the renaissance - yontz stac classes · “renaissance man” as he studied a wide ... religious...

31
The Renaissance Revival of Classical Rome in Italy 1400-1600s

Upload: lekiet

Post on 01-Sep-2018

215 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

The Renaissance

Revival of Classical Rome in Italy 1400-1600s

Page 2: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

LASTWEEKLastclassItalkedaboutthebeginningoftheChris<anEra.ItbeganinthelateRomanEmpire(330CE)whenConstan<nemadeChris<anitythe‘official’religionoftheRomanEmpire.Duringthe1000+yearsbetweenthefallofRomeandtheEarlyRenaissanceEuropewasrebuilding.Welookedatsomeofthatartworklastweek.Nolongeraretheremanygodsandgoddesses,thereisonegod.ManysaytheVirginMaryemergedbecausethepeoples<llneededafemaledeity.Regardless,shebecameamajorfigureofworship.ThemainotherfemaleimagewasEve.

ThefemaleinChris<anArt---SaintsorSinners.WeseemanyimagesofEveandtheVirginMary.Imagesofwomenandrolesforwomenarelimited.

Page 3: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

THEMIDDLEAGESDuringtheMiddleAgesTheCatholicChurchhadenormouspower.AlmostallartworkwasChris<anthatwascommissionedbytheChurch.Thereligious,socialandpoli<calstructureswereGodcentered.ItwasbelievedthatGodwasresponsibleforeverythingandthepopewashisinstrumentonearth.ManyoftheadvanceswesawinGreeceandRome(philosophy,mathema<cs,medical,etc.),theknowledgewaskeptaliveintheEasternpartoftheEmpirebutlosttotheWest.ArtworkfocusedonChurchsanc<onedChris<anthemes.ItwasoWenhighlyemo<onal.

VirginwiththeDeadChrist(Rö3genPietà),fromtheRhineland,Germany,ca.1300–1325.Paintedwood,2’101/2”high.RheinischesLandemuseum,Bonn.

Page 4: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

THERENAISSANCETheRenaissanceisaperiodinWesternhistorythatfollowstheMiddleAges.WeseearevivalofinterestinclassicallearningandideasofancientGreeceandRome.Inaddi<ontorevivalofthehumani<esfromGreeceandRome,thebeliefin,“thegeniusofman…theuniqueandextraordinaryabilityofthehumanmind”.Ar<stsdevelopedtheuseof‘linearperspec<ve’inpain<ngtoshowdepthandtheillusionof3dimensionalform.Leonardowasconsideredtheul<mate“RenaissanceMan”ashestudiedawiderangeoftopicsincludinganatomy,geology,botany,hydraulics,flightandweapons.

VitruvianMan,LeonardodaVinci,1490.Thisdrawing,basedonthewri<ngofVitruvius,isLeonardo’srepresenta<onofmanatthecenterofthecosmos.Inaddi<on,itshowstheperfec<onofhumanpropor<onsasthemanfitsperfectlyintoacircleandsquare,symbolsofmathema<calperfec<on.

Page 5: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

THERENAISSANCETheperiodbetween1450and1650wasa<meofrevolu<onaryculturalchange.Religiouschange,thegrowthofempires,educa<onaldevelopments,socialmobility,theater,art,theprin<ngpressandmedicaladvancesreshapedthehistoryoftheWest.Inthislecturewelookatartworksthathighlightchangesinthoughtaboutreligion,sexualityandrace.LeonardodaVincididtwoversionsofthispain<ng,TheMadonnaoftheRocks.Inthisone,from1483-6,MaryisshownwithherarmaroundSt.JohntheBap<st.TheChristchildisblessinghimwhileanangelpointstowardthechild.Gonearethehaloesandthrone,Leonardostrivedtoshowdivinitythroughidealgraceandbeauty.

LeonardodaVinciisoneofthemostfamousar<stsinWesternhistory.Wealsoknowthathelovedtosurroundhimselfwithbeau<fulyoungmen.

Page 6: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

IMPORTANTHISTORICALEVENTSThingsthathappeninhistoryarealwayscomplicated.Thewaywetellwhathappenedmustbesimplifiedinordertogettothepoint.JustknowthisasIspeakaboutthingsthatareinfluencingchange.EventsthatcreatedsignificantchangeinEuropeandespeciallyItalyinthe1400s:1.TheOkomanTurksofficiallyendedtheByzan<neEmpire(lateRoman)in1453withtheconquestofConstan<nople.Byzan<nescholars,whohadkeptGreekandRomanknowledgealive,migratedWest.TheybroughttoWesternEuropeknowledgeofGreekciviliza<onwhichledtotheRenaissancedevelopmentofhumanismandscience.

MosaicoftheByzan<neEmperorKomnenos,11thCentury.

Page 7: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

Moreevents:2.WiththerebuildingofRomepeoplediscoveredandbecameentrancedbytheartandarchitectureoftheClassicalGreekandRomanciviliza<ons.3.AnewclasswasemergingoutoftheFeudalMiddleAges,amerchantclass,providingpeoplewithwealthandpowerwhocouldrivaltheChurchinthecommissioningofart.

WeseethedevelopmentofothersubjectsinartbesidesjustChris<anones.NowweseeportraitsofwealthypeopleandartworkaboutGreekandRomangods,goddessesandmyth.

TheDuchessBanstaSforza(DuchessofUrbino),PieroDellaFrancesca,1465-1472ThereisalsoafacingportraitoftheDuke.

Page 8: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

8

ITALYAROUND1400It’simportanttorememberthatItalywasn’taunifiedcountryasitisnow.Itwasacollec<onofcitystates,oWenatwar.Florence,Rome,MilanandVenicewerethemostpowerful.SomeoftheearliestachievementsoftheRenaissancehappenedinFlorenceasaresultofthepatronageofthepowerfulMedicifamily.

CosimodeMedicisupportedtheartsandhumani<esinFlorence.TherewerealsofourMedicipopes.

Page 9: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

ReturntoClassicalStyleDonatello’sbronzestatueofDavid,wasthefirstnudesculptureintheroundsinceClassicalRome.Revolu<onaryforit’sday,thestatuereflectedde’MedicitasteforGreekandRomanartaswellasDonatello’sownsensibili<es.WhilewehavenorecordofDonatello’ssexualpreference,muchaken<onisgivetothesensualityoftheyoungDavid.InthisbiblicalstoryofDavidandGoliath,Davidisnolongerrepresentedasakingbutasaninnocent,youngman.No<cethesimilari<esanddifferenceswiththeGreekstatue.

DONATELLO,David,late1420s–late1450s.

Bronze,5’2¼“.Florence.

POLYKLEITOS,(SpearBearer).RomanmarblecopyfromPompeii,Italy,aWerabronzeoriginalofca.450–440BCE

Page 10: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

SANDROBOTTICELLI,BirthofVenus,ca.1482.Temperaoncanvas,approx.5’8”x9’1”.GalleriadegliUffizi,Florence.

AlsocommissionedbytheMedici,thethemeforthispain<ngcomesfromtheRomanpoet,Ovid’sMetamorphoses.Thebookcontainsover250mythsandchroniclesthehistoryoftheworldfromcrea<ontotheendofJuliusCaesar’sreign.InthisstoryVenusisbeingbirthedfromthesea.Standingonaseashell,ontheleWthepersonifica<onofwindblowsherdryasamaidenwaitstocoverherbody.

MythologyinRenaissanceArt

Page 11: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

GreekMythologyinRenaissanceArt

SANDROBOTTICELLI,BirthofVenus,ca.1482.Temperaoncanvas,approx.5’8”x9’1”.GalleriadegliUffizi,Florence.

AndRomancopyofGreekstatueofVenus.OneverysimilarwasownedbytheMedicifamily.

Ihopeyoucouldalreadymaketheconnec<onbetweentheposeoftheVenusinBoncelli’spain<ngandtheearlierGreekone.

Thepain<ngcanalsobeenseenasanodetothewealthyMedicifamily.

Page 12: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

As we have already studied, these Roman copies of Greek originals of Venus, the goddess of beauty were some of the first nude representations of women in Greek art since the Greeks

did not consider the female body either beautiful or perfect in the way they viewed the male. These images however, became the model for representations of the female body in art.

12

Page 13: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

MASACCIO,ExpulsionofAdamandEvefromEden,BrancacciChapel,SantaMariadel

Carmine,Florence,Italy,ca.1425.

Fresco,7’x2’11”

ReligioninRenaissanceArtTheChurchwasalsocommissioningartintheRenaissance.EventhoughGreekthemeswerepagan,theleadersappreciatedthestyle.SoweseesimilarnudebodiesinChris<anart.ThestoryofAdamandEvecon<nuedtobehighlyrepresentedasareminderthatawomanwasresponsiblefor‘originalsin.’storiesfromthebible.

Durer,,AdamandEve,1504,engraving.

Page 14: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

TITIAN,VenusofUrbino,1538.Oiloncanvas,approx.4’x5’6”.GalleriadegliUffizi,Florence.Thispain<ngispaintedwithoilpaint.Theearlieronesareeitherfresco(paintonplaster)ortempera(pigmentineggbinder).Theydonotallowthismuchnaturalism.

CommissionsandMeaningThispain<ngbyTi<an,wascommissionedbytheDukeofUrbinoforhiswife.The<tletellsusshe’sVenus,agoddess.However,ifweanalyzethepain<ngweseesomethingnewhappening.Ti<anwasaveryfamousVene<anpainterknownforsmoothbrushworkandabilitytocreatetheillusionoflife.OneofthewaysRenaissancear<stswereabletocreatesuchsensi<veillusionstoreallifewastheinven<onofoilpaint.

Page 15: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

TITIAN,basedhisgestureonanearlierpainKngbyhisteacher,Giorgioni,whichdepictedVenussleepinginalandscape.

CommissionsandMeaningTheearlierGreekstatueisnowreclining,witheveryaspectofherbody,includingsymbolsinthepain<ng,aboutero<cism.Fromthispointforwardwewillseemanymanypain<ngswithrecliningnudefemalefigures.The“idealized”femalebodyhasbecomeanobjectofmaledesire,acommodity,ero<cizedandobjec<fied,andnooneeverreallytalkedaboutitinArtHistoryun<lsecondwavefeminisminthe1970s.

Page 16: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

RAPHAEL,MadonnaintheMeadow,1505.Oilonpanel,3’81/2”x2’101/4”.KunsthistorischesMuseum,Vienna.

TheChurchandCommissionsTheCatholicChurchwass<llcommissioningalotofartwork.Infact,theyfeltitenhancedtheirpowertoworkwithfamousar<sts.Manypain<ngsoftheVirginMarywithChristwerecommissionedastheVirginneverlostpopularity.ButbecauseofHumanism,thehaloesbegintodisappear.TheHolyFamilyappearsmorelikerealpeople.Allpain<ngsoftheMadonnaandChristnowfollowtheleadsetbyLeonardoaswesawearlier.Representedmorelikeafamily,withhumanquali<esandposes.

Page 17: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

I’mmen<oningthisbecausethisideaofthear<stasgenius-creator,inven<ngthingsoutofnothing,followesusthroughhistory.Importantly,un<lrecentlytherewasnoroomforwomeninthisviewof‘crea<on.’Menweretheac<veones.Womenwerepassive.Someofthisissimplycon<nuingAristotle’sideasyoulookedatlastweek.

TheBirthoftheAr<stAr<stssuchasLeonardodaVincibegantoseekhighersocialandculturalsocialstatusfortheirprofession.

Leonardoarguedthatpain<ng,sculptureandarchitecturerequirednotjustcraWbutintellectualknowledge--Knowledgeofanatomy,op<cs,mathema<cs.

Healsoequatedartwithagod-likeact…likeGodcrea<ngtheuniversefromthevoid,thear<stinventsapersonorlandscapeoutofnothing.

Atrulyblessedar<stisapar<cipantinthedivineprocessofcrea<on.

Page 18: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

Caravaggio,TheCrownofThorns,1602In1517Mar<nLutherakackedtheCatholicChurchforit’scorrup<on,greedandabuseofpower,andini<atedamovementthattransformedreligious,poli<calandartofEurope.Protestantscri<cizedChris<anartforwhattheythoughtwerecultimages.

RenaissancetoBaroqueRenaissanceartwasaboutrevivingclassicalideasandform.Ra<onality,order,logicwerefollowedinallthings.AswemoveintoLateRenaissancetoBaroqueArtstylesbecomemoreemo<onalandmorediversesubjectsaredepicted.Baroqueartisdefinedbyit’suseoflight.BecauseofthegrowthofMar<nLutherandtheProtestantReforma<on,theCatholicChurchencouragedvisualartthatwouldguidethefaithful.Inordertomoredirectlyengagetheviewer,powerfulanddrama<crealism,accentua<ngcontrastoflightanddarkand<ghtlycroppingcomposi<onsenhancedemo<onalimpact.Artworkshouldinstruc<onandinspire.

Page 19: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

Oneofthesefemalear<stswas,ArtemisiaGen<leschi.Self-portraitastheAllegoryofPainKng,1638-9.

WomeninRenaissanceandBaroqueArtBeforethe1970stherewerenowomenar<stsmen<onedinanyWesternArtHistorybooks.Therewerenopeopleofcoloreitherbutwe’llgettothatabitlaterinthesemester.EmpoweredbytheideasoftheFeministMovement,femaleArtHistoriansbegantochallengewhatwascalled“thecanon.”Thecanonwasatone<meconsideredfixed.Itwasthebodyofartworksconsideredtobethebestexamplesofastyleorgenre.Theartworksinthecanonwereconsideredthe‘masterpieces’andthisiswhatwasstudiedinart.Ques<onsaboutthecanonledtodiscoveriesofwomenar<stsinhistorywhohadneverbeforebeenconsidered.

Page 20: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

JudithBeheadingHolophernes,ArtemisiaGen<leschi,1614-20.

WomeninRenaissanceandBaroqueArtArtemisiaGen<leschiwasapainterwhofollowedCaravaggio,afamousBaroquepainter.Mostofherpain<ngsfocusonheroinesfromtheBible.Inthispain<ng,Judith,atradi<onalexampleofvirtueandchas<ty,isshowndecapita<ngHolophernes,whohadplannedtodestroyhervillage.Shehasseducedhimandisnowshownviolentlybeheadinghimbecomingthesaviorofherpeople.Thispain<ngwasprobablycommissionedbyCosimoIIde’MedicibutduetotheviolenceitwasplacedinadarkcornerofhisPalaceandGen<leschiwasnotpaidun<laWerhisdeath.

Page 21: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

JudithandherMaidservant

WomeninRenaissanceandBaroqueArtGen<leschididdifferentversionsofthestory.

Page 22: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

WomeninRenaissanceandBaroqueArtThestoryofJudithwasverypopularinart.AlotofdiscussionhasbeengiventotheviolenceinGen<leschi’spain<ng.Herearlytrainingwasfromherfather,afamouspainter.WhenshewasrejectedfromartacademiesshestudiedwithAgos<noTassi,herfather’sfriend.In1612,herfatherbroughtchargesagainstTassiforrapinghisdaughter.Ahighlypublicizedtrialendedwithnoconvic<on.However,thistrauma<ceventisthoughttohaveaffectedthetoneofthepain<ng.

Thesearetwomorepain<ngsofthesamethemebymalear<stsCaravaggioand

PhilipvanDijk.NeitherhastheviolenceofGen<leschi.

Page 23: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

WomeninRenaissanceandBaroqueArtJudithLeysterwasinfluencedbytheDutchar<stFransHalsandmuchofherworkhadbeenakributedtohim.Mostofherworkwascreatedbeforehermarriage.Inaddi<ontoraisingherchildrenshemanagedthefamilybusinessandassistedwithherhusband’sart.Awell-knownar<stinherlife<me,shewaslargelyforgokenun<l1893whenherini<alswerefoundunderafalsesignatureof“FransHals.”Thisledtorenewedresearchonherasanar<st.Atone<meitwasthoughttherewerenowomenintheArtHistoryCanonbecausethereweren’tanygoodones.Wehavelearnedthiswasnotthereason.

SelfPortrait,JudithLeyster,1630

Page 24: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

HowWomenRepresentThemesAnotherissuesthatisdiscussedwithregardstothegenderofthear<stishowmaleandfemalear<stsapproachsimilarsubjects.WesawthatwithGen<leschiandlet’slookatitagain.Thispain<ngisonebyamalear<stvanBaburenthatrepresentsanotherpopularthemeinBaroqueart—brothelscenes.Itshowsthreefigures,apros<tuteontheleW,theclientinthemiddleandtheprocuresspoin<ngtoherpalmtoindicateexpectedpayment.Theclientisholdingacoin.Inthisversion,vanBaburendepictsthepros<tuteasatemptress,herbreastsprominent.She’sintheprocessofseducinghim.

DirckvanBaburen,TheProcuress,1622SincereligiousartwasnotbeingproducedinthisDutchcountryitisthoughtthatgenrescenes(scenesofeverydaylife),likethisoneservedtoins<llmorality.

Page 25: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

HowWomenRepresentThemesThisisapain<ngbyJudithLeysterofasimilartheme.Herewehavearichlydressedmanofferingcoinstoawomenwhoisquietlyengagedinmending.Insteadofshowingthewomanasunrestrainedandsinful,heresheishardatwork,themodelofvirtue.

JudithLeyster,ManOfferingMoneytoaWoman,orTheProposiKon,1634

Page 26: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

RaceinEuropeanRenaissanceTheMediterraneanwasacross-culturalandinter-ethnicareafromthemid-15thcenturyon.ClassicalculturewaspartlyrevivedbytheideasbroughtbyArabsandblackAfricansregularly,andinsignificantnumbersenteredEurope.Intercon<nentalnaviga<onhelpedreshapeEurope’spopula<on.

TheSupperatEmmaus,Veni<anAr<st,1530-40.InthisoWenrepresentedeventinthelifeofChristweseetheinclusionofaBlacksoldier,iden<fiedasEgyp<anbyhisredhat.MostlikelyincludedtosignifyChrist’suniversalpromiseofsalva<on.HeisalsoshownseatedontherightsideofChrist.Awelcomeguest.

PortraitofaWealthyAfrican,1540

Page 27: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

RaceinEuropeanRenaissanceSt.MauricewasthoughttohavebeenaleaderoftheRomanarmyinthe3rdcentury.HewasmartyredforrefusingtoslaughterChris<ans.Manypain<ngsweredoneofhimduringtheRenaissance.

Scholarsarejust

beginningtoresearchracerela<onsinRenaissance<mes.ItseemsIdeasabout

racewerenotasclearlydefinedatthat<me.

St.Maurice,MakhiasGrunewald,c.1510

St.Maurice,LucaCranachtheElder,1520-25s

Page 28: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

RaceinEuropeanRenaissanceWeseeimagesofdarkskinnedpeopleshowingupinReligiouspain<ngsofthis<mewiththesamenobilityaswhites.Beforethemid-fiWeenthcenturyonlyasmallpercentageofslaveswereAfrican.FreedslavesandfreeAfricansweresociallymobileandappearedinprofessionalandcrea<veposi<onsinEurope.

AdoraKonoftheMaji,FlemishAr<st,1599Bythe15thad16thcenturies,thousandsofimagesdepic<ngBlack(Moorish)kingswhofollowedastartowitnessthena<vity(theBirthofChrist)werepainted.Theyoungestofthethreewisemeninthena<vitystory.

Page 29: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

RaceinEuropeanRenaissanceThroughtheimageswecanseethatpeopleofcolorweredepictedinsimilarwaystoEuropeans.AndwhiletheywereassimilatedintoEuropeanculture,werealsothoughttobe‘behind’Europeanciviliza<on.

AdoraKonoftheMaji,FlemishAr<st,1460-1523PortraitofanAfricanSlaveWoman,AnnibaleCarracci,1580

Page 30: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

NEXTWEEKInthe15thCenturyweseetheriseofintercon<nentalnaviga<onbysea.Europeancountriesbeginsendingshipsaroundtheworldtoexploreandconquer.Portugueseexpedi<onsbringEuropeanshipsinregularcontactwithSaharanAfrica.TheyinauguratedtheAtlan<csalvetrade,soonjoinedbySpainandBritain.ChristopherColumbus’conquestoftheCaribbeanvirtuallywipedouttheindigenousculturesthere.Slaveryhasbeenaroundeversinceciviliza<onsbegan.However,aWerthe15thcenturyAfricansbecomethelargestpopula<onofslaves.

Moreaboutthisnextweek.

Page 31: The Renaissance - Yontz STAC Classes · “Renaissance Man” as he studied a wide ... Religious change, the growth of empires, ... room for women in this view of ‘creaon.’

MAINPOINTSFORTHISWEEK•  The Renaissance from about 1400-1600 is the

revival of ideas and styles of Greece and Rome.

•  The Catholic Church is still very powerful and there is much Christian art created.

•  In addition, a rising merchant class with Classical taste, commission artwork with different themes, like mythology and portraits.

•  Invention of oil paint allows more naturalism. In addition the development of linear perspective makes painting a strong illusion of the natural world.

•  Paintings of the idealized female figure become undeniably eroticized.

•  Women artists emerge.

•  Racial diversity is represented in art.