German architecture of the 16th century. Renaissance architecture

1 - German Renaissance

From the beginning of the century until the end of the Thirty Years' War, the German Renaissance style dominated the architecture of German cities, with frequent Gothic elements and a strong Italian influence. The most outstanding German architects of this era are considered to be Paul Franke, Heinrich Schickhardt and Elias Goll

Among the horrors of the Thirty Years' War, the economic, spiritual and artistic life of the German Empire fell. The change in trade routes, which now, after the great discoveries on the other side of the ocean, bypassed their former hubs, the art-rich Upper German cities, and directed to the coastal cities of northwestern Europe, contributed to the economic and artistic impoverishment of the German states. In the middle of the 17th century, Germany in all areas of higher culture was likened to a desert, in the sands of which only isolated springs, fed from afar, made their way. The few skilled artists whom Germany produced at this time became foreigners in the foreign lands whither their earnings attracted them. But even before the end of the Thirty Years' War, crowds of foreigners were summoned to Germany by spiritual and secular princes, who only partially took the interests of art to heart; in the Catholic south it was mainly Italians, in the Protestant north the Dutch, and in the end both there and here mainly French. With the help of these foreign masters, their artists again rose to creative power and independent results only in the transition to the 18th century. If German art of the first decades of the 17th century still belongs to the German Renaissance, clinging to its shoots, then the history of German art of the end of the 17th century cannot be separated from its history in the 18th, since both constitute one historical whole. To trace the artistic successes of our fatherland throughout the seventeenth century is not so gratifying as it is instructive, although there will still be no shortage of comforting old memories or hope for the future.

In all areas of church and secular architecture at the beginning of the 17th century, only a few buildings appeared that represented the brilliant successes of the “German Renaissance”. They constantly mix Gothic experiences with individual motifs of the Italian Renaissance, even Italian Baroque, independently reworked in northern taste. Nordic scrollwork and wrought iron still occupy a significant place in the decoration of the building, if they are not outweighed by the Italian sense of form. In the second decade, these forms of jewelry, based on the shapes of volutes in the form of the auricle, used in different positions, begin to turn into fleshy, as if muscular, somewhat shapeless formations, called “cartilage.” They are most clearly shown in the book of samples by Rutger Kassmann (1659). Posterity reacted, perhaps, too negatively to the aesthetic dignity of these “cartilages”, which took over the frames and narrow fields of the walls and turned inclined forms into outgrowths in the grotesque style. Yet they reigned as a German form of decoration for about a generation, only to disappear again after the Thirty Years' War.

Rice. 181 - Cartilaginous ornament from the "Book of Designs" by Rutger Kassmann

The works of three skilled German architects, who stood at the height of their creative power around 1600, best introduce us to the German late Renaissance. The oldest of them, Paul Franke (circa 1538-1615), a gifted architect for Duke Henry Julius of Brunswick-Wolfenbüttel, still essentially belongs to the 16th century; Even in this century, his university building (Uleum) in Helmstedt (1592-1597) arose - a tall building, decorated in both main floors only on the portals and windows, the three-story roof pediment of which is all the more richly decorated with pilasters, niches and statues on the narrow and long sides His second main building is the Mary Church in Wolfenbüttel (from 1608), built in XVII century and is also, in essence, a three-nave Gothic hall church, some of whose forms are borrowed from the Renaissance and Baroque. How unique are the capitals of the octagonal pillars! How free and luxurious the openwork of the windows is! How tense are the “cartilages” of the frames of the longitudinal sides of the pediment, completed, however, after the death of the master.

Second famous architect of this era, Heinrich Schickhardt (1558-1634), architect to Duke Frederick of Württemberg, with whom he visited in 1599-1600. Italy, in his diaries and projects stored in the Stuttgart library, is more vital than in the surviving buildings; but we know that he, a student of Georg Behr, built many useful and art buildings, churches, castles and simple houses. Upon his return from Italy, he developed to artistic independence. Unfortunately, his main work - "New Building" ("Neue Bau"; 1600-1609) of the Stuttgart castle - has survived only in images. The high basement floor of this building carried three more floors under a steep roof. Only the four corner towers and the middle risalit (ledge) with a high pediment were decorated with pilasters. But all the windows and doors are topped with baroque flat pediments with volutes. In general, it gives almost the same impression as a modern city house with apartments.

Schickgardt's other major work was the foundation of the "City of Friendship" ("Freudenstadt") at the height of the Black Forest, intended to shelter Protestant fugitives from Austria. The houses of the large market square (1602), facing the street with a pediment, rest on Doric colonnades. Four corner buildings cut off at right angles - the town hall, the guest court, the hospital and the church - rest on arcades with Ionic columns. Opposite the narrow side of both wings of this peculiar church is a bell tower with a raised dome and a narrowed lantern. Emporas rest on arcades visible from the outside; the mesh vault and the openwork decorations of the balustrades also give a Gothic impression.

Only the third of these architects, Elias Goll of Augsburg (1573-1646), completely abandoned the Gothic language of forms. His autobiography, published by Christian Meier, already ensured his fame in posterity. His art was critically illuminated by Julius Baum. Gaul returned from Italy to Augsburg in 1601, a year later than Schickhardt, and built here in the austere style of the semi-Baroque Italian late Renaissance, without abandoning his basic Germanic mood. In the art of dismembering and reviving the general masses, he surpassed all his German contemporaries. Gaulle's buildings gave Augsburg a new imprint, which it still retains to this day. His "Beckenhaus" (1602) carries, like a corner building, above classical facades with pilasters, and on both the narrow and long sides, Germanic high pediments. The magnificent armory (1602-1607) rises to the flat arch of its broken crowning pediment in five richly dissected floors. The Doric, columned, rustic-finished portal makes a strong impression. Fantastic are the broken pediment frames, in a Baroque style, connecting the round windows on the first upper floor with the square ones placed below them. The butcher shop building (Fleischhaus; 1609), which is only vertically dissected, looks massive and solid, a strong building characteristic of Gaulle’s style, which rejects any borrowing from foreign models. The elongated living room at the wine market (1611) even refuses any added pediments and, dissected only by windows like dormer windows, is concentrated, complete and complete in itself. But Elias Gaul unleashed his full strength in the town hall (1614-1620). The completed project has the advantage over the earlier, abundant Upper Italian colonnades that it is a true work of the Germanized late Renaissance. With a width of fourteen windows, it has seven rows of windows one above the other in the middle risalit, topped with a half-barred triangular pediment. Pilasters adorn only the two octagonal towers on either side of this pedimented superstructure. Apart from the latter, the massive building is divided in powerful proportions into three parts, both vertically and horizontally.

The most prominent representative of art German Renaissance Albrecht Durer (1471-1528) was an outstanding painter, engraver, and scientist.

The Renaissance in Germany was very short in time - from about the middle of the 15th century. until the 1520s

Development of art The Renaissance in Germany was influenced by ideas Reformation(a religious and socio-political movement in Western and Central Europe in the 16th and early 17th centuries, aimed at reforming Catholic Christianity in accordance with the Bible). On that historical period also have to Peasants' War(1524-1526). All this: the brutal suppression of peasant unrest, religious schism and the departure of several lands from Catholicism - interrupted the development of the Renaissance in Germany.
The main masters of the German Renaissance:

Master E. S. (c. 1420-after 1468)
Matthias Grunewald (c. 1470-1528)
Albrecht Durer (1471-1528)
Lucas Cranach the Elder (1472-1553)
Hans von Kulmbach (bl.1480-1522)
Hans Baldung (c. 1484-1545)
Hans Holbein (the Younger) (1497-1543)
Urs Graf (c. 1490-c. 1529)
Albrecht Altdorfer (bl.1480-1538)
Faith Stoss (1447-1533)
Bernt Notke (c. 1435-1509)
Hans Burgkmair (1473-1531)
Vilm Dedek
Daniel Hopfer (c. 1470-1536), engraver

Let us turn to the works of the most outstanding masters.

Matthias Grunewald (1470/1475-1528)

Few of his works have survived, only about 10. The work of Grunewald (real name Matthias Gotthart Niedhardt) was rediscovered at the beginning of the 20th century. by the German Expressionists, who considered him their direct predecessor. His work also influenced the surrealists. Matthias Grünewald is considered the last great Northern Gothic artist.
Grunewald is considered a man of broad erudition and multifaceted talent, a typical representative of the intelligentsia of the Renaissance. He was concerned about problems of religion, philosophy and social order, as well as science. His art is permeated with humanism, compassion for the human suffering that he saw all around. Before his eyes, the Reformation took place - the first revolution in Europe, which shook the consciousness of people; he witnessed bloody reprisals against the rebel people. Endowed with a receptive soul, Grunewald, like Bosch, depicted in his art the true tragedy of the life of a noble and honest soul of a man who was persecuted and insulted in a cruel world that had lost its human face.
Grunewald's main work and a masterpiece of German painting is the Isenheim Altarpiece (1512-1516)

Museum exposition

Unterlinden Museum (Colmar, France). First layout of the altar

Until 1793, the altar was located in the Isenheim church. During the French Revolution, paintings and sculptures were transported to the regional city of Colmar for storage. The carved wooden parts remained in Isenheim and have been lost since 1860. Three altarpieces are currently on display separately in Colmar.
The first (external) scan depicts the scene of the crucifixion of Christ. The crucifix is ​​often found on Gothic altarpieces. But never before Matthias Grunewald has it been depicted so painfully. At Golgotha, Grunewald depicted his mother Mary, the Apostle John, Mary Magdalene and John the Baptist next to Jesus. The entire scene with the tortured figure of Christ, with the shocked, fainting Mother of God and other characters evokes a state of deep shock.
During the liturgical year, the altar doors were opened on certain dates, revealing paintings corresponding to the religious event. The Isenheim Altar has three layout options.

The second layout of the Isenheim altar depicts the Annunciation, the Nativity of Christ (“Angel Concert”) and the Ascension.

The third development of the Isenheim Altar with wooden sculptures Saints Anthony, Augustine and Jerome, believed to have been made by woodcarver Nicholas Hagenauer.

M. Grunewald “The Desecration of Christ” (1503). Alte Pinakothek (Munich)

The artist depicted a previously rarely seen iconographic plot of the Gospel. The guards brought Christ to the house of the high priest Caiaphas and mocked him. They put a blindfold over his eyes and, hitting him in the face, demanded to know who was beating him. Grunewald portrays Christ as a man of exceptional meekness and patience. The horror of cynical abuse and inhumanity is conveyed by Grunewald sharply through color - cold tones and their dissonances.
The painting also depicts the figure of Joseph from Arimathea, who would later remove the lifeless body of Christ from the Cross. And now Joseph is trying to persuade the guard to take pity on Christ. It’s as if you can hear the sharp sounds of a flute and drum beats made by a person standing in the depths to the left.

Lucas Cranach the Elder (1472-1553)

L. Cranach. Self-portrait (1550). Uffizi Gallery (Florence)

German painter and graphic artist of the Renaissance, master of portraiture, genre and biblical compositions. In his work he combined the traditions of Gothic and the principles of the Renaissance.
According to his convictions, he was a supporter of the ideas of the Reformation, a friend of Luther.

Lucas Cranach the Elder "Portrait of Martin Luther"

The artists Hans Cranach and Lucas Cranach the Younger are his sons.
Cranach initially studied fine art from his father. WITH early youth he wandered in search of a calling in Germany, Palestine, Austria, and the Netherlands.
Later, he created an art workshop, staffed by assistants, published books, and then sold them.
The artist's early works are distinguished by their innovation. In them he depicted the contradictions of his era. Having become a court artist, he achieved great skill in the portrait genre, capturing many of his famous contemporaries. Cranach's portraits were made with sympathy for the models, but without idealizing them and without any particular desire to penetrate into their inner world.

Lucas Cranach the Elder "Melancholy" (1532). Board, oil. 51x97 cm. State Museum Arts (Copenhagen)

The painting depicts three naked babies using sticks to try to roll a large ball through a hoop. The winged woman is whittling a rod, perhaps planning to make another hoop. This is melancholy. She looks thoughtfully past the playing children. According to the ideas of the Renaissance, the whole world is based on analogies. Melancholy at that time was associated with Saturn, the dog, and carpentry. The witches' jump in the black cloud refers to these analogies.

Lucas Cranach the Elder "Madonna and Child (Madonna of the Vineyard)" (circa 1520). State Museum of Fine Arts named after. A.S. Pushkin (Moscow)

Hans Holbein the Younger (1497-1543)

One of the greatest German artists. The most famous representative of this family. He studied painting with his father, Hans Holbein the Elder.

Hans Holbein the Younger. Self-Portrait (1542). Uffizi Gallery (Florence)

With his brother Ambrosius Holbein, he worked for two years in Basel (Switzerland) in the workshop of H. Herbster, where he met many humanists and scientists of this period, including Erasmus of Rotterdam, and illustrated his work “In Praise of Stupidity.”

Hans Holbein the Younger "Portrait of Erasmus of Rotterdam"

Holbein also illustrated other books and participated in the creation German translation Martin Luther Bible. Like his father, he created stained glass windows and painted portraits.
The most important works of Holbein's Basel period are the portrait of the lawyer Boniface Amerbach; ten paintings of the passion of the Lord; frescoes in the new town hall, organ doors in the local cathedral, altar doors for the Freiburg Cathedral, images of the Nativity of Christ and the Adoration of the Magi; Madonna and saints for the city of Solothurn; the famous “Madonna of the Meyer family”, portraits of Erasmus of Rotterdam, Dorothea Offenburg, as well as drawings for the Old Testament (91 sheets) and the “Dance of Death” (58 sheets), engraved on wood by Lutzelburger.

Hans Holbein the Younger "Madonna of Darmstadt" ("Madonna of the Meyer Family") (1526)

The painting was painted by Holbein under the influence of Italian religious painting Renaissance and portrait art of the old Dutch masters. In the center of the painting is the Virgin Mary with the baby Jesus, surrounded by Mayer, his first deceased and second wives and daughter. It is not known for certain who the other two characters depicted on the left are. The Darmstadt Madonna is a demonstration of Burgomaster Mayer's commitment to the Catholic faith. The unusual framing of the painting is explained by its purpose for the personal chapel of the Meyer family in the palace in Gundeldingen.
In 1526-1528. the artist stayed in England, where he met Thomas More. On his first visit to England, as well as on his second (1532-1543), he painted mainly portraits and was even the court painter of King Henry VIII.

Hans Holbein the Younger "Portrait of Henry VIII"

Holbein's paintings are distinguished by expressiveness of design, plasticity, thoughtful modeling, transparency of chiaroscuro, brightness and width of the brush. His drawings are full of observation, sometimes not without caustic sarcasm, and amaze with the beauty of their form and decoration. He brought the heyday of the Italian Renaissance to Germany, but did not lose his national character.

Hans Holbein the Younger "Portrait of Christina of Denmark" (1538). London National Gallery

Artists of the Danube School of Painting

"Danube School of Painting" - direction of German visual arts I half XVI V. (1500-1530)
In the works of artists " Danube school"A new genre has appeared - landscape.
There is no unity on the question of the origin of the school: according to most authors, its creators were the young Lucas Cranach the Elder, Jörg Brey the Elder, as well as a native of the Danube River region, Roelant Fruauf the Younger.
Others believe that the school arose on local soil, and that the visiting Cranach and Bray, traveling along the Danube, came under its influence.

Wolf Gruber "Landscape of the Danube near Krems" (1529). Cabinet of Prints (Berlin)

The painting of the “Danube School” was distinguished by artistic imagination, vivid emotionality, a fabulous perception of nature, interest in forest and river landscapes, space and light, a dynamic style of painting, expressiveness of drawing and color intensity.

Lucas Cranach the Elder "The Deer Hunt of Elector Frederick III the Wise" (1529)

TEST

in the discipline “History of Architecture and Construction Technology”

FULL NAME. student: Shcherbinin Sergey Andreevich

Grade book no.

Direction

Teacher: Danielyan Arthur Surenovich

Krasnodar 2013

1. Introduction 3

2. “Renaissance” architecture 4

3Renaissance architecture in Germany 5-20

4. Literature 21

Introduction.

Architecture is the art of constructing buildings and structures, as well as their complexes, creating a materially organized environment, necessary for people for their life and activities in accordance with their purpose, modern technical capabilities and the ethical view of society.

At each stage of the development of human experience, architecture has developed depending on material, social and climatic conditions, as well as in direct connection with national characteristics everyday life and artistic traditions, highly valued by all people.

Since ancient times, functional, technical and architectural-artistic requirements have been applied to architecture; more than 2 thousand years ago, the ancient Roman theorist Vetruvius said that architectural structures must have 3 qualities:

1 – benefit;

2 – strength;

3 – beauty.

However, in architecture, the defining requirement in all cases must be complete, i.e., in accordance with the functional process occurring in the useful buildings, while the structures and the entire technical structure of the building must be selected taking into account functional and architectural-artistic terms.

The artistic merits of a building consist not only in its decoration, sculpting, ornamentation, sculpture and the like, but primarily in the expressiveness of the entire composition, i.e., the general interconnected grouping of the external, internal volumes of the building and the environment.

IN test work I want to talk about the Renaissance in the Netherlands. Show and briefly talk about architectural buildings of the selected period, name outstanding architects.

"Renaissance" architecture:

Renaissance architecture is the period of development of architecture in European countries from the beginning of the 15th to the beginning of the 17th century, in the general course of the Renaissance and the development of the foundations of spiritual and material culture Ancient Greece and Rome. This period is turning point in the History of Architecture, especially in relation to the previous architectural style, Gothic. Gothic, unlike Renaissance architecture, sought inspiration in its own interpretation of Classical art.

Special meaning in this direction is given shape ancient architecture: symmetry, proportion, geometry and order components, as is clearly evidenced by surviving examples of Roman architecture. The complex proportions of medieval buildings are replaced by an orderly arrangement of columns, pilasters and lintels; asymmetrical outlines are replaced by a semicircle of an arch, a hemisphere of a dome, niches, and aedicules. Architecture is becoming order-based again.

The development of Renaissance Architecture led to innovations in the use of construction techniques and materials, and to the development of architectural vocabulary. It is important to note that the revival movement was characterized by a move away from the anonymity of artisans and the emergence of a personal style among architects. There are few known masters who built works in romanesque style, as well as the architects who built the magnificent Gothic cathedrals. While the works of the Renaissance, even small buildings or just projects were carefully documented from their very appearance.

The first representative of this trend can be called Filippo Brunelleschi, who worked in Florence, a city, along with Venice, considered a monument of the Renaissance. Then it spread to others Italian cities, to France, Germany, England, Russia and other countries.

Renaissance architecture in Germany.

The contradictions in the social development of Germany were reflected in German architecture of the 15th century. As in the Netherlands, there was not that decisive turn to new figurative content and a new language of architectural forms that characterizes the architecture of Italy. Although Gothic as a dominant architectural style was already on its way out, its traditions were still very strong; the vast majority of buildings are from the 15th century. to one degree or another bears the imprint of its influence. The sprouts of the new were forced to break through a difficult struggle through the thickness of conservative layers.

The share of monuments of religious architecture in Germany in the 15th century. was larger than in the Netherlands. The construction of grandiose Gothic cathedrals, begun in previous centuries (for example, the cathedral in Ulm), was still ongoing and completed. The new temple buildings, however, were no longer distinguished by such a scale. These were simpler churches, mostly of the hall type; naves of the same height in the absence of a transept (which is typical for this period) contributed to the merging of their internal space into a single visible whole. Special attention paid attention to the decorative design of vaults: vaults of mesh and other complex patterns predominated. Examples of such structures are the Church of Our Lady in Ingolstadt (1425 - 1536) and the Church in Annaberg (1499-1520). The extensions to old churches are also characterized by a single hall space - the choir of the Church of St. Lawrence in Nuremberg and the choir of the Church of Our Lady in Esslingen. The architectural forms themselves acquired greater complexity and whimsicality in the spirit of “flaming” Gothic. An example of the decorative richness of forms, already far from the previous strict spiritualism, can be considered the cloister of the Cathedral in Eichstätt (second half of the 15th century).

The Renaissance style originated in Italy and had a tremendous impact on the development of European architecture from the beginning of the 15th to the beginning of the 17th century. This was reflected not only in the revival of the ancient order system and the rejection of Gothic forms.

During this period, many new things were created in the field of civil architecture. Multi-storey city buildings - town halls, houses of merchant guilds, universities - became more elegant, with exquisite decor and noble proportions. Tall multi-stage pediments with scrolls appeared, decorated with sculptures and coats of arms.

Monuments of ancient architecture were everywhere in Italy, they reminded of the great past, their forms inspired architects. The Renaissance style, in a sense, is a continuation of the line of development of classical architecture after a thousand-year pause.

But Renaissance architecture was not simply expressed in the borrowing of architectural forms of antiquity. Such borrowing occurred, but these forms were used in a new way, in a different interpretation and different compositions. At the same time, new details were created and space-planning techniques emerged. But this was not a revival of ancient architecture. This was the process of creating a new Renaissance style.

In Italy architectural monuments early Renaissance are mainly located in Florence. The most significant among them is the elegant and yet technically simple dome of the Cathedral of Santa Maria del Fiore and the Pitti Palace, created by Filippo Brunelleschi, which determined the vector of development of Renaissance architecture.

Brunelleschi understood the essence of classics and its fundamental difference from Gothic. The point is not only that Gothic forms were replaced by antique ones. The point is not only in the specific forms of the new style, but also in its spirit. Gothic expressed tension, overcoming, struggle. Ancient classics in the interpretation of the Renaissance - expressed clarity, precision, certainty, and tranquility. In Gothic, the interior space of the building is dynamic; in the Renaissance, it is clearly limited and static.

Cathedral of Santa Maria del Fiore in Florence

Let's look at another fine example of early Renaissance architecture - the Church of Santa Maria Novella in Florence. Gothic elements are clearly visible here - lancet windows, arcade, etc. But the pediment of the building is Renaissance with characteristic curls. Gothic openwork rosettes are not made of stone, which is typical for Gothic, but painted; in general, the entire façade painting is made under the strong influence of Gothic. The church was built during the transitional period between styles from 1246 to 1360. But what an amazing building it turned out to be!

Church of Santa Maria Novella in Florence

The most prominent architect of the Renaissance style was Donato Bramante (1444-1514). The Tempietto Chapel built by him is one of best works architecture of this period. The secret of the attractiveness of this small building is the integrity of its composition, the sophistication of its proportions, the high level of detail drawing and the harmony of the entire structure.

Donato Bramante. Tempietto

The Little Temple or Tempietto is a small chapel built by Bramante for the Spanish monarchs Ferdinand and Isabella on the Roman Janiculum hill in 1502. It was the first work of the Milanese architect in Rome, and it created a real sensation.

The Renaissance style influenced all European architecture of that period. Famous Italian architects invited to different countries and they created their masterpieces taking into account local color and traditions. One of the largest and beautiful squares Europe in the Renaissance style is located in the small Czech town of Telc

In each state, the Renaissance style had its own characteristics. In Germany, the architecture of the northern regions was influenced by Dutch architecture, while in the south there was a powerful influence coming from Italy. The heyday of the style dates back to the second half of the 16th century. The most prominent monument of the German Renaissance is Heidelberg Castle.

In Germany, the Renaissance style began to develop later than in European countries, and at the beginning of the 16th century it became popular not only in secular architecture. An excellent example of religious architecture is the Jesuit court church of St. Michael in Munich.

St. Michael's Church in Munich

The architecture of Augsburg developed under the strong influence of Italian architecture. There are many beautiful examples of Renaissance buildings preserved here. The Old Town Hall is one of the most beautiful secular buildings of the Renaissance. Architect Elias Hohl. Built in 1615 – 1620. The Town Hall is famous for its Golden Hall with wall paintings and highly artistic cassette ceilings. On the facade there is a double-headed black eagle - a symbol of the Free Imperial City, and on the pediment there is a pine cone (Italian pine) - reminiscent of Ancient Rome and the history of the city of Augsburg, which is 2000 years old. The pine cone is the official heraldic symbol of the Roman legion stationed here, and in the 15th century the pine cone was depicted on the city's coat of arms.

Augsburg Maximilianstrasse, houses in the Renaissance style

In German cities, old buildings were often rebuilt, creating Renaissance facades for a complex of buildings, most often this was done in the central city square. An excellent example is the Old Town Hall in the Bavarian city of Rothenburg ob der Tauber. The facade of the building is richly decorated with sculptures and coats of arms.

Renaissance architecture

Renaissance (Renaissance) is an entire era in European cultural and artistic process; in Italy - the birthplace of the Renaissance, this is the period from the end of the 13th to the end of the 15th centuries. IN Western Europe(“beyond the Alps”) – 16th century. Renaissance is a transitional era in nature from the Middle Ages to the New Age (modernity).

Renaissance (Renaissance - French) - means renewed interest in the ancient heritage in the art and artistic culture of Europe, the revival of ancient (ancient Greek and Roman) classics

The birthplace of the Renaissance is Italy.

Chronology:

a/In Italy:

· Proto-Renaissance (Trecento) – 1260s – 1320s

· Early Renaissance (Quattrocento) – 10th century (from 1420s to 1500s)

· High (Papal Rome) – 1500-1520/1527

· Later (Cinquecento) or mannerism – from 1520/1527 – the end of the 16th century.

b/ on “North”:

· ars nova (New art of the North) – 15th century.

· the Renaissance itself (the international character of artistic culture in Europe, due to mutual influence masters from Italy and Trans-Alpine Europe (France, Germany, the Netherlands) - 16th century.

The Renaissance is a European historical and artistic phenomenon that originated in free commune cities:

Two independent centers for the development of art (Italy and the “North” - the Netherlands, the Duchy of Burgundy);

In Italy: revival of ancient artistic traditions(warrant, statue);

In the North: new religiosity.

Development of secular culture along with religious culture;

The spiritual basis of culture in Italy is humanism (education, nobility of spirit, secular culture), the idea of ​​the divine nature of the human creator; in Transalpine Europe - new piety (a special religious spirit of renewal)

The grand scale of creations (especially in papal Rome);

Renaissance architecture in Italy - types of buildings:

1. Cathedral complexes: basilica, tower (campanile), baptistery (baptistery) (Orvieto, Pisa, Siena, Florence, Venice, Rome)

2. The appearance of secular (public and private) buildings: communal palace (Florence, Siena), library (St. Mark's in Venice), colleges, foundling asylum (orphanage in Florence), city palace (palazzo), country villa;

3. Formation of ensemble urban structures (square, street)

4. Projects for an ideal temple (St. Peter’s Cathedral), an ideal city

5. Fortifications (fortresses)

6. Gardens (Italian terraced park)

Sculpture:

1. Liberation from the power of architecture (separation from the cathedral wall), the presence of its own space (a statue in a niche, in the interior, in the courtyard);

2. The appearance of a free-standing round statue and a sculptural group;

3. Monument public importance(monument).

Painting (monumental and easel):

1. Monumental fresco cycles of church paintings (Masaccio, Piero della Francesco, Michelangelo, Correggio)

2. The appearance of an easel painting in a frame (religious and secular subjects);

3. Improvement of the technique of oil painting and its dissemination (Jan Van Eyck in the North);

4. The appearance of the first genres in secular painting (portrait, mythological genre, landscape);

5. Opening a straight line ( linear perspective) prospects;

6. Formation local schools painting (Florence, Umbria, Venice, Mantua, Ferrara, etc.)

The emergence of a new type of artist (individual, artist, intellectual);

The power of the medieval pictorial canon is replaced by the stylistic paradigm of the development of art (Renaissance style);

Universalism artistic creativity(synthesis of science and art to discover the laws of nature and knowledge of the world - “discovery of the world and man”);

A new beginning educational process (art academies);

The beginning of the era of reproduction art: engravings (printed graphics).

Area: Italy - North (trans-Alpine lands), the territory of the Grand Duchy of Burgundy, France, Germany, the Netherlands, as well as the Czech Republic, Poland, etc.

Centers - royal and princely courts (Naples, Paris, Milan, Mantua, Dijon, Brussels), maritime republics (Venice, Pisa), trading cities (in Italy - free city-communes): Florence, Siena, Lucca, Orvieto, Spoleto, Bruges, Ghent, etc.

Timeline (varies for Italy and the North):

1. Proto-Renaissance – mid. XIII (from 1260) – end of X1U centuries.

· Ducento (ducento - “200) - 1260-1300

· Trecento (trecento - “300) – 1348 - 1400

2. Early Renaissance (quattrocento) – 1400/1426 – 1500

3. High Renaissance:

· papal Rome (Vatican) - 1500-1520/1527

· Venice – 1520-1540s.

4. Late Renaissance (Mannerism) – 1520/1527 – 1600 (in Venice – from the 1540s)

· Early Mannerism – 1520s – 1540s.

· High Mannerism - 1540s – 1560s.

· Late Mannerism – 1560s – 1580s.

Northern Renaissance:

1. 10th century – ars nova (“new art of the North”) – a term from the history of Dutch music introduced by E. Panofsky in relation to the initial period of the Northern Renaissance

2. 16th century – international Renaissance movement in Europe, due to the activities and influence Italian artists outside of Italy.

The ideological and ideological basis of the Renaissance in Italy and the North is different:

In Italy - an appeal to one’s own classical heritage (ancient, pagan at its core) of ancient Rome;

In the North - a reflection of religious and moral quests and the movement for spiritual renewal - “devozio moderno” (new piety).

That. Italian Renaissance“feeds” on its own classical roots and ancient culture, northern - heritage medieval culture(Gothic), religious in its core.

The motto of the Italian Renaissance is the revival of antiquity, the general program is “the discovery of the world and man”

The ideological basis is humanism and a humanistically educated personality, brought up on the ideas of religious renewal, ancient literary sources, the ideas of anthropocentrism and the philosophy of Neoplatonism.

At the center of the Renaissance “picture of the world” is a new ( an ideal person, hero, enlightened ruler, humanist) a person endowed with almost divine power, will and thirst for transformative activity.

A new idea of ​​the artist as an artist, a demiurge, an intellectual, creating out of nothing and thereby almost god-like.

The enormous importance and power of knowledge about the world, nature, beauty (research spirit, daring inquisitive mind, study of the laws of nature and the desire to apply them to the structure of society and human life). The idea of ​​the uniform laws of the world. The basis of ideas about the world is a harmonious world order, divine in its beauty, ideal.

Syncretism and universalism of knowledge - the unity of science, art, faith, figurative and symbolic perception of the world, interpretations of the laws of nature.

Formation of an ideal picture of the world based on the ideas of anthropocentrism, religious renewal and study of the laws of nature.

Heroes - both Christian saints (St. Sebastian), characters from biblical (David, Judith) and evangelical history, and heroes of ancient myths.

Formation based on humanism individualistic consciousness(bourgeois, aristocratic).

The Birth of Secular Education:

· theoretical intellectual studies,

· study of ancient sources,

· collecting (book collections, ancient monuments of art, numismatics),

· filling life with works of art, poetry, philosophy and the environment represented by humanistically educated people.

A huge impetus in the development of plastic arts (architecture, sculpture, painting) and artistic culture. The powerful impulses given in this era will develop in art over several centuries (XVII-XIX centuries), which will amount to classical period in the artistic culture of modern Europe.

Main artistic achievements:

· Formation of a single, optically and plastically convincing and holistic artistic model peace through doctrine of perspective(linear, light-air) and volumetric-plastic modeling of spatial bodies;

· Creation of visual visual model ideal world (utopian in essence), as if seen directly by the living by the human eye– “a picture as a view from a window”, an illusionistic “picture of the world”;

· The emergence of secular (bourgeois, court) culture and humanistic worldview;

· Ideal performances about a person (godlike, saint, martyr, hero);

· Universalism of creativity (research spirit, scientific and artistic-imaginative thinking) - the titans of the Renaissance (Leonardo, Michelangelo, Raphael) - architects, painters, sculptors, poets, researchers, archaeologists;

· Diversity of local “shades” of the Renaissance - the emergence of local art schools(Venice, Umbria, Florence, Siena, Ferrara, Naples, etc.);

· The emergence of architectural ensembles for the design of a city square;

· Emergence of “ideal cities” projects;

· Autonomy (separation) of sculpture from architecture, the appearance of a round statue;

· Appearance monumental sculpture in urban space (equestrian monument);

· Revival of the traditions of country housing - a villa and a garden and park ensemble;

· Revival and flourishing of portraiture, painting and sculpture;

· The emergence of a new form in painting - an easel painting in a frame;

· The birth of secular genres in painting (portrait, landscape, mythological composition - Florentine and Venetian schools),

ARCHITECTURE

Studying the ancient theoretical heritage (M. Vitruvius “Ten Books on Architecture”) and surviving ancient monuments (recording, measurements, archeology in Rome).

The emergence of theoretical research (treatises, books) along with architectural practice and in connection with the development of the doctrine of perspective (F. Brunelleschi, L.-B. Alberti).

Utopianism of architectural thinking (search for the “ideal” temple, ideal city, etc.).

Urban and suburban architecture.

The emergence of secular civil (public) and private buildings along with religious buildings.

Ensemble thinking (revival of the tradition of square design).

Proto-Renaissance:

1. Cathedral complexes (cathedral, baptistery, bell tower) in Pisa, Venice, Florence, Siena, Orvieto, Spoleto.

The type of Roman basilica with a transept in the eastern part and a dome on the middle cross, colored (patterned) marble facing (Tuscan “inlay” style), the use of geometrically clear divisions, harmonious proportions, semicircular arches, arcades on columns, order elements superimposed on the facades as decoration.

An 8-sided or round baptistery, a rectangular (square in cross-section) bell tower.

2. Civil ensembles (Palazzo della Signoria (Vecchio) in Florence, Palazzo Pubblico in Siena, etc.) with squares.

A type of fortress architecture with a bell tower and fortifications. A system of two city centers - cathedral (religious) and civil (with the meeting palace of the republican government).

In Florence, two squares (Cathedral and Signoria) form two city centers: religious and civil. In Venice, the religious and civic urban centers (St. Mark's Basilica and the Doge's Palace) form a single center in Piazza San Marco.

3. Construction and decoration of large church ensembles in pilgrimage centers (two-tier Basilica of San Francesco in Assisi) - in the traditions of late Gothic and local classicizing forms of architecture.

Early Renaissance - new tasks of architecture based on the synthesis of the classical tradition and the Gothic heritage:

· Revival of domed architecture (the Cathedral of Santa Maria del Fiore in Florence, whose dome was erected by the architect Filippo Brunelleschi in the 15th century);

· Revival of the classical order system (columns of the Corinthian order and the entablature were first revived by F. Brunelleschi during the construction of the Foundling House (foundling home) in Florence in 1426);

· Using the form triumphal arch for the decoration of the church facade (based on the design of L.-B. Alberti, the Church of Sant’Andrea in Mantua).

· The originality of the architecture of the early Renaissance lies in the combination of the traditions of Gothic and ancient classics

1. Civil buildings - the facade of the Orphanage (designed by F. Brunelleschi) and the ensemble of St. Annunziata Square are decorated with long columned porticoes symmetrically located on the facades of the buildings;

2. Construction of the dome of the Florentine Cathedral of Santa Maria del Fiore as a revival ancient tradition dome shapes

3. Palazzo (Strozzi, Ruccillai, Medici-Riccardi) - construction of city palaces as private residences of eminent people of the city (bourgeoisie) - Brunelleschi, Michelozzo; palazzo – a 3-4 storey building; has the shape of a closed square with a courtyard surrounded by a colonnade.

4. Design of house churches, sacristies and chapels (San Lorenzo - Pazzi Brunelleschi Chapel, Santo Spirito).

The use of overhead order forms, the influence of both antiquity and Gothic in the interpretation of the proportions of the columns (thinner than the width of the intercolumns), in the use of cross vaults.

Synthesis of architecture with sculpture (overlaid relief polychrome terracotta medallions depicting the Madonna, evangelists, paths, ornamental compositions works of the workshop of Luca della Robbia).

High and later Renaissance:

1. The Medici tomb in Florence, the work of Michelangelo the architect in the 16th century, is the embodiment of the synthesis of architecture and sculpture; he completed the architectural design, interior wall decorations and statues to decorate the space.

2. Construction of St. Peter's Cathedral in the Vatican from the end of the 15th to the middle of the 18th century. as the embodiment of the search for centric domed architecture (the influence of the traditions of cross-domed architecture of Byzantium); The author of the model of the cathedral dome is Michelangelo. Architects Donato Bramante, Rafael Santi, Antonio da Sangallo the Younger, Michelangelo Buonarotti, Carlo Maderna participated in the design and construction

3. Private country villas with gardens (Villa Medici in Poggio a Caiano near Florence, villa of the banker Chigi (Farnesina) in Rome, Palazzo Farnese, Villa Rotunda of the 16th century by Andrea Palladio, an architect from Vicenza);

4. Projects of “ideal” cities (Palma Nuova, Livorno port, etc.);

5. Construction of large bureaucratic and administrative buildings (Palazzo Cancelleria in Rome (papal office), Uffizi in Florence).

6. Palace construction in the residences of rulers (Palazzo Pitti in Florence, Palazzo del Te in Mantua).

Expression of the ideas of mannerism in architecture:

A play with proportions, the destruction of classical harmony in architecture, the enormous size of buildings, the idea of ​​greatness and grandiosity expressed by architectural means. Exaggerated scales, large and massive details, heavy plastic, exaggerated strength of the walls, compromise forms (“muffed” columns), adjoining large landscape gardening complexes (terrace gardens).