Honeymoon After Chicken Pox

RENAISSANCE (2) CHAPTER 7: THE CLASSICAL RENAISSANCE XIV-XV S

CHAPTER 7 THE RENAISSANCE IN ITALY THE CLASSICAL RENAISSANCE: XIV-XV Centuries .

Jacques rouveyrol

I. THE PRECURSORS: THE Trecento

Although the subject of the representation remains religions, we must bring the action on the ground and back to man. It is, at the end of XII ° s and early XIIIth the message itself St. Francis of Assisi and not just when he preaches to the birds.

1.Duccio (The School of Siena)

Duccio is the most important painter of the Sienese school. It is for him to bring the legendary scenes from the lives of the saints at the scenes of everyday life (street scene, indoor scene, the scene of road). The result is a desecration of space that makes possible a representation that the drains flatness. The space widens.

The Byzantine influence that characterized the Sienese school difference that of Florence conducted by Giotto.

2. Giotto (Florence School)

His goal: to conquer the third dimension. But instead of implementing it in space, it is in the objects it produces. Thus, for example, by placing a building at an angle, it creates depth.

The medieval space was a surface. A substantial area, that is to say, impenetrable, made a block, not to revise, to dig. The "revolution" by Giotto is just to dig the surface. Yet to deny. Thus, in any scene, the sky will be well "behind", but will remain an impenetrable surface and perfectly flat.

The picture is a "window" that widens the wall, certainly, and this is what is new, but that closes the space it has opened (and this is what remains of the "mentality" medieval) because, behind this "window" and just behind the world stops and goes no further.



The image is no longer a icon. Certainly it is not realistic. But it is more symbolic (over only). Space is no longer the sacred space of divine thought. It's profane space of the action humaine.C 'was provided for the abandonment of the flatness Romanesque (and Gothic yet) a sacred space partitioned into places, in favor of a secular space continuous and homogeneous .


II. PERSPECTIVE AND ANTIQUE

The prospect is particularly suited to the representation of classical architecture (ancient) characterized by their geometry: straight, cube, arc, ... So the first scene that will affect a classic form.

1.Under agreement with the figures in the sculpture: Donatello.


And before it, in Nanni di Banco and, simultaneously, or in Jacoppo della Quercia Ghiberti. The figures are inspired by Donatello Rome tick (David Gatamelatta ...)

2. Disagree with the figures in the painting until 1450-1460

In Piero della Francesca Francesco del Cossa and others, in a setting inspired by ancient times, the figures are dressed in modern and unsuited to the background on which they stand.
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3.The agreement with the figures in the painting from 1450-1460.


Thus in Mantegna in his Life and Martyrdom of Saint Jacques. Although this is not always the case (eg in his Martyrdom of Saint Christopher).
agreement between scenery and ancient figures is taking place gradually promoted from operations a fund of non-Christian mythology. For example dear Piero di Cosimo:



So the decor, because it is tailored to the prospect, calling the figures to change and integrate.

4.The development of neo-Platonism (Marsilius Ficino) will renew the theme of painting and mythology reviewed by neo-Platonism will compete chrétienne.Exemple mythology: both Venus ( coelestis and vulgaris) by Botticelli. The reference is to Banquet of Plato. Socrates y two forms of love: the earthly love is love (desire) of beautiful bodies and heavenly love which is love of beauty itself. There are two Venus: Venus a terrestrial ( Venus vulgaris) born of the union of Jupiter and Juno and Venus Celestial ( Venus coelestis) born of the sea at the time of the fall of the genitalia of Uranus resulting from his castration. Surrounded by Zephyr and Flora (left) and Spring (right), the Celestial Venus by Botticelli out of the sea In the right panel, the earthly Venus topped Eros is between the Three Graces and Mercury a hand and the Spring Flora and Zephyr, on the other.

together, as below, the two charities. Left the celestial Venus, love disembodied (the so-called "platonic" and that does not mean "chaste love of beautiful bodies", as is often believed, but love of beauty in itself independently bodies in which it takes place or to which it gives form). The Centre (that is, on the left of the second table), Mercury is the reason that turns its back to the sensual temptress of the three Graces. Right, finally, the earthly Venus, carnal desire. So it's a route that here is drawn. A read from right to left: starting from the earthly love, we must, by means of reason, to rise to heavenly love (which is a little sense of scale Banquet). The two works by Botticelli is therefore meet, complement, must be read together.

5. Raphael: the synthesis of knowledge and worlds: the unification achieved.

is Raphael's responsibility to achieve greater unity of the different data. It represents the culmination of the Classical Renaissance. His School of Athens (1509) in Segnatura the Vatican presents a synthesis of ancient thought, but this, again, synthetically. Not only are all philosophers and scholars of antiquity met there, but not simply juxtaposed in this space perfectly strucure by perspective. For example, opposition Plato (taking an intelligible heaven where the "Forms" that give the pure material of this world of forms understandable) / Aristotle (for whom the "Forms" are already there, in power in the matter), this opposition is noted by setting side by side the two characters and the fact that the hand of Plato means heaven while Aristotle is facing the Earth. Thus, for example again, the message of the ancient Greek citizenship was clearly expressed by the route of the young man who climbs the stairs. He turns away from Diogenes, a-social, sitting on the steps and gestures on a former which refers to Aristotle, the social theorist (author of The Policy or the Nicomachean Ethics, the which defines the man "a political animal", that is to say, "a social animal), it goes to the philosopher.
And in Dispute of the Blessed Sacrament is the synthesis of Christian thought that Raphael (in the same 15110-1511 Segnatura ) performs. A total synthesis of all forms of thought.

The Classical Renaissance succeeded thus complete unification: space, time, figure and scenery, ancient history, and contemporary Christian. She created a world.