation of Elizabethan literature. My paper illustrates how various Elizabethan writers, including Sir Thomas Wyatt, Edmund Spenser, and William Shakespeare, demonstrate their awe for the Italian Renaissance by imitating Italy‘s greatest poets and integrating Italian ideas into their texts, reveal their feelings of inferiority and jealously towards Italy‘s literary and social progress through their efforts to improve upon Italian literature, and show a genuine fear of Italy‘s negative influence on English morals and values by using their works to warn against Italians‘ immoral natures. Keywords: Italy, England, Elizabethan Literature, Love-hate relationship Whether it is described as ―'the influenced Elizabethan literature. A closer Apothecary-shop of poison for all Nations'‖ look at Elizabethan literature shows that (Thomas Nashe, Pierce Penilesse, His Italian culture influenced England society by Supplication to the Divell, 1592, as cited in serving as an inspiration for creativity and as Jones 251) or ―'the fairest Lady, yea the an outlet for criticism. -
Tuscan and Umbrian Countryside Featuring Italy's Charming Hill Towns October 16 – 26, 2015
Cupertino Senior Center presents… Tuscan and Umbrian Countryside featuring Italy's Charming Hill Towns October 16 – 26, 2015 Book Now & Save $200 Per Person For more information contact Kimberly Frey Cupertino Senior Center (408) 777-3150 [email protected] Small Group Travel rewards travelers with new perspectives. With just 12-24 passengers, these are the personal adventures that today's cultural explorers dream of. 11 Days ● 16 Meals: 9 Breakfasts, 2 Lunches, 5 Dinners Book Now see please note section for details Book Now Double $4,999 * & Save Single $5,449; Triple $4,969 $200 Regular rates: Per Person Double $5,199 Single $5,649; Triple $5,169 Included in Price: Round Trip Air from San Jose Intl Airport, Air Taxes and Fees/Surcharges, Hotel Transfers Not included in price: Cancellation Waiver and Insurance of $260 per person * All Rates are Per Person and are subject to change IMPORTANT CONDITIONS: Your price is subject to increase prior to the time you make full payment. Your price is not subject to increase after you make full payment, except for charges resulting from increases in government-imposed taxes or fees. Once deposited, you have 7 days to send us written consumer consent or withdraw consent and receive a full refund. (See registration form for consent.) 648832 Highlights… Rome , Orvieto, Spoleto, Cooking Class, Olive Oil Factory, Bevagna, Montefalco, Home-Hosted Lunch, Assisi, Winery, Florence, Siena, Monteriggioni, Volterra, San Gimignano Day 1: Friday, October 16, 2015 tour of historic Spoleto. See medieval Overnight Flight Board your overnight palaces, the ornate Duomo of Santa flight to the Italian capital city of Maria Assunta, and the magnificent Rome. -
The Piazza Della Signoria: the Visualization of Political Discourse Through Sculpture
THE PIAZZA DELLA SIGNORIA: THE VISUALIZATION OF POLITICAL DISCOURSE THROUGH SCULPTURE A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Danielle M. Brady Deibel May, 2017 Thesis written by Danielle M. Brady Deibel B.A., John Carroll University, 2013 M.A., Kent State University, 2017 Approved by ___________________________________________________________ Gustav Medicus, Ph.D., Advisor ___________________________________________________________ Michael Loderstedt, M.F.A., Interim Director, School of Art ___________________________________________________________ John R. Crawford-Spinelli, Ed. D., Dean, College of the Arts TABLE OF CONTENTS Page ACKNOWLEDGMENTS………………………………………………………………………..iv LIST OF FIGURES……………………………………………………………………………….v CHAPTER I. INTRODUCTION………………………………………………………………………………1 II. THE ORIGINS OF THE PIAZZA DELLA SIGNORIA………………………………………3 III.THE JEWISH HEROINE AND HERO CRAFTED BY DONATELLO……………………17 IV. IL GIGANTE: THE AMBIGUITY OF MICHELANGELO………………………………..38 V. CONCLUSION……………………………………………………………………………….54 BIBLIOGRAPHY…………………………………………………………………………..........57 FIGURES………………………………………………………………………………………...60 iii ACKNOWLEDGMENTS First, I would like to thank my advisor Dr. Gustav Medicus, who not only encouraged me to pursue this topic, but answered every one of my detailed questions and helped me through the many different tangents I found myself stuck in. It has been a privilege to be under the tutelage of such an accomplished art historian and engaging person. I also want to thank Dr. Diane Scillia and Dr. Carol Salus for your perspectives and words of reassurance. To Darcy Egan and Kaitie Nock, I offer my unending gratitude for your support, technological savvy, and brilliant editing which kept me motivated to write. To my husband Matthew Deibel, bless you for continuing to believe in my capabilities when I was down or feeling lost. -
The Intellectual Renaissance in Italy New Era? Both Positions Can Be Dcfended
Michelangelo's Creation of Adam on the Sist¡ne Chapel ceiling CHAPTER OUTLINE CRITICAL THINKINC AND FOCUS QUESTTONS l-\ Ho* did Renaissance art and the humanist Meaning and Characteristics of the Italian { -ov"-cnt reflect the potitical, economic, and Renaissance social developments of the period? f) What characteristics distinguish the Renaissance fiom æ \< th" Middle Ages? CONNECTIONS TO TODAY The Making of Renaissance Society How does the concept of the Renaissance have |-\| wirat maior social changes occurred during the relevance to the early twenty-fust century? { R"r,.irr*."1 a The Italian States in the Renaissance How did MachiavelÌi's works reflect the political a realities of Renaissance ltaly? WERE THE FOURTEENTH and fifteenth cenruries a continuation of the Middle Ages or the beginning of a The Intellectual Renaissance in Italy new era? Both positions can be dcfended. Although the what was humanism, and what effect did it have on ¡fì disintegrative pattems of the fourteenth century phllosophy, education, aftirudes toward politics, and the { continued into the fifteenth, at the same time there were writing of history? elements of recovery that made the fifteenth century a The Artistic Renaissance period of significant political, economic, artistic, and intellectual change . The humanists or intellectuals of the wtrat were the chief characteristics of Renaissance art, ¡J age called their period (from the mid-fourteenth to the :(. *d how did it differ in Italy and northern Europe? mid-sixtecnth century) an age of rebirth, believir-rg that The European State in the Renaissance thcy had rcstored arts and lettels to new glory aftel they ¡-\ Whv do historians sometimes refer to the monarchies had been "neglected" or "dead" for centuries. -
The Origins of the Italian Renaissance
The Origins of the Italian Renaissance The Apex of Medieval Civilization: 1100-1300 Medieval civilization reached its high point during the 12th and 13th centuries. This was a period of population growth. There had been no major epidemics or widespread wars since about the year 1000 and so the population had gradually expanded. Europe also enjoyed an economic expansion during these centuries. Agricultural output matched the rising population and there were no significant crop failures that might have caused famines. While almost everybody lived in the countryside, town life revived after 1000. The establishment of the guild system and the introduction of a money economy led to a significant increase in manufacturing and trade. Local and long-distance trade also benefited from the relatively stable political climate. The Crusades to the Holy Land tended to rid Europe of many troublemakers who frequently looted their way through the Byzantine Empire and Muslim kingdoms of the Middle East. The 12th and 13th centuries were also socially stable. Kings and nobles had a feudal relationship. Nobles enjoyed the rights to their lands, exemption from taxes, and ownership of their serfs, in return for their support for the king. Serfs comprised the vast majority of the population, and while their lives were hard, their harvests were generally reliable, their taxes were stable (in fact, taxes hadn’t risen much at all over the course of the two centuries), and the Church guaranteed them eternal salvation if they followed its teachings. Finally, the High Middle Ages is often referred to as an “Age of Faith.” The Roman Catholic Church was at the height of its power. -
The Italian Renaissance
The Renaissance -Key Concepts- I. Why in Italy at this Time? Revival of Commerce and Town Building was more intense in Italy Feudalism fell apart faster in Italy Presence of old buildings and art was stronger in Italy than elsewhere in Europe II. European Economic Recovery Dramatic recovery of European commerce Important industries flourish in Northern Italy The significance of printing and mining as new industries The fifteenth-century banking empire of the Medici family in Florence III. Renaissance Economics Profit-making became more important than Church beliefs To overcome guilt, profit- makers gave money to others Influence of guilds declining High profits led to new businesses III. Renaissance Economics (cont) “Cottage Industry” Art became the way to advertise economic success Intensified commercial competition created the need to be efficient IV. Renaissance Society Northern Italy was urban and commercial while Southern Italy mostly was mostly rural Very family-oriented society Marriages were frequently arranged to strengthen business ties IV. Renaissance Society (cont) Father’s authority over his family Some wealthy women played an important role in Italian city-states Concentration of wealth among great families -- “populo grosso” IV. Renaissance Society (cont) Number of portraits painted during this era illustrates focus on the individual A true nobleman Growing humanism and everyday life in a Christian context Focus on man’s free will Rewards for living excellently came in this life V. Renaissance Politics Same pattern and problems as those of the Greek city-states Inter-city warfare led to new advances in diplomacy -- “balance of power” V. Renaissance Politics (cont) Rome, Venice, Milan, Florence, and the Kingdom of Naples Renaissance Venice Renaissance Florence --Lorenzo the Magnificent (1449-1492) VI. -
Unit 1: the Renaissance
EUROPEAN HISTORY 1. The Renaissance Form 3 1 Unit 1.1 - Introduction to the Renaissance 1. Charlemagne 2. Chartres Cathedral 3. Medieval stained glass window 4. F. Biondo 5. G. Vasari Definition and origin of the term ‘Renaissance’ 1. The Renaissance began in Italy during the 14th century during the lifetime of Dante and Giotto and ended in the late 16th century when Shakespeare and Galileo Galilei were still living. The word ‘Renaissance’ was first used by the French historian Jules Michelet in a book entitled The Civilzation of the Renaissance in Italy (1860). Michelet invented the word ‘Renaissance’, but scholars and artists who lived in the 15th and 16th centuries felt that they were living in a time of great cultural change. The Italian painter Giorgio Vasari (1511-74) wrote in 1550 that the arts were moving towards perfection as they had been during the ancient civilizations of Greece and Rome. The humanist scholar Marsilio Ficino (1433-99) spoke of a new golden age in Florence that had ‘restored to life the arts, which were almost extinct.’ 2. The word ‘Renaissance’ means ‘rebirth’ i.e. the rebirth of classical civilization of Greece and Rome after a long period of decline during the Middle Ages. Other previous ‘renaissances’ in the Middle Ages 3. A Renaissance scholar, Flavio Biondo (1392-1463), used for the first time the term medium aevum or ‘middle ages’ to describe the period between the fall of the Roman Empire and the Renaissance (i.e. from 400 to 1300 A.D.). But historians now agree that classical culture did not die out completely in Europe during the Middle Ages.